The Etruscanning project: Gesture-based interaction and user experience in the virtual reconstruction of the Regolini-Galassi tomb

Pietroni, Eva; Pagano, Alfonsina; Rufa, Claudio

doi:10.1109/digitalheritage.2013.6744832

Cited by 44 publications

(25 citation statements)

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“…They can illuminate what is now imperceptible, contextualise what is now isolated and incongruous and can give us a means of connecting with people and cultures from which we are separated by thousands of years. As Pietroni [10] states, the aim of virtual reconstructions of ancient sites is to "…multiply the communicative potentialities of cultural heritage, reactivating … relations in space, time and meaning". In his work on modern urban spaces, Soja [11] argued that ideas about space have tended to concentrate upon a binary opposition of what he termed 'first space' and 'second space'.…”

Section: Virtual Archaeologymentioning

confidence: 99%

Interactive Virtual Archaeology: Constructing the Prehistoric Past at Avebury Henge

Falconer

2016

2016 15th International Conference on Ubiquitous Computing and Communications and 2016 International Symposium on Cyberspace An

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Section: Virtual Archaeologymentioning

confidence: 99%

Interactive Virtual Archaeology: Constructing the Prehistoric Past at Avebury Henge

Falconer

2016

2016 15th International Conference on Ubiquitous Computing and Communications and 2016 International Symposium on Cyberspace An

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“…In the same context, we find "Etruscanning 3D, " 7 another EU-funded project running during 2011-2012. This project aimed at the visualization of an Etruscan tomb by means of gesture-based interaction, manipulation of objects, and evocative storytelling (Pietroni et al, 2013). The interdisciplinary team comprised archeologists, museum professionals, experience designers, 3D modelers, and VR programmers.…”

Section: Design Pipelines In Digital Archeologymentioning

confidence: 99%

“…This implies a change in the work pipelines typically adopted in Digital Archeology; a change that seems to have started in the most recent projects (Pietroni et al, 2013;Ename, 2015;ACdPC, 2017) thanks to the integration of new professionals and new concepts coming from Media Arts and Interaction Design. Nonetheless, it is our belief that for this transition from 3D architectural models to VR-mediated experiences to be fulfilled, these new design (and evaluation) workflows in Digital Archeology need to be fully developed.…”

mentioning

confidence: 99%

“3D·CoD”: A New Methodology for the Design of Virtual Reality-Mediated Experiences in Digital Archeology

Pujol-Tost

2017

Front. Digit. Humanit.

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Despite the capacity of virtual reality (VR) to recreate and enhance real and virtual worlds, many applications in Archeology aim at the photorealistic depiction of architectural spaces. On the other hand, little is known about their real communicational effectiveness. In this context, the EU-funded project {LEAP] proposed the concept of Cultural Presence as the theoretical and methodological foundation for a new kind of VR-mediated experience, and the UNESCO World Heritage Neolithic site of Çatalhöyük (Turkey) was chosen as case of application. During this process, a survey of design pipelines in Digital Archeology indicated that, to build such experiences, a new design and evaluation method may need to be adopted. This paper presents the process of building and testing "3D⋅CoD," a new methodology for the design of VR-mediated experiences. Initially, different archeologists working at Çatalhöyük were engaged in a first workshop, aimed at establishing a specific instantiation of Cultural Presence and how to depict it by means of VR. To that end, observation, questionnaires, multimodal, and statistical analyses were used. The results of this field work were translated into a codesign hands-on methodology ("3D⋅CoD"), which was tested in a second workshop, with a different group of archeologists. In this case, observation and debriefing were used. The results of this evaluation suggest that codesign strategies are suitable for the creation of VR-mediated experiences, but that equally important is (1) to consider the codesigners' concept of Archeology and (2) to think in terms, not of 3D models, but of Cultural Heritage goals and human experiences.

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“…The literature presents examples of using Kinect for cultural heritage [10][11][12]. It was used as a 3D scanner in the work given in [10] and as a Abstract This paper explores the use of data from the Kinect sensor for performing augmented reality, with emphasis on cultural heritage applications.…”

Section: Introductionmentioning

confidence: 99%

“…Introduction motion tracker to navigate in virtual reality reconstructions in [11,12]. User experience for large screens with Kinect in a cultural heritage setting, such as in an exhibition, has been demonstrated in [13].…”

mentioning

confidence: 99%

Augmented reality applications for cultural heritage using Kinect

Bostancı

Kanwal

Clark

2015

Hum. Cent. Comput. Inf. Sci.

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IntroductionAugmented Reality (AR) combines real world imagery with synthetic content generated by a computer. The first comprehensive review of AR [1] identified a broad range of applications of this technology, including medicine, manufacturing and robot path planning. Subsequently, AR has been applied in cultural heritage [2] such as the reconstruction of ancient Olympia in Greece [3,4]. Although it is reported that AR enriches human perception [5] in general, the principal reason for performing AR reconstructions in cultural heritage is that the owners of sites are usually reticent to permit physical reconstructions in situ so that the archaeology remains undisturbed for future generations [3].Developments in multimedia technology facilitate the learning experience in cultural heritage [6] with the aid of improved user interaction methods. Developed models or virtual tours in reconstructions of archaeological sites (e.g. [7,8]) provide entertaining means of learning. However, ex situ reconstructions such as models and movies are difficult to visualize in the context of the archaeological remains. AR reconstructions can be produced in situ with minimal physical disturbance, an attractive property, even though they may take a significant time to develop [9].There are several forms that AR reconstructions may take, and the work reported here is directed towards a kind of 'historical mirror, ' in which virtual buildings are built around flat surfaces visible in the real world and human participants are clothed appropriately for the historical period. The literature presents examples of using Kinect for cultural heritage [10][11][12]. It was used as a 3D scanner in the work given in [10] and as a Abstract This paper explores the use of data from the Kinect sensor for performing augmented reality, with emphasis on cultural heritage applications. It is shown that the combination of depth and image correspondences from the Kinect can yield a reliable estimate of the location and pose of the camera, though noise from the depth sensor introduces an unpleasant jittering of the rendered view. Kalman filtering of the camera position was found to yield a much more stable view. Results show that the system is accurate enough for in situ augmented reality applications. Skeleton tracking using Kinect data allows the appearance of participants to be augmented, and together these facilitate the development of cultural heritage applications. Bostanci et al. Hum. Cent. Comput. Inf. Sci. (2015) Hum. Cent. Comput. Inf. Sci. (2015) 5:20 motion tracker to navigate in virtual reality reconstructions in [11,12]. User experience for large screens with Kinect in a cultural heritage setting, such as in an exhibition, has been demonstrated in [13]. This paper uses Kinect to establish 3D world and 2D image correspondences and, from them, determine camera pose. It then finds planar objects within the real world and augments them, the aim being to render the appearance in antiquity in front of real-world features. The advantage of thi...

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The Etruscanning project: Gesture-based interaction and user experience in the virtual reconstruction of the Regolini-Galassi tomb

Cited by 44 publications

References 4 publications

Interactive Virtual Archaeology: Constructing the Prehistoric Past at Avebury Henge

Interactive Virtual Archaeology: Constructing the Prehistoric Past at Avebury Henge

“3D·CoD”: A New Methodology for the Design of Virtual Reality-Mediated Experiences in Digital Archeology

Augmented reality applications for cultural heritage using Kinect

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