Virtual heritage

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Virtual heritage or cultural heritage and technology is the body of works dealing with information and communication technologies and their application to cultural heritage, [1] such as virtual archaeology . [2] It aims to restore ancient cultures as real (virtual) environments where users can immerse. [3]

Contents

Virtual heritage and cultural heritage have independent meanings: cultural heritage refers to sites, monuments, buildings and objects "with historical, aesthetic, archaeological, scientific, ethnological or anthropological value", [4] whereas virtual heritage refers to instances of these within a technological domain, usually involving computer visualization of artefacts or virtual reality environments.

First use

The first use of virtual heritage as a museum exhibit, and the derivation of the name virtual tour, was in 1994 [5] as a museum visitor interpretation, providing a 'walk-through' of a 3D reconstruction of Dudley Castle in England as it was in 1550. [6] This consisted of a computer controlled laserdisc based system designed by British-based engineer Colin Johnson. It is a little-known fact that one of the first users of virtual heritage was Queen Elizabeth II, when she officially opened the visitor centre in June 1994. Because the Queen's officials had requested titles, descriptions and instructions of all activities, the system was named 'Virtual Tour', being a cross between virtual reality and royal tour. [7]

Projects

One technology that is frequently employed in virtual heritage applications is augmented reality (AR), which is used to provide on-site reconstructions of archaeological sites [8] or artefacts. An example is the lifeClipper project, a Swiss commercial tourism and mixed reality urban heritage project. [9] Using HMD technology, users walking the streets of Basel can see cultured AR video characters and objects as well as oddly-shaped stencils. [9]

Many virtual heritage projects focus on the tangible aspects of cultural heritage, for example 3D modelling, graphics and animation. In doing so, they often overlook the intangible aspects of cultural heritage associated with objects and sites, such as stories, performances and dances. The tangible aspects of cultural heritage are not inseparable from the intangible and one method for combining them is the use of virtual heritage serious games, [10] such as the 'Digital Songlines' and 'Virtual Songlines' [11] which modified computer game technology to preserve, protect and present the cultural heritage of Aboriginal Australian Peoples. [12] There have been numerous applications of digital models being used to engage the public and encourage involvement in built heritage activities and discourse. [13]

Place-Hampi is another example of a virtual heritage project. It applies co-evolutionary systems to show a cultural presence using stereoscopic rendering of the landscape of Hampi landscape, a UNESCO World Heritage Site in Karnataka, India. [14]

See also

Related Research Articles

<span class="mw-page-title-main">Underwater archaeology</span> Archaeological techniques practiced at underwater sites

Underwater archaeology is archaeology practiced underwater. As with all other branches of archaeology, it evolved from its roots in pre-history and in the classical era to include sites from the historical and industrial eras. Its acceptance has been a relatively late development due to the difficulties of accessing and working underwater sites, and because the application of archaeology to underwater sites initially emerged from the skills and tools developed by shipwreck salvagers. As a result, underwater archaeology initially struggled to establish itself as actual archaeological research. This changed when universities began teaching the subject and a theoretical and practical base for the sub-discipline was firmly established in the late 1980s. Underwater archaeology now has a number of branches including, maritime archaeology: the scientifically based study of past human life, behaviours and cultures and their activities in, on, around and (lately) under the sea, estuaries and rivers. This is most often effected using the physical remains found in, around or under salt or fresh water or buried beneath water-logged sediment. In recent years, the study of submerged WWII sites and of submerged aircraft in the form of underwater aviation archaeology have also emerged as bona fide activity.

<span class="mw-page-title-main">Augmented reality</span> View of the real world with computer-generated supplementary features

Augmented reality (AR) is an interactive experience that combines the real world and computer-generated content. The content can span multiple sensory modalities, including visual, auditory, haptic, somatosensory and olfactory. AR can be defined as a system that incorporates three basic features: a combination of real and virtual worlds, real-time interaction, and accurate 3D registration of virtual and real objects. The overlaid sensory information can be constructive, or destructive. This experience is seamlessly interwoven with the physical world such that it is perceived as an immersive aspect of the real environment. In this way, augmented reality alters one's ongoing perception of a real-world environment, whereas virtual reality completely replaces the user's real-world environment with a simulated one.

Computational archaeology describes computer-based analytical methods for the study of long-term human behaviour and behavioural evolution. As with other sub-disciplines that have prefixed 'computational' to their name, the term is reserved for methods that could not realistically be performed without the aid of a computer.

<span class="mw-page-title-main">Virtual museum</span> Museum in a digital format

A virtual museum is a digital entity that draws on the characteristics of a museum, in order to complement, enhance, or augment the museum experience through personalization, interactivity, and richness of content. Virtual museums can perform as the digital footprint of a physical museum, or can act independently, while maintaining the authoritative status as bestowed by the International Council of Museums (ICOM) in its definition of a museum. In tandem with the ICOM mission of a physical museum, the virtual museum is also committed to public access; to both the knowledge systems imbedded in the collections and the systematic, and coherent organization of their display, as well as to their long-term preservation.

<span class="mw-page-title-main">3D scanning</span> Scanning of an object or environment to collect data on its shape

3D scanning is the process of analyzing a real-world object or environment to collect data on its shape and possibly its appearance. The collected data can then be used to construct digital 3D models.

<span class="mw-page-title-main">Virtual tour</span> Simulation of an existing location

A virtual tour is a simulation of an existing location, usually composed of a sequence of videos, still images or 360-degree images. It may also use other multimedia elements such as sound effects, music, narration, text and floor map. It is distinguished from the use of live television to affect tele-tourism.

Locative media or location-based media (LBM) is a virtual medium of communication functionally bound to a location. The physical implementation of locative media, however, is not bound to the same location to which the content refers.

<span class="mw-page-title-main">Cultural heritage</span> Physical artifact or intangible attribute of a society inherited from past generations

Cultural heritage is the heritage of tangible and intangible heritage assets of a group or society that is inherited from past generations. Not all heritages of past generations are "heritage"; rather, heritage is a product of selection by society.

NESPOS is an open source information platform about Pleistocene humans, providing detailed information about important sites, their analytical results, archaeological findings and a selection of literary quotes. Moreover, it is a repository where archaeologists and paleoanthropologists can exchange their research results and ideas by a protected Wiki-based collaboration platform with a continuously growing sample of 3D scanned human fossils and artefacts.

<span class="mw-page-title-main">Immersion (virtual reality)</span> Perception of being physically present in a non-physical world

Immersion into virtual reality (VR) is a perception of being physically present in a non-physical world. The perception is created by surrounding the user of the VR system in images, sound or other stimuli that provide an engrossing total environment.

The Archaeology Data Service (ADS) is an open access digital archive for archaeological research outputs. It is located in The King's Manor, at the University of York. Originally intended to curate digital outputs from archaeological researchers based in the UK's Higher Education sector, the ADS also holds archive material created under the auspices of national and local government as well as in the commercial archaeology sector. The ADS carries out research, most of which focuses on resource discovery, cross-searching and interoperability with other relevant archives in the UK, Europe and the United States of America.

<span class="mw-page-title-main">3D modeling</span> Form of computer-aided engineering

In 3D computer graphics, 3D modeling is the process of developing a mathematical coordinate-based representation of any surface of an object in three dimensions via specialized software by manipulating edges, vertices, and polygons in a simulated 3D space.

Assaad Seif is a Lebanese archaeologist and Associate Professor in Archaeology at the Lebanese University. Former Head of the Scientific Departments and coordinator of archaeological research and excavations in Lebanon, at the Directorate General of Antiquities in Beirut.

Virtual archaeology is a term introduced in 1990 by archaeologist and computer scientist Paul Reilly to describe the use of computer based simulations of archaeological excavations. Since that time, scientific results related to virtual archaeology were annually discussed, among others, at Computer Applications and Quantitative Methods in Archaeology (CAA). The keyword "visualization" defined the aim of the virtual archaeology in the London Charter Initiative:

It should be made clear to users what a computer-based visualization seeks to represent, for example the existing state, an evidence-based restoration or an hypothetical reconstruction of a cultural heritage object or site, and the extent and nature of any factual uncertainty.

<span class="mw-page-title-main">Sarah Kenderdine</span>

Sarah Kenderdine is a professor of Digital Museology at the École polytechnique fédérale de Lausanne (EPFL), Switzerland, since 2017. She leads the laboratory for experimental museology (eM+), exploring the convergence of aesthetic practice, visual analytics and cultural data. Kenderdine develops interactive and immersive experiences for museums and galleries, often employing interactive cinema and augmented reality. She is a New Zealander and was born on the 2 January 1966 in Sydney.

<span class="mw-page-title-main">GoUNESCO</span>

GoUNESCO is an umbrella of initiatives that help promote awareness and provide tools for laypersons to engage with heritage. GoUNESCO was created by Ajay Reddy in 2012. It is supported by UNESCO, New Delhi.

Digital heritage is the use of digital media in the service of understanding and preserving cultural or natural heritage.

<span class="mw-page-title-main">Franz Fischnaller</span>

Franz Fischnaller is a new media artist and transdisciplinary researcher. He is recognized for the creation of his digital, virtual reality and interactive art installations works across the fields of art, technology, humanities and cultural heritage.

Digital archaeology is the application of information technology and digital media to archaeology. It includes the use of digital photography, 3D reconstruction, virtual reality, and geographical information systems, among other techniques. Computational archaeology, which covers computer-based analytical methods, can be considered a subfield of digital archaeology, as can virtual archaeology.

<span class="mw-page-title-main">Virtual reality applications</span> Overview of the various applications that make use of virtual reality

Virtual reality applications are applications that make use of virtual reality (VR), an immersive sensory experience that digitally simulates a virtual environment. Applications have been developed in a variety of domains, such as education, architectural and urban design, digital marketing and activism, engineering and robotics, entertainment, virtual communities, fine arts, healthcare and clinical therapies, heritage and archaeology, occupational safety, social science and psychology.

References

  1. ↑ Ann Marie Sullivan, Cultural Heritage & New Media: A Future for the Past, 15 J. MARSHALL REV. INTELL. PROP. L. 604 (2016) https://repository.jmls.edu/cgi/viewcontent.cgi?article=1392&context=ripl
  2. ↑ Bawaya, M. (2010), "Virtual Archaeologists Recreate Parts of Ancient Worlds", Science, 327 (5962): 140–141, Bibcode:2010Sci...327..140B, doi:10.1126/science.327.5962.140, PMID   20056870
  3. ↑ Chang, Maiga; Kuo, Rita; Kinshuk; Chen, Gwo-Dong; Hirose, Michitaka (2009). Learning by Playing. Game-based Education System Design and Development: 4th International Conference on E-learning, Edutainment 2009, Banff, Canada, August 9-11, 2009, Proceedings . Berlin: Springer Science & Business Media. pp.  52. ISBN   9783642033636.
  4. ↑ UNESCO (2008). "Application Guide". Applications to UNESCO-Vocations Patrimoine Fellowships for World Heritage site managers. UNESCO World Heritage Centre . Retrieved 4 May 2012.
  5. ↑ Susan S. Lukesh (February 1995). "Imaging The Past". CSA Newsletter, Feb. '95. Center for the Study of Architecture. Retrieved 3 May 2012.
  6. ↑ Boland, P.; Johnson, C. (1996), "Archaeology as computer visualization: 'Virtual tours' of Dudley Castle c. 1550", in Higgins, T.; Main, P.; Lang, J. (eds.), Imaging the Past: Electronic Imaging and Computer Graphics in Museums and Archaeology, Occasional Papers, vol. 114, British Museum Press, pp. 227–234, ISBN   978-0-86159-114-5
  7. ↑ Colin Johnson. "Virtual Tours of Dudley Castle archive" . Retrieved 3 May 2012.
  8. ↑ "ARCHEOGUIDE – Augmented Reality-based Cultural Heritage On-site Guide". ARCHEOGUIDE Project. 2002. Retrieved 23 May 2012.
  9. 1 2 Champion, Erik (9 March 2016). Critical Gaming: Interactive History and Virtual Heritage. Oxon: Routledge. p. 199. ISBN   9781317157397.
  10. ↑ Anderson, E. F.; McLoughlin, L.; Liarokapis, F.; Peters, C.; Petridis, P.; de Freitas, S. (2009), Serious Games in Cultural Heritage, VAST-STAR, Short and Project Proceedings, 10th VAST International Symposium on Virtual Reality, Archaeology and Cultural Heritage (Eurographics VAST '09), Faculty of ICT, University of Malta, pp. 29–48
  11. ↑ Brett Leavy. "Digital Songlines". Virtual Songlines (Bilbie Labs). Retrieved 22 November 2018.
  12. ↑ Wyeld, T.G.; Carroll, J.; Gibbons, C.; Ledwich, B.; Leavy, B.; Hills, J.; Docherty, M. (2007), "Doing Cultural Heritage Using the Torque Game Engine: Supporting Indigenous Storytelling in a 3D Virtual Environment", International Journal of Architectural Computing, 5 (2): 418–435, doi:10.1260/1478-0771.5.2.418, hdl: 1959.3/54849 , S2CID   85537356
  13. ↑ Laing, Richard (2020). "Built heritage modelling and visualisation: the potential to engage with issues of heritage value and wider participation". Developments in the Built Environment. 4: 100017. doi: 10.1016/j.dibe.2020.100017 .
  14. ↑ Kalay, Yehuda; Kvan, Thomas; Affleck, Janice (2008). New Heritage: New Media and Cultural Heritage . Oxon: Routledge. pp.  279. ISBN   9780415773560.

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