Visual Heritage: Digital Approaches in Heritage Science

Foreword
Contents
About the Editors
1 Introduction
References
Part I Global Perspectives in Heritage Science and Technology
2 Open World, Open Minds: Keeping a Global Dialogue. Reflections on the ReACH Initiative
2.1 Introduction
2.2 A Brave New World? Digital ‘Disruption’ and the New Museum Landscape
2.3 ReACH: A Collective and Global Re-think
2.4 The Need to Keep a Global Dialogue and an Open World
2.5 Conclusion
References
3 Developing an Ethical Framework for the Digital Documentation of Heritage Sites
3.1 Introduction
3.2 Background
3.2.1 Is Heritage Under Threat?
3.2.2 Heritage Is a Value-Centred Activity
3.2.3 ICOMOS Ethical Principles
3.3 An Emerging Framework
3.3.1 Related to Ethical Conduct
3.3.2 Related to Best Practices
3.3.3 Related to Cultural Heritage
3.3.4 Related to the Public and Communities
3.3.5 Related to Other Heritage Recording Specialists
3.3.6 Related to Qualifications
3.4 Discussion
3.5 Professional Obligations to Meet an Ethical Commitment
3.5.1 Obligation to Produce High-Quality Records
3.5.2 Obligation to Raise Awareness with Digital Heritage Records: What About Conflict of Interest, Preventing Personal Gain, and Respecting Privacy?
3.5.3 Obligation to Ensure Transmission of Information to Present and Future Generations
3.5.4 Obligation to Ensure Procedural Transparency When Producing Records
3.5.5 Obligation of Sharing Technology and Collaborating to Make It More Affordable
3.5.6 Obligation to Commit to Provide Training and Capacity Building to Fellow and Emerging Experts
3.5.7 Obligation to Participate in Professional Networks to Share Experiences and Further Development of Heritage Recording Practices
3.6 Biohazards and Lockdown Affecting Access to Heritage Places: What Is the Potential Role of Digital Technologies?
3.7 Conclusions
3.7.1 Closing Remarks
3.7.2 What’s Next
References
4 Curious Travellers: Using Web-Scraped and Crowd-Sourced Imagery in Support of Heritage Under Threat
4.1 Introduction
4.2 Heritage and Societal Need
4.3 Harnessing Public Interest
4.4 Web-Scraped Imagery
4.5 Mobile Mapping in Support of Web-Scraped Imagery
4.6 Mapping Heritage at a Country Scale
4.7 Conclusions
References
Part II Modelling, Interpreting and Reconstructing the Past
5 Visualising Deep Time History in Context Using Accessible and Emergent Technologies: The GLAM Sector Experience
5.1 Introduction
5.2 Background/Literature Review
5.3 Methodology
5.4 Discussion
5.5 Conclusion
References
6 Applications of 3D Modelling of Rock Art Sites Using Ground-Based Photogrammetry: A Case Study from the Greater Red Lily Lagoon Area, Western Arnhem Land, Northern Australia
6.1 Introduction
6.2 Methods
6.3 Data Hosting and Virtual Accessibility
6.4 Discussion
6.5 Conclusion
References
7 3D Documentation of Stone Sites at Ilulissat, West Greenland
7.1 Introduction
7.2 Materials and Methods
7.2.1 Graves
7.2.2 Sketch Plans
7.2.3 3D Models from SfM Photogrammetry
7.2.4 Human Remains: Anthropological Analyses and CT Scanning
7.2.5 Combination of the Digital Data
7.3 Results
7.4 Discussion
7.5 Conclusion
References
8 The Digital Restoration of an Ancient Skull’s Appearance for Palaeoanthropological Study
8.1 Introduction
8.2 Related Work
8.3 Methodology
8.3.1 Cranial Surface Data Modelling
8.3.2 Craniofacial Morphology Analysis
8.3.3 Craniofacial Reconstruction Based on Statistical Model
8.3.4 Realism Treatment
8.4 Case Study
8.4.1 Restoration of the Face of Princess Li Chui from the Tang Dynasty
8.4.2 Restoration of the Skull of Qihedong Ancient Human
8.4.3 Restoration of the Appearance of a Qin Dynasty Maid
8.5 Conclusion
References
9 Resurrecting Hor: The Philosophical Application of the Digital Tradition
9.1 Introduction
9.2 Background: Heritage, History and Digital Divinity
9.3 Methodology
9.4 Discussion
9.4.1 Reproduction
9.4.2 Resurrection
9.4.3 The Interface
9.4.4 The Code
9.4.5 Security and Maintenance
9.5 Conclusion
References
10 Visualising Animal Hard Tissues
10.1 Introduction
10.2 Background/Literature Review
10.3 Materials and Methods
10.3.1 Focus Stacking (Z-Stacking)
10.3.2 Laser Scanning and Texture Photography
10.3.3 Object Movies
10.3.4 CT Scanning
10.4 Results and Discussions
10.4.1 Problems Encountered in Imaging and Ways Forward
10.4.2 Development of the Web Resource
10.5 Conclusions
10.6 Tribute to Rachael Kershaw
References
Part III Digital and Virtual Heritage Research and Applications
11 Exploring 222 years in Space and Time: The User Experience of the Virtual Sydney Rocks
11.1 Introduction
11.2 Background
11.3 The Virtual Big Dig
11.4 The Virtual Sydney Rocks
11.4.1 Design Considerations
11.5 Results
11.6 Discussion
11.7 Conclusion
References
12 The Europe’s Lost Frontiers Augmented Reality Sandbox: Explaining a 2.5 Million Euro Project Using Play Sand
12.1 Introduction
12.2 Background
12.3 Methodology
12.3.1 Hardware
12.3.2 Software
12.4 Discussion
12.4.1 Dissemination to Experts and the General Public. The Problem of Forcing 4D Data into a 2D Format
12.4.2 Reception
12.5 Conclusion
References
13 Immersive Architectural Legacies: The Construction of Meaning in Virtual Realities
13.1 Introduction
13.2 Background
13.2.1 Real Environment (RE)
13.2.2 Augmented Reality (AR)
13.2.3 Augmented Virtualities (AV)
13.2.4 Virtual Environments (VE)
13.2.5 Experiencing the Tangible and Intangible in Virtual Realities
13.3 Case Study: The Gordon Wilson Flats
13.4 Methodology
13.4.1 Documentation
13.4.2 Representation
13.4.3 Dissemination
13.5 Exhibiting Digital Heritage
13.6 Discussion
13.7 Conclusion
References
14 Getting the Measure of Brochs: Using Survey Records Old and New to Investigate Shetland’s Iron Age Archaeology
14.1 Background to Old Scatness
14.2 Retrospective Photogrammetry and Chapter Intentions
14.3 Retrospective Structure-From-Motion (SfM) Photogrammetry from Film Slides
14.4 Retrospective SfM Photogrammetry from Old Digital Photos
14.4.1 Digital Photos from 2003
14.4.2 Digital Photos from 2015
14.5 Control Experiment, Detecting Stone Displacement Through Mesh-to-Cloud Distance
14.6 Case Study 1—the Blocked Inner Entrance to the Broch
14.7 Case Study 2—the North Cell Staircase
14.8 Case Study 3—the Exterior Entrance to the Broch and Outer Wall
14.9 Conclusion
References
15 Digital Refit Analysis of Anthropogenically Fragmented Equine Bone from the Schöningen 13 II-4 Deposits, Germany
15.1 Introduction
15.2 Site Description
15.3 Taphonomy
15.4 Methodology
15.5 Sample Digitisation
15.6 Refit Analysis
15.7 Results and Discussions
15.8 Conclusion
References
16 Industrial Conservation: Digital Data Applications in Heritage Science and Engineering Contexts
16.1 Introduction
16.2 Background
16.3 Inspection and Analysis
16.3.1 The Wallace Monument Bronze Statue
16.3.2 Grand Fountain, Paisley
16.4 Reverse Engineering—Coalbrookdale Fountains, Lurgan and Wigan Case Study
16.5 Physical Interventions—Linlathan Bridge
16.6 Visualisation—The Ross Fountain
16.7 Learning and Engagement—Go Forth!
16.8 Conclusions
References
17 Archival Photography, UAV Surveys and Structure-from-Motion Techniques for Local Heritage Management
17.1 Introduction
17.2 Background
17.2.1 Summary of Aerial Imagery Technologies
17.2.2 Aerial Surveys
17.3 Methodology
17.3.1 Study Site
17.3.2 Case Study 1 Using Archival Imagery and SfM Technology to Develop DEMs
17.3.3 Case Study 2 Modern UAV Surveys with SfM to Develop New Aerial Imagery Maps
17.4 Discussion
17.5 Conclusion
References
18 A Rapid Approach to the Digital Documentation of Bradford’s Rich Industrial Heritage
18.1 Introduction
18.2 Background
18.3 Method
18.4 Results
18.5 Discussion
18.6 Conclusion
References
Part IV Cultural Connections and Creative Industries
19 Manual/Digital Interactions in ‘Project code-named Humpty’
19.1 Introduction
19.2 Context
19.3 Methodology
19.4 Discussion
19.5 Conclusions
References
20 Error Bred in the Bone
20.1 Introduction
20.2 Methodology
20.3 Methods
20.4 Results & Discussion
20.5 Conclusion
References
21 Fad Touch: Creative Economy Engagement
21.1 Introduction
21.2 CEEF1: 3D Replicas within the UCM
21.3 CEEF2: The Pop-Up Egyptian Coffins Project
21.4 CEEF3:‘The Fitz, but in Bit’
21.5 CEEF4: Box of Travelling Objects/Ideas
21.6 Conclusion
References
22 The Face of Stonehenge: 3D Surface Scanning, 3D Printing and Facial Reconstruction of the Winterbourne Stoke Cranium
22.1 Introduction
22.2 Background/Literature Review
22.3 Methods
22.4 Results and Discussion
22.4.1 Creating a High-Fidelity Printable 3D Model
22.4.2 Reconstructing the Face of Winterbourne Man
22.5 Conclusions
References
23 A Framework for Sharing Cultural Heritage Objects in Hybrid Virtual and Augmented Reality Environments
23.1 Introduction
23.2 Virtual Objects—Connecting the Virtual and the Real Environments
23.3 Contextual Experience Cycle of Virtual Exhibitions
23.4 Designing the HVAR Environments for Sharing Cultural Heritage Objects
23.5 Evaluating the HVAR Environments for Sharing Cultural Heritage Objects
23.6 Discussion
23.6.1 Interactions with Objects
23.6.2 Engagement and Communication Between Subjects
23.7 Conclusion
References
Part V Intangible and Hidden Narratives
24 ‘Britons: Your Crowdsourcing Commemorative Page Needs You’: Imaging and Re-imagining the Digital Memory of the First World War
24.1 Introduction—The First World War and Popular Memory
24.2 Crowdsourcing the Centenary
24.3 Methods—Critical Code Studies and the Discourses of Crowdsourcing
24.4 Results and Discussion—Creating Narratives of Memory and Engagement
24.5 Conclusion
References
25 Telling Difficult Stories: VR, Storytelling and Active Audience Engagement in Heritage Sites and Museums
25.1 Introduction
25.2 Background/Literature Review
25.3 Methodology
25.4 Case Study: ‘The Eye as Witness-Recording the Holocaust’ (National Holocaust Centre and Museum, Newark, UK), 2020
25.5 Conclusions
References
26 Virtual Environments as Memory Anchors
26.1 Introduction
26.2 Background
26.3 Memory Anchors
26.3.1 Virtual Environments as Memory Anchors
26.4 How Can Immersive Virtual Environments Sustain Memory?
26.4.1 Purpose and Responsibility
26.4.2 Risks and Responsibility
26.5 Conclusion
References
27 Afterword
References