Theorising 3D Visualisation Systems in Archaeology: Towards more effective design, evaluations and life cycles

Galeazzi, Fabrizio; Franco, Paola Di Giuseppantonio Di

doi:10.11141/ia.44.5

Cited by 8 publications

(10 citation statements)

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“…Our recent project specifically focussed on sound's effect in virtual exhibition environments, building on our previous studies aimed at understanding how new technologies effect perception and our understanding of heritage [15]- [17]. Our initial results are highly promising, demonstrating that soundscapes can significantly boost engagement with virtually exhibited objects whenever such soundscapes are tailored to the specific objects in question.…”

Section: Discussionmentioning

confidence: 95%

Neuro-curation

Williams

Daly

2021

Audio Mostly 2021

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For the past several years, museums have widely embraced virtual exhibits-certainly before COVID-19, but especially after the virus's outbreak, which has required cultural institutions to temporarily close their physical sites to audiences. Indeed, even once these institutions reopen and the world returns to a new normal, virtual exhibits will remain a defining feature of museums: partly as a means to expand audiences, and partly as a way to increase revenue generation. This paper describes a case study in which a variety of soundscapes were presented accompanying a number of VR objects from the British Museum, in order to determine whether there was any appreciable improvement in viewer engagement with different types of soundscape. Soundscapes were created using synthesis, combinations of foley style effects, spoken word narration, and musique concrete based on a palette drawn from the International Affective Sounds Database. Participants (N=95) were asked to rate their engagement in an online experiment -engagement was highest in the foley-style soundscape condition. This work has implications for future targeted soundscape design, in order to target individual engagement and to facilitate exhibit evaluation, a field we describe as "neuro-curation".

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Section: Discussionmentioning

confidence: 95%

Neuro-curation

Williams

Daly

2021

Audio Mostly 2021

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“…Regarding the design of a 3D visualisation supported by a web-based platform, Boutsi, Ioannidis, and Soile (2019) suggested focusing on: the graphics user interface (GUI), dynamic multimedia annotation, dynamic rotation of camera movement and clickable labels. Galeazzi & Di Giuseppantonio Di Franco (2017) pointed out humanobject interaction is an important aspect of 3D visualisation and argued we should link various datasets and provide suitable, useful access to researchers and practitioners. Alliez et al (2017) however, recommend providing the full data resolution of the 3D model, dynamic lighting, measuring features, non-photorealistic lighting, cut-through sections, maps and sections from the 3D model, a dynamic camera, volume calculation at different layers, exploded views, space wrapping for enhanced visibility and inspection, including an option for transparent rendering.…”

Section: Repositoriesmentioning

confidence: 99%

“…An increasing number of digital heritage infrastructures have emerged, providing an improved user experience for those visiting museums, exhibitions, archaeological sites, and various cultural places/sites. More sophisticated computer applications are emerging to support the modern demands of digital preservation, documentation, and dissemination of heritage artefacts and sites (Galeazzi & Di Giuseppantonio Di Franco, 2017). And increasingly powerful, accessible and useful 3D modelling and multimedia software (Pavlidis, Koutsoudis, Arnaoutoglou, Tsioukas, & Chamzas, 2007) has inspired a variety of hobbyist and community-generated 3D assets, available in flexible new formats with links to social media platforms.…”

Section: Introductionmentioning

confidence: 99%

Survey of 3D digital heritage repositories and platforms

Champion

Rahaman

2020

Virtual archaeol. rev.

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Despite the increasing number of three-dimensional (3D) model portals and online repositories catering for digital heritage scholars, students and interested members of the general public, there are very few recent academic publications that offer a critical analysis when reviewing the relative potential of these portals and online repositories. Solid reviews of the features and functions they offer are insufficient; there is also a lack of explanations as to how these assets and their related functionality can further the digital heritage (and virtual heritage) field, and help in the preservation, maintenance, and promotion of real-world 3D heritage sites and assets. What features do they offer? How could their feature list better cater for the needs of the GLAM (galleries, libraries, archives and museums) sector? This article’s priority is to examine the useful features of 8 institutional and 11 commercial repositories designed specifically to host 3D digital models. The available features of their associated 3D viewers, where applicable, are also analysed, connecting recommendations for future-proofing with the need to address current gaps and weaknesses in the scholarly field of 3D digital heritage. Many projects do not address the requirements stipulated by charters, such as access, reusability, and preservation. The lack of preservation strategies and examples highlights the oxymoronic nature of virtual heritage (oxymoronic in the sense that the virtual heritage projects themselves are seldom preserved). To study these concerns, six criteria for gauging the usefulness of the 3D repositories to host 3D digital models and related digital assets are suggested. The authors also provide 13 features that would be useful additions for their 3D viewers.Highlights:<ul><li>A survey of relevant features from eight institutional and eleven commercial online 3D repositories in the scholarly fieldof 3D digital heritage.</li><li>Presents a critical review of their hosting services and 3D model viewer features.</li><li>Proposes six features to enhance services of 3D repositories to support the GLAM sector, heritage scholars andheritage communities.</li></ul>

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“…As digital technologies developed, and the equipment capable of creating photo-realistic representations of archaeological sites and artifacts began to be used by archaeologists, a new avenue of instructional tools have also become available in the form of immersive virtual reality of excavations. A number of projects have since utilized these tools in an effort to extract the pedagogical potential of archaeological 3D models (Galeazzi et al 2010;Levy et al 2010;Forte 2014;Knabb et al 2014;Galeazzi and Di Giuseppantonio Di Franco 2017).…”

Section: Broader Implications In Pedagogy and Future Directionsmentioning

confidence: 99%

“…Previous projects have outlined the utility of using 3D virtual environments to express archaeological concepts and excavation techniques through displays such as the Powerwall and Cave systems [e.g. Galeazzi et al 2010;Levy et al 2010;Forte 2014;Knabb et al 2014;Galeazzi and Di Giuseppantonio Di Franco 2017]. The 3D Virtual Dig (3VD) developed at the University of California, Merced was a 3D application aimed at teaching excavation techniques in an introductory archaeology course [Di Giuseppantonio Di Franco et al 2012].…”

Section: Introductionmentioning

confidence: 99%

A Role for Immersive Visualization Experiences in Teaching Archaeology

Garstki

Larkee²,

LaDisa

2019

SDH

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As archaeologists continue to utilize digital 3D visualization technologies, instruction can also benefit from purpose-driven uses of these data. This paper outlines a pilot project that used previously captured 3D data in a large-scale immersive environment to supplement the instruction of basic archaeological concepts to an undergraduate introductory anthropology class. The flexibility of the platform allowed excavation trenches to be investigated in three-dimensions, enhancing the understanding of excavation methods and providing additional insight in the choices of the excavators. Additionally, virtual investigation of the artifacts provided a way for students to interact with objects on the other side of the world in a more complete way. Instructor-led immersive virtual experiences have significant potential to widen the interest in archaeology and enhance the instruction of archaeological concepts. They allow students to interact with the content, guided by an expert, and in the presence of each other. While the facilities are not available at every university at the current time, the cost effectiveness and ability to deliver these experiences via head-mounted displays represents an exciting potential extension for complementary self-paced, yet guided, exploration.

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Theorising 3D Visualisation Systems in Archaeology: Towards more effective design, evaluations and life cycles

Cited by 8 publications

References 0 publications

Neuro-curation

Neuro-curation

Survey of 3D digital heritage repositories and platforms

A Role for Immersive Visualization Experiences in Teaching Archaeology

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