Barceló, J.A.. 2001, Virtual Reality for archaeological explanation. Beyond "picturesque" reconstruction. (original) (raw)
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2005
Three dimensional (3D) modelling and virtual reconstruction (VR) of archaeological features are common tools of communicating Cultural Heritage, especially for the wide public; archaeological parks, museums or websites dedicated to Cultural Heritage often display virtual 3D artefacts, structures or landscapes, enhancing the visitors’ comprehension of the past. However, the potential contribution of 3D and VR to the archaeological research is commonly neglected by the archaeological community, which often views the process of building a 3D model as a stage apart from the common research pipeline, a stage designated for merely presenting to the public in a fashionably, attractive way, the archaeological results. One of the more common critics raised by archaeologists is that 3D models are a closed box, with no possibility of evaluation and often without a particular aim, the emphasis being on computer graphics and artistic aspects, rather than on the wish to solve a particular archaeological scientific problem. The article discusses this trend, subsequently suggesting to integrate 3D modelling into the archaeological research methodology, and finally offering some scientific tools to validate the 3D model, by enabling its de-construction and evaluation.
Virtual reality at Work in the 21st Century. …, 2005
Three dimensional (3D) modelling and virtual reconstruction (VR) of archaeological features are common tools of communicating Cultural Heritage, especially for the wide public; archaeological parks, museums or websites dedicated to Cultural Heritage often display virtual 3D artefacts, structures or landscapes, enhancing the visitors' comprehension of the past. However, the potential contribution of 3D and VR to the archaeological research is commonly neglected by the archaeological community, which often views the process of building a 3D model as a stage apart from the common research pipeline, a stage designated for merely presenting to the public in a fashionably, attractive way, the archaeological results. One of the more common critics raised by archaeologists is that 3D models are a closed box, with no possibility of evaluation and often without a particular aim, the emphasis being on computer graphics and artistic aspects, rather than on the wish to solve a particular archaeological scientific problem. The article discusses this trend, subsequently suggesting to integrate 3D modelling into the archaeological research methodology, and finally offering some scientific tools to validate the 3D model, by enabling its de-construction and evaluation.
The virtual reconstruction of the archaeological landscape is a very complex process including in a virtual ecosystem many kinds of data, activities, according to a multidisciplinary approach. This system of relations, interactions and behaviors assumes perceptive, cultural, psychological and relevance. The virtual environment and archaeological structures, as they are today, can be reconstructed through different techniques and data sources, integrated in a coherent methodology of elaboration and communication: cartographic data, remote sensing, photo-interpretation, topographic survey, laser scanner data, photogrammetry, photomodelling, computer vision and so on. Each technique is selected according to the kind of structures and information we need and is intimately connected to the typology and the particularities of the entities to examine.
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This paper attempts to analyse the effectiveness of 3d modelling in archaeological research by exploring the diverse methods available to us for executing reconstructions of archaeological evidence. Starting with the simple subdivisions of com puter graphics, as pre-calculated sequences of animation with a photo-realistic rendering, and virtual reality, as inter activity in real-time, it will be possible to highlight the differences between the two methods of display, which, since they are ex perienced in highly dissimilar ways, will also have a bearing on the goals achieved. The re-examination of the case study of Grave 7 in Romito Cave, and the subsequent improvements to the research, have furnished us with the means to focus our attention on those processes which exploit in a more effective and comprehensive way the uses of 3D for archaeological purposes.
2007
The virtual reconstruction of the archaeological landscape is a very complex process including in a virtual ecosystem many kinds of data, activities, according to a multidisciplinary approach. This system of relations, interactions and behaviors assumes perceptive, cultural, psychological and relevance. The virtual environment and archaeological structures, as they are today, can be reconstructed through different techniques and data sources, integrated in a coherent methodology of elaboration and communication: cartographic data, remote sensing, photo-interpretation, topographic survey, laser scanner data, photogrammetry, photomodelling, computer vision and so on. Each technique is selected according to the kind of structures and information we need and is intimately connected to the typology and the particularities of the entities to examine.
Virtual Reconstructions and Computer Visualisations in Archaeological Practice
The introductory paper is followed by nine papers focusing on some major (definitely not all), aspects connecting archaeological practice and VR presentations and potentials. In doing this, we have attempted to cover some essential theoretical issues (Chapters: Introduction to virtual reconstructions; Physical vs. virtual reconstruction; Augmented reality as an output), technological aspects (Chapters: A comparison of different software solutions for 3D modeling), learning basics of visual products (Chapter: 2D and 3D visual products: First step towards virtual econstructions) and a series of case studies and examples (Chapters: About digital field documentation; Brief overview of examples of VR projects; Virtual reconstruction of the Vinča-Belo Brdo site; Examples of good practice in 3D visualisation in preventive archaeology). It is important to note here, that with the exception of three cases presented in the chapter Brief overview of examples of VR projects (Catalhöyük, Uruk and Etruscanning 3D project) all other papers derived from the archaeological field research performed by the authors who had the possibility to control all different aspects involved in a complete research, from logistics, field execution to interpretation and presentation of the results. While this may not be so relevant for the VR products themselves it is highly relevant for demonstrating some other important aspects regarding professionalism in preventive archaeology, especially the learning capacities and ‘organic’ development and transfer of knowledge of new ideas and technologies. If preventive archaeology is to go beyond the level of basic field service and strengthen its relevance, which is constantly challenged by other stakeholders in spatial development process, it is necessary also to build up on the experiences and knowledge of the practitioners of preventive research.
Virtual Reality and Archaeological Reconstruction
2000
Virtual reality, interactive computer generated sites and scenarios, theoretically creates great opportunities for archaeology, history, and education. Immersive computer driven environments impart information regarding space and human experience that would not be possible using traditional means of representation. Places and structures too remote, dangerous or deteriorated to visit can be experienced, and virtual models can provide the context in which to understand other complex issues surrounding an environment. In the ...
The paper discusses two uses of 3D Visualization and Virtual Reality (hereafter VR) of Cultural Heritage (CH) assets: a less used one, in the archaeological / historical research and a more frequent one, as a communication medium in CH museums. While technological effort has been mainly invested in improving the “accuracy” of VR (determined as how truthfully it reproduces the “CH reality”), issues related to scientific requirements, (data transparency, separation between “real” and “virtual”, etc.), are largely neglected, or at least not directly related to the 3D outcome, which may explain why, after more than twenty years of producing VR models, they are still rarely used in the archaeological research. The paper will present a proposal for developing VR tools as such as to be meaningful CH research tools as well as a methodology for designing VR outcomes to be used as a communication medium in CH museums.
VIRTUAL RECONSTRUCTION OF ARCHAEOLOGICAL SITES SOME ARCHAEOLOGICAL SCIENTIFIC CONSIDERATIONS
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The paper discusses some archaeological scientific implications of virtual reconstruction of archaeological sites, using as a case-study an animated 3D model of the roman military camp at Avdat, Israel. The critical discussion will explore and evaluate the potential of using 3D VRM (Virtual Reality Models) as a daily tool for the archaeologist, both during the excavation, consolidation of conclusions and for the presentation of its final results. The main argument to be stressed is that the impact of a real, 3D visualization of archaeological data influences, and drastically improves, the understanding and the analysis of archaeological data, adding the third (and sometimes fourth) dimension to the archaeological explanation, and the need of the archaeologist to cope with it, thus opening new horizons of research, posing questions raised during the process of conceptualization of the 3D model.
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The visualisation of an archaeological landscape passes through its representation, interpretation and reconstruction. Its various and complex aspects can be described just through an integrated approach of disciplines, data and technologies. Two directions have been undertaken by our research team: a narrative approach and a geographical-spatial one. The narrative approach to cultural data is focused more on graphic and photo realistic scene generation, using software such as 3DStudio Max and Virtools, which allow interactive, game-like quality applications for the web and Virtual Reality. The work is based on the creation of complex behaviours inside the virtual worlds in order to stress the communication through different types of narration (story-telling). (Less)