The London Charter and the Seville Principles as sources of requirements for e-archaeology systems development purposes

Gea, Juan Manuel Carrillo de; Toval, Ambrosio; Alemán, José Luis Fernández; Nicolás, Joaquín; Flores, Miguel

doi:10.4995/var.2013.4275

Cited by 17 publications

(11 citation statements)

References 6 publications

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“…The "Principles of Seville" (IFVA, 2011) constitute the first international charter on virtual archaeology (López-Menchero Bendicho & Grande, 2011). These principles enhance and update the guidelines for computer-based visualization of Cultural Heritage formulated in the "London Charter" (Denard, 2009;Carrillo Gea, Toval, Fernández Alemán, Nicolás, & Flores, 2013). Among other things, the idea of authenticity is introduced as a mandatory criterion: "authenticity must be a permanent operational concept in any virtual archaeology project" (IFVA, 2011, § 4).…”

Section: Introductionmentioning

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: Introductionmentioning

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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“…Although both the London and Seville Charters address these issues in virtual archaeology as broader communities of practice (see Denard, 2012;Carrillo Gea, Toval, Fernández Alemán, Nicolás, & Flores, 2013;Pletinckx, 2011) they are methodologically based. There is however no individually centric theoretical applications for which archaeologists can envision themselves while within the maker, knowledge construction mode.…”

Section: Discussionmentioning

confidence: 99%

Getting to the point: making, wayfaring, loss and memory as meaning-making in virtual archaeology

Carter

2017

Virtual archaeol. rev.

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Abstract:The initial construction of a digital virtual object is the three-dimensional (3D) point. Using the notions of making, wayfaring, meshwork and agency, this discussion focuses on Ingold's (2011) theoretical approach to these comments as a means for the construction of archaeological knowledge as applied to the 3D virtual landscape. It will demonstrate that 3D points, whether constructed or captured, can be considered to be agents within an actor network, have agency and are subject to memory and loss within the digital archaeological record. By their interconnections they become a meshwork that can exchange and retain unique attributes of materiality. As such, they challenge our notions of meaningmaking beyond the rote actions of visualizing within archaeology to a form that is more theoretically deeper. By viewing the construction and capture and the production of 3D or 2D visual data through a different lens but within theoretical archaeological terms, we can begin to understand our role in the creation of meaning within virtual archaeology.Key words: virtual archaeology, digital archaeology, 3D modelling, making, wayfaring, agency Resumen:La construcción inicial de un objeto digital y virtual es el punto tridimensional (3D). La discusión en el uso de la noción de fabricación, expedición, malla y agencia, se centra en el enfoque teórico de Ingold (2011) y en estos comentarios como un medio para la construcción del conocimiento arqueológico aplicado al paisaje virtual en 3D. Se demostrará que los puntos 3D, ya sean construidos o capturados, pueden ser considerados como agentes dentro de una red de actores, que tienen agencia y están sujetos a la memoria y a la pérdida dentro del registro arqueológico digital. Por sus interconexiones, se convierten en una malla que puede intercambiar y conservar los atributos únicos de importancia relativa. Como tal, desafían nuestras nociones de significado de decisiones más allá de las acciones rutinarias de visualizar dentro de la arqueología una forma más teórica y más profunda. Al ver la captura y la producción de datos visuales 3D o 2D a través de una óptica diferente, pero dentro de los términos teóricos arqueológicos, podemos empezar a entender nuestro papel en la creación de significado dentro de la arqueología virtual.Palabras clave: arqueología virtual, arqueología digital, modelado en 3D, fabricación, expedición, agencia

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“…"Game engines" -software frameworks for 3D computer game technology -allow the creation of lively scenes enriched with sounds, animated objects or creatures in virtual environments that can be explored interactively. To keep the displayed reconstruction in line with scientific knowledge and to separate scientific knowledge clearly from hypothetical reconstruction (which may also include reconstruction variants for discussion), standards like the London Charter (Denard 2009) and the Seville Principles for Virtual Archaeology (Carrillo Gea et al 2013) have been established.…”

Section: Virtual Archaeologymentioning

confidence: 99%

Simulated Sky

Zotti

Hoffmann

Wolf

et al. 2021

JSA

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For centuries, the rich nocturnal environment of the starry sky could be modelled only by analogue tools such as paper planispheres, atlases, globes and numerical tables. The immersive sky simulator of the twentieth century, the optomechanical planetarium, provided new ways for representing and teaching about the sky, but the high construction and running costs meant that they have not become common. However, in recent decades, “desktop planetarium programs” running on personal computers have gained wide attention. Modern incarnations are immensely versatile tools, mostly targeted towards the community of amateur astronomers and for knowledge transfer in transdisciplinary research. Cultural astronomers also value the possibilities they give of simulating the skies of past times or other cultures. With this paper, we provide an extended presentation of the open-source project Stellarium, which in the last few years has been enriched with capabilities for cultural astronomy research not found in similar, commercial alternatives.

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The London Charter and the Seville Principles as sources of requirements for e-archaeology systems development purposes

Abstract: Resumen

Cited by 17 publications

References 6 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

Getting to the point: making, wayfaring, loss and memory as meaning-making in virtual archaeology

Simulated Sky

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