The Embodied GIS. Using Mixed Reality to explore multi-sensory archaeological landscapes

Eve, Stuart

doi:10.11141/ia.44.3

Cited by 14 publications

(10 citation statements)

References 20 publications

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“…However, we do not intend to refer to prosthetics that attempt to simulate isolated senses, such as the virtual cocoon (Chalmers & Zányi 2009), a virtual-reality helmet that stimulated senses by using devices that could generate sound, smell, taste, various temperatures and so on, or the Dead Man's Nose (Eve 2017a), a prototype that emits different smells according to the location of the user. Although some of these, and especially Eve's embodied GIS approach within a Mixed Reality framework (Eve 2017b; 2018), provide a basis for integrating sensorial flows into a dynamic whole, we believe that such approaches do not do justice to the complex processes of experience and perception, and as noted above, treat sensoriality as a matter of bodily organs and isolated interaction devoid of affectivity, within a model of exterior stimuli and interior cognitive processing (see Hamilakis 2013, 106–8, for a critique).…”

Section: Towards Sensorial Digital Archaeologiesmentioning

confidence: 99%

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Papadopoulos¹,

Hamilakis²,

Kyparissi‐Apostolika³

et al. 2019

CAJ

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The image-based discourse on clay figurines that treated them as merely artistic representations, the meaning of which needs to be deciphered through various iconological methods, has been severely critiqued and challenged in the past decade. This discourse, however, has largely shaped the way that figurines are depicted in archaeological iterations and publications, and it is this corpus of images that has in turn shaped further thinking and discussion on figurines, especially since very few people are able to handle the original, three-dimensional, physical objects. Building on the changing intellectual climate in figurine studies, we propose here a framework that treats figurines as multi-sensorial, affective and dynamic objects, acting within distinctive, relational fields of sensoriality. Furthermore, we situate a range of digital, computational methods within this framework in an attempt to deprive them of their latent Cartesianism and mentalism, and we demonstrate how we have applied them to the study of Neolithic figurines from the site of Koutroulou Magoula in Greece. We argue that such methodologies, situated within an experiential framework, not only provide new means of understanding, interpretation and dissemination, but, most importantly, enable researchers and the public to explore the sensorial affordances and affective potential of things, in the past as well as in the present.

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Section: Towards Sensorial Digital Archaeologiesmentioning

confidence: 99%

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Papadopoulos¹,

Hamilakis²,

Kyparissi‐Apostolika³

et al. 2019

CAJ

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“…Studies and experiments involving the use of immersive, multisensory virtual reality, 3D-printed objects, and haptic interactions through virtual or augmented reality have demonstrated that these have an effect on how the past and ancient artefacts are experienced by people, therefore establishing them as a potentially fruitful venue for experimenting with the post-human and the past (Di Giuseppantonio Di Franco et al, 2015, 2016; Eve, 2017, 2018). Here, I argue that a possible entry lies in incorporating virtuality more broadly and using the affective agency of digital methods to create post-human environments and non-anthropocentric perceptions (see Figure 4).…”

Section: Towards a Post-humanist Framework In Roman Heritage: Not Feementioning

confidence: 99%

“…Combining virtual reality and archaeological reconstructions is of course not new, and lately there have been an increasing number of attempts at pulling archaeological reconstructions out of their static fields, instead embracing more fully their dynamics, analytical potential, and value for engagement (e.g. Morgan, 2009; Beale & Reilly, 2017; Eve, 2017). Archaeological reconstructions have also become the subject of discussions concerning their reality and authenticity (Stanley-Price, 2009, 32–46; Morgan, 2018, 136–51).…”

Section: Towards a Post-humanist Framework In Roman Heritage: Not Feementioning

confidence: 99%

Roman Cyborgs! On Significant Otherness, Material Absence, and Virtual Presence in the Archaeology of Roman Religion

Mol¹

2019

Eur. j. archaeol

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In this article I explore different ways archaeologists can contribute to and learn from theorizing the digital world beyond the traditional functionalistic means of applying computational methods. I argue that current digital technologies can be a very constructive tool to create non-human experience and awareness. I pursue this argument by presenting ideas from a work-in-progress project experimenting with the post-human and the virtual, and by exploring significant otherness in Roman religion and the dark spots in human perception, through the analysis of an absent temple in Rome. Applying post-human philosophies and an expanded concept of virtuality beyond the digital makes it possible to change our approach to object/human/divine relations in Roman cults and how we present Roman heritage towards a post-humanist framework. Through this, digital archaeology can become one of the ways of re-examining and reinventing our ideas of the human, the past and the digital.

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“…Contemporary to some of the early work in aerial archaeology, photogrammetric methods in underwater archaeological site recording were implemented as early as the 1960s (Bass 1966). The subsequent decades saw incremental advancement in the adaptation of photogrammetric 3D recording for underwater archaeology, with pioneers (see Drap et al 2003;Green and Gainsford 2003) pushing the boundaries of available software. From 2006 onward, publications appeared utilising multi-image photogrammetry for small archaeological objects underwater using highly technical workflows.…”

Section: Underwater Photogrammetrymentioning

confidence: 99%

Integrating Aerial and Underwater Data for Archaeology: Digital Maritime Landscapes in 3D

Benjamín

McCarthy

Wiseman

et al. 2019

3D Recording and Interpretation for Maritime Archaeology

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Archaeologists have aspired to a seamless integration of terrestrial and marine survey since maritime archaeology began to emerge as a distinct sub-discipline. This chapter will review and discuss how 3D technology is changing the way that archaeologists work, blurring the boundaries between different technologies and different environments. Special attention is paid to the integration of data obtained from aerial and underwater methods. Maritime archaeology is undergoing an explosion of site recording methods and techniques which improve survey, excavation and interpretation, as well as management and conservation of material culture, protected sites, and cultural landscapes. An appraisal of methods and interpretive tools is therefore necessary as well as a consideration of how theoretical concepts of maritime landscapes are finding new expressions in practice. A thematic focus is placed on integrating land and sea through case studies of maritime archaeological sites and material which range chronologically from the recent past to several thousand years before present.

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The Embodied GIS. Using Mixed Reality to explore multi-sensory archaeological landscapes

Cited by 14 publications

References 20 publications

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Roman Cyborgs! On Significant Otherness, Material Absence, and Virtual Presence in the Archaeology of Roman Religion

Integrating Aerial and Underwater Data for Archaeology: Digital Maritime Landscapes in 3D

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