One of the core activities of memory institutions is to provide access to heritage material from their collections so that it can be used in formal and informal educational activities. Although this type of access is beneficial for audiences, we argue that current digital technologies for access still require users to know in which collection they must look for a specific subject or type of content. Although collection aggregators, such as Europeana and Google Arts and Culture, have made it easier to access content across collections, there is still a lack of engaging interfaces which can draw the interest amongst a wide range of audiences for exploring heritage material. In this research, we propose a tangible interface for accessing Cultural Heritage (CH) content in the form of a pop-up book. Pop-up books are a highly engaging way to get audiences to interact with materials in archives and collections. Our approach is creative and playful as it takes advantage of both the narrative and the three-dimensional and tactile nature of pop-up books so that audiences can engage with digital content through Augmentation Reality (AR). The technical contributions of the paper include a method to enable real-time interaction between the physical elements of the book and the virtual content. Unlike other AR pop-up books that generate purely virtual pop-up content, our design preserves the original 3D model inside the books and generates virtual effects on those objects, making our application more appealing and engaging than other AR books. This approach and technical method are deployed using a commercially available pop-up book with stories about various famous landmarks in the city of London. Content drawn from heritage collections enriches the stories told in the book with additional visual content and interactions. Initial tests of this approach suggest that it has the potential to engage audiences who will not be traditionally inclined to access other platforms with CH content. CCS Concepts • General and reference → Surveys and overviews; Reference works; • Applied computing → Arts and humanities;
记忆机构的核心活动之一是提供对其收藏的遗产材料的访问，以便将其用于正式和非正式的教育活动。虽然这种类型的访问对受众是有益的，但我们认为，目前的数字访问技术仍然要求用户知道他们必须在哪个集合中寻找特定的主题或类型的内容。尽管像Europeana和Google Arts and Culture这样的收藏聚合器已经使跨收藏访问内容变得更加容易，但仍然缺乏吸引人的界面，无法吸引广泛的受众对探索遗产材料的兴趣。在本研究中，我们提出了一种以立体书形式访问文化遗产内容的有形界面。立体书是一种非常吸引人的方式，可以让观众与档案和收藏中的材料互动。我们的方法是创造性的和有趣的，因为它利用了立体书的叙事和三维触觉特性，这样观众就可以通过增强现实(AR)与数字内容互动。本文的技术贡献包括一种方法，使书的物理元素和虚拟内容之间的实时交互。与其他生成纯虚拟弹出内容的AR弹出书不同，我们的设计保留了书中原始的3D模型，并在这些对象上生成虚拟效果，使我们的应用程序比其他AR书籍更具吸引力和吸引力。这种方法和技术方法是使用商业上可用的弹出式书来部署的，书中有关于伦敦市各种著名地标的故事。从文物收藏中提取的内容以额外的视觉内容和互动丰富了书中讲述的故事。对这种方法的初步测试表明，它有可能吸引那些传统上不倾向于访问其他带有CH内容的平台的受众。CCS概念•一般和参考→调查和概述;参考书;•应用计算机→艺术与人文;
{"title":"Engaging audiences with Cultural Heritage through Augmented Reality (AR) Enhanced Pop-Up Books","authors":"Yaqin Huang, K. Rodriguez-Echavarria, S. Julier","doi":"10.2312/gch.20201292","DOIUrl":"https://doi.org/10.2312/gch.20201292","url":null,"abstract":"One of the core activities of memory institutions is to provide access to heritage material from their collections so that it can be used in formal and informal educational activities. Although this type of access is beneficial for audiences, we argue that current digital technologies for access still require users to know in which collection they must look for a specific subject or type of content. Although collection aggregators, such as Europeana and Google Arts and Culture, have made it easier to access content across collections, there is still a lack of engaging interfaces which can draw the interest amongst a wide range of audiences for exploring heritage material. In this research, we propose a tangible interface for accessing Cultural Heritage (CH) content in the form of a pop-up book. Pop-up books are a highly engaging way to get audiences to interact with materials in archives and collections. Our approach is creative and playful as it takes advantage of both the narrative and the three-dimensional and tactile nature of pop-up books so that audiences can engage with digital content through Augmentation Reality (AR). The technical contributions of the paper include a method to enable real-time interaction between the physical elements of the book and the virtual content. Unlike other AR pop-up books that generate purely virtual pop-up content, our design preserves the original 3D model inside the books and generates virtual effects on those objects, making our application more appealing and engaging than other AR books. This approach and technical method are deployed using a commercially available pop-up book with stories about various famous landmarks in the city of London. Content drawn from heritage collections enriches the stories told in the book with additional visual content and interactions. Initial tests of this approach suggest that it has the potential to engage audiences who will not be traditionally inclined to access other platforms with CH content. CCS Concepts • General and reference → Surveys and overviews; Reference works; • Applied computing → Arts and humanities;","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127239973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
3D physical puzzles are typically used to engage audiences in the interpretation of archaeological artefacts in a museum exhibition. The reason for this is that a puzzle can be seen as a game but also as a complex activity that archaeologists undertake to re-assemble fragments. The contribution of this paper is a novel digital worfklow for the design and fabrication of 3D heritage puzzles. The input to the workflow is an authentic artefact from a heritage collection, which is then digitised using technologies such as 3D scanning and 3D modelling. Thereafter, a puzzle generator produces the 3D puzzle pieces using a cell fracture algorithm and generates a set of puzzle pieces (female) and a single core piece (male) for fabrication. Finally, the pieces are fabricated using 3D printing technology and post-processed to facilitate the puzzle assembly. To demonstrate the workflow, we deploy the proposed method to create a 3D puzzle of an artefact, the Saltdean urn, for the Archaeological Gallery of the Brighton Museum and Art Gallery. The significance of this research is that it eases the task of creating puzzle-like activities and maintaining them within a busy museum gallery. CCS Concepts •Computing methodologies → Shape modeling; Mesh geometry models; •Applied computing → Computer-aided design; Fine arts; been implemented in a variety of processes in the CH sector from conservation and exhibition planning to packaging and creative or educational activities [NL13, SCP∗14, NRRK14, SCP∗15]. This paper is concerned with the development of an application of digital fabrication which aims to contribute to the educational and communicational aspect of the CH experience. In particular, it examines how digital 3D models of artefacts can be re-purposed in creative ways in order to expand the benefits of the digitisation process. As such, the paper proposes the playful use of a 3D puzzle to enable users to experience the physical pieces or shards of
{"title":"Digital Workflow for Creating 3D Puzzles to Engage Audiences in the Interpretation of Archaeological Artefacts","authors":"K. Rodriguez-Echavarria, M. Samaroudi","doi":"10.2312/gch.20181343","DOIUrl":"https://doi.org/10.2312/gch.20181343","url":null,"abstract":"3D physical puzzles are typically used to engage audiences in the interpretation of archaeological artefacts in a museum exhibition. The reason for this is that a puzzle can be seen as a game but also as a complex activity that archaeologists undertake to re-assemble fragments. The contribution of this paper is a novel digital worfklow for the design and fabrication of 3D heritage puzzles. The input to the workflow is an authentic artefact from a heritage collection, which is then digitised using technologies such as 3D scanning and 3D modelling. Thereafter, a puzzle generator produces the 3D puzzle pieces using a cell fracture algorithm and generates a set of puzzle pieces (female) and a single core piece (male) for fabrication. Finally, the pieces are fabricated using 3D printing technology and post-processed to facilitate the puzzle assembly. To demonstrate the workflow, we deploy the proposed method to create a 3D puzzle of an artefact, the Saltdean urn, for the Archaeological Gallery of the Brighton Museum and Art Gallery. The significance of this research is that it eases the task of creating puzzle-like activities and maintaining them within a busy museum gallery. CCS Concepts •Computing methodologies → Shape modeling; Mesh geometry models; •Applied computing → Computer-aided design; Fine arts; been implemented in a variety of processes in the CH sector from conservation and exhibition planning to packaging and creative or educational activities [NL13, SCP∗14, NRRK14, SCP∗15]. This paper is concerned with the development of an application of digital fabrication which aims to contribute to the educational and communicational aspect of the CH experience. In particular, it examines how digital 3D models of artefacts can be re-purposed in creative ways in order to expand the benefits of the digitisation process. As such, the paper proposes the playful use of a 3D puzzle to enable users to experience the physical pieces or shards of","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129068868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Translucency is an important optical and perceptual attribute that has a significant impact on the appearance of objects and materials. Expensive and time-consuming manufacturing process is required to produce a translucent replica of an opaque real object. The human visual system has a poor ability to understand optics, and it relies on intensity distribution in the image to distinguish translucent and opaque materials. In this work we demonstrate a novel method of using spatial augmented reality to increase perceived translucency of more optically opaque real 3D objects by projecting energy patterns onto them that mimic the energy distribution of optically translucent materials. We conducted a user study to verify that the result looks convincing, and it is impossible to tell the transmitted and projected light apart. This opens promising directions for effective alteration of material appearance using projection systems, which can be used to enhance understanding and appreciation of historical artifacts
{"title":"Using Spatial Augmented Reality to Increase Perceived Translucency of Real 3D Objects","authors":"Giorgio Trumpy, Davit Gigilashvili","doi":"10.2312/gch.20231162","DOIUrl":"https://doi.org/10.2312/gch.20231162","url":null,"abstract":"Translucency is an important optical and perceptual attribute that has a significant impact on the appearance of objects and materials. Expensive and time-consuming manufacturing process is required to produce a translucent replica of an opaque real object. The human visual system has a poor ability to understand optics, and it relies on intensity distribution in the image to distinguish translucent and opaque materials. In this work we demonstrate a novel method of using spatial augmented reality to increase perceived translucency of more optically opaque real 3D objects by projecting energy patterns onto them that mimic the energy distribution of optically translucent materials. We conducted a user study to verify that the result looks convincing, and it is impossible to tell the transmitted and projected light apart. This opens promising directions for effective alteration of material appearance using projection systems, which can be used to enhance understanding and appreciation of historical artifacts","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130723075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Alberto Bucciero, Alessandra Chirivi, M. A. Jaziri, I. Muci, Andrea Orlandini, A. Umbrico
In the last years, several mobile APPs have been developed within the cultural tourism domain to give new impetus to this sector which is booming both in Italy and worldwide. In the wake of the increasing importance of technologies based on artificial intelligence, even mobile applications for the use of cultural tourism heritage are increasingly taking advantage of these techniques. Machine learning strategies are increasingly used to recommend points of interest and itineraries that are compatible with the user’s preferences, requirements and constraints. The quality and integrity of the data acquired become the starting point for training and implementing AI models. By levering well-structured data, these algorithms can offer valuable insights, personalised recommendations, and enhanced user interaction in the cultural tourism domain. The HerMeS APP that we present in this paper was designed starting from these premises. The application aims to provide a wide range of artificial intelligence-based features to enhance the enjoyment and exploration of cultural heritage, both tangible and intangible.
{"title":"HerMeS - HERitage sMart social mEdia aSsistant: from Requirement Elicitation to Data Modelling for Feeding Artificial Intelligence Recommendation System","authors":"Alberto Bucciero, Alessandra Chirivi, M. A. Jaziri, I. Muci, Andrea Orlandini, A. Umbrico","doi":"10.2312/gch.20231151","DOIUrl":"https://doi.org/10.2312/gch.20231151","url":null,"abstract":"In the last years, several mobile APPs have been developed within the cultural tourism domain to give new impetus to this sector which is booming both in Italy and worldwide. In the wake of the increasing importance of technologies based on artificial intelligence, even mobile applications for the use of cultural tourism heritage are increasingly taking advantage of these techniques. Machine learning strategies are increasingly used to recommend points of interest and itineraries that are compatible with the user’s preferences, requirements and constraints. The quality and integrity of the data acquired become the starting point for training and implementing AI models. By levering well-structured data, these algorithms can offer valuable insights, personalised recommendations, and enhanced user interaction in the cultural tourism domain. The HerMeS APP that we present in this paper was designed starting from these premises. The application aims to provide a wide range of artificial intelligence-based features to enhance the enjoyment and exploration of cultural heritage, both tangible and intangible.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130946406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Florian Niebling, J. Bruschke, Marc Erich Latoschik
Both digital and physical 3D models of buildings as well as historical photographs of architecture are used for a wide range of needs, from research in humanities and information technologies, museum contexts and library studies, to touristic applications. Spatially oriented photographs play an important role in visualizing and browsing contemporary as well as historical architecture, starting with the ground-breaking Photo Tourism project [SSS06]. We present a technique to combine physical, 3D-printed models of buildings with spatially registered historical photographic documents in a hand-held Augmented Reality (AR) environment. Users are enabled to spatially explore historical views of architecture by selecting photos from a collection of images, which are then utilized as textures for the physical model rendered on their respective mobile device. We compare different methods to spatially select photos registered to a physical model in hand-held AR. CCS Concepts •Human-centered computing → Mixed / augmented reality; Geographic visualization;
{"title":"Browsing Spatial Photography for Dissemination of Cultural Heritage Research Results using Augmented Models","authors":"Florian Niebling, J. Bruschke, Marc Erich Latoschik","doi":"10.2312/gch.20181358","DOIUrl":"https://doi.org/10.2312/gch.20181358","url":null,"abstract":"Both digital and physical 3D models of buildings as well as historical photographs of architecture are used for a wide range of needs, from research in humanities and information technologies, museum contexts and library studies, to touristic applications. Spatially oriented photographs play an important role in visualizing and browsing contemporary as well as historical architecture, starting with the ground-breaking Photo Tourism project [SSS06]. We present a technique to combine physical, 3D-printed models of buildings with spatially registered historical photographic documents in a hand-held Augmented Reality (AR) environment. Users are enabled to spatially explore historical views of architecture by selecting photos from a collection of images, which are then utilized as textures for the physical model rendered on their respective mobile device. We compare different methods to spatially select photos registered to a physical model in hand-held AR. CCS Concepts •Human-centered computing → Mixed / augmented reality; Geographic visualization;","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131001680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Changing landscape presents a problem for both conservation and education at heritage sites. We consider the site of Tarn Hows in the English Lake District National Park, a site which has had significant landscape change over the past 200 years, from developing tree coverage, to the merging of three lakes into one. We created an automated process that combines an elevation map and a vegetation map to build a 3D representation of the landscape. We used this tool to create a 3D Deep Map of Tarn Hows, representing the site’s landscape at multiple periods over time, allowing them to be viewed side by side and explored in an interactive environment. This 3D Deep Map provides an exploratory resource for site authorities to educate the public about the historic environment, with embedded multimedia in the application to provide additional information to users that might be disruptive or impractical to display on site. The 3D Deep Map also provides a tool for conservators to plan site maintenance to best maintain the integrity of the historic landscape without negatively impacting visitors’ experience of the iconic site.
{"title":"Deep Mapping Tarn Hows: Automated Generation of 3D Historic Landscapes","authors":"Alexander Reinhold, I. Gregory, Paul Rayson","doi":"10.2312/gch.20181366","DOIUrl":"https://doi.org/10.2312/gch.20181366","url":null,"abstract":"Changing landscape presents a problem for both conservation and education at heritage sites. We consider the site of Tarn Hows in the English Lake District National Park, a site which has had significant landscape change over the past 200 years, from developing tree coverage, to the merging of three lakes into one. We created an automated process that combines an elevation map and a vegetation map to build a 3D representation of the landscape. We used this tool to create a 3D Deep Map of Tarn Hows, representing the site’s landscape at multiple periods over time, allowing them to be viewed side by side and explored in an interactive environment. This 3D Deep Map provides an exploratory resource for site authorities to educate the public about the historic environment, with embedded multimedia in the application to provide additional information to users that might be disruptive or impractical to display on site. The 3D Deep Map also provides a tool for conservators to plan site maintenance to best maintain the integrity of the historic landscape without negatively impacting visitors’ experience of the iconic site.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129201495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
S. Rizvić, Greg T. Young, Avinash Changa, B. Mijatovic, I. Ivkovic-Kihic
Virtual Reality is a technology of choice for time traveling. VR applications enhance museum collections and cultural heritage sites with exciting opportunity to experience the life in the past. Da Vinci Effect (DVE) is a multiplayer VR game for teenagers aiming to introduce them with works of Leonardo da Vinci and his paramount role in history of mankind. In this paper we present the process of application design and development, as well as the users’ impressions showing how powerful Virtual Reality is in edutainment of young generations. We describe the novel approach which utilizes the “inside-out” tracking capabilities of the Oculus Quest and Quest 2 mobile VR headsets.
{"title":"Da Vinci Effect - multiplayer Virtual Reality experience","authors":"S. Rizvić, Greg T. Young, Avinash Changa, B. Mijatovic, I. Ivkovic-Kihic","doi":"10.2312/gch.20221229","DOIUrl":"https://doi.org/10.2312/gch.20221229","url":null,"abstract":"Virtual Reality is a technology of choice for time traveling. VR applications enhance museum collections and cultural heritage sites with exciting opportunity to experience the life in the past. Da Vinci Effect (DVE) is a multiplayer VR game for teenagers aiming to introduce them with works of Leonardo da Vinci and his paramount role in history of mankind. In this paper we present the process of application design and development, as well as the users’ impressions showing how powerful Virtual Reality is in edutainment of young generations. We describe the novel approach which utilizes the “inside-out” tracking capabilities of the Oculus Quest and Quest 2 mobile VR headsets.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"70 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123158091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Popa, F. Gabrieli, T. Kroes, A. Krekeler, M. Alfeld, B. Lelieveldt, E. Eisemann, T. Höllt
Reflectance Imaging Spectroscopy (RIS) is a hyperspectral imaging technique used for investigating the molecular composition of materials. It can help identify pigments used in a painting, which are relevant information for art conservation and history. For every scanned pixel, a reflectance spectrum is obtained and domain experts look for pure representative spectra, called endmembers, which could indicate the presence of particular pigments. However, the identification of endmembers can be a lengthy process, which requires domain experts to manually select pixels and visually inspect multiple spectra in order to find accurate endmembers that belong to the historical context of an investigated painting. We propose an integrated interactive visual-analysis workflow, that combines dimensionality reduction and linked visualizations to identify and inspect endmembers. Here, we present initial results, obtained in collaboration with domain experts.
{"title":"Visual Analysis of RIS Data for Endmember Selection","authors":"A. Popa, F. Gabrieli, T. Kroes, A. Krekeler, M. Alfeld, B. Lelieveldt, E. Eisemann, T. Höllt","doi":"10.2312/gch.20221233","DOIUrl":"https://doi.org/10.2312/gch.20221233","url":null,"abstract":"Reflectance Imaging Spectroscopy (RIS) is a hyperspectral imaging technique used for investigating the molecular composition of materials. It can help identify pigments used in a painting, which are relevant information for art conservation and history. For every scanned pixel, a reflectance spectrum is obtained and domain experts look for pure representative spectra, called endmembers, which could indicate the presence of particular pigments. However, the identification of endmembers can be a lengthy process, which requires domain experts to manually select pixels and visually inspect multiple spectra in order to find accurate endmembers that belong to the historical context of an investigated painting. We propose an integrated interactive visual-analysis workflow, that combines dimensionality reduction and linked visualizations to identify and inspect endmembers. Here, we present initial results, obtained in collaboration with domain experts.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123062646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
J. Happa, T. Bennett, S. Gogioso, I. Voiculescu, D. Howell, S. Crawford, K. Ulmschneider, C. Ramsey
In this project we are investigating the requirements to ease interdisciplinary collaboration between computer graphics researchers and heritage-related researchers who work with shared graphics-related datasets. We postulate that most challenges can be overcome by ensuring that datasets (irrespective of discipline) are captured, processed and disseminated in ways that accommodate the needs of as many disciplines as possible – making the datasets more useful and more usable. This is not to say that a union of all discipline methodologies is required, but instead: we deem it necessary to identify what changes are feasible in existing (discipline-centric) practices to maximise the benefits, while limiting resource costs. The purpose of this paper is to begin this conversation, present our project, preliminary results and where the project will go next. We also propose the outline of an interdisciplinary, peer-reviewing framework that can be used across disciplines.
{"title":"Bridging the Discipline Gap: Towards Improving Heritage and Computer Graphics Research Collaboration","authors":"J. Happa, T. Bennett, S. Gogioso, I. Voiculescu, D. Howell, S. Crawford, K. Ulmschneider, C. Ramsey","doi":"10.2312/GCH.20211416","DOIUrl":"https://doi.org/10.2312/GCH.20211416","url":null,"abstract":"In this project we are investigating the requirements to ease interdisciplinary collaboration between computer graphics researchers and heritage-related researchers who work with shared graphics-related datasets. We postulate that most challenges can be overcome by ensuring that datasets (irrespective of discipline) are captured, processed and disseminated in ways that accommodate the needs of as many disciplines as possible – making the datasets more useful and more usable. This is not to say that a union of all discipline methodologies is required, but instead: we deem it necessary to identify what changes are feasible in existing (discipline-centric) practices to maximise the benefits, while limiting resource costs. The purpose of this paper is to begin this conversation, present our project, preliminary results and where the project will go next. We also propose the outline of an interdisciplinary, peer-reviewing framework that can be used across disciplines.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126317573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this work we present an interactive and immersive solution for scientific data exploration which target visitors to museums and science centers, where the visitors themselves can conduct self-gu ...
{"title":"Hybrid Virtual Reality Touch Table - An Immersive Collaborative Platform for Public Explanatory Use of Cultural Objects and Sites","authors":"E. Sundén, Ingemar Lundgren, A. Ynnerman","doi":"10.2312/gch.20171300","DOIUrl":"https://doi.org/10.2312/gch.20171300","url":null,"abstract":"In this work we present an interactive and immersive solution for scientific data exploration which target visitors to museums and science centers, where the visitors themselves can conduct self-gu ...","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"130 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116054515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：