Electronic Visualisation and the Arts (EVA 2011) - Index
2011
https://doi.org/10.14236/EWIC/EVA2011.0…
11 pages
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Abstract
Electronic Visualisation and the Arts 2011 (EVA 2011) is co-sponsored by the Computer Arts Society and BCS, the Chartered Institute for IT, of which the CAS is a specialist group. Over almost two decades, the EVA conference has established itself as one of London's most innovative and interdisciplinary conferences in the field of digital visualisation. The papers in this volume touch on museum studies, semantic web, immersive environments, simulation, 3D scanning, haptics, digital archaeology and many others. The latest research by established scholars, early career researchers and students may be found here.
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2015
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The application of Information & Communication Technologies (or, more specifically, Virtual Reality) to Cultural Heritage can quite certainly be deemed as one of the new frontiers of cultural policies. 2 And, possibly, the most engaging and captivating of them all, thanks to the incredibly broad scope of the proposed computerization and the potential coverage provided by technological tools for the production and reproduction of 3D images. Such tools also allow to visualize the transformations of 3D images over time and to project them in an immersive environment thanks to a more extended use of interactive modes, and also make it possible to " customize " Net surfing thanks to the recent diffusion of palmtops. The present paper is our contribution to the topic and we will try and demonstrate how extraordinarily fruitful the idea is to use visualization as interactive access and interface to cultural databases. ICT versus Cultural Heritage The visualization of computation emerged in a scientific and technological environment. However, as visualization technologies are quite versatile, nowadays they are widely used and virtual systems can also be employed to generate, surf and explore historical-cultural reconstructed environments. In the archeological field such a mode is over a decade old. 3 The employment of such new technologies will allow to visualize and illustrate " reconstructions " of environments of the past, including buildings, landscapes and artifacts. 4 It must also be said that, to improve conservation and management, the computerized recording of the wealth of documents kept in cultural institutions is getting quite widespread, thus providing – and in a sense calling for – a more " communication-oriented " use of such a cultural patrimony.
2019
His research focuses on Representation for Cultural Heritage, with particular attention to urban survey and to cultural landscape. Michele Calvano Architect, PhD in Architectural Representation; research fellow at the Department of Architecture and Design of the Politecnico di Torino. He writes articles on Reverse Modeling, digital manufacture, shape design and digital representation. He is now a lecturer at the Politecnico di Torino in courses of Architecture and Design. Noemi Mafrici PhD in Architectural and Landscape Heritage, she is carrying on a research activity at Politecnico di Torino, DAD-Department of Architecture and Design. Her interest is on urban and architectural history and on the use of digital tools for history. Her research is on the 19th c. European city, focusing on the history of London.
2010
The title of this paper is an adaptation of Ian Hodder’s notion that interpretation starts ‘at the trowel’s edge’ (1997), as excavations should be active, reflexive and multivocal practices, during which interpretation takes place as an inextricable part of our research. The process of interpretation is a complicated issue. It has engrossed most practitioners, and is closely related to the conceptualisation of the past as reflecting contemporary social and cultural experiences through the scrutiny of cultural heritage remains. Archaeological remains are under appreciated, as they can be accessed only by specialised audiences, and any finds are presented by means of conventional illustrations and comprehensive list of artefacts. Even the most common recording method in archaeology, i.e. fieldnotes, and the subsequent site reports, have been criticised (Hodder 1989) for their distance and impersonality, as well as their attempt to demonstrate objectivity by establishing rigorous classifications and complex terminologies. For that reason, different forms of media have been used in the interpretive processes, not only in scientific research, but also for providing varied levels of engagement with the archaeological datasets by the public. The advent of computer applications in archaeology and cultural heritage over the last twenty years has transformed both the way we do archaeology and our understanding of fundamental words, such as artefact, heritage and interpretation (Cameron & Kenderdine 2007: 1-3). Although these technologies tried to overcome the issues discussed above, as they were rapidly evolving they created a trend, usually leading to the application of these tools for the sake of it, in order to demonstrate their powerful capabilities, and were not being driven by any scientific considerations (Gillings 2005, Goodrick & Earl 2004, Richards 1998: 341). Virtual constructions have been constantly used in various forms, such as virtual and augmented reality, for the interpretation of cultural heritage in museums and institutions, but they have also been employed to illustrate journals, and even externalise our reasoning in academic books. The high visual stimulus that virtual constructions usually provide is a useful way to attract visitors to museums, archaeological sites or other heritage institutions. They also allow archaeological knowledge to be communicated and interpreted more effectively. In addition, online platforms have been used to make archaeological knowledge approachable to the public, by incorporating multimedia, simplified versions of field notes and self-explanatory images. On the other hand, novices in the field of digital methodologies are not aware of the potential of virtual constructions in investigating and interpreting archaeological data. This means that digitally constructed versions of the past can be effectively employed as a means of formal spatial analysis in the reasoning process of archaeological scientific research. It can be used to investigate multifaceted issues, which cannot be approached by any conventional means used in archaeology, such as architectural drawings and photography. This paper examines how the interpretation of archaeological remains, and consequently cultural heritage, can be facilitated by the use of computer methodologies, and argues that these applications should be considered one of the most promising ways to approach incomplete, abstract and ambiguous archaeological evidence. They create unique perspectives and new theoretical visions, advancing the construction of disciplinary knowledge, while making the audience extract meaning from the information being visualised, and making difficult-to-understand or abstract concepts more comprehensible. In order to examine this potential we use as a case study a Minoan site in Greece.
Electronic Workshops in Computing, 2019
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November 2011 saw the opening of the exhibition “Archeovirtual” organized by CNR ITABC -Virtual Heritage Lab - and V-MusT Network of Excellence, in Paestum, Italy. The event, that was part of a wider European project focus on virtual museums, turned to be a great opportunity to show many different projects, applications and installations about Virtual Reality and Cultural Heritage. The four-days exhibition was an occasion to get in touch with the newest experiences with virtual reconstructions, 3D models, interactive environments, augmented realities and mobile solutions for cultural contents; at the same time, it was an opportunity for organizers to directly face the audience’s impact towards projects, because of the necessity to investigate more on social and behavioral aspects in order to positively affect the learning benefits of public. So doing, we could build in the future applications much more tailored on the final costumers, closer to their abilities and necessities. During the show four types of investigative tools was implied to evaluate the general visitor’s behavior and the effectiveness of interfaces, understand their expectations and experiences, and obtain a reference grid of values to evaluate if users' experience fit with organizers' ones. The first outcomes said that audience’s impact toward interactive applications seems depending on the capability of technology to be “invisible”; otherwise technology has to assure a wide range of possibilities in content accesses. In definitive, virtual museums need to have an always more integrated approach between cultural contents, interfaces and social and behavioral studies.
2018
Leticia CRESPILLO MARÍ, Spain New didactic strategies: 3D modeling and Virtual Reality as a cataloguing alternative of light environments and their application in museums and Art History classrooms Keywords: teaching strategies, 3DModelling, Virtual Reality, Art History, Light Environments Abstract: The new interactive digital aesthetic has replaced the traditional "subject/artwork" relationship with a new conceptual vision "user/artwork" where the participation of the subject becomes important. The presence of light as an aesthetic resource configures hybrid, performative, participatory, de-temporalized and disruptive spaces that require deep reflection as a subject. Virtual Reality will allow us to propose an alternative prototype of cataloging of light environments. The theatrical dimension of these interventions is the key, because we speak of a tool that amplifies communication through access to referential worlds based on reality. This approaches us to this type of manifestations, helping us to understand and experience these sensations through 3D models. These strategies of representation allow us to value these spaces, learning directly in a simulated environment in which the physical body becomes a priority element. In this research, a reflection and application work is developed with practical cases from the perspective of the philosophy of art and aesthetics (50 artists selected and their works). In them we can observe the displacement of the artistic object to the idea: aesthetic dimension, experience and perception of the subject. In addition, its reception, dissemination and research within the museographic practice is analyzed. This will allow us to examine its discursive, philosophical and theoretical content. The aim is to increase the value of this type of intervention by proposing a cataloging alternative that improves the reception and production of knowledge of these interventions. This is an interdisciplinary project that uses 3D visualization and Virtual Reality, tools of the current immersive and interactive strategies of the new Vanguard Museography, and proves to be very useful for its accessibility and didactic value in the field of heritage dissemination in museums and classrooms. 80 Relevance for the conference: This alternative of 3D cataloging can allow rethinking the accesibility of contents and its conservation for future generations Relevance for the session: developing arquitectural spaces throught softwares and interfaces that allow the subject to enter in three-dimensional spaces wich the traditional catalog couldn't make accesible, in order to create a total knowledge about this kind of interventions Innovation: stimulating discourses that encourage the acquisition of new knowledge throught the Avant-garde museography
The past thirty years have seen a tremendous upsurge in the use of digital modeling in archaeology, art history, and other disciplines in the humanities. Through their interactive and immersive qualities, 3D digital representations can create new forms of visual knowledge, which in turn can lead to new research avenues. As such, the contributions of 3D models to teaching and research have become increasingly significant, through virtual collaborative environments, online pedagogical applications, reconstructions of large-scale spaces, as well as the digital preservation of cultural heritage sites. Most recently, game engines have emerged as a promising new option for academic visualizations, since they offer real-time, scriptable environments whose potential for immersion cannot be matched by still renders or fly-through movies. However, the use of game engines raises both intellectual and practical issues for digital humanists. First, their immersive qualities themselves often seem at odds with the claims of accuracy and objectivity made by academic visualizations, while their obvious association with the game industry seems to blur boundaries between entertainment, education, and academic research. Second, despite the power of game engines for visualization, the tools used to create their 3D content are often difficult to use and not easily accessible by the novice. This joint proposal by Arkansas State University’s Center for Digital Initiatives (CDI) and the University of Arkansas-Fayetteville’s Center for Advanced Spatial Technologies (CAST), would bring together twenty scholars working in the humanities who have research or teaching projects that would benefit from real-time visualization in a game engine, published as standalone applications, web players, or on mobile devices. In a three-week institute, participants would be provided with a conceptual roadmap to the difficult but intellectually productive issues that surround the academic use of game engines, including the balance of immersion with accuracy, strategies for storytelling and graphical user interfaces (GUIs) in “serious” games, and questions of power and appropriateness in using video game conventions to represent non-contemporary or non-Western cultures. Participants would also receive hands-on training in the digital toolbox for creating game engine content, a basic workflow that they would be able to use in their own projects and bring back to their home institutions. A unique feature of this institute is the incorporation of cultural content drawn from ancient Rome, Native American sites, the Antebellum South, and World War II American history. The institute will include visits to heritage sites in the Mississippi Delta region that have been modeled by the CDI, including the Lakeport Plantation in Lake Village, Arkansas, the boyhood home of Johnny Cash in Dyess, Arkansas, the Hemingway-Pfeiffer house and studio in Piggott, AR, and the Japanese-American internment camp at Rohwer, Arkansas. Beyond this, in bringing together an impressive group of lecturers who specialize in the use of 3D visualization and game engines as research tools in the digital humanities, the institute itself would create an important resource in the form of a community of scholars—which would allow for future collaborations between individuals and universities.
2021
Digital technologies are transforming the ways in which scholars study visual sources and cultural heritage. Digitisation renders collections more accessible, while computer vision algorithms enable researchers to trace patterns across large datasets of images and chart new avenues of research. At the same time, 3D modelling techniques capture and digitally preserve cultural heritage structures and artefacts threatened by war, climate change or over-tourism, while virtual reality transports audiences to palaces, monuments, or places of worship, widening access to such sites. This conference brings together researchers, students, and professionals from art history, museology, digital humanities, geography, history, archeology, classics and computer science, who are interested in exploring digital approaches to the study of visual and material culture. The conference explores how researchers are integrating digital tools into their research, introduces new audiences to cutting edge technologies and methodologies, and critically assesses the opportunities and challenges that such approaches present.
2018
This international workshop aims to advance the contemporary discussion of Digital Humanities. It will offer to the academic and museum community – as well as to interested guests – the opportunity to learn more about some of the newest digital tools used by researchers. It will also present a significant number of innovative projects related to the research program ART-ES: Appropriations and Hybridizations of Visual and Performing Arts (https://artes.hypotheses.org/).

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References (8)
- Papers: Plenary Session: The three dimensions Paul Richens and Marion Harney Reconstruction of Historic Landscapes http://dx.doi.org/10.14236/ewic/EVA2011.1
- Nick Lambert From the dome of heaven to a cupola in space: re-engaging with imagery and symbolism through 3D digital art installations http://dx.doi.org/10.14236/ewic/EVA2011.2
- Stephanie Adolf Optical Measurement Techniques for multi-dimensional measurement of Cultural Heritage http://dx.doi.org/10.14236/ewic/EVA2011.3
- Plenary Session: Museums: technologies and interactions
- Sarah McDaid, Silvia Filippini-Fantoni and Matthew Cock Handheld handholding: small-screen support for museum visitors http://dx.doi.org/10.14236/ewic/EVA2011.4
- Oluwaoyin Sogbesan and Natalia Grincheva 'Universal' access in 3000 years? The Digital Collections of the State Hermitage Museum http://dx.doi.org/10.14236/ewic/EVA2011.5
- Danny Birchall 'Things': a case study in getting from accession to online display in 60 minutes http://dx.doi.org/10.14236/ewic/EVA2011.6
- Koula Charitonos, Canan Blake, Eileen Scanlon and Ann Jones Museum Learning 2.0: How (can) Web 2.0 technologies be used for enhancing the museum learning experience? http://dx.doi.org/10.14236/ewic/EVA2011.7