Authenticity through VR-based documentation of cultural heritage. A theoretical approach based on conservation and documentation practices

Abstract

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...

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