This article provides a first statistical analysis of the typologies and characteristics of popular science web videos on YouTube. An analysis of 190 videos from 95 online video channels was conducted. Several factors such as narrative strategies, video editing techniques, and design tendencies with regard to cinematography, the number of shots, the kind of montage used, and even the use of sound design and special FX point to a notable professionalism among science communicators independent of institutional or personal commitments. This analysis represents an important step in understanding the essence of current popular science web videos and provides an evidence-based description of their distinctive features.

Abstract:The visualization of 3D reconstructed artifacts often requires significant computing resources. The implementation of an object in a virtual reality (VR) application even necessitates the reduction of the polygonal mesh. Consequently, the communication and dissemination of "authentic" 3D reconstructions via immersive VR technologies has been a nearly impossible feat for many researchers. However, is the issue really computing resources, or is it rather the notion of authenticity in an "auratic" sense, i.e., an excessive focus on physical evidence and survey data? In the present paper, we will discuss the authenticity requirements for virtual archaeology as set by the Seville Principles (2011), and we will analyze some limitations related to the current approaches. Furthermore, we will propose a pluralistic notion based on the contextualization of 3D objects in VR environments with synesthetic (i.e. multisensory) information. This new notion of authenticity relies on conservation meanings rather than physical features. In line with this approach, two case studies will be commented: the multimodal 3D-documentation of the Jupiter Column (2 AD) in Ladenburg, and the VRbased re-enactment of a modern work of art, the audio-kinetic sculpture Kaleidophonic Dog (1967) by Stephan von Huene. These two projects provide valuable data for a revision of the notion of authenticity in both virtual archaeology and art conservation.Key words: virtual reality (VR), virtual archaeology, kaleidophonic dog, Jupiter column, synesthetic documentation, progressive authenticities Resumen:La visualización de artefactos reconstruidos en 3D requiere a menudo demasiados recursos computacionales. La implementación en una aplicación de realidad virtual (RV) requiere incluso la reducción de la red poligonal del objeto. Consecuentemente, la comunicación y la divulgación de reconstrucciones 3D "auténticas" representa todavía una tarea casi imposible para muchos investigadores. ¿Pero se trata realmente solo de una cuestión de computación, o tiene algo que ver con una noción de autenticidad en un sentido "aurático", es decir, con un enfoque excesivo sobre pruebas materiales y datos mensurables? En este artículo discutimos los requisitos de autenticidad para la arqueología virtual tal y como se formulan en los "Principios de Sevilla" (2011) y analizamos algunas limitaciones de los enfoques actuales. Proponemos, además, una noción pluralista basada en la contextualización de objetos 3D en entornos de RV con información sinestésica (es decir, multisensorial). Esta nueva noción de autenticidad se basa más en la conservación de significados que en la conservación de características físicas. En línea con esta propuesta teórica, se comentarán dos casos de estudio: la documentación multimodal 3D de la Columna de Júpiter de Ladenburg (II d.C.) y la recreación en RV de una obra de arte moderno, la escultura audio-cinética Kaleidophonic Dog (1967) de Stephan von Huene. Estos dos proyectos ofrecen experiencias valiosas para una revisión de la noción de...

In this paper, a new synesthetic documentation method that contributes to media art conservation is presented. This new method is called "e-Installation" in analogy to the idea of the "e-Book" as the electronic version of a real book. An e-Installation is a virtualized media artwork that reproduces all synesthesia, interaction, and meaning levels of the artwork. Advanced 3D modeling and telepresence technologies with a very high level of immersion allow the virtual re-enactment of works of media art that are no longer performable or rarely exhibited. The virtual re-enactment of a media artwork can be designed with a scalable level of complexity depending on whether it addresses professionals such as curators, art restorers, and art theorists or the general public. An e-Installation is independent from the artwork's physical location and can be accessed via head-mounted display or similar data goggles, computer browser, or even mobile devices. In combination with informational and preventive conservation measures, the e-Installation offers an intermediate and long-term solution to archive, disseminate, and pass down the milestones of media art history as a synesthetic documentation when the original work can no longer be repaired or exhibited in its full function.

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