Attraverso l’attualizzazione dei “Bacini Culturali” – quali spazi antropici e contenitori geografici di confronti culturali, azioni socio-economiche e processi di costruzione di identità collettive e individuali – ABACUS mira alla costruzione di una “comunità di interpretazione e conoscenza” delle realtà territoriali, socio-culturali ed economiche di riferimento dei Giovani siciliani, senza trascurare una opportuna prospettiva di sviluppo di linee di ricerca-azione a livello inter-regionale.
Gazetteers, i.e., lists of place-names, enable having a global vision of places of interest through the assignment of a point, or a region, to a place name. However, such identification of the location corresponding to a place name is often a difficult task. There is no one-to-one correspondence between the two sets, places and names, because of name variants, different names for the same place and homonymy; the location corresponding to a place name may vary in time, changing its extension or even the position; and, in general, there is the imprecision deriving from the association of a concept belonging to language (the place name) to a precise concept (the spatial location). Also for named time periods, e.g., early Bronze Age, which are of current use in archaeology, the situation is similar: they depend on the location to which they refer as the same period may have different time-spans in different locations. The present paper avails of a recent extension of the CIDOC CRM called CRMgeo, which embeds events in a spatio-temporal 4-dimensional framework. The paper uses concepts from CRMgeo and introduces extensions to model gazetteers and period thesauri. This approach enables dealing with time-varying location appellations as well as with space-varying period appellations on a robust basis. For this purpose a refinement/extension of CRMgeo is proposed and a discretization of space and time is used to approximate real space–time extents occupied by events. Such an approach solves the problem and suggests further investigations in various directions.
Additive manufacturing (AM) or 3D printing is a digital manufacturing process and offers virtually limitless opportunities to develop structures/objects by tailoring material composition, processing conditions, and geometry technically at every point in an object. In this review, we present three different early adopted, however, widely used, polymer-based 3D printing processes; fused deposition modelling (FDM), selective laser sintering (SLS), and stereolithography (SLA) to create polymeric parts. The main aim of this review is to offer a comparative overview by correlating polymer material-process-properties for three different 3D printing techniques. Moreover, the advanced material-process requirements towards 4D printing via these print methods taking an example of magneto-active polymers is covered. Overall, this review highlights different aspects of these printing methods and serves as a guide to select a suitable print material and 3D print technique for the targeted polymeric material-based applications and also discusses the implementation practices towards 4D printing of polymer-based systems with a current state-of-the-art approach.
Il decimo volume della serie “Hierapolis di Frigia” costituisce la pubblicazione analitica di uno dei contesti architettonici più importanti della città frigia, il cosiddetto Tempio A del Santuario di Apollo, edificio connesso alle pratiche per la
Il decimo volume della serie “Hierapolis di Frigia” costituisce la pubblicazione analitica di uno dei contesti architettonici più importanti della città frigia, il cosiddetto Tempio A del Santuario di Apollo, edificio connesso alle pratiche per la
Questo manuale, ricco di esempi illustrati, si rivolge agli archeologi con l'intento di insegnare l'uso di una serie di strumenti che sono indispensabili per la documentazione e lo studio dei resti antichi. Si descrivono i principali strumenti di rilievo indiretto - stazione totale, GPS, fotogrammetria, laserscanner -, ma viene dato anche grande spazio al rilievo diretto, procedimento che è essenziale per interpretare correttamente il contesto da rappresentare. La seconda parte del testo descrive in dettaglio il funzionamento di alcune tipologie di programmi che servono per l'archiviazione, l'elaborazione e l'interscambio dei dati: software di grafica raster, DBMS, GIS e in particolar modo il CAD, sia per il disegno 2d che per la modellazione tridimensionale. La finalità è quella di indicare un metodo operativo il quale, aggiornato dalle recenti tecnologie, sia in grado di produrre risultati coerenti rispetto ai principi dell'archeologia stratigrafica, favorendo l'analisi e la ricostruzione dei monumenti del passato.
Hardback Edition: ISBN -1 Digital Edition: ISBN 978-1-78570-360-7 (epub) Hardback Edition: ISBN 978-1-78570-359-1 Digital Edition: ISBN 978-1-78570-360-7 (epub)
Seit der Wiederentdeckung des Heiligtums durch E.A. Dodwell zu Beginn des 19. Jahrhunderts gab es nur zwei Ausgrabungsprojekte: Zunächst legte P. Paris im November 1883 die antiken Überreste des Tempels frei. Anhand seiner Funde rekonstruierte er diesen als dorischen Peripteros mit 6 x 13 Säulen. Obwohl das Heiligtum der Athena Kranaia als eines der bedeutendsten in der Phokis galt, fand es selbst nach seiner Ausgrabung durch Paris wenig Beachtung in der Forschung. Erst über 100 Jahre später führten S.P. Dimaki und G.A. Zachos weitere Suchgrabungen auf dem obersten Felsplateau in direkter Tempelnähe durch. 2018 wurden zu Beginn des Projekts "Topographische Forschungen im Kephissostal" LiDAR-Scans erstellt, welche zahlreiche weitere - bisher unbekannte - anthropogene Anomalien im gesamten Bereich innerhalb der Temenosmauer zeigten.
Le Antichità di Ercolano Esposte (Antichità di Ercolano esposte) è un libro di otto volumi di incisioni dei reperti provenienti dallo scavo delle rovine di Ercolano nel Regno di Napoli (ora Italia). Fu pubblicato tra il 1757 e il 1792 e furono consegnate copie a destinatari selezionati in tutta Europa. Nonostante il titolo, l'Antichità di Ercolano mostra oggetti provenienti da tutti gli scavi intrapresi dai Borboni nel Golfo di Napoli. Questi includono Pompei, Stabia e due siti di Ercolano: Resina e Portici. Le incisioni sono di alta qualità e il testo di accompagnamento mostra una grande borsa di studio, ma nel libro mancano le informazioni sul contesto che ci si aspetterebbe da un moderno lavoro archeologico. Le Antichità è stata progettata più per stupire i lettori con la qualità degli oggetti nella collezione del Re di Napoli che per essere utilizzata nella ricerca. Il libro ha dato slancio al movimento neoclassico in Europa, offrendo agli artisti e ai decoratori l'accesso a un enorme negozio di motivi ellenistici.
The birth of virtual reality marked a new path forward and also gave a fresh view of reality, allowing alternative ‘readings’ of cultural heritage. This new way of representation and simulation was soon associated with the term virtual environment, used to indicate those interactive three-dimensional models that could be navigated and that simulated a place, building, or synthetic representation scheme in real time. A virtual environment is like a “microscope for the mind” that allows you to elaborate amplified projections of the material world, to “look beyond” simple appearances and to make logical connections between elements grouped together. In recent years, virtual environments have been greeted positively by the public and scholars, testified by the quantity of thematic conferences on the subject of Virtual Archaeology. Despite this, there are still many contradictions found in the varying terms and the diverse aims of the developing disciplines that gravitate around the field of virtual reality such as Cultural Virtual Environment, Virtual Restoration, Virtual Archaeology, Enhanced Reality, and Mixed Reality. The spread of new media has upset the traditional systems of communication such as books, television, radio and even the roles of some cultural stakeholder. With this in mind, the role of virtual heritage also consists in transmitting information using the language and cognitive metaphors used in video-games, considering these as cultural paradigms for a form of communication that is freed from the classic rules of elite culture. It is quite frequent to find projects of digital promotion for monuments that are characterised by difficulty of access, or for objects that have been taken from their original context. One solution to enhance the accessibility of those sites is certainly the use of some visual computing technologies which without presuming to be the ultimate answer to the problems posed, try to offer communications tools that permit an effective support to the visit.
Although data reusers request information about how research data was created and curated, this information is often non-existent or only briefly covered in data descriptions. The need for such contextual information is particularly critical in fields like archaeology, where old legacy data created during different time periods and through varying methodological framings and fieldwork documentation practices retains its value as an important information source. This article explores the presence of contextual information in archaeological data with a specific focus on data provenance and processing information, i.e., paradata. The purpose of the article is to identify and explicate types of paradata in field observation documentation. The method used is an explorative close reading of field data from an archaeological excavation enriched with geographical metadata. The analysis covers technical and epistemological challenges and opportunities in paradata identification, and discusses the possibility of using identified paradata in data descriptions and for data reliability assessments. Results show that it is possible to identify both knowledge organisation paradata (KOP) relating to data structuring and knowledge-making paradata (KMP) relating to fieldwork methods and interpretative processes. However, while the data contains many traces of the research process, there is an uneven and, in some categories, low level of structure and systematicity that complicates automated metadata and paradata identification and extraction. The results show a need to broaden the understanding of how structure and systematicity are used and how they impact research data in archaeology and in comparable field sciences. The insights into how a dataset’s KOP and KMP can be read is also a methodological contribution to data literacy research and practice development. On a repository level, the results underline the need to include paradata about dataset creation, purpose, terminology, dataset internal and external relations, and eventual data colloquialisms that require explanation to reusers.
Ricostruzione virtuale della Tomba dei Capitelli nella necropoli della Banditaccia a Cerveteri, esemplificativa della tomba-casa etrusca. E' stato incluso anche un potenziale corredo e una simulazione delle deposizioni .Al modello 3D si accompagnano alcuni rendering 360 della tomba attuale (come è) e ricostruita (come era, da due punti di vista all'interno della tomba.Una mappa indica il loor posizionamento in pianta. A ciascun rendering si associano contenuti narrativi riferiti alla vista generale e ad alcuni elementi di approfondimento (identificati da maschere semantiche). Inoltre sui rendering è mappato anche il back end scientifico: il livello di affidabilità della ricostruzione è indicato con colori simbolici (rosso: elementi archeologici documentati in situ; azzurro: elementi soggetti a ricostruzione o restauro virtuale di un risarcimento derivante da evidenza fisica; verde: elementi ricostruiti in mancanza di concrete evidenze attraverso processi comparativi o deduttivi; giallo chiaro: anastilosi tipo 1: riposizionamento di frammenti esistenti ma rimossi o ritrovati in giacitura secondaria e attualmente conservati in altro contesto; giallo scuro: anastilosi tipo 2: ricostruzione o restauro virtuale del frammento riposizionato in anastilosi virtuale). Infine a completamento del back end scientifico ai vari elementi ricostruiti virtualmente sono associate le informazioni relative alle fonti e ai processi interpretatativi che hanno supporttao l'ipotesi ricostruttiva. Il gruppo di lavoro è multidisciplinare ed include istituzioni di ricerca e industrie creative.
The literature provides a wide range of techniques to assess and improve the quality of data. Due to the diversity and complexity of these techniques, research has recently focused on defining methodologies that help the selection, customization, and application of data quality assessment and improvement techniques. The goal of this article is to provide a systematic and comparative description of such methodologies. Methodologies are compared along several dimensions, including the methodological phases and steps, the strategies and techniques, the data quality dimensions, the types of data, and, finally, the types of information systems addressed by each methodology. The article concludes with a summary description of each methodology.
If virtual heritage is the application of virtual reality to cultural heritage, then one might assume that virtual heritage (and 3D digital heritage in general) successfully communicates the need to preserve the cultural significance of physical artefacts and intangible heritage. However, digital heritage models are seldom seen outside of conference presentations, one-off museum exhibitions, or digital reconstructions used in films and television programs. To understand why, we surveyed 1483 digital heritage papers published in 14 recent proceedings. Only 264 explicitly mentioned 3D models and related assets; 19 contained links, but none of these links worked. This is clearly not sustainable, neither for scholarly activity nor as a way to engage the public in heritage preservation. To encourage more sustainable research practices, 3D models must be actively promoted as scholarly resources. In this paper, we also recommend ways researchers could better sustain these 3D models and assets both as digital cultural artefacts and as tools to help the public explore the vital but often overlooked relationship between built heritage and the natural world.
Abstract Archaeological collections are crucial in heritage studies and are used every day for training archaeologists and cultural heritage specialists. The recent developments in 3D acquisition and visualization technology has contributed to the rapid emergence of a large number of 3D collections, whose production is often justified as the democratization of data and knowledge production. Despite the fact that several 3D datasets are now available online, it is not always clear how the data – once stored – may be engaged by archaeology students, and the possible challenges the students may face in the learning process. The goal of the Dynamic Collections project at Lund University is to develop a novel 3D web infrastructure designed to support higher education and research in archaeology. At the onset of the COVID-19 pandemic in the spring of 2020, all teaching at Lund University moved online, reinforcing the urgency for such an infrastructure. By letting a group of students test an early version of the system as part of their online teaching, we were able to study how they used and interacted with an archaeological collection in 3D and explore the intersection of digital methods and pedagogy in archaeology. This article presents the preliminary results from this experiment.
Nell’ambito del progetto e-Archeo, gestito dalla società ALES, si è svolta l’attività di rilievo fotogrammetrico di dettaglio della villa romana di Desenzano, con l’obiettivo di creare un’importante risorsa per la valorizzazione e al contempo di determinare un punto di partenza per l’elaborazione delle piante di fase e per la ricostruzione e modellazione 3D dell’edificio. Per il rilievo della villa si è proceduto con l’acquisizione del dataset delle immagini tramite drone (Mavic 2 pro della DJI), ottenendo fotogrammi: nadirali, frontali e obliqui. Nel contempo è stata registrata la posizione dei punti di appoggio e di controllo, da usare nell’elaborazione fotogrammetrica per georiferire i rilievi. Per la fase successiva di acquisizione ed elaborazione dei dati del progetto è stato utilizzato il software Agisoft Metashape (Structure-from-Motion). In seguito all’allineamento e all’ottimizzazione delle camere è stata generata la nuvola di punti densa, il meshing delle superfici e la texturizzazione del modello 3D. Dal set di dati ottenuto è stato possibile ricavare l’ortofoto dell’area della villa e di dettaglio dei settori A e B e il DTM dell’area della villa, quest’ultimo utile alla ricostruzione del paesaggio antico. Gruppo di lavoro: F. Soriano e A. Zemignani.
Owing to its early lead in the world of digital preservation, fostered by the creation of the Archaeology Data Service in 1996, the UK is often considered to be in an advanced position for digital archiving of archaeological data. In some ways it is, but the situation is also complex, due to a highly fragmented landscape, spread across four nations, and multiple sectors. This overview article describes the organisation and structure of archaeology across the UK, and the provision for digital preservation and access. Digital archiving is still far from standard, but the situation is improving, and rests on firm foundations.
Digital 3D modelling and visualization technologies have been widely applied to support research in the humanities since the 1980s. Since technological backgrounds, project opportunities, and methodological considerations for application are widely discussed in the literature, one of the next tasks is to validate these techniques within a wider scientific community and establish them in the culture of academic disciplines. This article resulted from a postdoctoral thesis and is intended to provide a comprehensive overview on the use of digital 3D technologies in the humanities with regards to (1) scenarios, user communities, and epistemic challenges; (2) technologies, UX design, and workflows; and (3) framework conditions as legislation, infrastructures, and teaching programs. Although the results are of relevance for 3D modelling in all humanities disciplines, the focus of our studies is on modelling of past architectural and cultural landscape objects via interpretative 3D reconstruction methods.
European archaeologists in the last two decades have worked to integrate a wide range of emerging digital tools to enhance the recording, analysis, and dissemination of archaeological data. These techniques have expanded and altered the data collected by archaeologists as well as their interpretations. At the same time archaeologists have expanded the capabilities of using these data on a large scale, across platforms, regions, and time periods, utilising new and existing digital research infrastructures to enhance the scale of data used for archaeological interpretations. This Element discusses some of the most recent, innovative uses of these techniques in European archaeology at different stages of archaeological work. In addition to providing an overview of some of these techniques, it critically assesses these approaches and outlines the recent challenges to the discipline posed by self-reflexive use of these tools and advocacy for their open use in cultural heritage preservation and public engagement.
3D-ICONS is a European project which will enhance the content base available to Europeana users through targeted 3D digitization of European architectural and archaeological monuments. The "3D Icons" will be selected through their listing by UNESCO on its World Heritage (WH). The project aims to complement the collections which are being made accessible to Europeana via CARARE, Europeana Local, Athena and other projects which have developed the content base for the cultural heritage. 3D-ICONS aims to complement the 3D content brought to Europeana via the CARARE project, enabling public access to complex models and increasing the critical mass of this engaging type of content.
This study was commissioned by the Commission to help advance 3D digitisation across Europe and thereby to support the objectives of the Recommendation on a common European data space for cultural heritage (C(2021) 7953 final), adopted on 10 November 2021. The Recommendation encourages Member States to set up digital strategies for cultural heritage, which sets clear digitisation and digital preservation goals aiming at higher quality through the use of advanced technologies, notably 3D. The aim of the study is to map the parameters, formats, standards, benchmarks, methodologies and guidelines relating to 3D digitisation of tangible cultural heritage. The overall objective is to further the quality of 3D digitisation projects by enabling cultural heritage professionals, institutions, content-developers, stakeholders and academics to define and produce high-quality digitisation standards for tangible cultural heritage. This unique study identifies key parameters of the digitisation process, estimates the relative complexity and how it is linked to technology, its impact on quality and its various factors. It also identifies standards and formats used for 3D digitisation, including data types, data formats and metadata schemas for 3D structures. Finally, the study forecasts the potential impacts of future technological advances on 3D digitisation.
In the past decade, the application of 3D computer technology to cultural heritage has been widely accepted by archaeologists, architectural historians, and cultural authorities. This paper argues that the field of virtual heritage now faces two challenges: campanilismo, or the privileging of local heritage over global heritage; and the lack of preservation. A solution is proposed for both problems: creation of a world virtual heritage center and network with the missions of collecting, maintaining, and distributing computer models of cultural heritage sites; and of organizing exhibitions of virtual heritage on global themes.
PURE3D Technical Report The PURE3D Technical Report is meant to provide a high-level state of the art summary on 3D scholarly web infrastructures. Within the report you will find a brief environment scan of 3D issues, limitations, challenges, and recommendations based on a review of the scholarly literature, 3D file formats capabilities, 3D
Since the 1990s the application of the digital 3D reconstruction and computer-based visualisation of culturalheritage increased. The virtual reconstruction and 3D visualisation revealed a new “glittering” research space forobject-oriented disciplines such as archaeology, art history and architecture. Nevertheless the academicsconcerned with the uprising technology recognised early the lack of documentation standards in the 3Dprojects leading to the loss of information, findings and the fusion of knowledge behind the digital 3Drepresentation. Based on the methodological fundamentals of the digital 3D reconstruction the potentials andchallenges in the light of emerging Semantic Web and Web3D technologies will be introduced. The presentationsubscribes a scientific methodology and a collaborative web-based research environment followed by crucialfeatures for this kind of projects. As the groundwork a human- and machine-readable “language of objects” andthe implementation of this semantic patterns for spatial research purposes on destroyed and/or never realisedtangible cultural heritage will be discussed. Using examples from the practice the presentation explains therequirements of the Semantic Web (Linked Data), the role of controlled vocabularies, the architecture of the VREand the impact of a customised integration of interactive 3D models within the WebGL technology. Thepresentation intends to showcase the state-of-the-art on the way to a digital research infrastructure. The focuslies on the introduction of scholarly approved and sustainable digital 3D reconstruction, complaint withrecognised documentation standards and following the Linked Data requirements.
Three-dimensional (3D) scanning technology presents cultural organizations with new opportunities to share their collections with a wider audience online, and conserve and archive art objects and antiquities for safekeeping. However, this technology can also present legal challenges when institutions like museums assert ownership, in particular employing copyright notices, over digital copies of public domain art […]
