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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 simulate...
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... lesser degree, in some more modern restoration. Today, the Soprintendenze still call cautiously for the use of auxiliary didactic supports to help the visitor understand the ancient contexts, often resorting to digital solutions for museum communication, which are by no means reversible and minimal, while certainly being useful and effective [1] (Fig. 10). Reconstructive archaeology can resolve this problem in part, but its strengths go beyond this; through systematic studies, whose development can be traced in a transparent and intelligible way, virtual archaeology can pass on to the public the interpretative results about monuments and works of art that have been damaged or ...
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... produced by these visualisations will depend largely on the capacity of the others to confirm or refute the results that have been obtained". Scientific transparency is therefore the indispensable premise and the 'moment of truth' that measures the quality and the scientific rigour of each application and study of virtual archaeology [10] (Fig. 11). Only the analysis of the preliminary data, accessible to all, can validate the results of a reconstruction and guarantee the revision of results for new generations without necessarily starting from scratch. Naturally, in all projects of reconstructive archaeology, a certain level of uncertainty will remain, because one of the ...
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... is clear that social dynamics, economic production and above all, politics have been transformed by the power of the media. In this age of horizontal diffusion of culture, to communicate means to use the internet and the language of the new media in the belief that the border between elite culture and mass culture is no longer as clear as it was (Fig. 12). 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. These new perspectives have determined the creation of ...
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... studies have shown that those museums that have characterised their approach by using digital technologies and active public participation have had greater success in terms of visitor-numbers, and probably also a greater understanding of the cultural information being illustrated (Fig. 13). Where communication has become an important component of the museum presentation and organisation, the museums have become home to a new way of conceiving cultural communication, and looking for new dynamics of social ...
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... epistemological challenges that result from them. The historical competence of the average citizen is now formed largely by information that comes from the new media, thus creating a great increase in the demand for products with a high technological content, with the aim of popularising historical re-evocations and reconstructions of the past (Figs. ...
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... takes place. It starts with a simple fact; whoever is receiving the message will understand only a part of it and will remember an even smaller part. Consequently, communication methods will have to use a plurality of techniques, of which each will tell parts of the same message in a different way; using other 'words', repeated in variously (Fig. 16). Today's society is characterised by an increasing tendency to represent information through dynamic audio-visual forms and the use of modern cinematography techniques as a valid approach in the transmission of culture [12] (Fig. 17). This is also quite evident in the management of digital scenes created with 3D software, where each ...
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... of which each will tell parts of the same message in a different way; using other 'words', repeated in variously (Fig. 16). Today's society is characterised by an increasing tendency to represent information through dynamic audio-visual forms and the use of modern cinematography techniques as a valid approach in the transmission of culture [12] (Fig. 17). This is also quite evident in the management of digital scenes created with 3D software, where each element of the simulation tends to replicate the distortions of the old cameras or anomalies in the development of the reels of film (Fig. 18). In line with this tendency, we can say that the effectiveness of communication is also ...
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... and the use of modern cinematography techniques as a valid approach in the transmission of culture [12] (Fig. 17). This is also quite evident in the management of digital scenes created with 3D software, where each element of the simulation tends to replicate the distortions of the old cameras or anomalies in the development of the reels of film (Fig. 18). In line with this tendency, we can say that the effectiveness of communication is also closely linked to a representation that is free of the sterile interfaces of virtual reality in the Nineties, where pure technical skill was shown as proof of high scientific standards, with results, Today, the representation is projected into a ...
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... to a representation that is free of the sterile interfaces of virtual reality in the Nineties, where pure technical skill was shown as proof of high scientific standards, with results, Today, the representation is projected into a realistic plane and tries to involve the spectator in an emotive form of communication combined with scientific value (Fig. 19). Communication becomes spectacle and a vehicle for high-quality contents where the links are provided by an interdisciplinary approach. The fundamental dialogue between different areas of knowledge is a continual confrontation between figures from varying backgrounds, and prelude to forms of transmission of information [13]. ...
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... by the visitors is perhaps greater than that caused by the eruption of Vesuvius. "Save Pompeii from the damage caused by time and tourists" was the title of an article published in 2008 in the New York Times, which invited Italy to mass action to find a remedy for the damage done to one of the most famous archaeological sites in the world (Fig. 21). What can be done to limit the damage? How can monuments be used while limiting access? How can objects be used out of context? One solution that provides some answers is the use of visual computing technologies, which without presuming to be the ultimate answer to the problems posed, try to offer communications tools that permit an ...
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Advancement in human computer interaction technology has transformed our world to become increasingly connected and interspersed with digital media and information. This has given rise to a new form of environment called 'mixed reality' that opens a hybrid landscape for artists, designers and researchers to explore in creative and innovative ways....
The purpose of this article is to introduce and rank information related to virtual reality as a new media phenomenon. In principle, in the Polish nomenclature, the term is so new that it is often confused, incomprehensible. This, in turn, translates into misunderstanding and the lack of the use of this communication channel.
The article is a revie...
Citations
... This interactive experience is all-encompassing and fully embodies the concept of human-centred design, where people can choose how they like to enjoy it. In the virtual environment created by digital technology can give full play to their imagination, visual, auditory tactile, and even taste can be felt, allowing people to immerse themselves in the experience (Francesco, 2015). ...
Although this research has made significant progress in image generation models, they still face issues such as insufficient diversity of generated images, poor quality of high-resolution images, and the need for a large amount of training data for model optimization. This paper studies poster design based on deep learning automatic image generation algorithm, using a recursive supervised image generation algorithm framework of generative adversarial networks for multi-view image generation and super-resolution generation tasks of small sample digital poster images. Various improvements have been proposed to enhance the performance of the GAN network model for poster design image generation tasks. Based on experimental research, this paper’s model uses generative adversarial networks to distinguish randomly cropped low resolution and high-resolution poster blocks, ensuring that high-resolution posters maintain their original resolution canvas texture and brush strokes, effectively improving the automatic generation effect of poster images. The evaluation results show that the quantitative evaluation of the proposed algorithm model in knowledge management is distributed in a reasonable range, which indicates that the proposed algorithm model has good performance in knowledge management. The poster design model based on deep learning automatic image generation algorithm proposed in this paper has certain effects. In subsequent practice, the automatic image generation algorithm can be combined with practical needs to improve the efficiency and design effect of poster design.
... They not only entertain, but also educate, enabling players to explore and interact with different eras, civilizations, and cultural narratives. This approach makes learning about history and heritage both engaging and relevant, particularly for younger generations accustomed to digital interactivity [39]. Moreover, this medium allows them to develop a deeper understanding and appreciation of the world's diverse cultural heritage, often inspiring further exploration and study beyond the game [40,41]. ...
Video games have emerged as a promising tool for enhancing engagement with cultural heritage. However, there is limited knowledge about how existing games can effectively fulfill this role. This study compiled and analyzed 100 video games based on cultural heritage by adapting an existing framework that includes 10 game attributes for a comparative statistical analysis of the games’ engagement features. These features include narrative-driven gameplay, information capsules, task-driven learning, ease of play, identity-driven content, open-world exploration, people-centered perspectives, meaningfulness, simulation, and verisimilitude. The analysis revealed that while the majority of games adhered to most of the recommended attributes, features such as task-driven learning, open-world exploration, and simulation were either uncommon or rare. These findings highlight a significant opportunity to develop games that incorporate these underrepresented features, thereby providing more immersive and engaging experiences in heritage education. Furthermore, the study offers a systematic overview of existing games that represent cultural heritage, serving as a valuable resource for developers, designers, and educators in this field.
... In spite of this, the new software uses flexible algorithms, all derived from the structure-from-motion (SfM) algorithm, such as to guarantee the orientation of the photos even in the absence of the classical procedures prescribed by digital photogrammetry, i.e., without prior calibration of the camera and without any substantial input from the operator in the orientation phases. All the operations are therefore automatic, leaving open the possibility of setting parameters according to the quality desired for the definition of the number of polygons and the dimensions of the textures to be generated [15][16][17][18][19][20][21]. As already mentioned, poorly characterized objects are very difficult to render, just because the software is not able to "trace" any features, i.e., it is not able to "follow" well distinguishable points. ...
... Heritage 2023, 6 1176 even in the absence of the classical procedures prescribed by digital photogrammetry, i.e., without prior calibration of the camera and without any substantial input from the operator in the orientation phases. All the operations are therefore automatic, leaving open the possibility of setting parameters according to the quality desired for the definition of the number of polygons and the dimensions of the textures to be generated [15][16][17][18][19][20][21]. As already mentioned, poorly characterized objects are very difficult to render, just because the software is not able to "trace" any features, i.e., it is not able to "follow" well distinguishable points. ...
... The VR authoring software is Unity 3D, which has demonstrated excellent management capabilities and overall stability in relation to the target headset visor for development (HTC Vive). The use of an integrated approach between the software development and the management of a dedicated hardware allowed to maximize the performance of the system in order to guarantee the highest comfort levels achievable by the technology [17]. It was thus possible to achieve framerates of between 90 and 120 frames per second in stereoscopy, while maintaining high fidelity of detail in the 3D models. ...
The paper was aimed to promoting and improving the knowledge of the Naples city’s monuments through an immersive visit experience, according to the paradigms of new digital languages. Thanks to the use of integrated technologies, some monuments of the city are presented in virtual way, with unusual viewpoints, that reveal previously unseen details, many of them not directly visible to tourists. A journey created by the use of integrated technologies, to discover historical facades and museums to be explored in total freedom, without physical constraints, without cognitive barriers. The technological basis supporting the visit consists of integrated solutions including digital photogrammetry, 3D modelling, virtual restoration and persuasive storytelling, all organised to provide a product for the general public, to be enjoyed with VR headsets. The available contents are organised on different reading levels, in according to three paths that include: a visit to the MANN (National Archaeological Museum of Naples), a visit within the virtual room dedicated to the most important museums of the city and a virtual walk through the decumani, the heart of historical centre. The virtual enjoyment of contexts no longer visible in original state or not accessible by tourists is resolved by the virtual reconstruction and re-location of artefacts in a virtual space, here called Virtual Room.
... Archaeologists are borrowing tools, techniques, and theories from other disciplines to improve the way they collect, analyze, and disseminate archaeological data. Digital media and technology provide a variety of novel and creative methods for capturing public attention and increasing overall competency and appreciation for the past [24,25]. Modern 3D software tools can help with heritage visualization production. ...
... According to Lopez-Menchero and Grande [27], as long as computer-based visualizations are utilized to enhance archaeological heritage rather than to draw attention away from the actual site or an item in a museum, it is beneficial. Furthermore, if the artifact or location is appropriately introduced and contextualized with the significance of the legacy to a larger historical discourse, there may be a higher appreciation for the object or location [25]. ...
... seum, it is beneficial. Furthermore, if the artifact or location is appropriately introduc and contextualized with the significance of the legacy to a larger historical discourse, th may be a higher appreciation for the object or location [25]. ...
Modern heritage protection goes beyond the mere protection of individual buildings and objects. Modern technologies and techniques of field data capture and visual (3D) presentations are increasingly penetrating this field and are becoming more and more essential and necessary for archives, cadastres, and users and visitors of museums, exhibitions, collections, and archaeological parks. In the area between Kotlje and Ravne na Koroškem, Slovenia, in 1476–1477, 9 to 10 anti-Turkish fortifications, called Turške Šance, reportedly were erected. The remains were left to decay slowly. This paper highlights the possibility of applying interdisciplinary data capture and 3D visualization techniques that are used in the fields of civil engineering and architecture for digital reconstruction of the anti-Turkish fortification as a case study in order to present them in the most contemporary way and emphasize them on a local, regional, national, and international level. Unfortunately, similar remains elsewhere in Europe are primarily ignored (with some notable exceptions). The digital reconstruction of anti-Turkish watchtowers therefore represented an extended reconstruction to revive that part of the historical heritage of Slovenia using the proposed techniques.
... Sharing findings is an Notandum, ano 23, n. 54, set./dez. 2020 CEMOrOC-Feusp / GTSEAM essential aspect of archaeological research, thus digital media and technology offer diverse and innovative methods for capturing public interest and increasing overall competency and appreciation of the past (MCCLEAN, 2008;GABELLONE, 2015). ...
... If designed correctly and with care to context, the digital media output can refocus attention to the physicality of the heritage. There can be a greater appreciation for the artefact or site if they are properly introduced and contextualized about how significant the heritage is to a wider historical discourse (GABELLONE, 2015). Additionally, the audience can connect more to the ancient or contemporary past if given relevant connections to their own life or worldview. ...
... Archaeological research and science is something that captures the imagination of the wider public, but unfortunately many don't know the scientific process of archaeological research or how the research can lead to stories about past peoples (GABELLONE, 2015). Archaeology has a bit of an image problem. ...
Visual reconstructions of archaeological sites and materials have been around since before the formal construction of archaeology as a discipline itself. However, there has been an expansion of the methods of reconstructing and representing the past in the last decades due to the use of digital technology. 3D modelling of archaeological sites and artifacts can generate aesthetically pleasing visualizations, but there is a danger of over-exaggerating or decontextualizing the past for public audiences. As digital artists and archaeologists, we should use caution with creating and disseminating archaeological visualizations. Considerations for scientific accuracy, ethics and educational value need to be taken into account. Therefore, this article introduces some of the theoretical issues involved with the digital reconstruction as well as an overview of the practical process of performing science-based archaeological 3D reconstructions and visualizations.
... 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." 29 The publication of the London Charter in 2009 and of the Seville Principles in 2012 has contributed to the establishment of a shared set of guidelines for virtual archaeology for the scholarly community. In the preamble of the Seville Principles, a clear definition is provided for the first time of the terms "virtual restoration," "virtual anastylosis," "virtual reconstruction," and "virtual recreation" as four distinct separate moments of digital production. ...
This paper deals with a virtual anastylosis of a Greek Archaic statue from ancient Sicily and the development of a public outreach protocol for those with visual impairment or cognitive disabilities through the application of three-dimensional (3-D) printing and haptic technology. The case study consists of the marble head from Leontinoi in southeastern Sicily, acquired in the 18th century and later kept in the collection of the Museum of Castello Ursino in Catania, and a marble torso, retrieved in 1904 and since then displayed in the Archaeological Museum of Siracusa. Due to similar stylistic features, the two pieces can be dated to the end of the sixth century BC. Their association has been an open problem, largely debated by scholars, who have based their hypotheses on comparisons between pictures, but the reassembly of the two artifacts was never attempted. As a result the importance of such an artifact, which could be the only intact Archaic statue of a kouros ever found in Greek Sicily, has not fully been grasped by the public. Consequently, the curatorial dissemination of the knowledge related with such artifacts is purely based on photographic material. As a response to this scenario, the two objects have been 3-D scanned and virtually reassembled. The result has been shared digitally with the public via a web platformand, in order to include increased accessibility for the public with physical or cognitive disabilities, copies of the reassembled statue have been 3-D printed and an interactive test with the 3-Dmodel has been carried out with a haptic device.
... 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." 29 The publication of the London Charter in 2009 and of the Seville Principles in 2012 has contributed to the establishment of a shared set of guidelines for virtual archaeology for the scholarly community. In the preamble of the Seville Principles, a clear definition is provided for the first time of the terms "virtual restoration," "virtual anastylosis," "virtual reconstruction," and "virtual recreation" as four distinct separate moments of digital production. ...
This paper deals with a virtual anastylosis of a Greek Archaic statue from ancient Sicily and the development of a public outreach protocol for those with visual impairment or cognitive disabilities through the application of three-dimensional (3-D) printing and haptic technology. The case study consists of the marble head from Leontinoi in southeastern Sicily, acquired in the 18th century and later kept in the collection of the Museum of Castello Ursino in Catania, and a marble torso, retrieved in 1904 and since then displayed in the Archaeological Museum of Siracusa. Due to similar stylistic features, the two pieces can be dated to the end of the sixth century BC. Their association has been an open problem, largely debated by scholars, who have based their hypotheses on comparisons between pictures, but the reassembly of the two artifacts was never attempted. As a result the importance of such an artifact, which could be the only intact Archaic statue of a kouros ever found in Greek Sicily, has not fully been grasped by the public. Consequently, the curatorial dissemination of the knowledge related with such artifacts is purely based on photographic material. As a response to this scenario, the two objects have been 3-D scanned and virtually reassembled. The result has been shared digitally with the public via a web platform and, in order to include increased accessibility for the public with physical or cognitive disabilities, copies of the reassembled statue have been 3-D printed and an interactive test with the 3-D model has been carried out with a haptic device.
With 10 million copies sold and 500 million dollars of revenue, the 11th installment of Ubisoft’s Assassin’s Creed series, Assassin’s Creed Odyssey (2018), showed how a videogame based on ancient Greek history and archaeology can make a splash in popular culture and that the distant past can become an extinguishable source of infinite engaging gaming narratives. As pedagogic and research counterparts to videogames of this kind, serious games and archaeogames focusing on Greek and Roman civilizations move from different premises, though aspiring to the same level of success. Serious games, created for a primary purpose other than sole entertainment, have found their way into classrooms and museums to educate students in a variety of disciplines mostly relying on digital storytelling strategies. Archaeogaming, on the other hand, encompasses, among other things, the creation of video games by archaeologists, who create 3D representations of the ancient material culture subject of their study, initially for the purpose of testing hypotheses in simulated environment and later to popularize archaeology and cultural heritage studies, finding a more ‘serious’ use in higher education.
This dissertation deals with defining best practices in archaeogaming design and production focusing on two practical examples of re-use of digital archaeological data for the generation of game assets for teaching and public outreach. Both case studies explore the context of Late Roman Sicily on which I conducted most of the experimental work in the preparatory years of this research. The first case study will be the narrative game prototype for the Villa del Casale (Piazza Armerina) in Enna, Sicily, entitled In Ersilia’s Footsteps, featuring Ersilia Caetani-Lovatelli (1840-1925), the first female archaeologist in Italian history. The game, developed in collaboration with the University of Arkansas’ Tesseract and directed by Dr. David Fredrick and Dr. Rhodora Vennarucci, narrative follows her in the exploration of the Late Roman Imperial countryside residence and UNESCO World Heritage site. The game revolves around the use of 3D digitized assets, created employing digital photogrammetry and 3D laser-scanning to capture the archaeological site, that significantly contributed to increase the realism of the game environment influencing the game creation process towards telling stories of real historic characters in real historic places. The second game, Building by the River, is an a building and experimental archaeogame, aimed at both contextualized elements from the archaeological site as well as the ability aid researchers in understanding the relationship between space and flow in the Late Roman villa of Caddeddi on the Tellaro river (Noto). More specifically, it seeks to explore how the Villa di Caddeddi may have looked and how the rooms functioned during its time as an operating rural villa in the late 4th Century CE. Giving players the ability to pick from a list of 3D digitized assets of actual archaeological materials found both on site and in similar Sicilian Roman villas, the game seeks to engage with playful building and experimentation as seen in other popular digital game titles, like Sims 4, Subnautica, and Minecraft. The on-going work at adding assets to use in the game as well as learn more about the nature and history of the Villa di Caddeddi is discussed in terms of the second-life of digital data, archaeological interpretation, and investigation of spatial use by ancient Romans in their elite rural homes. These assets, in both In Ersilia’s Footsteps and Building by the River, represent at the same time an example in best practices in reusing 3D data, since, once used to achieve research goals, they are repurposed and in combination with an original narrative and a user-friendly interface and mechanics they become the core of an engaging and exciting exploration game.
Ultimately, the experimental work, the new data gathered and the production of two original media research tools have proven to be a strategic decision to advance the digital scholarship agenda on Roman archaeology of Sicily and to trace a path for incorporating archaeogaming as a methodological approach into a research framework. The ability to re-use scientific data for the purpose of public outreach, education, and research allows for archaeologists to address pseudoscience and dangerous representations of the field. As such, the need to provide assets for games can be served through the second life of 3D digital archaeological materials.
An effective digital strategy provides multifaceted benefits for firms of all sizes, including operational oversight, learning, and effective market interactions. Yet, despite the burgeoning evidence that digitalization provides essential resources for firms, disparate observations on the link between SME performance and digitalization across regions are noted in the literature. There remain concerns about whether SMEs enact effective digital strategies to reap the rewards, especially given that some SMEs have reported entirely forgoing digital activities due to resource constraints and exogenous forces in the market. In light of the varying global observations, it is crucial to understand how regional and multi-layered institutional settings influence SMEs to adopt, implement, and utilize digital resources to form solid policies and appropriate facilitative mechanisms. Therefore, this study compiled 11,485 observations of SME digital activities and performance from 88 distinctive institutional regions within Latin America and the Caribbean from 2006 to 2018. The study used data from the World Bank’s Enterprise Survey (WBES) and World Development Indicators (WDI) to reveal various institutional factors influencing SMEs’ adoption of technologies and subsequent performance via multilevel regressions. The findings suggest institutional barriers become insignificant when firms use digital technologies and suggest that it may insulate SMEs from exogenous shocks.
Con l'avvento delle nuove applicazioni di Realtà Virtuale e Realtà Aumentata la comunicazione dei dati inerenti agli scavi archeologici ha subìto uno sviluppo nella creazione di banche dati fruibili non più come semplici sistemi informativi, ma come veri e propri contenitori di immagini e rappre-sentazioni tridimensionali. I modelli 3D, resi interattivi, consentono di sviluppare nuove strategie di comunicazione, narrazione e divulgazione del bene archeologico. La Virtual Archaeology, seguendo linee metodologiche di rappresentazione che prevedono l'utilizzo di modelli tridimensionali interat-tivi, permette di comprendere non solo lo sviluppo e le fasi di uno scavo archeologico, ma anche di simulare ricostruzioni tridimensionali di un ambiente e in una riconfigurazione diversa da quella attuale. Partendo da un'accurata analisi storica degli elementi e delle strutture dello scavo, è possibile generare un "modello di conoscenza" visuale, popolato di informazioni e contenuti multimediali che permettono di approfondire e raccontare contesti archeologici non accessibili. La creazione di ambienti virtuali 3D finalizzati non solo alla divulgazione e all'educazione, ma anche all'analisi e alla comprensione del sito archeologico, è uno degli obiettivi della ricerca condotta dal Laboratorio Sperimentale di Didattica e RICERCA DAda-LAB dell'Università degli Studi di Pavia sul sito di Bedriacum, vicus romano nei pressi di Calvatone, in provincia di Cremona. Gli scavi ventennali, effettuati dagli archeologi dell'Università Statale di Milano, hanno portato alla luce i resti di un sistema urbano composto da ville e strutture riferibili a un periodo compreso tra il II sec. a.C. e il V sec. d.C. Parole chiave Virtual Archeology, modelli tridimensionali, Realtà Virtuale, rappresentazione digitale, Bedriacum.
