Visual Computing for Cultural Heritage

Preface
Contents
Part I Computer Graphics
1 Computer Graphics for Archaeology
1.1 Introduction
1.2 Maritime Archaeology
1.3 Surveying
1.4 Recording
1.5 Sharing
1.6 Reconstructing
1.7 Conclusion
References
2 Studying Illumination and Cultural Heritage
2.1 Introduction
2.2 High-Fidelity Rendering and Display of Heritage
2.2.1 Representing Geometry, Material and Light
2.2.2 Capturing Light
2.2.3 Modelling Light
2.3 Rendering and Light
2.3.1 Rasterisation
2.3.2 Ray Tracing
2.4 High Dynamic Range Imaging
2.4.1 Digital Camera Content Acquisition
2.4.2 HDR Content Visualization
2.4.3 Image-Based Lighting (IBL)
2.5 Case Study: Panagia Angeloktisti
2.5.1 Discussion
2.6 Conclusion
References
3 High Dynamic Range in Cultural Heritage Applications
3.1 Introduction
3.1.1 High-Fidelity in CH
3.2 High-Dynamic-Range
3.2.1 Light and Luminance
3.2.2 Colour
3.2.3 Contrast and Dynamic Range
3.3 High Dynamic Range Pipeline
3.3.1 Capture
3.3.2 Storage
3.3.3 Display
3.4 Tone Mapping
3.5 Dynamic Range Expansion
3.6 Using HDR in CH Applications
3.6.1 Documentation
3.6.2 Visualisation
3.7 Conclusions
References
4 Procedural Modeling for Cultural Heritage
4.1 Introduction
4.2 Foundations
4.2.1 Fractal Geometry
4.2.2 L-systems
4.2.3 Shape Grammars
4.3 Procedural Modeling of Urban Environments
4.3.1 Procedural Modeling of Terrains
4.3.2 Procedural Modeling of Vegetation
4.3.3 Procedural Modeling of Road Networks
4.3.4 Procedural Modeling of Buildings
4.4 Procedural Modeling of Cultural Heritage
4.5 Conclusions and Future Challenges
References
Part II Computer Vision and Photogrammetry
5 Providing Access to Old Greek Documents Using Keyword Spotting Techniques
5.1 Introduction
5.2 Preprocessing
5.2.1 Binarization and Enhancement
5.2.2 Orientation and Skew Correction
5.2.3 Noisy Border and Frame Removal
5.2.4 Word Segmentation
5.2.5 Segmentation Free Approaches
5.3 Feature Extraction and Word Retrieval
5.3.1 Methodologies
5.3.2 Linguistic Approaches
5.4 Evaluation
5.4.1 Datasets
5.4.2 Protocols and Measures
5.4.3 Evaluation Results
5.5 Conclusions
References
6 Machine Learning for Intangible Cultural Heritage: A Review of Techniques on Dance Analysis
6.1 Introduction
6.2 Dance Summarization
6.3 Laban Movement Analysis
6.4 Pose Recognition and Dance Movement Classification
6.5 Conclusion
References
7 Classification and Detection of Symbols in Ancient Papyri
7.1 Introduction
7.2 Symbol Extraction
7.2.1 Results of the Automatic Symbol Extraction Method
7.3 Classification of Papyri Symbols
7.3.1 Background Theory
7.3.2 Dataset
7.3.3 HOG Features with Linear SVM
7.3.4 Convolutional Neural Network Classifier
7.3.5 Results of Symbol Classification Methods
7.4 Detection of Papyri Symbols
7.4.1 Scanning the Papyrus Image
7.4.2 Handling the “None of the Above” Class
7.4.3 Classifying the Patches
7.4.4 Results of Symbol Detection System
7.5 Conclusions, Limitations, and Future Directions
References
8 Image-Based Underwater 3D Reconstruction for Cultural Heritage: From Image Collection to 3D. Critical Steps and Considerations
8.1 Introduction
8.2 State of the Art in Underwater Image-Based 3D Reconstruction for Cultural Heritage
8.2.1 Diver Based Data for Underwater 3D Reconstruction
8.2.2 Autonomous Underwater Vehicle (AUV) and Remotely Operated Vehicle (ROV) Based Data for Image-Based Underwater 3D Reconstruction
8.3 Implications to Bundle Adjustment and Structure from Motion
8.3.1 Camera Calibration
8.3.2 Network of Control Points Establishment and Solving
8.4 Colour Processing of Underwater Images
8.4.1 Caustics Effect
8.4.2 Underwater Image Restoration and Underwater Image Enhancement
8.4.3 Pre-processing or Post-processing the Underwater Imagery
8.5 Conclusions
References
Part III Extended Reality
9 Virtual Reality Reconstruction Applications Standards for Maps, Artefacts, Archaeological Sites and Monuments
9.1 Introduction
9.2 Interdisciplinary Teams in VR Reconstruction Applications
9.3 User’s Perception of a VR Environment
9.4 A Virtual Reality Reconstruction Methodology
9.4.1 Typical Steps in a VR Reconstruction Process
9.4.2 Stage 1: Selecting an Archaeological Site and Tools for Collecting Archaeological Data
9.4.3 Stage 2: Reconstructing the Archaeological Site
9.4.4 Stage 3: Tools for Reconstructing Archaeological Sites, Maps, Artefacts, and Monuments
9.4.5 Stage 4: Data Acquisition or “The Battle for Realism” in VR Reconstruction Applications
9.5 Conclusion
References
10 Using Augmented Reality, Gaming Technologies, and Transmedial Storytelling to Develop and Co-design Local Cultural Heritage Experiences
10.1 Humanistic Frameworks for Cultural Heritage Storytelling
10.2 Humanistic Frameworks for Cultural Heritage Storytelling
10.3 Context for Research and Development: University Research and Regional Development in the KASTiS Project
10.4 KLUB: Transmedial Storytelling and Co-design Practices for/with Stakeholder Engagement
10.5 Reflections and Lessons Learned
10.6 Spin-off Effects and Related Story-Games
References
11 Tackling Problems of Marker-Based Augmented Reality Under Water
11.1 Introduction
11.2 Performance of Image-Enhancing Algorithms
11.2.1 Tested Image Enhancing Algorithms
11.2.2 Results of Enhancing Underwater Images
11.2.3 Summary of Algorithms Enhancing Underwater Images
11.3 Methodology of the Second Test
11.3.1 Testing Sites
11.3.2 Tested Algorithms
11.3.3 Results in Various Environments
11.3.4 Summary of Algorithms Performing in Various Environments
11.4 Underwater Marker-Detecting Algorithms
11.4.1 Structure of Marker-Detecting Algorithm ARUco
11.4.2 Use Case: Presenting Submerged Ancient Buildings with AR
11.5 Conclusion
References
12 A True AR Authoring Tool for Interactive Virtual Museums
12.1 Introduction
12.2 Previous Work
12.2.1 The M.A.G.E.S Platform
12.2.2 Holographic Virtual Museums
12.2.3 Platforms for Gamified Content Creation
12.3 Mixed Reality Sample App Application
12.4 Integrate AR Features into M.A.G.E.S. Platform
12.4.1 The Modular Device Controller
12.4.2 Interaction with Holographic Objects
12.4.3 Port an AR Application to a VR System
12.5 An Interactive AR Cultural Heritage Application
12.6 Conclusions and Future Work
References
Part IV Serious Games
13 Transforming Heritage Crafts to Engaging Digital Experiences
13.1 Introduction
13.2 State-of-the-Art in Craft Representation and Presentation
13.2.1 Historical Research on the Practice of HCs
13.2.2 Digitization of TCH
13.2.3 Digitization of CH Activities
13.2.4 Representation of Contextual and Semantic Knowledge
13.2.5 Knowledge Based Narratives
13.2.6 Presentation of CH Through Digital Experiences
13.3 Requirements of Heritage Craft Representation and Presentation
13.3.1 Representation
13.3.2 Presentation
13.4 Discussion and Future Work
References
14 Everyone Is not a Gamer! Developing Cultural Heritage Experiences for Diverse Audiences
14.1 Introduction
14.2 Background
14.3 Developing Serious Games
14.4 Case Study of the Search for the Lost Gold Reserve
14.4.1 Overall Design of the Adventure Tour
14.4.2 Design of the Game and the Game Stations
14.4.3 Game Evaluation
14.5 Summary and Concluding Remarks
References
15 Beyond Virtual Museums: Adopting Serious Games and Extended Reality (XR) for User-Centred Cultural Experiences
15.1 Introduction
15.2 Virtual Museums: Bringing the User to the Centre
15.3 XR and Virtual Museums: Working Towards Immersive Experiences
15.4 Serious Games and Virtual Museums: Past and Present Case Studies
15.5 Current Challenges and Opportunities in the Industry
15.6 Discussion: A Conceptual Framework
15.7 Conclusion
References
16 Fostering Engagement with Cultural Heritage Through Immersive VR and Gamification
16.1 Introduction
16.2 Background
16.2.1 Video Games
16.2.2 Serious Games
16.3 I-Ulysses
16.4 Inhabited Virtual Dublin
16.5 Story Cross-Section
16.6 Conclusions
References
Part V Storytelling
17 Exploring the Potential of Visually-Rich Animated Digital Storytelling for Cultural Heritage
17.1 Introduction
17.2 The Site
17.3 Experience Production and Delivery
17.4 The Story: Concept and Design Choices
17.4.1 Why Fictional Storytelling?
17.4.2 Why Guided?
17.4.3 Why Visual?
17.4.4 Balancing the Site and the App
17.4.5 Separating Information from the Story Plot
17.5 Evaluation Process
17.5.1 Evaluation with Invited Visitors
17.5.2 Evaluation with Museum Visitors
17.6 Evaluation Findings
17.6.1 A Fictional Story
17.6.2 A Guided Experience
17.6.3 The Visual Elements
17.6.4 The Balance Between the Museum and the App
17.6.5 Story Versus Information
17.7 Discussion and Future Directions of Research
17.7.1 “Keep It for Later” Option
17.7.2 Collaboration—Social Interaction
17.7.3 Digital Storytelling as a Virtual Experience
17.8 Insights for Good Practice
17.9 Conclusions
References
18 Digital Storytelling
18.1 Interactive Digital Storytelling
18.2 Related Projects
18.3 Storytelling Methods
18.3.1 Baiae Case Study
18.3.2 Mostar Bridge Diving VR
18.3.3 Sarajevo War Tunnel VR
18.3.4 The First BH VR Movie
18.4 Web Technologies Used in IDS Applications
18.5 User Experience Evaluation
18.5.1 Qualitative Evaluations: Old Bridge Mostar
18.5.2 Quantitative Evaluations: Baiae
References
19 Storytelling in Virtual Museums: Engaging A Multitude of Voices
19.1 Introduction
19.2 Terms
19.2.1 A Short Story of Storytelling
19.2.2 Digital Storytelling
19.3 Rethinking Museums Through Storytelling
19.4 Interactive and Participatory Storytelling in VMs
19.4.1 Parts of Storytelling
19.4.2 Key Stages In Creating Multimodal Storytelling-Based Resources
19.5 Discussion of Theoretical Implications
19.5.1 Engaging Stories as an Enabling Factor for Meaning-Making
19.5.2 Narratives and the Construction of Knowledge: A Troubled Relation
19.5.3 Who Is Authorized to Tell the Stories? Towards a Polyphony-in-Dialogue
19.6 Conclusions
References
Part VI Preservation and Reconstruction
20 Analyzing Spatial Distribution of Photographs in Cultural Heritage Applications
20.1 Introduction
20.2 Related Work
20.3 Research Use Cases in Art and Architectural History
20.4 Spatiotemporal Browsing in 3D Web Environments
20.5 Analysis and Modeling of Phenomena
20.6 Statistical Visualization Methods
20.7 Discussion and Conclusion
References
21 Relict–Interpolated–Extrapolated–Speculative: An Approach to Degrees of Accuracy in Virtual Heritage Reconstruction
21.1 Introduction
21.2 Scientific Reconstructions
21.3 Case Study: Larochette Castle
21.4 Accuracy
21.5 Segmentation
21.6 Maximum Levels of Detail by Area
21.7 Examples
21.8 Conflicting Data
21.9 Dependencies
21.10 Interactivity
21.11 Conclusion
References
22 Preserving and Presenting Cultural Heritage Using Off-the-Shelf Software
22.1 Introduction
22.2 Preserving and Presenting Cultural Heritage Using CG
22.3 Case Studies
22.3.1 The “Exercise Smash” Virtual Heritage Experience
22.3.2 Creating Visualisations Using Game Engines for the New Forest Heritage Mapping Project
22.3.3 Poole Museum—Town Cellars Visualisation
22.3.4 Tidebanan: Visualizing the History of the Stockholm Metro
22.3.5 Virtual Reconstructions of Cranial and Postcranial Fragments Using Photogrammetry
22.4 Discussion and Conclusions
References