Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6743743
Maria Andaloro, P. Pogliani, C. Crescenzi, G. Verdiani
Summary form only given. The The rupestrian settlements in Cappadocia are well known for their richness and very articulated shapes, but, at the same time, they are a clear sample of Patrimony at risk, the assets of Cappadocia today appears intended for a broad loss, in certain parts the rupestrian monuments are well preserved, in other parts they are abandoned or overloaded by admiring tourists, this whole patrimony appears only partially preservable, and therefore it is even more exceptional in its very late phase. Most of the rupestrian churches in Cappadocia has mural paintings which survived to centuries of improper usages and abandon, environmental menaces, vandals, some of these churches are quite simple but others are connected to very complex architectural systems and they still represent the meaning of that places at the time of their construction. This research it's part of the result of the 2012 campaign of the Tuscia University research mission “Rock painting in Cappadocia. For a project of knowledge, conservation and enhancement” 2012 and of an actual PRIN (Italian National Relevance Research Projects), this paper it's aimed to two very meaningful examples of these rupestrian conditions, the St. Eustache church and the Meryemana church, both located in the Goreme area, out of the Open Air Museum, they are two interesting cases testifying the specific condition of this patrimony for which a documentation, investigation, preservation and valorization project is under development. The first “on the field” common activities between the UNIFI and UNITUS units took place in the large area at the back of the Tokali Kilise, starting from the front of this meaningful monument. In this first meaningful collaboration the creation of 3D digital models, starting from an accurate di
{"title":"The St. Eustache and the Meryemana churches in Göreme. Two case studies of documentation about rupestrian heritage in Cappadocia, technical approach from the digital survey to the restoration hypothesis","authors":"Maria Andaloro, P. Pogliani, C. Crescenzi, G. Verdiani","doi":"10.1109/DigitalHeritage.2013.6743743","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6743743","url":null,"abstract":"Summary form only given. The The rupestrian settlements in Cappadocia are well known for their richness and very articulated shapes, but, at the same time, they are a clear sample of Patrimony at risk, the assets of Cappadocia today appears intended for a broad loss, in certain parts the rupestrian monuments are well preserved, in other parts they are abandoned or overloaded by admiring tourists, this whole patrimony appears only partially preservable, and therefore it is even more exceptional in its very late phase. Most of the rupestrian churches in Cappadocia has mural paintings which survived to centuries of improper usages and abandon, environmental menaces, vandals, some of these churches are quite simple but others are connected to very complex architectural systems and they still represent the meaning of that places at the time of their construction. This research it's part of the result of the 2012 campaign of the Tuscia University research mission “Rock painting in Cappadocia. For a project of knowledge, conservation and enhancement” 2012 and of an actual PRIN (Italian National Relevance Research Projects), this paper it's aimed to two very meaningful examples of these rupestrian conditions, the St. Eustache church and the Meryemana church, both located in the Goreme area, out of the Open Air Museum, they are two interesting cases testifying the specific condition of this patrimony for which a documentation, investigation, preservation and valorization project is under development. The first “on the field” common activities between the UNIFI and UNITUS units took place in the large area at the back of the Tokali Kilise, starting from the front of this meaningful monument. In this first meaningful collaboration the creation of 3D digital models, starting from an accurate di","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"11 1","pages":"247"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86025185","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6744807
Shucheng Wang
As most Finnish museums are moderate in size, a distributed mobile guide app platform may meet the emerging needs of museum outreach, communication, and interpretation with efficiency in economics and manpower.
{"title":"The distributed mobile guide app platform for all: A basic concept design for the medieum-small sized musuems in Finland","authors":"Shucheng Wang","doi":"10.1109/DigitalHeritage.2013.6744807","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6744807","url":null,"abstract":"As most Finnish museums are moderate in size, a distributed mobile guide app platform may meet the emerging needs of museum outreach, communication, and interpretation with efficiency in economics and manpower.","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"69 1","pages":"451"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86132000","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6743782
James M. Darling, D. Vanoni, T. Levy, F. Kuester
As smartphones and tablets continue to pervade our daily lives, museums have turned to these devices as a new platform for engaging visitors with cultural heritage. However, the needs of the museum visitor are often overlooked when designing these applications. Researchers from CISA3 are beginning to address this problem by performing studies to gage users' wants in both engaging with the interfaces of mobile applications and the affordances associated with their environment of use. CISA3 has developed its own augmented reality tablet application, ARtifact, which intends to put a wealth of collected information directly into the hands of both researchers and the general public in a variety of contexts [1]. With ARtifact, users can examine metadata in museums as well as in the field at archaeological sites [2]; users are able to view both multispectral images of artifacts and annotated information pertaining to them in real time using the tablet's video seethrough interface. Wishing to deliver an optimal experience that engages the user and enhances the discovery and learning process, we followed the methodology of cognitive design to refine ARtifact's utility, based on contextual interviews for data collection and affinity diagrams for qualitative data organization and interpretation. Interviews were conducted in three stages. The first round of interviews took place at the Timken Museum in Balboa Park, San Diego, shadowing the art museum's testing of a new in-house developed mobile app. For this initial round, twenty-three visitors were interviewed and observed as they made their way around the museum. The second round of interviews took place with two directors from Balboa Park looking into enhancing the use of technology throughout the park, providing access to findings on extensive prior visitor research that the
{"title":"Enhancing the digital heritage experience from field to museum: User-centered system design of an augmented reality tablet application for cultural heritage","authors":"James M. Darling, D. Vanoni, T. Levy, F. Kuester","doi":"10.1109/DigitalHeritage.2013.6743782","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6743782","url":null,"abstract":"As smartphones and tablets continue to pervade our daily lives, museums have turned to these devices as a new platform for engaging visitors with cultural heritage. However, the needs of the museum visitor are often overlooked when designing these applications. Researchers from CISA3 are beginning to address this problem by performing studies to gage users' wants in both engaging with the interfaces of mobile applications and the affordances associated with their environment of use. CISA3 has developed its own augmented reality tablet application, ARtifact, which intends to put a wealth of collected information directly into the hands of both researchers and the general public in a variety of contexts [1]. With ARtifact, users can examine metadata in museums as well as in the field at archaeological sites [2]; users are able to view both multispectral images of artifacts and annotated information pertaining to them in real time using the tablet's video seethrough interface. Wishing to deliver an optimal experience that engages the user and enhances the discovery and learning process, we followed the methodology of cognitive design to refine ARtifact's utility, based on contextual interviews for data collection and affinity diagrams for qualitative data organization and interpretation. Interviews were conducted in three stages. The first round of interviews took place at the Timken Museum in Balboa Park, San Diego, shadowing the art museum's testing of a new in-house developed mobile app. For this initial round, twenty-three visitors were interviewed and observed as they made their way around the museum. The second round of interviews took place with two directors from Balboa Park looking into enhancing the use of technology throughout the park, providing access to findings on extensive prior visitor research that the","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"8 1","pages":"453"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88438757","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6743839
M. Canciani, C. Falcolini, M. Saccone, G. Spadafora
Summary form only given. In the last few years, the field of building architecture and archaeology survey's trend has been to implement a methodology which essentially converges to several procedures used indiscriminately in both environments. Such a methodology consists of: a first phase of data acquisition, carried out through well-established 3D survey's procedures, which merges range based and image based model, linked to a database; a second phase of data processing and feature extraction of the relieved object and a third phase, following closely the previous two, of 3D modelling restitution organized by elements with related data. Our research focus is to define specific procedures usable in the two environments and to make them more objective through the development of original algorithms which automatize several steps. Our proposed pipeline, both in the field of archaeological and architectural survey, consists of a first and essentially univocal phase of data acquisition and organization whose product is an implemented point cloud, organized by separate 3D elements linked with a corresponding database. It's in the second phase of data processing where the two procedures substantially diverge: in the case of archaeological structure survey we propose to generate a triangulated mesh aimed to obtain continuous and textured 3D models of the single fragments. Feature extraction is applied on the mesh model, through original focused algorithms, after its orientation in the original reference system. Moreover, in the specific case of virtual reconstruction, we use a reference model based on the knowledge and analysis of the database, in which every single fragment will be repositioned following its hypothetical original place. In the case of architectural survey the mesh definition procedure is not needed for featu
{"title":"The architectural 3D survey vs archaeological 3D survey","authors":"M. Canciani, C. Falcolini, M. Saccone, G. Spadafora","doi":"10.1109/DigitalHeritage.2013.6743839","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6743839","url":null,"abstract":"Summary form only given. In the last few years, the field of building architecture and archaeology survey's trend has been to implement a methodology which essentially converges to several procedures used indiscriminately in both environments. Such a methodology consists of: a first phase of data acquisition, carried out through well-established 3D survey's procedures, which merges range based and image based model, linked to a database; a second phase of data processing and feature extraction of the relieved object and a third phase, following closely the previous two, of 3D modelling restitution organized by elements with related data. Our research focus is to define specific procedures usable in the two environments and to make them more objective through the development of original algorithms which automatize several steps. Our proposed pipeline, both in the field of archaeological and architectural survey, consists of a first and essentially univocal phase of data acquisition and organization whose product is an implemented point cloud, organized by separate 3D elements linked with a corresponding database. It's in the second phase of data processing where the two procedures substantially diverge: in the case of archaeological structure survey we propose to generate a triangulated mesh aimed to obtain continuous and textured 3D models of the single fragments. Feature extraction is applied on the mesh model, through original focused algorithms, after its orientation in the original reference system. Moreover, in the specific case of virtual reconstruction, we use a reference model based on the knowledge and analysis of the database, in which every single fragment will be repositioned following its hypothetical original place. In the case of architectural survey the mesh definition procedure is not needed for featu","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"78 1","pages":"765"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73501861","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6744733
Emma Maglio
The Trevisan villa, an example of rural built heritage in Crete dating back to the Venetian period, was the object of an architectural and archaeological survey in order to study its typology and plan transformations. Considering its ruined conditions and the difficulties in ensuring its protection, a first reflection was started on possible strategies of digitalization, in the perspective of a digital Humanities policy: a 3D modeling and simulation and a digital archive on a GIS framework to make information accessible.
{"title":"A Venetian rural villa in the island of crete.: Traditional and digital strategies for a heritage at risk","authors":"Emma Maglio","doi":"10.1109/DigitalHeritage.2013.6744733","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6744733","url":null,"abstract":"The Trevisan villa, an example of rural built heritage in Crete dating back to the Venetian period, was the object of an architectural and archaeological survey in order to study its typology and plan transformations. Considering its ruined conditions and the difficulties in ensuring its protection, a first reflection was started on possible strategies of digitalization, in the perspective of a digital Humanities policy: a 3D modeling and simulation and a digital archive on a GIS framework to make information accessible.","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"82 1","pages":"83-86"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72699401","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6743780
Y. Petrova, T. Laska, I. V. Tsimbal, S. Golubkov
Intensive development of the Web has significant impact on social communication processes. New principles of information distribution demand new approach for being involved in on-line communication. Social institutions, including museums and exhibition centers aim to develop their presence on the Web, searching for ways to engage visitors with new experience. In most cases presence on-line has a form of representative website which pages contain general information on museum services and some examples from its collection. Another approach is enhancement of real exhibition with additional online experience, such as interactive applications, virtual excursions, game tours, audio tours, mobile guides and other technologies, which remove boundaries between in-site and online museum visiting. Theory and practice of museum representative web-site implementation has been a scope of research of Institute of Arts, a department of Saint-Petersburg State University, for about 5 years. Recently we have developed several museum projects, including website designing. Among them: `Saint-Petersburg Nabokov museum', `Virtual museum of Neva River Delta', `Nereditsa Church' etc. Using our accumulated practical experience we have formulated main principles, stages and specific features of museum website design. The main object of our research is textual and visual content of museum web pages, its authenticity and quality. Another object is interface design of on-line museum, principles of its structure, simplicity, accessibility and responsiveness. Beyond that we analyze how innovative technologies and devices can enhance museum functions.
{"title":"On-line museum projects implementation: Basic principles of design and special aspects of art content","authors":"Y. Petrova, T. Laska, I. V. Tsimbal, S. Golubkov","doi":"10.1109/DigitalHeritage.2013.6743780","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6743780","url":null,"abstract":"Intensive development of the Web has significant impact on social communication processes. New principles of information distribution demand new approach for being involved in on-line communication. Social institutions, including museums and exhibition centers aim to develop their presence on the Web, searching for ways to engage visitors with new experience. In most cases presence on-line has a form of representative website which pages contain general information on museum services and some examples from its collection. Another approach is enhancement of real exhibition with additional online experience, such as interactive applications, virtual excursions, game tours, audio tours, mobile guides and other technologies, which remove boundaries between in-site and online museum visiting. Theory and practice of museum representative web-site implementation has been a scope of research of Institute of Arts, a department of Saint-Petersburg State University, for about 5 years. Recently we have developed several museum projects, including website designing. Among them: `Saint-Petersburg Nabokov museum', `Virtual museum of Neva River Delta', `Nereditsa Church' etc. Using our accumulated practical experience we have formulated main principles, stages and specific features of museum website design. The main object of our research is textual and visual content of museum web pages, its authenticity and quality. Another object is interface design of on-line museum, principles of its structure, simplicity, accessibility and responsiveness. Beyond that we analyze how innovative technologies and devices can enhance museum functions.","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"58 1","pages":"449"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73114640","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6744810
A. D. Graaf, M. Graaf, G. Graff
Gigapixel and 360° photography to preserve and monitor a distant site. Unique Web platform with dedicated tools, for scientists use.
十亿像素和360°摄影，以保存和监测一个遥远的地点。具有专用工具的独特网络平台，供科学家使用。
{"title":"Gigapixel and virtual reality for scientists: When digitization helps multidisciplinary scientists on risky sites","authors":"A. D. Graaf, M. Graaf, G. Graff","doi":"10.1109/DigitalHeritage.2013.6744810","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6744810","url":null,"abstract":"Gigapixel and 360° photography to preserve and monitor a distant site. Unique Web platform with dedicated tools, for scientists use.","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"56 1","pages":"457"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88423586","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6743845
L. Baratin, Serena Zuliani
As part of its five-year university course "Conservation and Restoration of Cultural Heritage", "Carlo Bo" Urbino University has introduced a study programme involving the sculptures of the contemporary artists, which are particularly significant in terms of three-dimensional experimentation for the documentation and conservation of the works. In the case, the work of Maurino Savini belongs to a contemporary artistic context - where matter becomes increasingly ephemeral and streamlined - making it more important than ever to have a scientific analytic tool that ensures good acquisition. The fundamental problem is once again, in the work of art itself, and during acquisition, that of making a distinction between what is relevant or irrelevant, identifying information that is or will become fundamental in time due to its specificity and the choice of documentation techniques that best meet these needs. The importance of correct data acquisition thus becomes a fundamental stage for understanding how to manage the project, and is in fact a pre-diagnosis of the work of art as well as a trace for future conservation works. The documentation of works of art like those in question must necessarily include acquisition systems that are able to record objects with complex and varied volumes with extreme precision. The development of hardware and software for three-dimensional acquisition makes it possible to diversify results, according to the morphological characteristics of the objects analysed. .ne of the most important aspects of this work is the methodology used to catalogue the individual items and their positioning in space, and to evaluate the state of conservation on 3D models.
{"title":"3D documentation for the Conservation and Restoration of contemporary works of art: The sculptures of Maurizio Savini","authors":"L. Baratin, Serena Zuliani","doi":"10.1109/DigitalHeritage.2013.6743845","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6743845","url":null,"abstract":"As part of its five-year university course \"Conservation and Restoration of Cultural Heritage\", \"Carlo Bo\" Urbino University has introduced a study programme involving the sculptures of the contemporary artists, which are particularly significant in terms of three-dimensional experimentation for the documentation and conservation of the works. In the case, the work of Maurino Savini belongs to a contemporary artistic context - where matter becomes increasingly ephemeral and streamlined - making it more important than ever to have a scientific analytic tool that ensures good acquisition. The fundamental problem is once again, in the work of art itself, and during acquisition, that of making a distinction between what is relevant or irrelevant, identifying information that is or will become fundamental in time due to its specificity and the choice of documentation techniques that best meet these needs. The importance of correct data acquisition thus becomes a fundamental stage for understanding how to manage the project, and is in fact a pre-diagnosis of the work of art as well as a trace for future conservation works. The documentation of works of art like those in question must necessarily include acquisition systems that are able to record objects with complex and varied volumes with extreme precision. The development of hardware and software for three-dimensional acquisition makes it possible to diversify results, according to the morphological characteristics of the objects analysed. .ne of the most important aspects of this work is the methodology used to catalogue the individual items and their positioning in space, and to evaluate the state of conservation on 3D models.","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"1 1","pages":"777"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88792348","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6744814
M. Schaich
Rarely seen rock carvings, known as Pitoti, which tell an autobiographical story of prehistoric life, are to be recreated for a world-wide audience using 3D animation techniques which are still in development. The ambitious 3D-PITOTI project, involves over 30 scientists from across Europe and focusses on the rock-art in Valcamonica Valley, Italy, which is a UNESCO World Heritage Site. The 3D-PITOTI project will significantly advance both the state of the art in rock-art research methodology and the recording of flat 3D structures in general. Moreover it will not only 'take the rock-art to people' for the first time but will convey Pitoti knowledge to a much wider audience in interactive and engaging ways.
{"title":"3D-PIT0TI: 3D acquisition, processing and presentation of prehistoric European rock-art","authors":"M. Schaich","doi":"10.1109/DigitalHeritage.2013.6744814","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6744814","url":null,"abstract":"Rarely seen rock carvings, known as Pitoti, which tell an autobiographical story of prehistoric life, are to be recreated for a world-wide audience using 3D animation techniques which are still in development. The ambitious 3D-PITOTI project, involves over 30 scientists from across Europe and focusses on the rock-art in Valcamonica Valley, Italy, which is a UNESCO World Heritage Site. The 3D-PITOTI project will significantly advance both the state of the art in rock-art research methodology and the recording of flat 3D structures in general. Moreover it will not only 'take the rock-art to people' for the first time but will convey Pitoti knowledge to a much wider audience in interactive and engaging ways.","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"73 1","pages":"465"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86782296","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}
Pub Date : 2013-10-01DOI: 10.1109/DigitalHeritage.2013.6743776
A. Russo, Rita Cosentino, Marion Lucía, Antonella Guidazzoli, G. B. Cohen, M. Liguori, Franz Fishnaller
This poster presents a creative media design project which combines digital technologies, virtual narration and visual metaphors in audio-visual environment, focusing on an Etruscan artwork dating back to 52 0 BC, the so called Sarcophagus of the Spouses. The project, developed by CINECA, in collaboration with Villa Giulia National Etruscan Museum and the Genus Bononiae History Museum in Bologna, aims to develop methodologies with an interdisciplinary applicative-creative perspective for sharing Etruscan heritage and promoting increased participation in culture and the humanities.
{"title":"Etruscan cultural heritage: The Sarcophagus of the Spouses project: Virtual storytelling embedded in sensory audiovisual environments","authors":"A. Russo, Rita Cosentino, Marion Lucía, Antonella Guidazzoli, G. B. Cohen, M. Liguori, Franz Fishnaller","doi":"10.1109/DigitalHeritage.2013.6743776","DOIUrl":"https://doi.org/10.1109/DigitalHeritage.2013.6743776","url":null,"abstract":"This poster presents a creative media design project which combines digital technologies, virtual narration and visual metaphors in audio-visual environment, focusing on an Etruscan artwork dating back to 52 0 BC, the so called Sarcophagus of the Spouses. The project, developed by CINECA, in collaboration with Villa Giulia National Etruscan Museum and the Genus Bononiae History Museum in Bologna, aims to develop methodologies with an interdisciplinary applicative-creative perspective for sharing Etruscan heritage and promoting increased participation in culture and the humanities.","PeriodicalId":52934,"journal":{"name":"Studies in Digital Heritage","volume":"22 1","pages":"441"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82296493","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}
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