Beyond virtual museums: Experiencing immersive virtual reality in real museums

Carrozzino, Marcello; Bergamasco, Massimo

doi:10.1016/j.culher.2010.04.001

Cited by 430 publications

(222 citation statements)

References 2 publications

(1 reference statement)

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“…Whenever we look for 3D annotated, contextualized or immersive VR-based communication of art and cultural heritage we either find experimental systems (e.g. Carrozzino & Bergamasco, 2010;Scali, Segbert, & Morganti, 2002) or museum installations (e.g. Sylaiou, Mania, Karoulis, & White, 2009;Herbert, 2014).…”

Section: Multimodal and Synesthetic Documentationmentioning

confidence: 99%

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

Morcillo

Schaaf

Schneider

et al. 2017

Virtual archaeol. rev.

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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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Section: Multimodal and Synesthetic Documentationmentioning

confidence: 99%

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

Morcillo

Schaaf

Schneider

et al. 2017

Virtual archaeol. rev.

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“…Some museums feel that it can, and have opted to innovate and break with conventional forms of presenting exhibitions. We therefore see how museums innovate in a technological sense by using digital catalogues, large databases, online activities, touch screens, and virtual web visits, which have already been tried and proved in other settings enabling museums to reach out to new or generate new expectations, interests and experiences for the visitor [23,24]. In fact, Han et al, [25] established that one key aspect of consumer orientation philosophy is to provide added value to the consumer, in other words an ongoing willingness and proactive approach towards satisfying consumer demands.…”

Section: Literature Review and Hypothesesmentioning

confidence: 99%

Achieving effective visitor orientation in European museums. Innovation versus custodial

Camarero

Garrido

Vicente

2015

Journal of Cultural Heritage

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Abstract.The context in which museums operate has evolved considerably over the last few decades, while the challenges they face have increased. The current need for museums to augment their own revenue and improve their performance coupled with the transformation of cultural models towards more experiential services has led many to adopt a consumer orientation in an effort to make museums and their collections increasingly accessible to visitors. This visitor orientation is more than just a wish to bring culture closer to the public, but rather a desire to understand visitors' demands and thus adapt to their expectations. This paper seeks to explore the relation between visitor orientation and performance in museums.Specifically, the study focuses on technological innovation and tradition as two alternative strategies to respond to visitor expectations. An empirical study was conducted for a sample of 491 European museums. Evidence is found to support the notion that the impact of visitor orientation on economic and market performance depends on how visitors' needs are perceived and on museums' commitment to either innovation or tradition and custody. Whereas technological innovation has a positive impact on revenue and economic performance, the impact of custodial orientation is negative. Custodial orientation only proves effective in market terms in large museums but does not prove effective in economic terms, for either small or large museums. This paper offers a guide as to 2 how to deal with visitor orientation in cultural and heritage organizations.Although an orientation to innovate geared towards satisfying visitor needs would seem the logical way for museums to increase visitor numbers, an approach involving too much innovation, often leading museums to becoming shows, has been widely criticized.

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“…The texturing process follows the idea that the applied technologies must not be noticeable, so that they are the instrument and not the purpose of the visualization (Carrozzino and Bergamasco, 2010). Figure 8 shows an area of the chimney in the textured model, which allows to notice and measure the existing cracks.…”

Section: D Modelling and Visualizationmentioning

confidence: 99%

3d Recording and Modelling of Mining Heritage: The Monserrat Mine, Sierra Minera of Cartagena-La Unión, Southeast of Spain

García–León

Martín

Picazo

et al. 2017

Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci.

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ABSTRACT:Mining heritage is essential to understand the history, landscape and cultural manifestations linked to mining industry. The Mountain Range of Cartagena-La Unión is one of the most relevant old Mediterranean mining areas, with mining sites that were already exploited before the Carthaginian domination. It was declared a Site of Cultural Interest in 2009. Our aim is to document and to enhance its premises, which are currently in a bad state of preservation and have been plundered. The methodology that we suggest combines various techniques, such as laser scanning, LIDAR and digital photogrammetry, in order to obtain the best results based on the characteristics of the objects to be inventoried. For this study, we have chosen an area in which a digital model has been created by means of terrestrial laser scanning and airborne LIDAR, then we have textured it with the images taken. With this model, it is possible to measure the deterioration and displacement suffered by its elements, in particular, the chimney and the boiler room.

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Beyond virtual museums: Experiencing immersive virtual reality in real museums

Cited by 430 publications

References 2 publications

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

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

Achieving effective visitor orientation in European museums. Innovation versus custodial

3d Recording and Modelling of Mining Heritage: The Monserrat Mine, Sierra Minera of Cartagena-La Unión, Southeast of Spain

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