Efnisyfirlit

• Preface
• Contents
• List of Contributors
• Part I: Introduction
• Chapter 1: Digital Heritage and Virtual Archaeology: An Approach Through the Framework of Internatio
• 1.1 International Recommendations in Cultural Heritage
• 1.1.1 The First Steps
• 1.1.2 ICOMOS´s Major International Charters
• 1.1.3 The UNESCO Conventions
• 1.1.4 Other International Documents
• 1.2 London Charter
• 1.2.1 The Scope of the London Charter
• 1.2.2 The Charter Principles
• 1.2.2.1 Principle 1: Implementation
• 1.2.2.2 Principle 2: Aims and Methods
• 1.2.2.3 Principle 3: Research Sources
• 1.2.2.4 Principle 4: Documentation
• 1.2.2.5 Principle 5: Sustainability
• 1.2.2.6 Principle 6: Access
• 1.3 The Seville Principles
• 1.3.1 Principle 1: Interdisciplinarity
• 1.3.2 Principle 2: Purpose
• 1.3.3 Principle 3: Complementarity
• 1.3.4 Principle 4: Authenticity
• 1.3.5 Principle 5: Historical Rigour
• 1.3.6 Principle 6: Efficiency
• 1.3.7 Principle 7: Scientific Transparency
• 1.3.8 Principle 8: Training and Evaluation
• 1.4 Conclusion
• References
• Part II: Digitization and Visualization
• Chapter 2: Data Acquisition for the Geometric Documentation of Cultural Heritage
• 2.1 Geometric Documentation
• 2.1.1 Necessity
• 2.1.2 Definition
• 2.1.3 Geometric Documentation Products (2D-3D)
• 2.1.4 Documentation Methods
• 2.2 Specifications and Standards
• 2.3 Passive Data Acquisition Methods
• 2.3.1 Geodetic Data Acquisition
• 2.3.2 Image-Based Data Acquisition
• 2.3.2.1 Digital Cameras and Their Operation
• 2.3.2.2 Characteristics
• 2.3.3 The Digital Image
• 2.3.4 Good Practice for Digital Imaging
• 2.3.5 Platforms for Data Acquisition
• 2.4 Active Data Acquisition Methods
• 2.4.1 Scanners
• 2.4.1.1 Terrestrial Laser Scanners
• 2.4.1.2 Structured Light Scanners
• 2.4.1.3 Range Cameras
• 2.5 Geometric Documentation Examples
• 2.5.1 The Geometric Documentation of Byzantine Churches in Cyprus
• 2.5.2 The Geometric Documentation of Ancient Vessels
• References
• Chapter 3: Autonomous Mapping of the Priscilla Catacombs
• 3.1 Introduction
• 3.1.1 Background
• 3.1.2 Application Scenario: Exploration of the Catacombs of Rome
• 3.2 State of the Art in 3D Reconstruction
• 3.3 Recording Constraints/Hardware Setup
• 3.4 SfM-Based 3D Reconstruction
• 3.4.1 Initial Structure from Motion
• 3.4.1.1 Feature Detection
• 3.4.1.2 Initial Feature Matching and Bundling for the Camera Arc
• 3.4.2 Large-Scale Bundling
• 3.4.2.1 Generalized Camera Model
• 3.4.2.2 Initial Camera Calibration
• 3.4.2.3 Degeneracies
• 3.4.2.4 Overall Strategy
• 3.4.2.5 Mesh Generation
• 3.5 Texturing
• 3.5.1 Texturing by BRDF Clustering and Inference
• 3.5.2 Large-Scale Texturing
• 3.6 Conclusion
• References
• Chapter 4: Acceleration of 3D Mass Digitization Processes: Recent Advances and Challenges
• 4.1 Introduction
• 4.2 A First Approach to 3D Mass Digitization
• 4.2.1 Automated Photogrammetry
• 4.2.1.1 CultLab3D Platform
• 4.2.1.2 CultArc3D
• 4.2.1.3 CultArm3D
• 4.2.1.4 Reconstruction
• 4.2.2 Automated Structured Light
• 4.2.3 Color Calibration
• 4.2.4 Optical Material Capture
• 4.3 3D-Centered Annotation and Visualization
• 4.4 Summary and Outlook
• References
• Chapter 5: Intangible Cultural Heritage and New Technologies: Challenges and Opportunities for Cultu
• 5.1 Introduction
• 5.2 Previous Work
• 5.3 Modern Technologies in the Transmission and Documentation of Intangible Heritage
• 5.3.1 Facial Expression Analysis and Modelling
• 5.3.2 Vocal Tract Sensing and Modelling
• 5.3.3 Body Motion and Gesture Recognition
• 5.3.3.1 Motion Capture Technologies for Dance Applications
• 5.3.3.2 Hand and Finger Motion Recognition
• 5.3.3.3 Intangible Heritage Preservation and Transmission
• 5.3.4 Encephalography Analysis and Emotion Recognition
• 5.3.5 Semantic Multimedia Analysis
• 5.3.6 3D Visualisation of Intangible Heritage
• 5.3.7 Text-to-Song Synthesis
• 5.4 Discussion and Future Challenges
• References
• Part III: Content Use and Re-use
• Chapter 6: 3D Digital Libraries and Their Contribution in the Documentation of the Past
• 6.1 Digital Libraries
• 6.1.1 History
• 6.1.2 Evolution
• 6.1.3 From 2D GIS and 3D Models to BIM and HBIM
• 6.2 Digital Libraries and Cultural Heritage: The State of Play
• 6.2.1 International Best Practices
• 6.2.2 Intersectoral Understanding: Overcoming Language Obstacles
• 6.3 Digital Library Content: Current Possibilities, Challenges, Risks, and Limitations
• 6.3.1 Past and Current Developments
• 6.3.2 Visualization of 3D Content and the Challenges of Virtual, Augmented, and Mixed Reality
• 6.3.3 Standards for 3D Web Retrieval and Discovery
• 6.4 Metadata and Interoperability
• 6.5 Semantics, Ontologies, and Linked Data
• 6.6 User Needs and Interfaces
• 6.7 Reuse, Copyright, and Licensing
• 6.7.1 The Open Data Agenda
• 6.7.2 Creative Commons Licenses
• 6.8 Aggregation, Standards, and Archiving
• 6.8.1 The Cloud
• 6.8.2 Existing Online Repositories
• 6.9 Digital Preservation
• 6.10 Crowdsourcing and User Contribution
• 6.11 The Future
• References
• Chapter 7: Enriching and Publishing Cultural Heritage as Linked Open Data
• 7.1 Introduction
• 7.2 Background
• 7.2.1 RDF and Linked Open Data
• 7.2.2 Semantic Enrichment
• 7.3 Overall Architecture
• 7.4 Semantic Interoperability Using MINT
• 7.4.1 The MINT Platform
• 7.4.2 Mapping Editor
• 7.5 The Europeana Fashion Use Case
• 7.5.1 The Europeana Fashion Profile
• 7.5.2 Fashion Thesaurus
• 7.5.3 Thesaurus-Based Enrichment
• 7.5.4 DBpedia-Based Enrichment
• 7.6 Results
• 7.7 Conclusion
• References
• Chapter 8: Digital Memory and Integrated Data Capturing: Innovations for an Inclusive Cultural Herit
• 8.1 Introduction
• 8.2 Digital Memory and Integrated Data Capturing
• 8.2.1 INCEPTION Objectives and Strategies
• 8.2.2 Integrated 3D Laser Scanner Survey for Cultural Heritage
• 8.2.3 Cultural Heritage Through Time and Space Dimension
• 8.3 Semantic Enrichment and Inclusive Approach
• 8.3.1 3D Semantic Models to Manage the Time Dimension
• 8.3.2 Advancement in 3D Data Capturing: Towards an Enriched Semantic Modelling
• 8.4 Future Developments and Innovations: VR and AR in Heritage Applications
• 8.5 Conclusion
• References
• Part IV: Geospatial
• Chapter 9: Five-Dimensional (5D) Modelling of the Holy Aedicule of the Church of the Holy Sepulchre
• 9.1 Introduction
• 9.2 Interdisciplinary Approach: Study Overview
• 9.3 Architectural Form and Structure of the Holy Aedicule
• 9.4 Analysis of the Construction Phases
• 9.5 Geometric Documentation
• 9.5.1 Data Acquisition
• 9.5.2 Data Processing and Results
• 9.5.3 Inserting GPR in 3D
• 9.5.4 Visualizations from the 3D Model
• 9.6 Materials Characterization
• 9.6.1 Sampling
• 9.6.2 Nondestructive Testing
• 9.6.3 Laboratory Techniques: Petrographic and Mineralogical Characterization
• 9.7 Five-Dimensional (5D) Modelling of the Historic Construction Phases
• References
• Chapter 10: Historic BIM for Mobile VR/AR Applications
• 10.1 BIM for Cultural Heritage Documentation and Preservation
• 10.2 Conversion of a Survey into Parametric Geometry: Beyond Direct Modeling
• 10.3 The Importance of the “I´´ in HBIM
• 10.4 HBIM in Mobile Devices Through Augmented and Virtual Reality
• 10.4.1 HBIM in Mobile Apps for Specialists
• 10.4.2 Panoramic Virtual Tour from HBIM
• 10.4.3 HBIM and Augmented Reality
• 10.5 Conclusion
• References
• Chapter 11: Data Collection for Estimation of Resilience of Cultural Heritage Assets
• 11.1 Introduction
• 11.2 Significances of Built Heritage
• 11.2.1 Background of the Definition of Cultural Heritage Significances
• 11.2.2 Definition of Cultural Heritage Significances
• 11.2.3 Cultural Heritage Services
• 11.3 Built Heritage Database Systems
• 11.3.1 Overview of Current Systems
• 11.3.2 European Cultural Heritage Identity Card
• 11.3.3 Environmental Impact on Historic Structures
• 11.3.4 Influence of Improper Decisions
• 11.4 Resilience Model for Built Heritage
• 11.4.1 Resilience Model of Contemporary Buildings
• 11.4.2 Proposal of Resilience Model for Built Heritage
• 11.5 Conclusions
• References
• Chapter 12: Virtual Reconstruction of Historical Architecture as Media for Knowledge Representation
• 12.1 Introduction
• 12.1.1 Research Objectives
• 12.2 Theoretical Concepts
• 12.2.1 Knowledge
• 12.2.2 Representation
• 12.2.3 Roles of Architecture
• 12.3 Research Design and Results
• 12.3.1 Discussing Virtual Representations of Historical Architecture
• 12.3.2 Creating Virtual Representations of Historical Architecture
• 12.3.3 Learning Virtual Representations of Historical Architecture
• 12.3.4 Recognising Virtual Representations of Historical Architecture
• 12.4 Conclusion
• References
• Part V: Presence
• Chapter 13: Gamified AR/VR Character Rendering and Animation-Enabling Technologies
• 13.1 Introduction
• 13.2 Previous Work
• 13.3 Comparison of Unity 3D Game Engine and glGA Framework
• 13.4 Review of Geometric Algebra Framework Used for Handling Transformations of Virtual Characters
• 13.4.1 3D Euclidean Geometric Algebra
• 13.4.2 Conformal Geometric Algebra
• 13.4.2.1 Representing Entities in CGA
• 13.4.2.2 Transformations in CGA
• 13.4.3 Representing Quaternions and Dual Quaternions with Geometric Algebra
• 13.5 Creating Interactive and Realistic Virtual Characters
• 13.5.1 Rendering Virtual Characters for AR and VR
• 13.5.1.1 Markerless AR Tracking for AR
• 13.5.2 Real-Time Global Illumination Using PRT Methods
• 13.5.2.1 Shadowed-Transfer and Unshadowed-Transfer PRT Implementation
• 13.5.3 Interactive Characters with Procedural Animation
• 13.5.3.1 Integration of SmartBody into Any Modern Shader-Based CG Framework
• 13.5.4 AR Crowd Simulation Behavior
• 13.5.4.1 Collision Avoidance and Path Generation
• 13.6 Handling Virtual Characters Transformations with Geometric Algebra
• 13.6.1 AR Scene Authoring with Geometric Algebra
• 13.6.2 Animation Interpolation and GPU-Based Skinning
• 13.6.3 GPU-Based Skinning Algorithm Description
• 13.7 Results
• 13.8 Conclusions and Future Work
• References
• Chapter 14: Experiencing the Multisensory Past
• 14.1 Introduction
• 14.2 Multisensory Perception
• 14.2.1 The Perception Equation
• 14.3 Real Virtuality
• 14.3.1 Visuals
• 14.3.2 Audio
• 14.3.3 Feel
• 14.3.4 Smell
• 14.3.5 Taste
• 14.4 Case Studies
• 14.4.1 Kalabsha
• 14.5 Medieval Pottery
• 14.5.1 Medieval Pottery
• 14.6 Discussion
• References
• Chapter 15: Multimodal Serious Games Technologies for Cultural Heritage
• 15.1 Introduction
• 15.2 Serious Games
• 15.3 Gamification
• 15.4 Technologies for Immersive Heritage Applications
• 15.4.1 User Interfaces
• 15.4.2 Virtual Environments
• 15.4.3 Augmented Reality Environments
• 15.5 Interactions for Cultural Heritage
• 15.5.1 Interactions with Active and Passive Devices
• 15.5.2 Interactions with Sound Interfaces
• 15.5.3 Brain-Computer Interfaces
• 15.6 A Generic Multimodal Environment for Cultural Heritage
• 15.6.1 System Architecture
• 15.6.2 Visualization
• 15.6.3 Web-Based Virtual Environment
• 15.7 Conclusions and Future Challenges
• References
• Part VI: Intangible Heritage
• Chapter 16: Modelling Life Through Time: Cultural Heritage Case Studies
• 16.1 Introduction
• 16.2 Tangible Heritage
• 16.2.1 3D Modelling
• 16.2.1.1 Body and Head Modelling
• 16.2.1.2 Cloth Modelling
• 16.3 Intangible Heritage
• 16.3.1 The Use of Animated Virtual Humans in Historical Sites
• 16.3.2 Animating Virtual Humans
• 16.3.2.1 Body Animation and Skinning
• 16.3.2.2 Facial Animation
• 16.3.3 Virtual Humans Re-enacting Activities in Historical Sites
• 16.3.3.1 Inhabited Virtual Heritage Case Studies
• The case study of thermopolium of Vetutius (LIFEPLUS project)
• The case study of Aspendos (ERATO project)
• 16.3.3.2 Virtual Simulation of a Historical Figure
• Case Study: Simulation of John Calvin the Reformer
• 16.4 Interactive Behaviour
• 16.4.1 Introduction
• 16.4.2 Tracking
• 16.4.2.1 Acquisition
• 16.4.2.2 Processing
• 16.4.3 Analysis
• 16.4.4 Behaviour Integration
• 16.4.4.1 Behaviour Management System
• 16.4.4.2 Gaze
• 16.4.4.3 Locomotion
• 16.4.5 Emotion Recognition
• 16.4.6 User Feedback and Application
• 16.5 Conclusion
• References
• Chapter 17: Preservation and Gamification of Traditional Sports
• 17.1 Introduction
• 17.2 Gamification for Traditional Sports and Games
• 17.2.1 Platform Overview
• 17.2.2 Description of the Infrastructure
• 17.2.3 Interaction Experience of the User
• 17.3 Traditional Sport and Game Capture, Modeling, and Animation
• 17.3.1 Avatar Creation
• 17.3.2 Motion Capture
• 17.3.3 Avatar Animation
• 17.4 Real-Time Tracking
• 17.4.1 Orientation Estimation Using Inertial Sensors
• 17.4.2 Sensor Placement
• 17.4.3 Methodology
• 17.5 Comparison and Feedback
• 17.5.1 Compare and Score
• 17.5.1.1 Preprocessing
• 17.5.1.2 Alignment
• 17.5.1.3 Compare
• 17.5.2 Feedback and Visualization
• 17.6 Conclusion and Results
• References
• Part VII: Ambient Intelligence and Storytelling
• Chapter 18: Deployment of Robotic Guides in Museum Contexts
• 18.1 Introduction
• 18.2 Robot Design
• 18.3 Autonomous Navigation in Dynamic Environments
• 18.3.1 Environment Mapping
• 18.3.2 Detection, Tracking, and Filtering of Dynamic Objects
• 18.3.3 Path and Motion Planning
• 18.4 Human-Robot Interaction
• 18.4.1 Automatic Speech Recognition and Synthesis in Noisy Environments
• 18.4.2 Visual Detection and Tracking of Humans
• 18.4.3 Visual Attentive Cues for Intention Estimation
• 18.4.4 Gesture Interpretation
• 18.5 Interfaces
• 18.6 Discussion
• References
• Chapter 19: Digital Cultural Heritage Experience in Ambient Intelligence
• 19.1 Introduction
• 19.2 Background and Related Work
• 19.2.1 Virtual Museums
• 19.2.2 Knowledge Models for CH
• 19.2.3 Interactive Technologies for Virtual Museums
• 19.2.4 Gamification Techniques for Digital Cultural Heritage
• 19.3 A State-of-the-Art AmI Framework for Digital Cultural Heritage
• 19.3.1 A Service-Oriented Middleware
• 19.3.2 A Knowledge Representation Layer
• 19.3.3 A Pool of Reusable Interaction Modalities
• 19.4 Applications and Their Deployment in CHIs
• 19.4.1 Personalized Interaction with Artworks
• 19.4.1.1 Interacting with Large Digital Reproductions of Murals
• 19.4.1.2 Interacting with Digital Reproductions of Paintings
• 19.4.2 Mixed-Reality Technologies
• 19.4.2.1 Augmenting Traditional Games with Non-ICT
• 19.4.2.2 Making Traditional Artefacts Interactive
• 19.4.2.3 Alternative Forms of Interaction with Terrain-Based Information
• 19.4.2.4 Interacting with Moving Surfaces
• 19.4.3 Gamification Techniques for Learning Purposes
• 19.4.3.1 Interactive “Wall-Based´´ Games
• 19.4.3.2 Playing with Words
• 19.4.3.3 Learning Through Interactive Animations
• 19.4.3.4 Experimenting with Interactive Surfaces for Children
• 19.4.3.5 Interacting with Immersive Representations of Information
• 19.4.4 Interactive Art Installations
• 19.4.4.1 An Interactive Artwork Inspired by the History of the City of Heraklion
• 19.4.4.2 An Interactive Sculpture Inspired by the Phaistos Disc
• 19.4.4.3 An Interactive Sculpture Inspired by the Antikythera Mechanism
• 19.4.5 Portable Mobile and Custom Hardware Devices
• 19.4.5.1 Museum Guide
• 19.4.5.2 Employing Custom Hardware Devices for Exploratory Learning
• 19.5 Lessons Learned
• 19.6 Conclusions and Future Work
• References
• Chapter 20: Storytelling and Digital Epigraphy-Based Narratives in Linked Open Data
• 20.1 Introduction: “Every Inscription Has a Story to Tell´´
• 20.2 The EAGLE Storytelling App
• 20.2.1 Design, Rationale, and Intended Users
• 20.2.2 The EAGLE Stories
• 20.2.3 The Storytelling App for Authors
• 20.2.4 The EpiDoc Generic Renderer
• 20.2.5 Beyond EAGLE: Modularity and Extensibility
• 20.3 Signs of Life: The EAGLE Virtual Exhibition
• 20.3.1 Aims and Objectives
• 20.3.2 Structure
• 20.3.3 Functionalities
• 20.4 Conclusions
• References
• Part VIII: Museum Applications
• Chapter 21: AM-Based Evaluation, Reconstruction, and Improvement of Cultural Heritage Artifacts
• 21.1 Introduction
• 21.2 Entry Point and Precondition: Solid 3D CAD Model and Dataflow
• 21.3 3D Printing
• 21.4 Applications
• 21.4.1 3D Printed Models
• 21.4.2 Integrating and Improving Cultural Heritage Artifacts
• 21.5 Case Studies
• 21.5.1 Reconstruction of Missing Parts
• 21.5.2 Big Objects
• 21.5.2.1 Group of Persons
• 21.5.2.2 The CHIO Horse
• 21.5.2.3 The Sword of Messieur Dominique Perrault
• 21.6 Scientific Investigations
• 21.6.1 The Bust of the Egyptian Queen Tiye
• 21.6.2 The Bust of the Egyptian Queen Nefertiti
• 21.7 Commercial Aspects
• 21.8 Conclusion
• References
• Chapter 22: The Willing Suspension of Disbelief: The Tangible and the Intangible of Heritage Educati
• 22.1 Introduction: The Willing Suspension of Disbelief
• 22.2 Visualizing Isaiah, the Project
• 22.3 Text-Object-Text Loop and the Online Museum
• 22.4 The Virtual and the Physical in Heritage-Related Education: Lesson from an EU Project
• 22.5 Visualizing Isaiah Questionnaires: Quantitative and Qualitative Evaluation
• 22.6 Conclusions
• References
• Chapter 23: Modelling of Static and Moving Objects: Digitizing Tangible and Intangible Cultural Heri
• 23.1 Introduction
• 23.2 State of the Art in 4D CH Modelling
• 23.2.1 4D Modelling of Tangible CH Assets
• 23.2.2 4D Modelling of Intangible CH Assets
• 23.2.2.1 Digitalizing Intangible Cultural Heritage Content
• 23.2.2.2 3D Modelling of Moving Objects
• 23.2.2.3 Symbolic Representation and Semantic Signature Extraction
• 23.3 The Proposed 4D Modelling Procedure
• 23.3.1 4D Modelling of Tangible CH Assets
• 23.3.2 4D Modelling of Intangible CH Assets
• 23.3.2.1 Choreographic Analysis, Design and Modelling
• 23.3.2.2 Capture and 3D Modelling of Static Objects
• 23.3.2.3 3D Modelling of Moving Objects
• 23.3.2.4 Symbolic Representation and Extraction of Semantic Signatures
• 23.4 4D Viewer
• 23.5 Conclusions
• References
• Index