When making land-use plans, it is necessary to inventory and catalogue the geological heritage and geodiversity of a site to establish an apolitical conservation protection plan to meet the educational and social needs of society. New technologies make it possible to create virtual databases using virtual globes – e.g., Google Earth – and other personal-use geomatics applications (smartphones, tablets, PDAs) for accessing geological heritage information in “real time” for scientific, educational, and cultural purposes via a virtual geological itinerary. Seventeen mapped and georeferenced geosites have been created in Keyhole Markup Language for use in map layers used in geological itinerary stops for different applications.
This paper provides a logical and methodological reconstruction of the evolving concept of Augmented Reality (AR) and also of the paradigmatic shift in art, caused by this emerging technology. It starts with an analysis of the notion of Augmented Reality, that leads to the construction of a conceptual model and a definition which together capture the nature of present AR applications. This is followed by a detailed conceptual analysis of major types of Augmented Reality that contribute to an understanding of current concepts. Finally, the resulting conceptual models are applied to the newly emerging field of Augmented Reality Art in order to assess the paradigmatic potential of AR as a new artistic medium. The paper puts a strong emphasis on the effective and adequate visualisation of the analysed conceptual frameworks, in order to promote a better comprehension of the logical structures underlying the notions of Augmented Reality and AR Art. This paper was intended to be presented at the opening of the First International Symposium on Augmented Reality Visualisation and Art, proposed and chaired by the author as part of the 16 th International Conference on Information Visualization, IV2012. Keywords--Augmented reality, augmented reality art, logical and methodological analysis, conceptual model, visualization, concept visualization. 1.
While previous work exists on how to conduct and disseminate insights from problem-driven visualization projects and design studies, the literature does not address how to accomplish these goals in transdisciplinary teams in ways that advance all disciplines involved. In this paper we introduce and define a new methodological paradigm we call design by immersion, which provides an alternative perspective on problem-driven visualization work. Design by immersion embeds transdisciplinary experiences at the center of the visualization process by having visualization researchers participate in the work of the target domain (or domain experts participate in visualization research). Based on our own combined experiences of working on cross-disciplinary, problem-driven visualization projects, we present six case studies that expose the opportunities that design by immersion enables, including (1) exploring new domain-inspired visualization design spaces, (2) enriching domain understanding through personal experiences, and (3) building strong transdisciplinary relationships. Furthermore, we illustrate how the process of design by immersion opens up a diverse set of design activities that can be combined in different ways depending on the type of collaboration, project, and goals. Finally, we discuss the challenges and potential pitfalls of design by immersion.
Conversational agents in virtual environments are an established approach for immersively conveying the information and narratives of museums and cultural heritage while expanding their accessibility to a wider and remote audience. The rapid development of large language models and text-to-speech technologies has raised the agents’ conversational level significantly, which allows their use for proactive guidance of visitors. This raises the vital question of how such agents should be visually represented to promote Knowledge transfer in immersive virtual environments. In this paper, we compared two representation concepts for agent embodiments in the context of a virtual museum by examining a stylized humanoid guide and a novel animism-based approach that enables users to talk to exhibited objects. Our work addresses the challenge of naturally introducing a virtual educational environment to users and encouraging their interest and engagement with the content. A user study (N=29) revealed high usability and similar presence scores for the experience with each of the embodiments. A majority of participants showed a preference for the animated objects. In terms of user experience, they evoked significant stimulation and high levels of engagement. Our results suggest that agents that show emotions through appropriate word choice influence engagement levels. Based on our findings, we recommend humanoid guides for delivering general background information, while animated objects promote detailed questions about their own stories and a more stimulating exchange.
Many people have their own camera or recording devices such as cellar phones and digital cameras. When there is a big event, a lot of pictures and movies are taken from various places at the same time. People want to record events with their digital devices as a memory or remembrance. We have some services to share these photos and movies, however, there is no viewer suitable to summarize and integrate these photos and movies for one event. Especially, when one event does not occur at one place but occur in a large area, it is difficult to visualize them. In this paper, we propose a novel viewer which enable people to see various experiences occurred at the same time. The viewer provides us three-dimensional view which includes space axis and time axis. We selected an event that occur in a large area, ”the Last Run of the Express Noto”. The Express Noto is a train that runs from Tokyo to Kanazawa in Japan and takes about 7 hours. There is the last run event of the Express Noto in March, 2010. We recorded the event various kinds of recording methods, e.g., a digital camera, an portable movie camera, a voice recorder, tweets at “Twitter” with more than 10 people. Then we apply our data to our viewer that can visualize them three-dimensionally for easy understanding the expanse of simultaneous experience information. For evaluation of our system, we demonstrated this system at “The Railway Museum” in Japan, and find out usefulness which it’s used at museum. I.
As more people rely on visualization to inform their personal and collective decisions, researchers have focused on a broader range of audiences, including “novices.” But successfully applying, interrogating, or advancing visualization research for novices demands a clear understanding of what “novice” means in theory and practice. Misinterpreting who a “novice” is could lead to misapplying guidelines and overgeneralizing results. In this paper, we investigated how visualization researchers define novices and how they evaluate visualizations intended for novices. We analyzed 79 visualization papers that used “novice,” “non-expert,” “laypeople,” or “general public” in their titles or abstracts. We found ambiguity within papers and disagreement between papers regarding what defines a novice. Furthermore, we found a mismatch between the broad language describing novices and the narrow population representing them in evaluations (i.e., young people, students, and US residents). We suggest directions for inclusively supporting novices in both theory and practice.
this paper presents the initial results from a project that aimed to collect visitor data at a traveling exhibition starting at the Regional Museum in Kristianstad, Sweden during 2014-2016. The project was intended also to contribute to the creation of an atmosphere “About time”, which was the subject of the exhibit. We built a system that was integrated as an interactable part of the exhibition by using elements of quiz game mechanics in combination with elements of data based tracking applications and elements of visual art installations. The data provides statistics which are used to visualize the current status of the visitors’ attitude toward specific questions about time, imprinting the visitors themselves an integral part of the exhibition. Visitors build a visual Game Ego when answering questions and at the same time provided statistical data that can be monitored and extracted from the system. The results show that we succeeded to some degree but more can be done towards incorporating game design elements to engage the user, such as feedback and challenge. Keywords— quiz games; survey techniques; art installations; digital applications in museum environments; tracking applications I.
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This demo paper presents a locative, site-specific, augmented-reality game for a WW1 historical site. The work constitutes the preliminary results of a research collaboration between two universities, one museum and a developer of serious games. The challenge was to produce an interactive, playful and educational digital experience based on the results of research into national policy and other cultural forces in relation to food and nutrition in Denmark during WW1. The resulting game needed to have a high technology readiness level and be deployed in the historical site for use by visitors. The research collaboration produced several innovations in location-based augmented-reality games for cultural heritage that are likely to be of interest to researchers and developers working in this space: (a) a way to present complex content that requires multiple perspectives in a geolocatable double structure; (b) the use of a visual aesthetic that resonates highly with the historical period in question in order to encourage reflection that relates the past to the present; (c) an approach to adding supplementary historical information in a fashion that aims not to overload the player with information during the play experience. While we have yet to evaluate the work through a user trial, this demo paper presents our design motivations and solutions that arose from the collaboration and the complex historical material.
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This paper focuses on the design parameters of mobile electronic guides for cultural sites and museums. We treat issues like user interaction and portability and present practical solutions for their installation and operation in uncontrolled indoor and outdoor environments. Initial experiences from the archaeological site of Pompeii, Italy, are reported. The major contribution of the paper is the proposal of a new concept, that of "light" Augmented Reality for portable guides which we believe will dominate the field of cultural guiding in the near future. Our implementation aims at setting the standards for such applications and initial qualitative results are presented from its test use.
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We describe a prototype system that combines the overlaid 3D graphics of augmented reality with the untethered freedom of mobile computing. The goal is to explore how these two technologies might together make possible wearable computer systems that can support users in their everyday interactions with the world. We introduce an application that presents information about our university's campus, using a head-tracked, see-through, head-worn, 3D display, and an untracked, opaque, hand-held, 2D display with stylus and trackpad. We provide an illustrated explanation of how our prototype is used, and describe our rationale behind designing its software infrastructure and selecting the hardware on which it runs.
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In the project SPIRIT, we developed a playable prototype of location-based Augmented Reality storytelling for museums. In order to develop a full experience, several aspects have been tackled by an interdisciplinary team, which are described here: the SPIRIT app catering to special location-based experiences, the formalized content structure STARML supporting authoring, a plot engine managing content based on STARML, integrated concepts for interaction as well as interactive storytelling. The result is an extensible system that constrains the design for a specialized experience. The paper describes each of the aspects and discusses potential extensions of the system for further application.
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Can Augmented Reality (AR) techniques inform the design and implementation of a mobile multimedia guide for the museum setting? Drawing from our experience both on previous mobile museum guides projects and in AR technology, we present a fully functional prototype of an AR-enabled mobile multimedia museum guide, designed and implemented for the Museum of Fine Arts in Rennes, France. We report on the life cycle of the prototype and the methodology employed for the AR approach as well as on the selected mixed method evaluation process; finally, the first results emerging from quantitative evaluation are discussed, supported by evidence and findings from the qualitative part of the assessment process. We conclude with lessons learned during the full circle of conception, implementation, testing and assessment of the guide.
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An Augmented Reality (AR) prototype, CubeMuseum, is proposed in this paper to present an embodied experience with virtual museum collections. With a cost-effective cube and a smartphone application, users can view and interact with 3D museum objects embodied on the cube. Detailed design of the prototype is presented to illustrate the approaches to visualize, present, and interact with virtual objects. CubeMuseum has been evaluated by hundreds of users in both laboratory studies and public exhibitions. The results indicated that the prototype is simple yet effective. It demonstrates several benefits and potential implications in supporting user engagement and learning experience. This research provides insights to researchers and practitioners in designing interactive cultural heritage experiences using a cost-effective approach.
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Cultural heritage institutions store and manage large volumes of historical information, that have great material and humanitarian value. Their means of data organization, often obsolete, hinders the dissemination and reuse of information to be made in an effective way. In this sense, an application of Linked Open Data (LOD) technology is the possibility to extend the knowledge of a collection, with the use of open data already consolidated on the web to describe artworks or any type of physical object. This paper introduces a generic architecture based on an Extract, Transform, Load (ETL) methodology that connects LOD data from cultural heritage available on the web, generates descriptive content for physical objects and provides the mapping of research institutes engaged in studying them, highlighting their collaboration network. For instance, an implementation of the architecture was dedicated to the domain of Botany and can assist herbarium managers in creating exhibitions about medicinal plants. In this paper, we present a software architecture that provides an automatic method for creating dynamic pages from data stored in interconnected databases, and an application, which supports visitation systems with visualization and interaction mechanisms to encourage visitor learning. Keywords— Cultural Heritage; Linked Open Data; Georeferencing; Botany; RDFa. I.
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In the SPIRIT research project, a location-based Augmented Reality (AR) storytelling application has been developed with the goal to support the imagination of lively historical events at places of cultural significance. We describe a showcase scenario and report on its quantitative and qualitative evaluation, conducted at the Saalburg Roman fort, an outdoor museum site near Bad Homburg in Germany. 107 random voluntary visitors were observed using the app, before filling questionnaires that were then analyzed with SPSS. Specifics of the app include a novel interaction pattern that uses positioning sensors of mobile devices and image recognition to trigger content, featuring transparent videos as ghost-like overlays on the camera image of the environment. Results presented in this paper show that in general, the app was effective and fun to use. Further, there have been differences in the experience of presence concerning the AR representation, as well as in the comprehension and appreciation of the story’s content. Concluding, we discuss influencing parameters on the results and draft hypotheses for future work.
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explorAR is a project that provides a new experience to learn the world of the past by exploring mixed reality with your phone. In this interactive experience, users engage with the museum and with each other by collecting artifacts which include fossils, paintings, statues, and other historical objects. Users will learn how to preserve historical objects by extracting fragments of artifacts, how to collaborate with each other by combining fragments of missing artifacts, how to express their creativity by designing their own virtual gallery, and how to participate in a crowdsourced research. We developed the concept using human-centered design approaches which includes interviews, personas, prototypes, and user testing.
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The Book of Songs is regarded as the origin of Chinese literature and has a prolonged impact on Chinese culture, aesthetics, and morality. In this work, we have analyzed the 305 poems in The Book of Songs from different dimensions. We aim to learn how various poetic imageries connect abstract themes and subjective emotions at the micro level, and how the poems connect people today and ancestors to understand the universal, everlasting, and poetical human lives at the macro level. Authors Keywords Digital Humanities; Cultural Heritage; Data Visualization; Data Art;
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We describe an experimental mobile augmented reality system (MARS) testbed that employs different user interfaces to allow outdoor and indoor users to access and manage information that is spatially registered with the real world. Outdoor users can experience spatialized multimedia presentations that are presented on a head-tracked, see-through, head-worn display used in conjunction with a hand-held pen-based computer. Indoor users can get an overview of the outdoor scene and communicate with outdoor users through a desktop user interface or a head- and hand-tracked immersive augmented reality user interface.
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Abstract This paper discusses the rationale for—and describes the methodology of—a new system of interactive storytelling being developed by the Ename Centre for Public Archaeology Heritage Presentation in Belgium. Based on 5 years' experience with multimedia heritage presentation systems, both on‐site and in museum contexts, this approach to the presentation of history and archaeology enables visitors to create their own ‘stories’ as they explore the information contained in a database. The collaborative virtual environment in this case is the visitor's exploration of a historical monument through a series of interactive panoramas and navigation options that allow the visitor to weave archaeological facts and historical information to larger narratives. Because the visitor can follow a number of different trajectories (of time, space and theme) through the monument, and can freely switch trajectories, hundreds of different narratives are possible. The creation of these interactive stories has a larger educational purpose. It has proved to be a uniquely flexible medium for the communication of personalized, interest‐oriented, and user‐driven heritage information for the general public. Copyright © 2003 John Wiley & Sons, Ltd.
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Cultural heritage (CH) plays an important role in realizing the Sustainable Development Goals (SDGs). In this paper, we focus on emerging technologies such as Augmented Reality (AR) and gamified learning to foster public understanding of cultural values in historical contexts. We design HeritageSite AR, an exploration game for onsite CH learning and visits with publics in Relics of Arhat Monastery and Twin Pagoda (also known as Shuangta). Based on research investigation of technical means, expert semi-structured interviews and online survey, we distill and incorporate four design goals using user journey map. The implemented game design is evaluated with respect to three design components (i.e., reality, meaning, play) and four stages (i.e., trigger, engage, consolidate, relate) in CH visits. We conclude our work with a discussion of contributions to SDGs.
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Museums and libraries store a huge number of data related to their exhibition objects. Often, these data cannot be presented in exhibitions because of limited space or limited time during guided tours. Interweaving these physical artifacts with data visualization on digital media can help to make these data visible and searchable for visitors independently. Concepts and best practices for such situated visualizations are still rare. Our approach is to utilize the visitor's own device to enhance the museum visit through interactive data visualization. Thus, the visitor gets the ability to interactively gain more information on topics of interest or can link different topics.
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Quality education and well-being have always been the focus of sustainable development as social concerns, with an increasing demand for enriched cultural activities. Shared experiences, especially in family setting, bring about a better understanding of culture and foster public interest. In this context, our research endeavors to promote the philosophies and historical insights of Yangmingism while concurrently seeking to uplift family well-being through the immersive cultural exposure offered by Yue Opera, a national opera in China. To intertwine the cultural content for a consistent and continued experience, we design LanternOperAR, a hybrid gift for cultural appreciation, learning and recreation. We fully consider and respect user interests and requirements among different target groups to provide playful interaction in cultural activity, thereby promoting cultural inheritance and strengthening family ties.
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In the SPIRIT project, a location-based Augmented Reality (AR) application has been developed to stimulate the imagination of historical personal life at outdoor places. This paper presents quantitative evaluation results concerning the app’s potential for educational purposes. They are based on 107 questionnaires filled by visitors of a Roman fort museum site, having used the AR app in a 40 min tour over several locations. At each place, users can turn into several directions and see keyed video representations of acting characters superimposed on their device’s camera image. The fictional events are made up based on historical facts specific to the location. Next to issues with the novelty of the interaction, there has been an interrelation of the subjects self-assessed gaining of knowledge and the appreciation of the story’s motivational factors.
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Mobile learning technologies can provide an important added-value to cultural tourism by supporting visitors in their direct field experience. Providing engaging experiences is a key factor to the success of educational and entertainment products. We have researched how mobile gaming can help tourists and citizens enhancing their experience when interacting with Cultural Heritage. GeoJoko aims at designing and implementing context-based mobile games that will allow users to enhance their experience about Cultural Heritage and collective memory. The prototype includes location technologies that provide the location of each of the players in real time. Contents can be both streamed in real time over the infrastructure provided by the Public Administration within the "wireless cities" concept or downloaded to the mobile device of the player. This approach is innovative since it exploits the challenge of location-based serious games in order to implement a mobile learning service that supports the user understanding the elements of Cultural Heritage.
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This paper describes a research and development project for a novel technology, making the conveyance of cultural heritage during a historic sightseeing tour a unique experience. The cornerstones of this system are mobile augmented reality, including a hybrid tracking approach, intelligent queries to pose complex questions about geographical and historical knowledge, as well as a story engine to interactively run a digital story. This system involves the user in a thrilling story while exploring the history and the attractions of the city.
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This paper describes the design and evaluation process of a location-based serious game in a heritage awareness context. Conveying knowledge regarding tangible cultural heritage with the help of video games is a well-established concept. Though many applications in this domain have proven to be effective, they always rely on restrictions regarding time, place and usage of specific hardware. In contrast to previous approaches, we have developed Memorial Quest, a serious game with the objective to convey knowledge regarding cultural heritage objects accessible without aforementioned constraints. We examined educational effects by conducting a user study (n = 40) in which we compared our game to a common learning method in cultural heritage. Statistical analysis of the results revealed that learning effects were significantly larger when playing the game instead of perceiving the same contents in a traditional way. With the help of questionnaires and qualitative data, we identified possible flaws and elaborated potential improvements for future iterations.
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Combining augmented reality (AR) and physicalization offers both opportunities and challenges when representing detailed historical data. In this article, we describe a framework where mobile AR supplements views of 3-D prints of historical locations with interactive functionality and small visual details that the prints alone cannot display. Since seeing certain details requires bringing the camera close to the physical objects, the resulting camera frames may lack the visual information necessary to determine objects’ positions and accurately superimpose the overlay. We address this by enhancing tracking of 3-D prints at close distances and employing visualization techniques that allow viewing small details in ways that do not interfere with tracking. To demonstrate these techniques, we apply our framework to the preservation of two heritage sites that represent large real-life areas containing smaller details of interest.
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We reflect on a four-year engagement with transport authorities and others involving a large dataset describing the use of a public bicycle-sharing scheme. We describe the role visualization of these data played in fostering engagement with policy makers, transport operators, the transport research community, the museum and gallery sector and the general public. We identify each of these as ‘channels’ – evolving relationships between producers and consumers of visualization – where traditional roles of the visualization expert and domain expert are blurred. In each case, we identify the different design decisions that were required to support each of these channels and the role played by the visualization process. Using chauffeured interaction with a flexible visual analytics system we demonstrate how insight was gained by policy makers into gendered spatio-temporal cycle behaviors, how this led to further insight into workplace commuting activity, group cycling behavior and explanations for street navigation choice. We demonstrate how this supported, and was supported by, the seemingly unrelated development of narrative-driven visualization via TEDx, of the creation and the setting of an art installation and the curating of digital and physical artefacts. We assert that existing models of visualization design, of tool/technique development and of insight generation do not adequately capture the richness of parallel engagement via these multiple channels of communication. We argue that developing multiple channels in parallel opens up opportunities for visualization design and analysis by building trust and authority and supporting creativity. This rich, non-sequential approach to visualization design is likely to foster serendipity, deepen insight and increase impact. Index Terms—Movement visualization, visual analytics, bikeshare, impact, visualization models, design study. 1
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On-site investigation is a natural efficient way to cognize tangible, while immersive visualization engages human senses to percept information from data. Hence on-site immersive visualization is able to provide a better stereo environment for enhancing the understanding of real scene and gathering insight. With the development of technology, optical see-through head-mounted devices can help researchers achieve the goals. However, worldwide ancient murals suffer from various degradations related to compound environmental factors, which requires interdisciplinary researches. And because of the importance of on-site investigation in heritage protection field, on-site visualization has to meet the requirements of relative professors. In this paper, we present a novel mixed reality, on-site immersive mural degradation visualization solution for analyzing relevance between degradation and environment data. And a rapid, simple, low-cost and interactive method of degradation contour annotation is provided to solve the data sparse problem of standard degradation data. To demonstrate the visualization solution and the annotation method, two application results with real data from Mogao Grottoes and domain-expert feedback are given. The solution is on-site, immersive oriented and integrates secure designs for heritages. Our solution is flexible and effective so that it can provide a better data analysis environment than conventional planar visualizations. It also provides a promising way to change work styles. KeywordsOn-site visualizationImmersive environmentHeritage degradationDegradation annotation 1
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Augmented Reality (AR) goes beyond conventional methods of engagement with the public. It offers an interactive method to expand visualization techniques in civic engagement necessary for museum exhibitions that are focused on cultural and social issues. This paper discusses four AR projects conducted by a partnership between a history museum and a university in the City of Charlotte, USA. These projects, which utilize a variety of AR technologies, support a series of community events that are aimed at expanding overall public participation with a goal of increasing awareness of neighborhood history through data visualization and storytelling. Keywords— Augmented Reality, immersive technologies, civic engagement, data visualization, Geographic Information System I.
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Museums offer an ideal environment for informal cultural learning on heritage artifacts, where visitors get engaged in learning due to an intrinsic motivation. Sharing the museum space among visitors allows for collective learning experiences and socializing with each other. Museums aim to design and deploy Tangible User Interfaces (TUIs) in order to embrace the physical materialities of artifacts in the visiting experience. TUIs are believed to be more collaborative, attract more visitors, and persuade them to explore further. Cultural learning on heritage artifacts is particularly meaningful from the early age when opinions and attitudes are shaped. Museums accordingly follow a gamification approach (i.e., using game elements in a non-game context) to provide a collaborative and entertaining learning experience to young visitors. In this study, we investigate the implications of merging these two approaches in order to take advantage of the qualities of both TUIs and gamification in an educational museum context. Accordingly, we present TouchTomb and its evaluation in a real-world museum environment. TouchTomb is a situated tangible gamification installation that aims to enhance informal cultural learning for young visitors and to foster engagement and collaboration among them. The basis of the installation is a shared progress bar and three games with different spatial configurations, embedded into a custom fabricated replica of an original ancient Egyptian tomb-chapel wall on a 1:1 scale. Our field study involved 14 school visits with a total number of 190 school pupils (from 10 to 14 years old). We deployed a mixed-method evaluation to investigate how such a tangible gamification approach entertains and educates 15 pupils collectively for a maximum of 15 minutes, including the evaluation procedures. We particularly investigated how the different spatial configurations of the game setups influenced the stages of pupils’ cultural learning, and the levels of engagement and collaboration among them. We conclude the article by discussing the qualities of tangible gamification and its role in facilitating cultural learning. For instance, cultural learning is enhanced by situating heritage artifacts in the experience, and embedding learning in the reward system. Engagement and collaboration among visitors are fostered by creating a sense of ownership and designing a diversity of goals.
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This paper describes the Smart Survey Tool, a novel multi-device application for museum visitor tracking and tracking data visualization. The application allows museum staff to capture detailed information describing how visitors move around an exhibition and interact with individual exhibits. They can then visualize the results of tracking either on a single mobile device or with multiple mobile devices connected to a large display. The platform uses orthogonal views of the exhibition space for tracking and visualization, with a chess-pieceicon to represent visitors during tracking, and curved semi-transparent lines with animated semi-circles to communicate the path and direction of visitor movement. Our visualization is novel in its use of an orthogonal projection for pedestrian tracking and animation to communicate the flow of visitors around the exhibition space, as well as allowing users to dynamically switch between views representing different groups of visitors. The design of our application was informed through an extensive requirements analysis study conducted with Nanjing Museum and evaluated by conducting expert interviews with museum managers who considered that the application allowed for more effective and efficient recording and analysis of visitor tracking data. Index Terms: Human-centered computing—Visualization— Visualization application domains—Information visualization; 1I NTRODUCTION There is currently a massive effort within the academic and commercial research communities to develop indoor tracking and indoor GPS type technologies that can locate pedestrians inside a building and track their movement [1,7,17,20,36]. One of the primary motivations behind this research is to give building designers, and the people who manage public spaces, a better understanding of how people move around a building so they can design the building or modify the design (by placing attractions, moving shops, or renovating) to better control the movement of people in order to improve their experience and maximize commercial outcomes. However, this outcome depends not only on the effectiveness of technologies to collect tracking data, but also the availability of suitable analysis software that can help users to find important patterns in the data. The people in charge of public spaces need to be able to know about the density and flow of different types of visitor, at different times and under different conditions, in order to be able to make informed decisions about building space design and management. The focus of this paper is to develop a mobile software platform that helps with the collection and proper analysis of visitor tracking data to support this requirement. We also look to learn from the design decisions taken during the development of our system and would * e-mail: p.craig@xjtlu.edu.cn hope that anyone working on a similar problem could learn from our findings as presented in this paper. As a case study for the general problem of indoor pedestrian tracking and information visualization, we have been working with staff at Nanjing Museum develop new techniques to help us understand how visitors move around different museum exhibitions. Our initial requirements analysis with Nanjing Museum revealed that that tracking data could be extremely valuable toward understanding how visitors moved around museum exhibitions. It also revealed that the analysis of this data was expensive and limited with regard to what they could find out from larger scale data collected over a longer period of time. The results of tracking-data analysis were found to be very useful, but the museum staff had the feeling that they could get a lot more from their data if they could ask more questions of the data and had access to a more powerful interface that was capable of answering those questions. This called for us to support them by developing a dedicated application to collect and visualize tracking data [32]. Prior to the development of our tracking and visualization application, the main procedure for tracking visitors involved either pen-and-paper manual tracking (see figure Fig. 1) or automatic tracking using RFID tagging technology. The manual pen-and-paper approach involved using a paper copy of the exhibition floor-plan to record; the time a visitor arrives at an exhibit, when they leave the exhibit, and what they do at the exhibit (with activities such as taking a photo, reading text, concentrating etc.). This method was found to be quite flexible, and allowed trackers to capture a good range of different types of data. The problem with this technique is that writing down times to capture timing information gets to be tedious and different trackers tend to drift towards using different notation. The data also needs to be entered into a computer in order to generate any sort of meaningful summary of the data or perform anything more than the most basic analysis. This data-entry could be somewhat of an arduous task when data is collected for larger numbers of visitors. The alternative to pen-and-paper tracking is to use RFID tagging technology to automatically record the time spent by each visitor at each exhibit. This allows staff to record the movement of more visitors (i.e. all the visitors who use an audio guide with an RFID tag reader fitted) but has the disadvantage of not being able to record information about visitor demographics or activity at different exhibits. After tracking data was collected, museum staff would commission a report to summarize the data. This would include some statistics and images to describe different aspects of the data such as the density of visitors or the general movement of visitors around the exhibition space. Statistics would include mostly demographic data, such as the proportion of visitors from different economic groups, but also things like the most popular exhibit by total visits or time spent. The images included in the report would be heat-maps to show the density of visitors in different areas of the exhibition and directed graph view with arrows showing the path of each user around the exhibition (see figure Fig. 2). These reports were found to work well as a summary of the data but were less effective for 267 2019 IEEE Pacific Visualization Symposium (PacificVis) 2165-8773/19/$31.00 ©2019 IEEE DOI 10.1109/PacificVis.2019.00039 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. more in-depth analysis of larger scale data. The primary limitation of relying on a printed report for the analysis of tracking data was described to us as being a lack of flexibility to explore less obvious patterns contained in the data. For example, a printed report might have a heat-map that shows the most popular areas of the exhibition for all visitors. It may even show separate heat-maps showing the most popular exhibits for different genders or different hours of the week. It would, however, be impractical to have separate heat-maps for every possible type of visitor (by gender, age group, type of visitor) or ever different time (different hours, days of the week, weeks of the year etc.). The report would end up being overloaded with too many images and many of the images would be redundant as the patterns of visitor activity for groups of visitors would be similar to the pattern for all visitors. It would also be difficult to detect patterns without comparing different groups. Here, it makes more sense to allow museum staff to interact with the data in a way that allows then to quickly switch between different groups of visitors to observe how patterns of movement are different. Another significant limitation of the graphics used in the printed report was that the graph view, showing the movement of visitors, suffered from the problem of clutter and crossing lines [33] and was ineffective at showing the direction of visitor movement for larger groups of visitors. Anything more than around ten or twenty visitors (depending on the layout of the exhibition) would render the graph view pretty much useless as it would just appear as a grey mass of crossing lines (see Figure Fig. 2 for an example of this). The focus of the project described in this paper was to develop an interactive visual interface to overcome the limitations of the existing method for visitor tracking and tracking data visualization. This led us to develop a new mobile software platform including a tracking application to allow museum staff to track a sample of visitors to a museum exhibition, and a visualization application to support more effective analysis of the results. Figure 1: An annotated print-out of the museum floor-plan used for pen-and-paper tracking. 2RELATEDWORK There is a long history of tracking visitors to museum and galleries exhibitions [26, 29, 34] with most systematic methods developed over the past 20 years. The main challenges of visitor tracking are managing the cost associated with gathering data, and performing effective analysis of the data once data is gathered. There are a number of different methods that can be can be used to track visitors to museums or other public spaces. The most common method is for people to be tracked manually with their time at each exhibit recorded using pen and paper [34]. Tracking can Figure 2: Examples of the type of visual representation used in printed reports for tracking data. These are heat-maps to show the density of visitors in different areas of the exhibition, and directed graph views with arrows showing the path of visitors around the exhibition. also be automated using pedestrian tracking systems that employ video camera footage, RFID tags [1,7,21,27], or applications that monitor WIFI signal strength on the visitor’s smart-phone [17,20]. While automated tracking has the advantage of potentially higher throughput with less investment in manpower, manual tracking is generally thought of as being more accurate and can record more detailed information such as the type of activity that each visitor is engaged in at each exhibit. Once visitor tracking data is collected it can be visualized in order to understand patterns of visitor movement. The most common visualizations for this use heat-map type displays that show the density of visitors in different areas and graph views that show the most common paths for visitors around the exhibits [24, 30]. Additional insights are often gleaned from the data when it is filtered according to sample attributes such as age or gender [30] or attributes of the data such as the door by which visitors enter the exhibition or the first turn they take when they enter [8]. The most challenging aspect of visualizing visitor tracking data is showing the path and movement of visitors around the exhibition space [24, 30]. While existing graphical representations worked well for smaller scale data [8,24,25], when the data was scaled up these techniques are found to suffer from the problems of clutter and crossing lines [33]. Certainly, more powerful analysis techniques are needed to properly exploit the potential of large-scale tracking data [2,33]. For the purposes of information visualization, this sort of data can be considered as a specialized type of large-scale directed graph data where the positions of nodes are fixed. Display techniques that can be applied to this sort of data are curved lines to distinguish 268 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. between paths [14,19], edge bundling to simplify the view by gather similar paths together [4, 18, 23], and different methods (such as arrow heads, tapering, curves, color, and animation) for showing the direction of edges [22]. The curved line techniques applied to parallel plots [19] can be thought of as particularly applicable to the problem of visualizing visitor paths as different the edges in parallel plots also form distinct paths and the curves should be capable of helping us follow visitor paths in a similar way to how they help us follow parallel-plot paths. 3R EQUIREMENTSANALYSIS Our initial requirements analysis for this project took place over approximately one month with different groups of urban planners, museum exhibition planners and museum staff based in the United Kingdom and China. The number of personnel involved in our requirements analysis study was relatively small, including just eleven key project stakeholders, but we felt it was important to involve people who had a genuine interest in the projected functionality of the software. These were the staff involved in the United Kingdom Arts and Humanities Research Council funded ’Romantic Scotland’ exhibition to be held at Nanjing Museum, and included a core team of three urban planners, five permanent Chinese museum staff, and three of the United Kingdom staff responsible for the design and management of the exhibition. The project team also included visualization experts, mobile device developers and personnel familiar with a variety of indoor pedestrian tracking technologies. Over the course of four months we held a series of eight meetings with various members of the project team to arrive at our final application design. This initial requirements analysis was supplemented with smallscale evaluations of early prototypes (involving twenty or so students at the XJTLU university museum) for tracking and visualization. This allowed us to iron out usability issues and refine the interface design before a final trial run at the Nanjing Museum, and the actual tracking and visualization of the Romantic Scotland exhibition. The first stage of requirements analysis was to gather requirements for visitor tracking. This included site trips to the museum and Skype meetings with the exhibition planners in the UK to determine what technology would be most appropriate for tracking the museum visitors. The main outcome of this stage of requirements analysis was the information that the personnel responsible for managing the exhibition required three types of data. These were data related to the visitor, the visitors behaviour in the exhibition and the timing of their movement through the exhibition. These data are described in table 1. The requirement of the exhibition managers to collect behavioural data in addition to timing data made it necessary for us to use human observers rather than an automated technique such as RFID tagging [1,7,27] or Wi-Fi tracking [17,20]. However, the range of behaviours that they wanted to record made pen-and-paper tracking impractical. This made it necessary to develop some way to make the process of manual tracking more manageable. As the layout of the exhibition made it necessary for trackers to actually follow visitors in order to observe their behaviour, the development of a mobile tracking application seemed the most plausible solution. The second stage of requirements analysis focused on the potential users’ objective for tracking data analysis. Here we held a number of meetings, initially using the reports commissioned by the museum to help guide our dialogue to determine how the data should be visualized and later using our own sketches of how the application should look. These meetings also allowed us to identify the main types of pattern that the users wanted to be able to find in the data (summarised in table 2), and the different ways in which they wanted to be able to analyses the data (table 3). A requirement that was stressed as particularly important for our users was to be able to view and compare patterns for different demographic groups. As well as providing clues as to why particular Table 1: Different types of data the users wanted to record. DataDescriptionCharacterization VisitorIncluding data about the visitor, such as their gender and age, as well as general information about their visit to the exhibition such as the type of group they belonged to or how busy the exhibition was when they arrived. We initially identified a total of nine classifications (gender, age group, etc.) and around one hundred individual classes that a person could belong to (male, female, child, teenager etc.). BehaviourWhat the visitor does at each exhibit, for example, taking a photo, reading text, or thinking about the exhibit. We initially identified a total of nine actions. The visitor could be recorded with multiple actions at each exhibit. The timing of these actions is not important and the exhibition managers were happy to rely on observer to judge if an action was taking place. TimingThe duration of the visitors stop at each exhibit and the order in which they visit exhibits. The exact path of visitors was not considered important. The time when a visitor arrives at an exhibit and when they leave the exhibit. parts of the exhibition may be visited more or less for different groups, data related to the behaviour of different demographics could also allow the analysts to test theories related to how different groups are attracted to different types of exhibit (looking at different genders [5, 6], types of visitor group [5], and age groups [16, 29] etc.). The requirement for some analysis to be done in locations where it would not be practical to use a laptop or desktop PC was also significant in that it made it necessary for us to design our visualization application to run on mobile devices. These were chosen as six eight inch tablets, to be used primarily for tracking, and a couple of larger ten inch tablets to be used mostly for visualization and analysis. It would also be necessary to connect mobile devices to synchronize the data collected on different devices, and these devices could use the same connection for collaboration on a large display. 4T HESMARTSURVEYTOOL The process of requirements analysis described above gave rise to our initial platform design. This was for a mobile application that allows us to track visitors (running on multiple devices so different tracking staff can work at the same time) and a mobile application that connects to a large display screen for visualization. We used an Android socket connection running over a shared Wi-Fi connection to synchronize data across devices and coordinate mobile devices with the large display for collaborative visualization. This connection could be initiated by using one device to scan a QR code encoding the IP address of the second device. Figure Fig. 3 shows the device configuration and outlines the basic functionality of our platform. 4.1 Visitor Tracking Figure Fig. 4 shows a screen-shot of the interface of our tracking application. The interface uses a military projection of the exhibition space using an image of the exhibition floor plan with the visitor currently being tracked represented as an icon resembling a pawn in chess. This icon is designed to fit the overall aesthetic of the interface without specifically representing any particular type of visitor. The military projection (also see figure Fig. 7) is an oblique projection 269 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. Table 2: Patterns the users wanted to be able to see in the data. PatternRationaleExisting analysis and limitations Density of visitors in different areas of the exhibition. To identify potential bottlenecks, where to space is too busy at times, or parts of the exhibition space that are underutilized. Heat-map representation is already quite effective for this type of pattern (see figure Fig. 2). Flow of visitors. How visitors generally move around the exhibition including their general around the exhibits and the direction of movement. This could tell them why parts of the exhibition are not being visited enough, or how their strategy to guide visitors towards certain exhibits is working. A line graph representation works well for smaller numbers of visitors but for larger numbers it becomes unusable due to the density of lines (see figure Fig. 2). Statistics for exhibits Including total and average number of visitors at an exhibit, time spent, number of photos taken, etc. to tell us how different exhibits appeal to visitors in different ways. Tables are used to present data for individual exhibits, but users wanted a more intuitive graphical representation (using the exhibition floorplan) that also allowed them to explore the data to view data for different demographic groups. Patterns for different demographics Above types of pattern for different demographic groups including different genders, age groups, and visitor groups (tour groups, couples families etc.) to see how different groups behaved (e.g. young people versus elderly people) in order to ensure that the exhibition caters to a wider demographic, or is able to target a particular demographic such as those who are more likely to become tourists in the location that the exhibition is promoting. Bar charts and pie-charts are used for broad overviews (such as male visitors versus female visitors) but users wanted to be able to explore the data to see more detailed data for smaller groups (such as the poplar exhibits for young couples or tour groups). Table 3: Different ways the users wanted to analyse the data. AnalysisDescription Mobile analysisThe users wanted to be able to analyse the data in different locations such as meeting rooms or the exhibition space itself. Using a desktop PC would not be possible in most of these locations and a laptop PC would be also impractical. Collaborative analysis Often the users would want to work together to analyse the data so they could combine their knowledge of the exhibition and discuss findings. Publication of results. The users also wanted to be able to share their findings in printed form, so the visualization needed to be aesthetically appealing. Figure 3: The device configuration and basic functionality of our platform. Tracking staff use a mobile device to track visitors moving around the exhibition. Devices used to track visitors and display the data are connected on the local Wi-Fi network by scanning a QR code. Data is automatically synchronized between connected devices and the data can be visualized on a mobile device or a mobile device connected to a large display. where the angles of the xand z-axes are at 45 degrees, meaning that the angle between the x-axis and the z-axis is 90 degrees. This allows vertical elements such as walls and doors to have a kind of 3D representation without having to skew the xz-plane. The interface is designed to run on a tablet to be held in landscape orientation and operated using the thumbs. Figure 4: The tracking application interface. The user presses on different exhibits to indicate the movement of a visitor and uses the thumb-wheel dials to specify visitor characteristics or actions. To operate the interface and track visitors moving around the exhibition space the tracking staff click on doors and exhibits to record visitor movement and uses the thumb-wheel dials at the bottom corners of the interface to record additional details about the visit (see figure Fig. 5). While a human tracker is certainly less efficient that automated technologies such as RFID for tracking motion, the advantage of employing a person to track visitors is that they can also record the activity of visitors at different exhibits. This indeed was one of the requirements of our project stakeholders who were interested not only in visitor movement but also how people behaved in front to exhibits by doing things like taking photos or 270 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. Figure 5: Using the tracking app to record the movement of a museum visitor around the Romantic Scotland exhibition in Nanjing Museum. reading exhibit text. When a visitor enters the exhibition space, tracking begins by the tracker clicking on the door that the visitor entered by. After clicking on the door an icon representing the visitor appears as if they are entering through the door. The tracker can then record how the visitor moves around the exhibition by clicking on each exhibit the person stops at. This is done in real time, and as the tracker clicks on exhibits the icon representing the visitor is animated to follow an approximation the path of the actual visitor. If the tracker makes a mistake they can hit an undo button to reverse their previous action. Clicking on a space away from an exhibit moves the visitor icon away from any current exhibit but not on to another exhibit. This whole process records the start and end time of the museum visitor’s attention being given to individual exhibits. Thumb-wheel dials at the bottom corners of the interface can be used to indicate details such as the type of visitor (approximate age group, gender, type of group etc.) and details about the visitor’s activity at each exhibit. So, if the visitor performs actions such as taking a photo, reading the exhibit text, or conversing with a friend, all this can be recorded. Figure Fig. 5 shows the tracking application running on a seven inch tablet. 4.2 Tracking Data Visualization The interface for our visualization application (see figure Fig. 6) uses different projected views of the exhibition space to show the density or flow of visitors for the tracking data. The different types of projections used are an isometric projection, a military projection, and top-down plan view (see figure Fig. 7). The interface aggregates data for all visitors or a selected group of visitors. The interface can be set to either show the density of visitors in different areas using a heat-map, the stats for different exhibits using a bubble-map, or the main path of visitors using a graph view with semi-transparent curved lines and animated arrowheads. Figure Fig. 6 shows the interface with the bubble map selected, figure Fig. 7 shows the path view for different projections and figure Fig. 8 shows the heat-map showing areas of the exhibition where visitors spent the most time. A bar-chart menu with icons at the left hand side of the screen (seen in figure Fig. 6) allows the user to select from a total of thirteen different attributes to display (number of visits, average visit time, number of photos taken etc.) and nine different data classifications (age group, gender, day-of-week, hour etc.) with a total of around one hundred different classes [32]. The different classes for the selected classification are shown in a horizontal bar chart together Figure 6: The main information visualization display with the graph view selected to show how visitors move around the exhibition. Figure 7: The different types of projections used in the Smart Survey Tool visualization interface. These are an isometric projection, a military projection, and a top-down plan view. 271 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. Figure 8: The heat-map view with an isometric projection. Figure 9: A heat-map with the 16-30 age group and average visit duration selected shows us that males (left) tend to spend more time at the bench, while females (right) spend more time in the interactive booth. with the values for the selected attribute. This allows the user to look at things like the most photographed exhibits, or the number of males and females or different types of group visiting the exhibition. The bar chart can also be used to select different groups in the main map view to look at popular exhibits or patterns of movement within these groups. The selection in figure Fig. 6 shows the number of visitors by group type (individual, friends, couple, family, school group or guided tour). Figure Fig. 9 shows a part of the heatmap for different genders in the sixteen to thirty year age bracket. Here males are found to spend more time than their female counterparts sitting on the bench (on average 1 minute 12 seconds versus 1 minute 6) but a lot less time in the interactive booth (33 seconds versus 59 second for females). This suggested to the museum staff that younger female visitors might be more outgoing and that more could be done to engage young male visitors in interactive exhibits. In addition to being able to select different types of visitor the user can also interact directly with the map to select different exhibits or paths and use the bar chart and icon to view statistics for that part of the data. Pinch, splay and drag actions, that were already familiar to our sample-users, can also be used to navigate around the map and the buttons at the right hand side of the screen allow the user to rotate the view 45 degrees in either direction or connect to another device to synchronize data or control a large display. The graph view of visualization interface uses curved lines to show the path of visitors between exhibits. Animated arrow heads communicate the direction of visitor movement, and color value is used to communicate the number of users moving along any given path. The curve used is a simple quadratic curve starting mid-way between exhibits with a control point at the exhibit. Transparency is used so that only the most popular paths are fully opaque and less popular paths are more transparent. This has the effect of reducing the problems of clutter and crossing lines, as less popular paths have less impact and less weight to occlude the more travelled paths that the analyst is likely to be interested in. The approach of making less common paths less visible made sense to our users as they only wanted to be able to see the main patterns of movement for each selected group. Outlying patterns of visitor movement would only be considered as significant if they Figure 10: Using the visualization interface with a mobile device controlling a large display. involved a significant number of visitors or a smaller numbers of users in a smaller portion of the data. In either of these cases the pattern would be evident as the opacity of a path is proportional to the total visitors taking that path and inversely proportional to the total number of selected visitors. Smaller numbers of visitors who took an unusual route within a larger group were not considered to be significant for the purpose of this analysis. Users can connect the application running on their own device to any other device running the application by scanning a QR code displayed on the top right of the screen. This connects the devices together using an Android socket connection running over a shared Wi-Fi connection. Typically, a mobile device will be used to connect to an Android box powering a large display so that the smaller mobile device can be used to control the large display (see figure Fig. 10). When multiple users connect to the same large display, they can take turns controlling the large display and collaborate to analyse the data. 4.3 Design Rationale and Methodology The design of our platform, and our platform components, were developed and refined through a series of meetings and small-scale prototype evaluations with potential users and project stakeholders. This proceeded over a period of roughly four months. The initial design was inspired by our initial requirements analysis (described in section 1) where staff at Nanjing were able tell us not just about what they needed, but also what they liked or didnt like about the existing method of analysis and what they wanted from the new system. This was followed by the development and evaluation of several small scale paper prototypes and consultation sessions with urban planning experts at Xi’an Jiaotong Liverpool University. Finally, we refined our design by testing specific functional components attached to early functional prototypes. 4.3.1 Bar chart widget The first thing we gathered from the requirements analysis was the importance of ranked lists for the visualization and analysis of the tracking data. The museum staff wanted to be able to view things like the most popular exhibits by number of visitors, average visit time, and things like the number of photos taken at different exhibits and by different types of visitor. They also wanted to be able to look at things like what different types of visitor they had, how much time different age groups spent in the exhibition and what where the most popular exhibits for different age groups. Written reports were good at presenting this sort of data in lists, but they were limited in the number of lists that could be included. Displaying each of the 272 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. thirteen different types of attribute for each of the nine classifications would give us a total of one hundred and seventeen different lists to display. This would take a lot of paper, even before we consider that we might want to display a filtered version of any of these lists with any combination of the hundred or so distinct classes (showing, for example, the most photographed exhibits for a particular gender or age group). This made it important to have some easy way for the users to be able to select the parameters for different lists and select different settings for the lists. Our interactive bar chart widget for looking at lists of tracking stats can be seen in figure Fig. 6. The motivation behind this design is to use icons to make a more efficient use of screen space but otherwise make the interface as clear as possible by having three distinct lists for views, attributes, classifications, and class filters. Attributes include number of visits, average visit time and behavioural data like number of photos taken. Classifications include timing data (day of the week, hour or day etc.) as well as information about the visitor (age-group, gender etc.) and the conditions (quiet, bust etc.). Selected attributes and classifications are highlighted using a red glow, applied filters are shown using icons, and a help mode is available to provide tool tips describing the function of the icons. 4.3.2 Heat-map and bubble-map One thing that was reported to work well for our sample users using the existing method of analysis was the heat-map view of the data. This was found to be effective at communicating the density of different visitors in different areas of the exhibition space. The only major limitation of this type of representation was that it could not show the density of different types of visitors or for different times, and it could be difficult to see which individual exhibits were popular if two exhibits were close together. To allow the user to be able to look at different heat-maps for different types of visitor of different times, it was easy to link the heat-map view in our visualization interface to the bar chart widget (described in section 4.3.1). Here the user could use the bar chart to select a class of visitor or a time (a week of the year, weekday or hour of the day) and show a heat-map for just that data. The user could also look at a different heat map for different data attributes such as average visit time or photos taken. This ability to view different aspects of the data in the heat-map view made it possible to replicate all the existing heat-map images included in the commissioned report and also generate any of the other types of heat-map that the museum staff told us they might want to see. To make it easier to distinguish between statistics for exhibits close to each other, we decided to supplement the heat-map with a bubble-map type display showing statistic values for individual exhibits. If this setting is selected a circle is shown next to each exhibit with the size of the circle proportionate to some statistic such as the average visit time or the total number of visitors. 4.3.3 Curved line graph view The museum staff felt that the graph views included in their printed reports, showing the direction and flow of visitors around the exhibition space, did not work well (see figure Fig. 1). These suffered from the problem of clutter and crossing lines citeyabushita2011summarization and were ineffective at showing the direction of visitor movement for larger groups of visitors. In order to resolve this issue we developed a new visualisation method using semi-transparent curved lines which could be combined to show the main patterns in each view allowing the user to view more detail by interacting with the interface to select different filters. Without filtering, this representation gives a simple overview of the data. If the user interacts by selecting exhibits in the map or classes of visitor in the bar-chart widget, they can drill down into the data to reveal more detail. This type of representation worked well in a small scale evaluation of an earlier prototype and was refined to be used in the latest prototype as shown in figures Fig. 6 and Fig. 9. We also tried various encodings to communicate the direction of movement (including arrow-heads, tapering, curves and colorcoding, from Holten et al. [22]). The most effective representation appeared to be animated semi-circle waves moving along the path. This had the advantages of not requiring us to change the shape of the path (which could result in a path that is confusing) and of allowing us to superimpose two paths in different directions without losing clarity. Animation and movement also has the advantage of being a pre attentive visual variable that grabs the users’ attention [13,31]. It can also be thought of as being quite a literal sort of representation as the graphic moves in the direction of movement of the actual visitors. The potential disadvantage of animation is that it can attract too much of the user’s attention and distract them from other important parts of the interface. In our case we did not find this to be a problem. Our small scale evaluation with our users told us that this representation gave them a better sense of how visitors would move around the exhibition and this did not detract in a negative way from any other aspects of the interface. The semi-circles showing the direction of motion can be seen in figure Fig. 7. 4.3.4 Military, top-down and isometric projections The military, top-down and isometric projections use in our tracking and visualization interfaces where sketched out and discussed at the very start of the project with a small group of urban planners based in the university. These are based on a style used for architectural drawings and it was felt that the 3D effect of the isometric and military projections could give the user a better feel for the exhibition space. In general 3D representations tend not to work well for information visualization due to the problem of occlusion where placing objects in a 3D space can mean that objects of interest get hidden behind other things [35]. Three dimensional visual cues are however proven to help users remember objects and can help with spatial orientation [3, 28]. As the task associated with this visualization was associated with a real physical space, we felt that the use of three dimensional visual cues to represent exhibits and doors was warranted. To reduce the problem of occlusion we made exhibits semi-transparent and allowed the users to rotate the display in increments of 45 degrees. Some initial testing of an early prototype of the tracking app indicated that the military projection would be preferred for tracking. Out of sixteen trackers, twelve expressed a preference for the military projection. The average rating for the military and isometric projections was significantly higher that the rating for the top-down view which scored badly. The users told us they preferred the military projection because exhibits where more easily recognizable with a more natural side-on perspective. They also considered it easier to use than the isometric projection because the spacing for exhibits is more regular on both x and z axes. This made it more convenient for the user to select different exhibits quickly and accurately regardless of whether the exhibits were spaced on the x or z axes. This finding led us to make the military projection the default projection for tracking. For the visualization interface users expressed a preference for isometric and top-down views. Out of the nine users involved in the evaluation seven preferred the isometric view, but they also scored the top-down view well and explained that they would like to be able to use both views. This was irrespective of whether analysis was done on a mobile device or mobile devices connected to the large display. The top-down view was felt to give a better overview of the data without the problem of occlusion and the isometric view gave a more natural perspective. There was less need to select items quickly during visualization, so this advantage of the military perspective 273 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. Figure 11: Thumb-wheel widget with help text (in Chinese) activated by pressing the question mark icon. to better support this was not important. As no single view was significantly preferred over the others, we gave the user the option of being able to switch between military, top-down and isometric projections while using the visualization interface. 4.3.5 Tracking application interface design For the tracking application interface design our principle concerns were ease of use and efficiency. The thumb-wheel dials of the tracking interface are designed so that trackers can specify this information as efficiently as possible with the minimum required effort while holding the tablet in both hands and maintaining a reasonable level of accuracy. The view of the interface also moves automatically to keep the tracked visitor in the centre of the screen so that the tracker does not need to adjust the view themselves. Both these features are aimed at reducing the effort needed from the tracker who may need to operate the app over extended periods of time. In a prototype evaluation with ten trackers we tested the tracking interface. During these tests a thumb-wheel menu with icons was compared with a more traditional list type menu. Our thumb-wheel menu (see figure Fig. 11) could be rotated using the users thumb with icons being tapped to specify functions. Icons where either reused from established iconic representation (for example the representations of gender), designed using symbols associated with the concept (for example a triangular flag for a tourist group, where in China it is common for the tour guide to carry a such flag), adapted from a physical representation (one person beside a painting for a quiet exhibition space), or designed using text when a small enough text label can fit into the button space (for ’age’ and different age ranges). The list type menu is simply stacked textual descriptions of each concept. Comparing the thumb-wheel and the text menu, the thumb-wheel was found to be more efficient as it required less movement and the user did not need to adjust their grip on the tablet. The icons also took up less space than text in the interface and could be recognised and pressed quickly if the user understood their meaning. The users told us that they wanted to be able to operate the interface without reading and that they found the thumb-wheels be more efficient than the text based menu. Unfortunately, some of the interface functions related to concepts that were not so easy to represent using an image that would be easily recognisable for the user. These included things like how busy the exhibition space was, or if the visitor was deep in thought. To help the user learn the icons for these actions we supplied an instruction manual describing the meaning of each icon and incorporated a help-text into the interface (see figure Fig. 11). Figure 12: Thumb-wheel widget with help text (in Chinese) activated by pressing the question mark icon. Figure 13: Thumb-wheel widget with help text (in Chinese) activated by pressing the question mark icon. Figure 14: Thumb-wheel widget with help text (in Chinese) activated by pressing the question mark icon. 5EXPERTINTERVIEWS ANDEVALUATION Our platform was used to track just over 750 individual visitors to Nanjing museum over a period of two months with each visitor viewing an average of seventeen individual exhibits each. The data successfully captured and visualized on mobile devices by individual museum staff and on mobile devices linked to a large display by multiple staff. Overall this was a success as the tracking and visualization proceeded smoothly with a small number of technical glitches that were easily resolved. Figures Fig. 12, Fig. 13 and Fig. 14 show a selection of the insights into the data learned from our visualization app that the users considered they would not be able to find using any other methods they had already tried. Our users were able to find a variety of patterns like these and it was evident through further investigation that they would not have been able, or would have found it significantly more difficult, to find most of these patterns using the previous analysis methods. Figure Fig. 12 shows how visitors tracked the left-hand-side wall or took a short-cut past an enclave to view the striking portrait of Sir Joshua Renolds in a kilt (or exhibition organizers considered that this type of image would be particularly attractive to Chinese tourists and it featured heavily in marketing material). This pattern is clear using the new interface, but less evident using the traditional technique where the volume of crossing lines and the abrupt change in direction 274 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. of straight lines makes it difficult to tell where the visitors come from before taking the short-cut or that most of the visitors who move along the wall move onto the portrait. Figure Fig. 13 shows how visitors tend to be attracted to the Wandering Shadows painting when they enter the exhibition then move to the left-hand-side wall. This is very clear from the new visualisation with curved lines and transparency, but not clear from the traditional representation where the volume of data makes it difficult to see any trend of this sort. Both figures Fig. 12 and Fig. 13 illustrate behaviour which is contrary to the analysts’ expectations, where visitor are known to have a tendency to follow the wall on the right hand side. While neither of these findings led the exhibition designers to change the layout of the exhibition (which would be very unusual for a temporary exhibition), they felt that it might change how they approach the layout of future exhibitions. Figure Fig. 14 shows how patterns of behaviour change when the exhibition is more or less busy with visitors tending to spend more time at interactive exhibitions near the exit when the museum is quieter. This pattern was revealed by alternating between different items in the bar-chart menu. This pattern would not be seen using the traditional method as a limited number of images need to be prerendered without giving the user the opportunity to make selections to filter and explore the data. Overall, the final evaluation was considered a success and expert interviews with museum managers revealed that they were satisfied that the software was more efficient than the existing technique employed and effective at supporting all their requirements for analysis. The main benefit of the tool was found to be that it allowed the users to interactively explore the data and allowed them quickly analyse the data without having to rely on data analysis experts. The users described the software as ’flexible’, ’interactive’, and said that it provided ’good access to the data’. The users were also impressed with the use of animation and semi-transparent lines to show visitor flow as this was felt to be clearer and give a better sense of how visitors moved around the exhibition. They also felt that the different projections each had advantages for different aspects of the data. The top down projection was felt to give a better overview of the data, while the isometric view gave a better feel for the exhibition space when zoomed-in. The limitation of the software was that museum staff could not change the mapping of the exhibition inside the software, and this is something they would like to add in future versions. Overall the user feedback was largely positive and as a result of their experience the museum have committed to using the software again for other temporary exhibitions. We also plan to adapt the platform for use with the museum’s permanent exhibitions. This will involve working to adapting the tracking software to work with RFID technology so that tracking can be automated. The system will be integrated with audio-guide equipment so we can incorporate information about the type of person being tracked. The disadvantage of using RFID tracking, rather than manual tracking, will be that it will not be able to record the users behaviour at individual exhibits unless we can use some other type of technology such as live-video object recognition and develop an additional system component to do this. This is being considered as a potential direction for further work. 6C ONCLUSION We have developed a software platform to support museum visitor tracking and data visualization. The software allows museum visitors to have their behaviour and movement recorded using a specialized tracking app running on a mobile device with the data visualized on a mobile device or mobile devices connected to a large screen display. The visualization uses a custom bar chart widget, and a novel combination of semi-transparent curved lines and animated semi-circle waves to show the flow of visitors around the exhibition. Our visualization is novel in its use of an orthogonal projection for pedestrian tracking and animation to communicate the flow of visitors around a physical space. Another significant advantage of our technique of established techniques was that it allowed users to dynamically switch between views representing different groups of visitors. Our study began by recording and gathering together user requirements (described in section 3) which informed the design of our software (section 4). The software was tested to refine the design and evaluated to gauge a positive response from sample users. It was also used to track just over 750 visitors to Nanjing museum over a period of two months and visualize the results. This led to positive results and our users who were able to find a significant number of patterns in the data that could not be found using the previous technique. A series of expert interviews revealed that our users felt the flexibility of the interface to allow them to be able to explore the data, rather than rely on data analysis experts, to be the main advantage. The design and successful evaluation of our platform demonstrates the power of a more interactive information visualization display to reveal patterns in large scale data, and also the potential of mobile devices for this sort of visualization task [9,11,12]. Our interface worked well by relying on the user to interact with the display to reveal patterns in the data, rather than us trying to show too much of the data in any single frame of the visualization [10,14,15]. This was particularly important for our graph view, where less popular visitor paths would stay in the background until the user selected a smaller portion of the data containing these paths so they became significant. It is also worth noting that the limitations of mobile devices (with less accurate interaction, less screen space, and reduced processing power) did not cause any significant issue for our users in the final evaluation. This was partially down to advancements in mobile device capabilities but also down to design decisions such as using a thumb-wheel menu and military projection for less accurate interaction in the tracking app, or the design of the bar-chart widget for more predictable reversible single touch actions. It is also very likely that allowing the mobile devices to control a large display, when the app was used in a meeting setting with multiple users, also helped us to overcome some of the limitations of mobile devices for information visualization . Reflecting on the complete design process the most important lessons for us, of potential interest to designers of similar applications, are as follows. • Having an interactive interface that allows the user to explore the data by selecting different facets of the data (e.g. different genders, age groups etc.) and different views (e.g. heat-map or curves for paths) can be very powerful. This was seen as the main advantage of this technique over existing methods. • Animation can be used to effectively to show the flow of visitors around an exhibition. • Different projections, including 2.5D projections such as isometric projections, can have value in the presentation of visitor movement data and heatmaps. Due on the success of this operation Nanjing Museum have committed to using the Smart Survey software for future tracking exercises and we will look to improve the software and adapt it for more challenging data (e.g. in multiple levels of a building or over longer periods of time) and data collected using different technologies such as RFID. More work could also be done looking at how to apply or adapt this sort of technique for other environments such as shopping centres and other public spaces where there may be a commercial advantage to tracking visitor movement but patterns of movement may be less predictable or more difficult to characterize. 275 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:51:20 UTC from IEEE Xplore. Restrictions apply. ACKNOWLEDGMENTS The authors wish to thank the students who helped with the evaluations and development of prototype applications. These are Ke Wang, Chao Xiang, Kun Wang, Wenjun Chen, Yuxuan Zhao, Zifan Wang, Yuexuan Li, Zhejian Zhang, Xiaoyu Wu, Weiyi Zhang and Yuhao Wu. We would also like to thank the staff at Nanjing museum and our collaborators on the UK AHRC project ’Producing/Consuming Romantic Scotland’. R EFERENCES [1]S. Ahuja and P. Potti. An
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information with specific locations, facilitating analytical interactions that could be called “situated analytics” [1]. Moreover, Ens et al. [5] have shown the potential of utilizing physical objects with augmented information, such as tokens and a tabletop display, to enable interactive data exploration and manipulation for complex collaborative visual analytics. We believe that the further combination of visualization and AR techniques would effectively demonstrate cultural features, trends, and differences that play a crucial role in cultural exchange and preservation. Additionally, AR educational games have emerged as a valuable addition to CH learning, offering a wide range of interactive techniques and devices. The concept of gamification involves incorporating game design elements such as interface mechanisms and principles into non-game contexts [17]. Interface design patterns and game mechanisms are employed to provide freedom of choice for unbound exploration while also setting restrictions and resource limitations for handheld AR analytics experiences. For example, Ramly and Neupane developed an AR game [19] for exploring artifacts in an onsite museum. Users can acquire knowledge about CH preservation by collecting artifact fragments, collaborating on restoring missing artifacts, participating in virtual gallery design activities as well as contributing to crowdsourced research initiatives. In general terms, game design principles aim at achieving specific goals through rewards. Xu et al. [25] presented a tangible AR interaction device that integrated the visualization and gamification elements to trigger the collection and exploration for culture learning and museum gifting. The results confirmed the positive effects of playful interactions combined with visualization features on users’ learning motivation, experience and outcome levels. These findings propose that the integration of tangible AR and visualization in educational games has the potential to effectively enhance cultural learning performance. 3 TIMEQUESTAR: A PROTOTYPE OF THEARBOARDGAME Our goal is to design a playful learning tool that enables the public to gain insights into significant cultural places through augmented data visualization. To achieve this, we started the design process by shaping the learning context. First, we conducted the data analysis and processing to extract key information. Then, we formulated game mechanisms based on the data and tasks, and finally, we presented the tacit knowledge into a physical map and a series of event cards, as well as digital game content. The detailed workflow of the prototype design is illustrated in Figure 2. To ensure the educational efficacy of our tool, we established the following learning goals [G]: G1.Experiencing urban development and local culture. G2.Exploring the collective creation and individual emotions. G3. Conveying the interweaving with historical timeline and cultural context. G4.Understanding CH preservation and innovation. 3.1 Data Analysis and Processing To extract key information, we first filter the source data, comprised of four datasheets (spot, character, event,andartwork), to exclude Figure 2: The workflow of the prototype design. entries that correspond to the empty keyword in the event sheet. Then, we categorized the analysis tasks into four aspects according to the sheet themes. This process is iterative, involving a gradual refinement of tasks to align with the criteria of being fundamental, pertinent, and comprehensive (refer to Appendix A), followed by a subsequent focus on narrowing the scope. Once this preliminary refinement was completed, we conducted an in-depth examination of the historical information pertaining toJinlingacross various dynasties. This phase equips us to identify key design directions. We mainly use Python to process the data. 3.2 Game Setup We incorporate four types of exploratory tasks in this prototype which link to the learning goals. The visualization elements related to these tasks will be presented in detail with vivid display after scanning the tangible interfaces via AR technology. Game mechanisms are illustrated using a flow diagram shown in Appendix B. 3.3 Visualization and Interactive Game Design Regarding the overall design, the game seamlessly integrates situated visualization, tangible objects, and AR technology. The situated visualization superimposes additional visual information adjacent to, above, or around physical landmarks. This technique encourages users to delve deeper into key data, fostering a comprehensive grasp of information, facilitating exploration, and promoting effective communication. Tangible chess pieces and dice enhance interactivity and promote user engagement and enjoyment throughout the game process. Additionally, users can augment their experience by scanning the tangible map or AR cards, immersive themselves in a 3D view that provides detailed information, thereby enriching their understanding of cultural data. This integrated approach enhances the overall game experience and ignites a sense of curiosity and motivation for learning. 3.3.1 Physical Design The game’s physical design consists of a map, event cards, character chess pieces, and dice (Figure 1). Users can progress along the map route by rolling dice. Additionally, to delve into cultural knowledge, users are required to interact with event cards and accomplish the tasks they present. To present rich historical and cultural information, we have incorporated various visual elements to encode the information, as shown in Table 1. The inclusion of spot symbols, such as temples or lakes, allows users to easily identify the geographical categories of different spots. Building upon this, we have 87 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:58:19 UTC from IEEE Xplore. Restrictions apply. Table 1: Visual elements and coded information in map visualization. visual elementdata informationexample color of the connecting linedynasty thickness of the line number of the artworks in each dynasty spot symbolspot type color of the mountainlandscape type number of mountains number of relevant figures number of birds number of relevant artworks integrated other symbols that align with the geographical context (i.e., mountains, birds) to convey additional cultural data, resulting in a coherent and well-designed informative map. In addition, distinct types of game cards also present the amount of tacit knowledge about events, figures and their artworks (examples are shown in Figure 3): Event cardcontains event themes, sub-events, and related spots. For example, the theme “a forbidding strategic point” consists of six literary events, one activity, and two allusions, statistics by corresponding icons. Character cardcontains the character’s identity, name, style name, dynasty, year of birth and death, portraits, artworks, and related spots. Heart icons represent the lifespan, while book icons represent the number of artworks, and the card background color is matched to the dynasty connector line on the map. Artwork cardcontains the artwork’s name, dynasty, genre, author, content, related events, and related spots. Furthermore, the poetic image is presented in the visualization. Figure 3: Physical design of the AR board game. 3.3.2 System Design Challenge-based Learning informed efficient and effective guidance for learning, also known as the challenge learning framework [15]. This framework comprises three interconnected stages:engage, investigate, andact. For system design, here we describe how to integrate the game features and visualization elements into these stages of CH learning [G4]. In theengagestage, we employ a map board and AR cards to motivate and guide users into the game, transforming the abstract knowledge into concrete and actionable challenge tasks (Figure 4a). Movement and interaction are required in the form of rolling dice and trigger the visualized augmented information and task lists via cards and map patterns (Figure 4b and 4c). Users are encouraged to explore various locations on the map, where they can engage with data and acquire cultural knowledge related to each spot [G1]. In theinvestigatestage, users follow the task and information cue, participating in a continuous collection journey to explore the solutions for learning challenges. This process requires the user’s “effort” (rolling the dice or using the jumping point prop reward) on (a)(b) (c)(d) (e)(f) Figure 4: Game design: (a) random event card draw; (b) AR details triggered by moving into a new spot; (c) task lists (left) and information cue (right); (d) character card acquisition by random drawing; (e) view of AR information and associated prop reward for reaching a jumping point; (f) gallery with artworks and historical figures. (a)(b) Figure 5: Artwork information display: (a) the development of different types of artwork in each dynasty; (b) an overview of emotional tones with bubble charts in timeline visualization. moving to some specific locations or getting the chance for drawing the cards to collect the figures or artworks (see Figure 4d and 4e). We employ extra rewards in the gallery at the end of each sub-task to introduce new knowledge points (Figure 4f), such as artwork
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To create knowledge from data, it is important to understand the characteristics and meaning of data, but the degree of understanding differs depending on the person's ability and knowledge. If there is a method that can visualize not only its values but also its characteristics and meaning, it could decrease the dependence on the user’s abilities and knowledge. This paper presents a study on a method to incorporate such design in the software development process. In particular, a design of a user interface of the software for museum curators to analyze data of museum visitors is presented and analyzed. The data contains various characteristics, such as technical limitations of sensor performance, installation locations, measurement range, and frequency. The methods used to communicate them are presented and their effects are evaluated through user evaluation. Keywords—Human-Computer-Interaction, Knowledge Acquisition, Experience Design I.
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.We present VEDI (Vision Exploitation for Data Interpretation), an integrated system to jointly assist the visitors of cultural sites and provide meaningful statistics about the visits to the managers of the sites. To address both goals, VEDI includes a wearable assistant (implemented through a wearable device such as HoloLens) which leverages Computer Vision algorithms to understand where the user is and what they are paying attention to. At the visitor’s end, such information is leveraged to augment the visit by displaying additional information on the observed points of interest, helping the visitors to navigate the site and suggesting what to see next. Concurrently, a back-end extracts high-level behavioral information from the captured video content which is used to provide the site manager with meaningful statistics and performance indexes on the cultural site. Experiments show that VEDI achieves good results on both the indoor and outdoor cultural sites considered for the experimentation. Keywords:First person vision ·Egocentric vision· AI for cultural sites 1
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We present study on the integration of augmented reality using Microsoft Hololens and architectural design documentation for cultural heritage application by practical evaluation method. Our goal is to understand the potential of AR implementation in architectural narration and documentation. Herein, we outlined our works: 1) Visualization of architectural forms; 2) Data visualization embedded in augmented environment; 3) Basic user interaction mechanism. Our focus of the study is on the methodology and workflows involved in the AR platform. The case study is traditional Balinese architectures that constitute issues of materiality, tectonics, aesthetics and embodied local and specific information, hence the cultural heritage. Our study found that AR and Hololens provide a promising tool for 3D visualization and experiences particularly in cultural heritage application where computer-generated objects are augmented into real and physical objects. Despite latency, limited visual field and interaction methods that are still in development, implementation of AR in the architectural field bring understanding architecture as a medium and interface where space, form, and information are combined Keywords—Augmented Reality, Microsoft Hololens, Architectural Design, Cultural Heritage, Traditional Balinese Architecture I.
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Digital interactive information displays are becoming more common in public spaces such as museums, galleries, and libraries. However, the public nature of these locations requires special considerations concerning the design of information visualization in terms of visual representations and interaction techniques. We discuss the potential for, and challenges of, information visualization in the museum context based on our practical experience with EMDialog, an interactive information presentation that was part of the Emily Carr exhibition at the Glenbow Museum in Calgary. EMDialog visualizes the diverse and multi-faceted discourse about Emily Carr, a Canadian artist, with the goal to both inform and provoke discussion. It provides a visual environment that allows for exploration of the interplay between two integrated visualizations, one for information access along temporal, and the other along contextual dimensions. We describe the results of an observational study we conducted at the museum that revealed the different ways visitors approached and interacted with EMDialog, as well as how they perceived this form of information presentation in the museum context. Our results include the need to present information in a manner sufficiently attractive to draw attention and the importance of rewarding passive observation as well as both short and longer term information exploration. Index Terms—artistic information visualization, interactive information visualization, walk-up-and-use interaction, public displays. F 1
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With the in-depth development of the concept of science communication, the thematic science popularization space has become a multi-dimensional place for the display and communication of popular science content. This paper combines the technical route of Scientific Visualization with the artistic strategy of exhibition design, and discusses the new method of science popularization space exhibition design from the perspectives of ontology, epistemology and methodology. Specifically, the guiding ideology of the current science exhibition design urgently needs to shift from Information Visualization to Scientific Visualization, so as to re-emphasize the relationship between people and other things, and establishes a modern concept for displaying scientific knowledge, scientific experience, and scientific communities. Keywords-component; scientific visualization; science popularization; exhibition design; new media art; multimedia technology I. THE CONNOTATION AND EXTENSION OF SCIENCE POPULARIZATION SPACE Popular science is an interpretation of science intended for a general audience. This concept came from the Popular Science Monthly, which was founded in May 1872 by Edward L. Youmans to disseminate scientific knowledge to the educated layman. After the concept was born, it presented different stages of development. From the mid19th century to the early 20th century, the traditional stage focusing on “popularization of science”, presented a oneway communication from scientists to the public. Since the mid-20th century, the modern stage concentrating on “the public understanding of science”, changed the relationship between scientists and the public, and built up a two-way communication process. Until now, the contemporary stage aiming at “science communication”, introduces the third part besides scientists and the public, which including journalists, designers, government workers and so on. In terms of content of communication, the contemporary stage extends from the natural science to the social science and the humanities, and defines the connotation of science in a broad sense. In terms of mode of communication, science can be propagated to the public in many different ways. According to Karen Bultitude [1], a science communication lecturer at University College London, science communication can be broadly categorized into three groups: traditional journalism, live or face-to-face events, and online interaction. Among them, live or face-toface events mainly include public lectures, science busking, popular science exhibits, science cafe and science festivals, which accelerates the spread of popular science knowledge in a certain space. As the main form of dissemination of popular science knowledge in space, the thematic science popularization exhibitions can be traced back to the World Expo named “A Century of Progress” held in Chicago in 1933. Since then, the World Expo had set up themes to popularize scientific knowledge and promoted the scientific spirit. With the division of labor in society and the advancement of technology, the Thematic popular science museums (including the Natural Museum, Science Museum, and 269 2020 International Conference on Culture-oriented Science & Technology (ICCST) 978-1-7281-8138-7/20/$31.00 ©2020 IEEE DOI 10.1109/ICCST50977.2020.00058 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:58:34 UTC from IEEE Xplore. Restrictions apply. Technology Center) have been formed. People began to use the theme to distinguish complex exhibits and planned the display of popular science content. However, with the intervention of Internet, the audience began to show a stratified trend, and the demand for popular science information also began to become diversified and differentiated. Thematic science popularization space was to be continuously refined. On the one hand, the science popularization museum has been planned a series of special exhibitions based on theme. On the other hand, some diminutive popular science content have also gone deep into the public space. Science popularization space has become a multi-dimensional place for popular science content. II. N EW PERSPECTIVE: FROM INFORMATION VISUALIZATION TO SCIENTIFIC VISUALIZATION At present, the thematic science popularization space mainly pays much attention to visual effects and sensory experience with the support of digital multimedia technology. However, popular science content and scientific knowledge are often easily diluted by visually display. Especially for the thematic science space, the content value is greater than the form itself, and the visitors are still staying in the passive reception stage. The thematic science popularization space exhibition design deserves to be considered more. The thematic science popularization space often carries certain humanistic value and scientific connotation. There is an urgent need to reconstruct them through Scientific Visualization. Card et al. [2] define the two forms of visualization as: x Scientific Visualization: the use of interactive visual representations of scientific data, typically physically based, to amplify cognition. x Information Visualization: the use of interactive visual representations of abstract, non-physically based data to amplify cognition. While Scientific Visualization covers accurate visualizations of the real world, Information Visualization covers visualization of concepts that often are abstract in nature. The purpose of Information Visualization is to focus on exploration of the visual image in a static way, and the purpose of Scientific Visualization is to represent scientific knowledge and restore scientific scenes in a dynamic way. The change from Information Visualization to Scientific Visualization is an innovation in the exhibition design concept of the science popularization space. Scientific Visualization is originally for scientists to gain insight into data relationships, but in the process of transformation, a large number of visual forms with rich aesthetic value and communication value were generated. As shown in Table 1, artists have begun to work together with scientists to create more interdisciplinary effects, which satisfy scientific research, scientific education, and even the science popularization [3].Taking the project “Beautiful Chemistry” as an example, the “Reaction Section” makes full use of the latest 4K video cameras to capture the colorful and subtle details of a chemical reaction, and “Structure Section” makes full use of the 3D animation and interactive technology to show the magical structure and symmetry in chemistry. Research centers such as NASA, NOAA, JPL and NSERC have collaborated with artists on scientific visualizations [4]. TABLE I. 5W ELEMENTS OF SCIENTIFIC VISUALIZATION 5W elements of Scientific visualization Original connotation Evolutionary connotation Who Creator Scientist Scientists and Artists Says What Content Scientific data and information Scientific knowledge, Scientific thought and Scientific spirit To Whom Recipient Scientist Scientists and the public In Which Channel Circling channel Professional field Interdisciplinary field With What Effect Effect and Purpose Promote scientific research Scientific research, Science education and Science popularization Figure 1. The project named Beautiful Chemistry, the left picture is “Structure Section”, the right picture is “Reaction Section” III. POPULAR SCIENCE COMMUNICATION MODE BASED ON SCIENTIFIC VISUALIZATION Information Visualization is only one-way dissemination of scientific knowledge, and Scientific Visualization is more suitable for the spread of scientific space, which returns to the human attribution of science dissemination. Specifically, the communication mode based on Scientific Visualization re-emphasizes the relationship between people and other things (Object, Society and Environment), and realizes the cross-propagation effect. It mainly includes three aspects: Scientific Knowledge Dissemination, Scientific Experience Dissemination and Scientific Community Dissemination. A. Object-Society: Scientific Knowledge Dissemination Dissemination of Scientific Knowledge is a spatial communication mode based on Object and Society. The science popularization space, as the exhibition place for explaining science, is the main space for visual display of scientific knowledge. The main characteristics include single-flow, small audience range and no feedback. 270 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:58:34 UTC from IEEE Xplore. Restrictions apply. B. People-Object-Environment: Scientific Experience Dissemination Dissemination of Scientific Experience is a spatial communication mode based on Object and Environment. As the exhibition place for experiencing science, the popular science space expands its one-way communication mode to two-way communication mode, which realizing the dissemination shift from the single scientific knowledge to scientific spirit, scientific method and scientific thought. The main characteristics include two-way communication, popularization and immediate feedback. C. People-Society-Environment: Scientific Community Dissemination Dissemination of Scientific Community is a spatial communication mode based on Society and Environment. As a spiritual place for spreading science, its communication process opens the communication channel of science and art. The main characteristics include interdisciplinarity, equality and the public participation. Figure 2. The communication mode based on Scientific Visualization Figure 3. The exhibition design process based on Scientific Visualization IV. SCIENCE POPULARIZATION SPACE EXHIBITION DESIGN STRATEGY BASED ON SCIENTIFIC VISUALIZATION The process of exhibition design based on Scientific Visualization can be simply abstracted to designers’ efforts to connect audiences to popular science communication through creating scene and space to achieve best audiovisual experience. Due to the application of Scientific Visualization, the whole process of exhibition design turns to be more complicated. When designing the exhibition space, designers should first consider the effect of the scene on the viewer's experience from the perspective of interaction, experience, immersion and so on. Then designers should combine the application strategies of Scientific Visualization in different levels of requirement to optimize the exhibition design. As shown in figure 3, following the process of the exhibition design, Scientific Visualization technologies for science popularization space have been extended in three levels: scientific visualization technical route, design strategy of exhibition, dissemination validity of design. And they finally realize the construction of image, video, interaction, immersion, telepresence, narrative of exhibition design. A. Scientific visualization technology route Ed Ferguson et al. [5] define “Scientific Visualization” as a multidisciplinary approach, includes: 1) Information visualization: It focus on the creation of approaches for conveying abstract information in intuitive ways. 2) Computer animation: It is the art, technique, and science of creating moving images via the use of computers. Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film. 3) Interface technology and perception: It shows how new interfaces and a better understanding of underlying perceptual issues create opportunities for the scientific visualization community. 4) Volume visualization: It has become an essential technique for many sciences, portraying phenomena become an essential technique such as clouds, water flows, and molecular and biological structure. 5) Computer simulation: It is a computer program, or network of computers, that attempts to simulate an abstract model of a particular system. 6) Surface rendering: It is the process of generating an image from a model, by means of computer programs. The model is a description of three-dimensional objects in a strictly defined language or data structure. It would contain geometry, viewpoint, lighting, and shading information. There are various types of thematic science popularization space, including the large-scale space represented by World Expo, the medium-scale space represented by science museum and the small-scale space represented by public science knowledge space. In this way, space of different scales is suitable for different Scientific Visualization techniques. Even if the same techniques are used, designers need to use artistic strategies to change ways of presenting. Take Computer Animation as an example, the small-scale space needs to be watched statically through TV, 271 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:58:34 UTC from IEEE Xplore. Restrictions apply. computer, mobile phone and other display media, and largescale space needs to place the animation in real space, where people can watch it in an immersive or interactive way. B. Design strategy of exhibition From the technology route in the previous part to the design strategy, the translation of information expressed by scientific and technological convert to art is required. For example, “Interface technology and perception” in Scientific Visualization is linked to the “Interaction” in exhibition design. It is necessary in the first place to conduct preresearch on the concept of human-machine interface, interface perception technology, face recognition technology and so on, and then put forward the interactive mode of interaction means in language, touch, gesture, lever, remote control and other actions and behaviors. Based on the Scientific visualization technology route, a one-to-one artistic expression method is proposed in exhibition design. The design strategy of exhibition includes six aspects: image, video, interaction, immersion, telepresence, narrative, providing a systematic scheme for the vitality regeneration of popular science content. 1) Image: It is used in the broader sense of any twodimensional figure such as a map, a graph, a photography, a painting or other two-dimensional picture. The image is the main means of information visualization at the level of content expression and cultural inheritance, showing the information essence of the design strategy. 2) Video: Derived from image, the essence of video refers to a continuous sequence of images. It is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media. In exhibition design, the video includes various media forms such as animation, film, etc., showing the dynamic essence of design strategy. 3) Interaction: It is a kind of action that occurs as two or more objects have an effect upon one another. The idea of a two-way effect is essential in the concept of interaction, as opposed to a one-way causal effect. In exhibition design, interaction includes two systems of trigger and feedback, which directly establishes the communication relationship between people and scientific systems. 4) Immersion: It is a perception of being physically present in a non-physical world. The perception is created by surrounding the user of the immersive system in images, sound or other stimuli that provide an engrossing total environment. According to Adams [6], immersion can be separated into three main categories: Tactical immersion, Strategic immersion, Narrative immersion. Different space is suitable for different immersion methods, but their identical purpose is to give the audience flow experience. 5) Telepresence: Different from the feeling of being present, telepresence allow a person to feel as if they were present at a place instead of their true location. Additionally, users may be given the ability to affect the remote location. In this case, the user's position, movements, actions, voice, etc. may be sensed, transmitted and duplicated in the remote location to bring about this effect. This methodology has been used extensively to develop skills in tele-intuition for audience participate in exhibition at any time and any place. 6) Narrative: It is a telling of some true or fictitious event or connected sequence of events, recounted by a narrator to a narratee. The narrative of exhibition design mainly refers to the spatial narrative characteristics of exhibition. Different from the linear narrative logic, the spatial narrative of the exhibition mainly focuses on threedimensional spatial information including color, lighting, texture, multimedia, etc. The juxtaposition of information shows the theme of the exhibition as a whole and brings unlimited imagination to the audience. C. Dissemination validity of design After the
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Local cultural heritage document collections are characterized by contents strongly attached to a territory and its history. Our contribution aims at enhancing such a content retrieval process efficiently each time a query includes geographic criteria. We propose a core model for a formal representation of geographic information. It takes into account the characteristics of different expression modes: written language and captures of drawings, maps, photographs, etc. We have developed a prototype fully implementing geographic Information Extraction (IE) and geographic Information Retrieval (IR) processes. We approach geographic IE from semantic processings additionally to classic IE approaches. This paper focuses on IR and Information Visualization (IV) proposals relying on the geospatial characteristics of documents. Index Terms — Geographic Model, Geographic Information Retrieval and Visualization, Non-Structured Documents, Digital Libraries, Cultural Heritage. I.
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This paper presents two case studies in which the objective was to accurately reconstruct a historically significant place no longer accessible to the public due to complete or partial destruction of the original environment. In both cases the desire was to present the reconstructions in a public venue for the purpose of enlightenment; to engage the audience in a deeper understanding of the information being presented in a museum environment and to put in context the artifacts seen in a collection with the source in which they originated. 1) A Virtual Reconstruction of the Cone Sisters Marlborough Apartments, Baltimore Maryland, USA. This installation is on permanent exhibit at the Baltimore Museum of Art. It is a detailed reconstruction of the two apartments in which Etta and Claribel Cone lived in the 1930s where they amassed a collection of over 3000 works of art by Henri Matisse, Gaugin, Picasso, and others. This renowned Cone Collection now resides in the Cone Wing of the BMA. 2) The Sun Dagger Interactive. Part of a permanent exhibition on cultural astronomy at the Adler Planetarium and Museum, Chicago Illinois, USA, this interactive application reconstructs the solar and lunar calendar construct discovered on top of Fajada Butte in Chaco Canyon, New Mexico. Believed to be created by the ancient Chacoans, or Anasazi, over one thousand years ago, this assembly of three nine foot stone slabs collimates sunlight into patterns of light and shadow onto a spiral petroglyph in the cliff wall. The patterns mark the year’s solstices and equinoxes, and are believed to track the 19-year cycle of the moon. In both cases extensive research was required to accumulate the necessary data for an accurate reconstruction, each with their own particular methods and obstacles. The resulting datasets for each are very large and could easily overpower the capacity for a museum patron to absorb the information or for an affordable computer system to manage a seamless 3D display of the information. The objective was to build an interactive application in which the viewer can intuitively navigate the reconstructed space with an emphasis on conveying the content of the work in a relatively short amount of time. The following two case studies present perspectives on the stages of pre-production planning, collection and management of data, interface design, production and technology implementation. 1: A Virtual Reconstruction of the Cone Sisters’ Apartments 1.1:
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The study of cultural artifact provenance, tracing ownership and preservation, holds significant importance in archaeology and art history. Modern technology has advanced this field, yet challenges persist, including recognizing evidence from diverse sources, integrating sociocultural context, and enhancing interactive automation for comprehensive provenance analysis. In collaboration with art historians, we examined the handscroll, a traditional Chinese painting form that provides a rich source of historical data and a unique opportunity to explore history through cultural artifacts. We present a three-tiered methodology encompassing artifact, contextual, and provenance levels, designed to create a “Biography” for handscroll. Our approach incorporates the application of image processing techniques and language models to extract, validate, and augment elements within handscroll using various cultural heritage databases. To facilitate efficient analysis of non-contiguous extracted elements, we have developed a distinctive layout. Additionally, we introduce ScrollTimes, a visual analysis system tailored to support the three-tiered analysis of handscroll, allowing art historians to interactively create biographies tailored to their interests. Validated through case studies and expert interviews, our approach offers a window into history, fostering a holistic understanding of handscroll provenance and historical significance. Index Terms—Visual analytics, Digital humanities, Painting analysis, Traditional Chinese painting •W. Zhang, Y. Chen, A. Jia, L. Wang, J. Zhang, L. Chen, and W. Chen are with the State Key Lab of CAD&CG, Zhejiang University. W. Chen is also with the Laboratory of Art and Archaeology Image (Zhejiang University), Ministry of Education, China. E-mail: {zwyixian, oscarchen, jiaailing, ppwlwpp, zjw.cs, liygcheng, chenvis}@zju.edu.cn. Wei Chen is the corresponding author. • W. Kam-Kwai and H. Qu are with HKUST. Email: kkwongar@connect.ust.hk and huamin@cse.ust.hk. Manuscript received xx xxx. 201x; accepted xx xxx. 201x. Date of Publication 1
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The objective of the proposed application is the development of a new interactive application for the simulation of Ancient Greek Technology works, with the use of advanced virtual reality and computer vision technologies. In order to achieve these objectives haptic interaction mechanisms and a gesture recognition system were implemented in a virtual environment platform. A novel collision detection method was developed and virtual reality agents were used in order to achieve the desired results. The developed system was evaluated by real users and conclusions were drawn concerning the potentiality of the proposed application.
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, with complicated structure and inherent correlation. It is an interesting challenge to visually reveal the knowledge excavated from the massive data, and make it approachable, explorable, and usable to public audiences and humanities scholars. Over the past decades, cultural institutes have digitized a massive amount of cultural heritage resources such as archaeological sites, buildings, and relics. These intangible resources, known as cultural memory, are attracting more and more attention. These include books, films, photographs, audio, and video recordings that are specified to fit the memories, knowledge, and information of a social group. [24]. Big data technologies including Linked Data, Resource Description Framework (RDF), Semantic Web, etc. are used to uniform, mark, and filter the data. As a result, platforms are 468 2023 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW) 979-8-3503-4839-2/23/$31.00 ©2023 IEEE DOI 10.1109/VRW58643.2023.00101 2023 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW) | 979-8-3503-4839-2/23/$31.00 ©2023 IEEE | DOI: 10.1109/VRW58643.2023.00101 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:58:57 UTC from IEEE Xplore. Restrictions apply. created to expose information to researchers and the general public. Web-based services such as search engines, websites, and recommendation systems are developed for personal exploration and sharing over social media. Excavated data is open to the public and calls for creative usage. 3-dimensional visualization based on e.g. web3d is widely used to interactively visualize individual data sets [26]. The immersive narrative is introduced in the design of public media space to incorporate artistic design, data-driven visualization, visual narration, knowledge exposition, and data communication in immersive environments [21]. With the development of 3D technologies, especially generalpurpose GPU and real-time realistic rendering, real-time massive generative model rendering with high-resolution details becomes possible . However, there is still a considerable cost in rendering large amounts of data-driven models and textures. Meanwhile, designing humanities data visualization [9] requires collaboration among artists, engineers, and humanities scholars, and a rapid prototyping and design framework with the capability of stable data extension is required [4]. In this paper, we contribute: • A design framework for massive data visualization, narrative design, generative design, interactive exploration, and artist control. • A novel generative modeling approach that integrates procedural artistic design with data-driven modeling. • A correlation evaluation algorithm is propose to construct event relationship graph from the knowledge bases. • Interactive and immersive installations and applications that provide accessible, explorable, and inter-operable visualization of chronological cultural memory knowledge. 2B ACKGROUND 2.1 Cultural heritage and cultural memory While cultural heritage emphasis on material resources,cultural memory(CM) [2] is typically embedded in intangible resources including books, films, archives, photographs, and audio and video recordings. In 1992, UNESCO launched the Memory of the World Program to protect cultural memories. Since then, there have been continuous efforts to digitize cultural memory resources, and process the data derived from them [1]. In 2011, Shanghai Library started the project Shanghai Memory project to connect dozens of databases and knowledge bases about local chronology and geography, and provide a generalized platform service [6]. This platform provided direct searching services through the original databases of archives, photos, audio and videos, and knowledge bases were constructed on specific topics, such as the Old Film, Historical and Classical Archives, World Expo, etc. 1 . Despite the increasing amount of intangible cultural heritage data, there is a significant shortage of interfaces enabling its access, exploration and usage [26]. 2.2 Digital experience and interfaces After decades of digitization, massive cultural heritage (CH) data are open and available on the web. New types of interactive interfaces based on visualization technology are fostering novel cultural heritage experiences, including web-based interfaces [14], augmented reality interfaces [20], virtual reality interfaces [27], and immersive installations [11]. The advantage of enhancing cultural heritage experience with Augmented Reality and Virtual Reality lies in improving the quality of knowledge dissemination and enhancing the immersive experience of users [5]. An immersive interactive virtual tour application [1] is designed to provide users with an immersive and 1 http://scc.library.shanghai.cn interactive cultural heritage experience, by using 360-degree immersive video applications for Head Mounted Display (HMD) devices. Indraprastha et al used AR and HoloLens to provide a promising tool for 3D visualization and experience, wherein computer-generated objects are enhanced into real and physical objects [8]. With these new interactive interfaces, different interaction methods can be used. For example, TombSeer, an augmented reality application, can vividly restore the cultural heritage in the museum into virtual space through gesture interaction. In addition, new and combined multimedia can also enhance the experience of cultural heritage [18]. Koeva et al integrates comprehensive information including high-resolution spherical panorama, various maps, global navigation satellite systems, sound, video, and text information to display the cultural heritage data of spherical or cyclical images [12]. A more generous alternative is proposed: a rich and browsable interface that shows the scale and complexity of the digital heritage collection, including pictures, text, charts, and other forms [25]. 2.3 Data representation and visualization Visualization technology provides an effective way to explore the complex and comprehensive information space of cultural heritage and cultural memory [26]. Visualization methods for cultural heritage and cultural memory include lists and slideshows, grids and mosaics, hierarchical diagrams, word clouds, charts, plots, clusters and sets, maps, and networks, such as a knowledge map based on paper data [10] Nishanbaev et al. transformed geospatial cultural heritage data into machine-readable and processable RDF data [17]. McKenna et al published the libraries’ metadata as Linked Data (LD) [13]. 3D models have gradually become popular in the field of cultural heritage, enriching the types and formats of data and combining spatial and non-spatial data wells, such as MayaArch3D [3]. 3D ESIGN FRAMEWORK Through years of digitization and research by cultural scholars, the General Knowledge Bases(GKB) are created with Big Data technologies and laid the foundations with huge valuable humanities data(see Figure 2. Shanghai Memory is a database extracted and reconstructed from GKB [6]. Over 13000 cultural events are extracted. Each event entity is defined by the title, keywords, influence, key entities and related entities. Key entities include figures and affiliations, geographical sites, locations and architectures, cultural field types and descriptions. Unstructured data are stored with other media archives including videos, audios, books, etc (see Table 1). Prior to the development of visualization systems for Shanghai Memory, we, a group of designers, artists, humanity researchers and software engineers reviewed the related research and design, and set up our design framework. • Immersive: In immersive environment, users construct their spacial imagination and understanding about data via navigation, exploration and interaction. The process is a continuous and personalized experience. • Explorable: Free exploration promotes engagement and arouses interest. • Narrative: Storytelling draws the users to establishing the setting and helps the users understand the navigation logic. • Generative: The scene created is generated from existing database and knowledge base, that are responsive to data correction, knowledge completion, information update and live news information. • Multiscale: Massive data viewing at different scale reveals different structures and value. Hierarchical design with integrity and consistency cross scales provides informative experience. • Clear: When visualizing massive data, too much information visualized at one time without balanced design leads to overwhelming cognitive load and failure to deliver information effectively. 469 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:58:57 UTC from IEEE Xplore. Restrictions apply. Figure 2: Design framework and data infrastructure supporting Culture Chronology 4G ENERATIVE DESIGN Based on the proposed framework, we designed and implemented a data visualization and storytelling system: Culture Chronology, exposing the contemporaneous events along a chronically timeline. In this section, we explain the design, the interaction and graphics algorithms. An
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Aiming at edutainment technologies for museums, elements of participatory design techniques and focus groups were combined under the theoretical framework of the cycle of creative imagination in order to involve 10 year-old children in the design process of such applications. In contrast to existing practices where children are called to evaluate games designed by adults, the proposed method involves children from the initial phases of development. The main advantage of the proposed method is its short duration (1-2 school days) allowing for its wide use. The distinct steps of the method assist children in visualizing the possibilities of using new technologies in museums. The method was tested with children in a primary school. The ideas produced by the children demonstrated their ability to generate concepts and inspire the development of new gaming technologies. 1.
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This paper considers 3 cases undertaken by a team at the University of the West of England (FBE/UWE) — the Tower of London Computer Models and more recent linked European Historic Gardens on the Web. The team is continuing to investigate uses of spatial information systems to store, manage and visualise records of historic sites, enabling interactive off-site access to interpretative information. Existing records, often accrued in an ad-hoc manner, are mostly inadequate for such use and incomplete without external contextual reference to the physical heritage site for complete understanding. They are in this respect 'uncoordinated', lacking independent coherence. By contrast explicit integrated codification of similar digital data is necessary for stand-alone remote access. Such use necessarily starts with accumulation of an archive of data but ought to proceed to being able to answer locational questions such as 'where' and 'when' and ultimately to the support of strategic analysis and 'what-if' speculation.While buildings are relatively slow to change and decay, so past records and now computer modeled analogues stay valid in the long term, yet their contexts, settings, gardens and grounds are open to rapid change. Effective recording of potentially rapid change is highly resource intensive, justifying exploration of automated data capture, usually satellite imaging at the macro, and remote controlled video at the micro levels. Yet automated capture creates additional problems for record management, storage and retrieval in which few heritage organisations have achieved maturity. Experts often cannot obtain the precise interpretation from a photo that they can make in person on site, so melding such interpreted information with rapidly changing imagery is also an issue discussed in this paper.
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What would happen if archaeology and aerospace joined forces to test and develop new technology? Not only would it be the basis for an epic movie, there is considerable need in emerging fields of archaeology, like cultural heritage diagnostics, where a fruitful partnership could be forged. Both cultural heritage diagnostics and engineering groups share needs for multi-dimensional and multi-spectral surveying, immersive collaboration environments for visualizing results for analytics, and layered reality annotation systems to engage the scientific community and capture crowd-sourced feedback. The University of California, San Diego (UCSD) hosts the Center of Interdisciplinary Science for Art, Architecture, and Archaeology (CISA3), which is focused on engineering and adapting technology towards cultural heritage diagnostics for these purposes. CISA3 would like to build and consolidate new bridges between industry, academia, and government research to develop, test, and explain new tools to explore the cultural world around us with systems typically dreamt of in science fiction space exploration. Science, Technology, Engineering, and Mathematics (STEM) education and research is highly lauded as a means to maintain and improve society’s problem-solving prowess. Recent years have seen a movement to put the Arts into the middle of STEM, thus transforming it into STEAM, to foster innovation and to deliver comprehensive, sustainable solutions to a wide range of problems and opportunities, especially those that are culturally sensitive. Utilizing this emphasis on an expanded definition of the ‘arts’ specifically art, architecture, and archaeology a la CISA could help the aerospace industry and its many offshoots by both providing a culturally accessible entry point to engage the masses to recruit new generations of Indiana-Jones space exploration-engineers and act as a test bed for equipment and training. Deeper collaborations with aerospace offer cultural heritage diagnostics the chance to extend its ongoing dialogue between those who can identify practical field problems for which technology has not yet been invented, like archaeologists and art historians, and the computer scientists and engineers who are capable of constructing solutions. This paper explores ways that cultural heritage diagnostics with CISA3 and similar organizations bridge the gap between pure and applied science in turn smudging the lines between the hard and soft sciences. It will explore the ways in which a STEAM movement focused not just on arts, but on art, architecture, and archaeology may be the path towards the productive and innovative collaborations between academia, industry, and government which have long been dreamed of, but not yet fully achieved. This paper will suggest ways in which cultural heritage diagnostics entities might partner with the aerospace industry to evolve well-rounded tools that reveal and preserve the treasure of our past to present audiences –to inspire and enable a future for humankind on and beyond planet Earth. TABLE OF CONTENTS 1.
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This paper discusses the potential for the use of IoT technologies within cultural heritage, including the creation of new interactive experiences, visit personalisation, visitor data analysis, connected and distributed museum visits and the provision of preand post-visit experiences. We argue that cultural heritage offers a key opportunity for the development and deployment of new IoT systems, with potential benefits both for the cultural heritage domain and the IoT community. We present a number of areas of potential work for IoT researchers that are applicable to the heritage domain and to the broader IoT context, including challenges around poor connectivity, identifying and tracking visitors, and providing systems that are easily installed configured and maintained in environments with minimal infrastructure and poor technical support. Index Terms—Internet of Things, Human-Computer Interaction, Ubiquitous computing, Cultural heritage I.
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Due to emerging consumer hardware solutions, virtual and augmented reality technologies are gaining increasing relevance in everyday contexts, such as living rooms or office spaces. This raises various challenges such as getting immersed in small and cluttered spaces, integrating immersive tools into existing processes and workflows, as well as the involvement of highly heterogeneous user groups in VR and AR applications. The current chapter aims to introduce and characterise this emerging research field by identifying various challenges in terms of the development and investigation of everyday VR and AR systems. Therefore, we give an overview of everyday VR and AR, discuss challenges for the field that we deem central to the continued adoption and integration of VR and AR into the wider public, as well as provide an overview of current everyday VR and AR in various application contexts and discuss some things from a users’ perspective. We then review works from previous WEVR workshops, which were established as a platform for the exchange of everyday VR and AR research, to face the main challenges and provide possiblesolutions.Finally,wediscusstheWEVRimpactandpointoutfutureresearch avenues. A. Simeone ( B ) KU Leuven, 3000 Leuven, Belgium e-mail:adalberto.simeone@kuleuven.be B. Weyers Human-Computer Interaction, University of Trier, 54296 Trier, Germany e-mail:weyers@uni-trier.de S. Bialkova Liverpool Business School, Liverpool L3 5UG, UK e-mail:S.Bialkova@ljmu.ac.uk R. W. Lindeman HIT Lab NZ, University of Canterbury, Christchurch 8140, New Zealand e-mail:rob.lindeman@canterbury.ac.nz © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Simeone et al. (eds.),Everyday Virtual and Augmented Reality, Human–Computer Interaction Series,https://doi.org/10.1007/978-3-031-05804-2_1 1 2A. Simeone et al. 1
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. This chapter introduces the concept ofsituated analyticsthat employs data representations organized in relation to germane objects, places, and persons for the purpose of understanding, sensemaking, and decision-making. The components of situated analytics are characterized in greater detail, including the users, tasks, data, representations, interactions, and analytical processes involved. Several case studies of projects and products are presented that exemplify situated analytics in action. Based on these case studies, a set of derived design considerations for building situated analytics applications are presented. Finally, there is a an outline of a research agenda of challenges and research questions to explore in the future.
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Rapidly growing virtual reality (VR) technologies and techniques have gained importance over the past few years, and academics and practitioners have been searching for efficient visualizations in VR. To date, emphasis has been on the employment of game technologies. Despite the growing interest and discussion, visualization studies have lacked a common baseline in the transition period of 2D visualizations to immersive ones. To this end, the presented study aims to provide a systematic literature review that explains the state-of-the-art research and future trends on visualization in virtual reality. The research framework is grounded in empirical and theoretical works of visualization. We characterize the reviewed literature based on three dimensions: (a) Connection with visualization background and theory, (b) Evaluation and design considerations for virtual reality visualization, and (c) Empirical studies. The results from this systematic review suggest that: (1) There are only a few studies that focus on creating standard guidelines for virtual reality, and each study individually provides a framework or employs previous studies on traditional 2D visualizations; (2) With the myriad of advantages provided for visualization and virtual reality, most of the studies prefer to use game engines; (3) Although game engines are extensively used, they are not convenient for critical scientific studies; and (4) 3D versions of traditional statistical visualization techniques, such as bar plots and scatter plots, are still commonly used in the data visualization context. This systematic review attempts to add to the literature a clear picture of the emerging contexts, different elements, and their interdependencies. Keywords virtual reality · visualization · game technologies · systematic review 1
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After decades of digitization, large cultural heritage collections have emerged on the web, which contain massive stocks of content from galleries, libraries, archives, and museums. This increase in digital cultural heritage data promises new modes of analysis and increased levels of access for academic scholars and casual users alike. Going beyond the standard representations of searchcentric and grid-based interfaces, a multitude of approaches has recently started to enable visual access to cultural collections, and to explore them as complex and comprehensive information spaces by the means of interactive visualizations. In contrast to conventional web interfaces, we witness a widening spectrum of innovative visualization types specially designed for rich collections from the cultural heritage sector. This new class of information visualizations gives rise to a notable diversity of interaction and representation techniques while lending currency and urgency to a discussion about principles such as serendipity, generosity, and criticality in connection with visualization design. With this survey, we review information visualization approaches to digital cultural heritage collections and reflect on the state of the art in techniques and design choices. We contextualize our survey with humanist perspectives on the field and point out opportunities for future research. Index Terms—Information visualization, introductory and survey, digital libraries, arts and humanities Ç 1
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According to the ‘Yolngu’ and ‘Kuninjku’ peoples of Arnhem Land, northern Australia their art connects knowledge to the land. Land comes into being as a part of an ancestral dreaming enacted through performative storytelling. In this region a particular technique for revealing elements of nature is used called ‘rarrk’. The technique employs a crosshatched layering of coloured lines. The surface of these images present a powerful but ambiguous visual and emotional effect on the viewer. It creates a dialogue not ordinarily possible with more traditional flattened or chiaroscuro techniques. Similar yet distinct from the more familiar moiré effects of the early twentieth century European Impressionists, the technique is a peculiarly potent method for communicating a local cultural heritage knowledge to those initiated in its conventions. The work of a local Aboriginal artist who specializes in rarrk, Mawurndjul, is explored as a case study in the stability and ambiguity of the images generated using this technique. The paper explores the technique, its use and effectiveness and suggests it as a cultural heritage knowledge communication schema, highlighting the plethora of schemas yet to be explored in cultural heritage knowledge visualisation in general. Keywords--moiré, impressionist, Indigenous, rarrk.
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These days, a large number of human-computer interactive systems have been developed. This paper proposes a visualization system of reconstructed three-dimensional (3-D) scene, which is based on user-interactive control using the Kinect sensor and a webcam. First, we acquire depth and color images from a number of viewpoints, from which 3-D reconstruction of a scene is performed. We pre-process the acquired data to improve 3-D reconstruction result. Then, we reconstruct the 3-D scene for the visualization system that uses face detection and tracking with a webcam. Experimental results show that our system gives a visualized 3-D scene reconstruction simply using the Kinect sensor and a webcam. It can be applied to a human-interaction display system at museum, amusement park, and so on. Keywords—3-D reconstruction; Kinect sensor; visualization system; face detection I.
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With the development of information techniques and the need of digital earth and cyber city, the three dimensional (3D) information play much more important role in presentation and illustration of historical buildings. 3D modeling and virtual reality techniques have demonstrated the ability of visualizing the real world in three dimension space which provides a platform for better communication and understanding of historical buildings. This paper focuses on the acquisition of three dimensional data by using terrestrial laser scanners. Firstly, we review different approaches for acquiring 3D data and their advantages and disadvantages. Secondly we focus on a newly developed technology – terrestrial laser scanning. Thirdly, we present the practical use of a 3D laser scanning system: Riegl LMS-Z420i in a historical cultural heritage site, San Fan Qi Xiang, Fuzhou city, China. Finally, the testing results and the conclusions are provided. Keywords-3D data acquirsition; Terrestrial laser scanning; Historical heritage I.
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This paper describes the work performed for the ARCHEOGUIDE (Augmented Reality-based Cultural Heritage On-site GUIDE) project. ARCHEOGUIDE is funded by the EU IST framework (IST-1999-11306), and pursued by a consortium of European organizations. It delivers an interactive, personalized, augmented reality (AR) guide for the visualization of ruined archaeological sites. It is based on mobile real-time computing, networking, and 3D visualization. Its users are presented with monument reconstructions, navigation aid and historical information in a user-friendly way through the use of multi-modal interaction techniques. The key features of the system are a novel hybrid position and orientation tracking technique used in determining the user’s viewpoint, navigation aid, outdoor operation, and real-time 3D visualization of monuments, artifacts, and life. This paper presents examples of the system’s use at the archaeological site of Ancient Olympia in Greece. Keywords: Augmented Reality, Position Tracking. Project URL: http://Archeoguide.intranet.gr. 1.
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In the presented article two examples of use of high resolut ion 3D scanning for documentation o f cultural heritage objects will be shown. Comparison of two entirely different objects, made of different materials (polychromatic wood and porous limestone) shows versatility of this scanning technology, which will revolutionize heritage documentation. Important aspect is the complexity of specially created environment for data processing in which massive data sets (up to 20 billion of measurement points) can be automatically processed and visualized. Keywords3D shape measurement, structured light, cultural heritage 3D digitization, conservation documentation I.
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With the development of digital technology, remote sensing technology is more and more widely used in urban landscape. Based on remote sensing and GIS technology, this study takes urban plant landscape as the research object, discusses the application technology measures and implementation path of GIS technology in urban landscape, and takes a site design in Chongqing as an example. Keywords—remotesensing and GIS, three-dimensional urban landscape, plant landscape, internet technology I.
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Innovative methods (e.g. geophysical prospection, remote sensing prospections, 3D modeling and visualization) adapted to Cultural Heritage and Archaeology open a wide field of research which needs appropriate techniques, skills and workflows. However, Virtual Archaeology (VA) must be understood not only as a passive instrument for visualizing the data and results but rather as a digital tool that provides an interactive four dimensional framework where the user is able to visualize, explore, analyze and evaluate both raw-data and 3D reconstructions. In this paper we would like to present a new developed interactive application called Arch4DInspector developed by the Ludwig Boltzmann Institute for Archaeological Prospection and Virtual Archaeology (LBI ArchPro). Index Terms— interactive application, Roman Auxiliary Fortress, Carnuntum, Digital Heritage, Virtual Archaeology, scientific transparency, dissemination, preservation, re-usability I.
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We discuss a system for the digital capture of museum artefacts which are accumulated into a multimedia repository comprising 3D models, images, video and sound clips as well as textual descriptions. A comprehensive set of metadata is recorded and stored alongside these various media with the aim of re-using and re-purposing them for multiple applications. We investigate issues relating to both internal and external interoperability to enable the creation of learning scenarios within the system itself as well as the export of primary multimedia objects into an independent, external Learning Content Management System for the creation of complex Learning Objects.
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Kimono is a key point in Japanese culture. In the kimono market, one type of kimono was called Yukata. Yukata is always produced in mass production in considering price. In order to promote prestigious kimonos, kimono stores usually present new styles or customer-tailored designs in response to different seasons. Of the varied kimonos, it is possible to let customers choose the style they prefer. From this point of view, this study tries to explore the behavior of the customers who get involved in the design process of a kimono where they participate and endeavor to create and even to promote their individual appreciation and value. This study collected many cases consisting of different kimono patterns and tried to analyze and induce the grammar of kimono patterns. Then, based on this grammar, a design system of kimono pattern can be built. Customers use this design system to input their likes such as floriography and various flowers. This system provides information concerning visualized patterns such as pattern elements (color, alignment, and etc.). Finally, the pattern elements generated by the customer’s likes are incorporated into the kimono grammar. In other words, the grammar of kimono pattern is constructed and refined on the basis of the results of this design system. The refined grammar can be used to analyze the existing kimono patterns as well. Through the continuing refinement and analysis of the kimono grammar, we could trace back the history of a kimono by its pattern, and by use of the cycling work people are able to preserve one of the cultural assets the kimono pattern, its design knowledge and Japanese cultural heritage. Keywords---Kimono Design, Culture Conservation, Shape Grammar, Generative Design, Information Visualization. 1.
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This paper describes an environment to automatically or semi-automatically compute the precise mapping between a set of 2D images and a triangulated 3D model built from highresolution 3D range data. This environment is part of our Atelier3D framework for the modeling, visualization and analysis of large sensor-based datasets. This work was done to initially support three cultural heritage application projects: themodeling of the Grotta dei Cervi in Italy, of the Erechtheion in Athens, Greece, and of Leonardo’s Mona Lisa. The proposed method combines image-based registration, feature matching, robust estimation techniques and advanced multi-resolution rendering with a powerful user interface. Index Terms—Image registration, cultural heritage, large datasets, 3D sensors, texture mapping 1.
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The system presented in this paper allows to take a guided tour to a virtual reconstruction of the ancient site of Sagalassos. The site has been reconstructed by combining 3D models of the landscape and remains with CAD reconstructions of monuments based on archaeological hypothesis. The 3D models were obtained using advanced image-based modelling techniques developed over the last few years in computer vision. The visitor can communicate with the virtual guide through natural speech. The guide itself is represented by a 3D face model.
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Large terrain dataset visualization is very difficult in flight simulation, because the size of terrain dataset is orders of magnitude larger than the main memory of system in flight simulation. The dataset are usually stored out-of-core. The relatively slow access speed of out-of-core makes data retrieval the bottleneck of the terrain visualization in flight simulation. The previous works on large terrain dataset visualization focus on two aspects: simplifying scene and organizing data. They always organize the terrain dataset on the disks, then load them into main memory part by part and render them efficiently. However, organization of terrain data on disk is quite difficult because the error, the triangulation dependency and the spatial location of each vertex all need to be considered, and the frame deadlock or skip phenomenon will occur probably. This paper proposes a new method for large dataset loading and rending in flight simulation. This method presents a new concept called sub-dataset, which are the all data to render the terrain in a frame. By loading the sub-dataset into main memory and real-time render them, we can realize the large terrain dataset visualization in flight simulation. Virtually, the terrain dataset refer to the longitude and latitude (L/L) coordinates of the flight position. By means of the index of L/L information, we can find the sub-dataset we need to load and render. The new method is very simple, and it costs much less time, provides visual continuity, and obtains fast visualization and animation of large scale terrain in flight simulation. 1.
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This paper introduces a new tool for web usage mining and visualization that relies on the bio-mimetic relational clustering algorithm Leader Ant and the definition of prototypes based on typicality computation to produce an efficient visualization of the activity of users on a website. The tool is evaluated on a real web log file from the French museum of Bourges website and shows that it can easily produce meaningful visualizations of typical user navigation. 1.
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Deep neural networks with attention mechanism have shown promising results in many computer vision and medical image processing applications. Attention mechanisms help to capture long range interactions. Recently, more sophisticated attention mechanisms like criss-cross attention have been proposed for efficient computation of attention blocks. In this paper, we introduce a simple and low-overhead approach of adding noise to the attention block which we discover to be very effective when using an attention mechanism. Our proposed methodology of introducing regularisation in the attention block by adding noise makes the network more robust and resilient, especially in scenarios where there is limited training data. We incorporate this regularisation mechanism in the criss-cross attention block. This criss-cross attention block enhanced with regularisation is integrated in the bottleneck layer of a U-Net for the task of medical image segmentation. We evaluate our proposed framework on a challenging subset of the NIH dataset for segmenting lung lobes. Our proposed methodology results in improving dice-scores by 2.5 % in this context of medical image segmentation. I.
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This paper appraises the role of Virtual reality modelling language (VRML) based 30 computer based models of Historic Environments in increasing access for and assisting the understanding of the general public. It is argued that VRML based 30 models and linked media create a low cost easy to use and intuitively accessible interface through which transient or casual users can retrieve information or experience narrative. The same data collation and modelling process can also assist 1:
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Today, social media platforms and other online sources, like forums and review sites, offer an abundance of cultural and touristic information that is voluntarily offered by travelers; this information, although helpful for other travelers, is typically fragmented and thus cannot be easily leveraged to exploitable knowledge by scientists and other tourism stakeholders. In this work, we present a novel, integrated system for collecting, managing, analyzing and sharing diverse, multi-faceted cultural heritage/tourism-related data that aims to assist scientists in the cultural heritage domain and tourism stakeholders to gather and synthesize scattered information to exploitable knowledge. The proposed system is tailored to the tourism domain needs, and allows users with minimum effort and zero IT expertise to (i) gather data from both structured and unstructured/semistructured online sources, (ii) leverage the data to knowledge via appropriate analysis and visualization tools, and (iii) share the collected data and gathered knowledge with other stakeholders via appropriate publish-subscribe mechanisms. The proposed system is entirely open-source, designed upon big data tools and principles for the data store, the analytics production, and the knowledge sharing, and targets both performance and usability. I.
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Use of archival collections is accelerated by the presence of finding aids, which communicate the arrangement and description of collection contents. To arrive at the optimal arrangement of a collection, archivists rely on some item-level processing or knowledge gained by exploring and manipulating digital reproductions of the contents. In this paper we consider archival student and instructor perspectives from hands-on course experiences directly with two distinct collections: one pertaining to the development, 2017 transfer and launch, and ongoing maintenance of the International Research Portal for Records Related to Nazi-Era Cultural Property (IRP2), and one a selection of unclassified catalog entries about digitized nuclear science reports. Visualizing is a data practice that permits the discovery of key content patterns, identification of computational models to be carried out to aid further analysis, and query-resolution for subject experts with precise – and historically significant – research questions. While archival data visualizations have previously been implemented as an extension of descriptive work including finding aid element counts, here we connect visualization to the work of archival outreach and access. We study how visualizations generated by groups of students working with textual and numerical dataset portions can ultimately accelerate time-sensitive uses of collections. Keywords—computational thinking, information science education, information visualization, provenance research, data transformation I.
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Abstract Urban environments, university campuses, and public and private buildings often present architectural barriers that prevent people with disabilities and special needs to move freely and independently. This paper presents a systematic mapping study of the scientific literature proposing devices, and software applications aimed at fostering accessible wayfinding and navigation in indoor and outdoor environments. We selected 111 out of 806 papers published in the period 2009–2020, and we analyzed them according to different dimensions: at first, we surveyed which solutions have been proposed to address the considered problem; then, we analyzed the selected papers according to five dimensions: context of use, target users, hardware/software technologies, type of data sources, and user role in system design and evaluation. Our findings highlight trends and gaps related to these dimensions. The paper finally presents a reflection on challenges and open issues that must be taken into consideration for the design of future accessible places and of related technologies and applications aimed at facilitating wayfinding and navigation.
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In this paper, we illustrate how historical data can be capitalised for future virtual visualization applications. We will demonstrate our proposition thanks to a research and development project started in 2008 about a mock-up of Nantes (french city) harbour. This mock-up is an historic and geographic witness of the country it represents. The amount of available knowledge with such a historic witness is significant and can be useful for many experts and obviously for museum public. What we aim to do is to capitalise the whole knowledge related to this patrimonial object before designing any end user’s application. Digital technologies such as 3D numerisation, virtual reality and cognitive infocommunications [1] will help us to achieve this goal. I.
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Virtual heritage provides researchers with opportunities to ask new questions, gain insight into the past, and disseminate their work to an ever-increasingly digital datahungry world. The range of VH options has dramatically expanded to include game engines, drones, intelligent agents, multifaceted smartphone apps, and all-digital handheld-devicedriven documentation packages. This paper explores the pros and cons of each for real-world projects. Index Terms—virtual heritage, digital archaeology, photomodeling, drones, intelligent agents. I.
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In this paper, we propose an all-in-one mobile outdoor augmented reality (AR) framework for a cultural heritage site. The framework was designed to incorporate computer vision-based augmented reality technology and ontology-based data-authoring technology. Through this framework, we clearly explain how to create 3D visual data for camera pose estimation and how to connect AR content with a cultural heritage site. In addition, we suggest a multithreading camera tracking and offer an estimation model for mobile AR application. Finally, we have confirmed the efficiency and reliability of our framework. Through this vision-based AR framework, seamless AR application for a cultural heritage site can be made. Keywords-augmented reality; cultural heritage; outdoor AR; AR framework; I.
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This paper presents a first step in the realization of an interactive user interface that organizes itself according to the user exploration of a database of cultural heritage objects. The first part makes a brief related works and lays the basis of this kind of system according to the enactive paradigm. The second part explains the mechanisms underlying the selforganization of the interface: keywords and cultural heritage objects are 3D graphical entities endowed with autonomous behaviors. They share a common virtual environment. Keywords behaviors are based on bo ̈ ıds flocking simulation while cultural heritage objects appears in an virtual museum which evolves and grows progressively. The result that is presented, is an incremental construction of an interactive and realtime 3D metaphor of virtual museum which is then user-specific. Keywords-information visualization, data exploration, selforganization, enactivism, visual metaphor I.
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The evaluation of location-based mobile learning (LBML) concepts and technologies is typically performed using methods known from classical usability engineering, such as questionnaires or interviews. In this paper, we argue that many problems that may occur during LBML become apparent in the learner's spatio-temporal behavior (i.e., her trajectory). We systematically explore how location tracking and spatial analyses can be used for the evaluation of LBML. Examples with trajectories recorded during a real learning session are presented.
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In this paper we present a prototyped system to enable the virtual exploration of a complex virtual environment. Our approach exploits Quest3D as main rendering engine, its output is conveyed toward users PDAs to allow them to explore using the PDA as a (mobile) interface to the virtual environment. An important aspect of the system is that it relies on an off-the-shelf PC and low end wireless network. Some early results showed that the prototype is able to easily manage 5 PDAs. Suggested fields of use of our system are virtual cultural heritage, educational virtual environments, videogames. Keywords— Computer Graphics, Rendering engine, Remote visualization 1
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Information retrieval (IR) has become more and more important in our daily lives. But there are few graphical interfaces or tools that can represent complex data querying and the searching process. This paper proposes a visual tool for multi-attribute data retrieval. The tool provides a Voronoi treemap combined with a selected path tree (SPT) on one window to conduct information retrieval according to different attributes of data, which are organized by a Voronoi treemap, and the other window is used to show retrieval results synchronously. Herein, SPT is used to record user's selection of attributes and is visually superimposed on Voronoi treemap. It may be composed of different levels of nodes in Voronoi treemap and it records the operations of attributes Union, Intersection and Complementduring the attributes selecting process. Users can also adjust the SPT interactively according to displayed results on the other window. Finally, the paper gives some examples of selecting historical relics in 3D digital museum design system based on double touch-screen. The results prove the usability and effectiveness of our work. KeywordsMulti-attribute data; Information retrieval; Visual query language; Voronoi treemap I.
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Cultural institutions, such as museums are particularly interested in making their collections accessible to people with physical disabilities. New technologies, such as Web3D and augmented reality (AR) can aid museums to respond to this challenge by building virtual museums accessible over the Internet or through kiosks located in accessible places within the museum. In this paper, we propose a prototype user-friendly visualisation interface that uses Web3D and AR techniques to visualise cultural heritage artefacts for virtual museum exhibitions. User interactions within the virtual museum are performed in an effective way with the help of assistive technology, so that users can feel completely related with the virtual museum artefacts and so benefit in terms of education and entertainment.
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Yi embroidery is one of the outstanding intangible cultural heritages of the Yi people, serving as a vital conduit for the transmission of Yi culture and a testament to the integration of Chinese national cultures. The colors in Yi embroidery reflect deep cultural meanings and possess significant cultural value. This study employs the K-Means clustering algorithm for the extraction and analysis of color characteristics in Yi embroidery, and uses graph theory to construct a network model of representative Yi embroidery colors, creating a data visualization engine for Yi embroidery color coordination. The results demonstrate that the characteristic colors extracted via the KMeans clustering algorithm are highly representative, and the color network model developed in this study provides objective and clear color matching relationships. The findings aim to assist in the modern design transformation of Yi embroidery and promote the innovative development of the cultural industry. Keywords—Yi Embroidery; Color Characteristics; K-Means Clustering Algorithm; Color Extraction; Design Application I.
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Based on the periodical papers of CNKI database from 2001 to 2020 and the information visualization analysis software Citespace, this paper makes a visual analysis of the study of Tibetan settlement landscape in China, and draws the knowledge mapping of Tibetan settlement research, such as author, cooperative network, organization, core keywords and so on. The results show that the number of research papers on Tibetan settlement landscape in China is relatively small, and the overall growth is unstable; the research authors and institutions are mainly concentrated in the southwest, and university organizations are the backbone of research in this field; the research method is single, and the content mainly focuses on the style and features of residential houses, protection and renewal, tourism development and habitat research; Geographic location, history and politics, inheritance, protection and development, policy and current affairs are the main factors that affect the development of Tibetan settlement landscape. The landscape differences of Tibetan settlements in different regions are significant; at present, the inheritance of Tibetan settlement culture is weak, the landscape distortion is serious, and the public lacks protection consciousness. Under the background of the policy of rural revitalization, based on the literature review and analysis, this paper looks forward to the sustainable development of Tibetan settlement landscape, and puts forward that the research of Tibetan settlement landscape should achieve multi-disciplinary integration, and the innovation of research methods and the diversification of practice paths are the development direction in the future. Keywords—Tibetan settlement landscape, Visual analysis, Citespace, Knowledge Mapping, Landscape architecture I.
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The transition from ephemeral, ceremonial art to more permanent acrylic-on-board paintings has made Australian Aboriginal art more accessible to the public than ever before. However, early examples contained secret/sacred motifs and stories knowledge recorded in the paintings that was normally only made available to initiates. In turn, this prompted contemporary Australian Aboriginal artists to hide, camouflage or remove the sensitive material from their work. It is only recently, through inter-gender and inter-cultural collaborations between contemporary Indigenous Australian artists and non-indigenous ethnographers and anthropologists, that the full ramifications of this transition is becoming apparent. This paper discusses 3 case studies where the traditional expression of Kuruwarri, or Ancestral power, has been transformed through contemporary Australian Aboriginal women’s art. Keywords -culture, heritage, knowledge, secret/sacred
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Remotely sensed imagery can reflect characteristics of sceneries, such as formation, structure and spatial correlation etc, in order to make people know the surface matters form a macroscopic and holistic view. But two dimension plane showed in remote sensing image could not get the 3D space in the realistic world reappearance. As the wider and wider use of 3D visualization technique, the visualization processing on the basis of remote sensing technique not only ensures the realization of the real-time 3D visualization, but also is better for the interpretation of remote sensing image. In this article it discusses a simple and feasible way of recurring the 3D remote sensing image taking Mount Taishan as the example. At the same time, by means of intuitionistic character of 3D image the characteristic of geology structures, physiognomy and entironment in this area could be evaluated combining with other correlated data. At last the types of physiognomy landscape are divided and the distribution character is depicted. This study enhances the practicability of remote sensing technique, as well as, it takes positive effect on the planning and development of tour resources of Mount Taishan. Key words: 3D visualization; remote sensing; real-time; recurring I.
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Non-destructive prospection methods provide a powerful toolbox to explore Archaeological Heritage while it is still protected untouched below the actual surface. Due to recent technical developments in high resolution large scale noninvasive archaeological prospection by the Ludwig Boltzmann Institute for Archaeological Prospection and Virtual Archaeology (LBI ArchPro) like motorized multi-channel Ground Penetrating Radar (GPR), multi-sensor Magnetometry or Airborne Remote Sensing it became possible to efficently explore square kilometers of archaeological landscapes in high detail. Using a georeferenced Archaeological Information System (AIS) to compare, combine and interpret the archaeological information embedded within prospection and excavation data enable spatio-temporal analyses to derive the cultural development of an archaeological landscape. Index Terms — integrated archaeological interpretation, geophysical prospection, data fusion, spatio-temporal analyses, Roman Auxiliary Fortress, Carnuntum, Cultural Heritage, Virtual Archaeology, scientific transparency, preservation, reusability I.
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The approach of modern archaeology to the study of the evolution of ancient human societies is based on the acquisition and analysis of many types of data. It is well known that in archaeology large use is done of digital technologies and computer applications for data acquisition, storage, analysis and visualization. The amount of information coming from remote sensing, from acquisition of 3-D artifacts images by scanners laser, from GPS precise reference of geographical points and from other sciences are increasing at a large extent the amount of data that it need to be stored and made available for analysis. Such data must, however, be analyzed if they are to become valuable information and knowledge. The data analysis use advanced methods developed in mathematics, informatics, and physics and in other natural and human sciences. Moreover the use of Virtual Archaeology as a new approach to the narration and visualization in Archaeology, is expanding rapidly, not only in the museum and archaeology professions, but also in the broadcast media, tourism and heritage industries. The inevitable result of this is an exponential increase of the amount and complexity of information that must be acquired, transferred, stored, processed and analyzed. From another side natural disasters, wars and terrorism created enormous damages to the archaeological heritage and in many case destroyed definitively all information about ancient civilizations. It is urgent a long term project for acquiring at least the archaeological information. The paper presents a proposal for an ArchaeoGRID that, using the GRID technology developed at CERN, will develop a GRID capable of fitting the very challenging requests of archaeology. I.
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This paper presents the ARCHEOGUIDE project (Augmented Reality-based Cultural Heritage On-site GUIDE). ARCHEOGUIDE is an IST project, funded by the EU, aiming at providing a personalized electronic guide and tour assistant to cultural site visitors. The system provides on-site help and Augmented Reality reconstructions of ancient ruins, based on user's position and orientation in the cultural site, and realtime image rendering. It incorporates a multimedia database of cultural material for on-line access to cultural data, virtual visits, and restoration information. It uses multi-modal user interfaces and personalizes the flow of information to its user's profile in order to cater for both professional and recreational users, and for applications ranging from archaeological research, to education, multimedia publishing, and cultural tourism. This paper presents the ARCHEOGUIDE system and the experiences gained from the evaluation of an initial prototype by representative user groups at the archeological site of Olympia, Greece.
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A complete tool chain starting with stereo photogrammetry based digitization of artifacts, their refinement, collection and management with other multimedia data, and visualization using virtual and augmented reality is presented. Our system provides a one-stop-solution for museums to create, manage and present both content and context for virtual exhibitions. Interoperability and standards are also key features of our system allowing both small and large museums to select components and build a bespoke system suited to their needs. For example, museums can build a tool set focused on the whole solution or just the visualization. 1.
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Art historians have traditionally used physical light boxes to prepare exhibits or curate collections. On a light box, they can place slides or printed images, move the images around at will, group them as desired, and visually compare them. The transition to digital images has rendered this workflow obsolete. Now, art historians lack well-designed, unified interactive software tools that effectively support the operations they perform with physical light boxes. To address this problem, we designed ARIES (ARt Image Exploration Space), an interactive image manipulation system that enables the exploration and organization of fine digital art. The system allows images to be compared in multiple ways, offering dynamic overlays analogous to a physical light box, and supporting advanced image comparisons and feature-matching functions, available through computational image processing. We demonstrate the effectiveness of our system to support art historians’ tasks through real use cases. Index Terms—User Experience, User Interaction, Art History, Image Collections, Lightbox F 1
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Digital technologies can help with preservation of cultural heritage and virtual reality can be used for that purpose. In this paper, a virtual reality application that has the potential of assisting the learning process of folk dances is introduced. This application includes three different assisting approaches that are presented and evaluated with 30 healthy participants. An animated avatar of the professional dancer is shown in immersive virtual reality and participants were asked to imitate the movements in order to learn the dance. Movements were recorded using a passive optical motion capture system and afterwards compared to the recordings from the professional dancers. Questionnaire data were also collected and initial results indicate that participants that had feedback provided achieved better performance. Index Terms—virtual reality, folk dances, cultural heritage, motion capture, learning I.
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Digital storytelling significantly improves the immersion of the users into virtual environments. The perception of the information contained in the digital story is better perceived if the story is told by a real avatar, rather than the animated character. The paper describes how we improved the approach of inserting the real avatar recorded against a green screen using a sequence of images with an alpha channel in an X3D real time virtual environment.
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This paper proposes a high-level augmented reality interface toolkit that allows the combination of audiovisual information with a real world environment in an easy and interactive way. The system is based on MFC libraries, OpenGL, OpenAL, Microsoft Vision SDK and the vision tracking libraries from the well known ARToolKit. Simple and cost effective hardware complements the software solution. This AR interface toolkit can be used as an exemplar for the development of other applications. Users can interact with the presented information in several different ways. Realistic augmentation is also supported such as soft and hard shadows, without sacrificing the overall efficiency of the system. To illustrate the feasibility of our AR interface toolkit a cultural heritage application for museum environments is briefly presented. Keywords--Augmented Reality, Real-time Interfaces, Human-Computer Interaction. 1.
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The use of visualisation technologies is well established in digital cultural heritage. The earlier IT challenge of presenting material culture has largely been addressed with the production of high quality digital artefacts. A number of projects have drawn on the potential for augmented visualisation offered by mobile technologies, game engines and responsive environments. Alongside these advances is a recognition that a relevant digital cultural heritage needs to reflect contemporary interpretative practices rather than relying on outmoded systems of material science. While leading research in interpretative heritage has incorporated the hermeneutic aspects of previously lived cultures there have been less recognition of the importance of the users’ role in the formation of cultural knowledge. The paper proposes that we take a step back to investigate the processes of knowledge formation. It provokes a series of new research questions on visualizing cultural heritage knowledge in light of theoretical readings on perception and knowledge formation. It points to the need to devise alternative methods for the design and production of an interpretative digital cultural heritage. Such methods detail the generative potential of a complex process rather than the replication of a complex structure. Keywords--Digital heritage visualisation, phenomenological archaeology, interpretation, spatial praxis, somatic impulse. 1. Experiential visualisation Interpretative digital cultural heritage is identified as an emerging theoretical and research practice area within digital heritage. Interpretative digital cultural heritage draws on contemporary practices in archaeology that foreground multi-vocal and culturally embedded interpretations of the past. Interpretative archaeology tries to bring the past to the human scale rather than considering it in an abstracted, detached way. Rather than relying on material science to understand the past interpretative archaeology employs the conceptual, the way people make sense of the world as social practice [1]. Within digital cultural heritage there has been an increasing drive to bring together these interpretative or experience-based accounts of the past with compelling user experiences. A key debate in the field has been around how the human dimensions of past experiences can be visualized in digital environments. UNESCO’s cultural heritage charter recognises that a responsibility of heritage management is to reflect and represent not only the material culture of the past, but also intangible heritage as expressed through cultural activity and social practices pertaining to myths, oral traditions and ceremony. In general traditional models for heritage visualisation has ill prepared designers to take up the challenge of representing experience-based accounts of the past. The role of visualisation in conveying the contextual experiences of the lived past has at times been taken as a give or considered unworthy of fuller exploration. The representation of knowledge associated with the duplication or reconstruction of cultural objects has frequently limited user interaction to access, retrieval and display of digital artefacts. Although the role of HCI design has gained prominence, the simulation of material evidence as the basis of knowledge has remained the priority in much digital cultural heritage practice. 2. Social and cultural significance of digital cultural heritage The paper proposes the need for designing projects that move beyond the giveness of heritage as a digital representation of pre-existing or reconstructed material evidence. As such it proposes a rethinking of an interpretative agenda for digital cultural heritage. Interpretative archaeology has moved away from material science to propose that the process of interpretation is neither simple nor objective, but is constituted from multiple perspectives. For the interpretative archaeologist an understanding of the past is experientially derived through a process of embodied communication rather than presented. Central to this 12th International Conference Information Visualisation 1550-6037/08 $25.00 © 2008 IEEE DOI 10.1109/IV.2008.103 447 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:54:42 UTC from IEEE Xplore. Restrictions apply. formulation is that material culture is produced from the dialogue between the past and the present and thus contextually derived and embedded in contemporary relationships. Emerging responses to this interpretative turn in archaeology is evident across a number of digital heritage projects over the last decade. Researchers have moved beyond a simple equation between representation and meaning to inquire into the complex relationship between types of visualisation and cultural learning. Many have argued that knowledge of the past demands more than the verisimilitude of the visual display by paying attention to the affectivity of user participation. As Gillings notes visualisation methods by themselves are not enough to provide the user with an embedded experience of the past [2]. Efforts have been made to represent more experience based accounts of the past through such strategies as corpothetics [3]; peripatetic videowalks [4] and the representation of lived knowledge systems associated with the landscape and movement through the landscape [5]. While these emerging strategies have recognized the value of dynamic user participation for cultural learning, they have been perhaps less able to identify the users’ role in knowledge formation. Forte, for instance, outlines that visual immersion and interaction are both important aspects in the integration of cultural values, while acknowledging that the precise nature of the relationship between representation and user experience remains uncertain [6]. The paper extends on this research by inquiring what is the relationship between knowledge formation and material culture? How do these knowledge processes function for an interpretative digital cultural heritage? 3. Phenomenological knowledge processes One avenue for reinstating an interpretative digital heritage is to draw on an established body of archaeological enquiry, which specifically theorizes how knowledge processes function. Phenomenological research in archaeology has been debated since the early 1980s and has reached a stage of maturity, which references the complexity of the interpretative process and attends to the embodied aspects of representing the past. A number of arguments for attending to the embodied aspects of user engagement have been previously established by the author [7-9]. Rather than reiterating these arguments, the paper explores how knowledge formation functions within an interpretative archaeology. It describes a methodology for using models of perception drawn from phenomenological archaeology [10-12]. It frames these through interpretations of the landscape and the application of a somatic praxis distilled from movement based systems of inquiry. Related to this, but outside the scope of this paper is an investigation into the phenomenology of responsive systems to identify how technologies might be used to enable the generative potential of somatic immersion. 3.1. A phenomenological model of perception ‘A phenomenological perspective provides an ontological ground for the study of things, places and landscapes, a means of approach and a way of thinking through the body in its’ participatory relation with the world’ [12]. In phenomenological archaeology embodiment is taken as the starting point for analysing human participation in a cultural world [11-14]. Bodily activity within material space functions as an interpretative device for understanding the past and also by extension an expressive device [15]. In this framework, interpretation is a practice grounded in the body and archaeological knowledge arises from this interpretation. Typically, phenomenological frameworks have been applied to interpretations of British and European prehistory focusing on the experience of ritual or monumental landscape through sensory bodily devices [15]. This archaeological framework is of relevance for digital cultural heritage. Rather than behaviorist models of learning, which presuppose mechanistic transfer of knowledge, phenomenological models of perception assume that knowledge emerges from embodied experience. This embodied experience is defined by perceptual experience, modes of presence and engagement in a world [10]. For digital cultural heritage, such issues as encounter, performance and spatial navigation then become critical in conceptualising and designing the parameters of digital space and user engagement. 3.1.2 Heightened attention The paper now turns to the important work by Csordas on perception as an embodied aspect of knowledge formation [10]. Csordas, brings together the writings of Merleau-Ponty on the phenomenology of perception and Bourdieu on the body as the locus of social practice to describe a somatic mode of attention. For Csordas, a somatic mode of attention is a ‘culturally elaborated ways of attending to and with one’s body in surroundings that includes the embodied presence of others’ [10, p.138]. Csordas positions attention as fundamentally somatic (relating to or affecting the body) in that it involves a turning towards – a way of paying attention with ones body to the phenomenal world. In relation to this, Csordas argues that particular cultural modes of attention processes in which we attend to and objectify our bodies can be learnt and that our selves are constituted in and through socially meaningful embodied 448 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:54:42 UTC from IEEE Xplore. Restrictions apply. experiences. His somatic modes of attention are both conscious processes of knowledge generation and habituated through cultural patterning. Drawing on his observations on the processes of meditation or dance performance Csordas identifies that it is not just what bodies do but how they feel that generates a somatic mode of attention. The framework advanced by Csordas’s research suggests how attending to ones body functions as a process of knowledge production. Put simply ‘attention can tell us something about the world and other things that surround us’ [10, p. 139]. Knowledge of a past culture emerges from bodily engagement with the world in such a way that the material form of, for instance, rocks and figurines, along with the intangible aspects of a cultural heritage are enmeshed with human corporeality. The richness of a cultural heritage experience emerges from being able to enter into a framework of understanding associated with these experiences. ‘To understand is ultimately always to construct, to constitute, to bring about here and now the synthesis of the object’ [16, p.80]. 3.2. Spatial practice Central to a phenomenological archaeology is an emphasis on movement. The world is seen as composed of relationships, grounded in the sensuous embodied relation between persons and things. Phenomenological archaeology articulates the nature of encounter between human and artefact suggesting that the process of knowledge production emerges from performance or enactment. Such an understanding has particular relevance for extant buildings and architecture where the spatial affect of bodies in the heritage setting can be articulated through somatic engagement. In relation to prehistory, Tilley outlines how the effects of landscape and architecture on the movements of people are generated through the human body and the sensory perceptions of persons [12]. Fundamental to any meaning making function is spatial motility and an attitude or posture towards objects. Modes of bodily engagement, such as, navigation and tactile apprehension of rocks and artefacts are processes for producing spatialized understandings. These spatialized understandings involve reciprocity between the body and the world an active relationship where places affect bodies and bodies in turn affect perception. For Tilley, the space of the world rather than being reducible to an objective and geometric grid when considered somatically is the space of sensory experience and bodily movement [11]. Any experience of space is grounded in the body itself, its capabilities and potentials for movement. Through time-space routines of movement and praxis or bodily practice a person knows where she or he is in relation to familiar places and objects and how to 'go on' in the world. Lived bodyspace incorporates not only habituated movement as ‘habitual and unselfconscious action’ but also modes of walking, turning, reaching, crouching, the performance of particular acts and body movements [11, p.16]. An emphasis for Tilley is on the body in the form of somatic space, which takes as its starting point the upright human body looking out onto the world. Tilley adopts movement categories from gestalt of front/back, vertical/horizontal, left/right or up/down and here/there polarities arguing that these movements are foundational to all human experience. These bodily dyads form the axes of spatial orientation which impose ‘a schema on space through which it may be experienced and understood’ [11, p.16]. Applying this to heritage, the visitor engages with a site from an embodied spatial location. The perceiving subject approaches and conceives of the world as a lived, dynamic field of potentiality. This approach operates as intentionality towards an object, which depends on who is experiencing it and how it is created, reproduced and transformed in relation to previous spatial interpretations. In this action of intentionality motion, vision and comprehension are inseparable. What is being proposed is the unity of the whole body in movement where reasoning and conceptualisation, as much as vision, sight and smell are embodied processes. Such a phenomenology of perception and attention establishes the affect of the human body on the production of knowledge. In the encounter between subject and pregiven world things and landscapes alter our consciousness and constitute us beyond ourselves. Thus our own embodiment provides a way of opening up a dialogue with a past cultural horizon, which produces knowledge of material culture. 4. Landscape and knowledge formation Following recent trends in archaeology and critical studies digital heritage scholars have taken up a phenomenological concept of landscape. As a way of rethinking spatial bodily inhabitation the landscape has been used to describe embodied sets of relationships linked to human feeling, movement and dwelling [11, 17]. As Tim Ingold points out, the perception of the environment proceeds along patterns of activity and observation leading to the continuous formation of the environment. Through the engagement of the mobile actor ‘we know as we go from place to place’ [17,p. 230]. Rather than the location of geographical objects within an imaginary birds-eye view of the landscape or single universal system of spatial coordinates landscapes are created and experienced through the manner in which they are explored and sensed, approached and left [12]. From this framework, walking is a process of knowledge transfer where consciousness is shaped by the spaces it passes through, and where consciousness in turn shapes 449 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:54:42 UTC from IEEE Xplore. Restrictions apply. the spaces it passes through. These landscapes then are not merely sites for viewing but are spaces of bodily motility and exploration ‘invested with mythological understandings and ritual knowledges intimately linked with bodily routines and practices’ [11, p.22]. In this way navigating a terrain, is a dynamic constellation between bodies, imagination and space. This idea echoes De Certeau’s notion of walking as an act of practice in the world where movement through space generates different types of understandings [18]. Tactics and strategies deployed by the walker form modes of spatial expression. Walking is thus an act of speaking the language of the terrain and through the improvised movements of the walker spatial elements are transformed or abandoned. Through the activity of walking, space (an unbounded notion) becomes a practiced place (made familiar through memory and familiar modes of encounter). Grima and Bradley introduce a cosmological function to landscape encounter by suggesting that spatial praxis in relation to the heritage of monuments and landscape sites allows for a potentialization of the past [19, 20]. The multiple changing functions of landscape as performed over time by the mobile body are designated as a potent medium of knowledge. As Grima notes, this may lead to, for instance, an understanding of tasks and activities that evoke symbolic and ritual meaning [21] 5. An interpretative methodology for cultural heritage The phenomenological frameworks outlined so far in the paper draws attention to spatial practice as a necessary part of the archaeological process. What is referring to is an encounter between places, landscape and the body and the affects of that encounter. For Tilley and other archaeologists walking the landscape is then proposed as an integral aspect of the archaeological interpretative process. Tilley suggests archaeologists should themselves walk through the landscapes, which still contain traces of prehistoric monuments. Tilley’s embodied exploration across Megalithic remains in the Welsh Black Mountains and the Dorset Cursus forms an elaborate reading of the heritage environment. His reading of the heritage environment moves past a visualist methodology to argue that past phenomenologies of the body can be understood through the body as interpretative apparatus. As outlined by Thomas our own embodied experience becomes analogous for those of past people [13]. The somatics of movement and gesture reveals ‘the invisible in the visible, the intangible in the tangible’ [12, p. 30]. As Shanks and Tilley suggest bodily experiences involve a stretching out of the past in the present in the sense that past experiences and structures are carried into the future [22]. Bodily experiences of the landscape then necessarily involve translating from present day condition to the past. Feminist academics and cultural theoreticians have pointed out the dangers of universalising bodily experience. Acknowledging the contingency of cultural experiences, Thomas opines that our own selves do however provide a point from which we can engage with the past. He proposes that the most we can do is to experience and interpret prehistoric artefacts and landscape through our own embodiment and our own subjectivities and cultural positioning knowing that we create contemporary experiences [13]. The implications of Tilley’s interpretative methodology is that bodily spatial praxis can operate as a mode of interpretation. Paying attention with the body and to the body creates a relationship with heritage monuments and artefacts that articulates cultural heritage at the level of the sensing, feeling, body. Cultural knowledge is made perceptual through the materiality and sensory corporeality of the body as an aspect of the interpretational process. Rather than thinking that this provides a fixed truth about the past, our embodiment provides a way of opening up a dialogue with a past cultural horizon [13]. The interpretative methodology outlined above suggests that cultural heritage might attend to the ways in which varying forms of bodily practice can provide an embodied approach to accessing the past. Following Tilley’s method of walking the landscape suggests it is proposed that digital cultural heritage researchers actively engage with heritage space – that knowledge emerges from body-centered real world experience. If we take it that cultural knowledge is perceptual through body performance that it behooves us to engage directly with bodily process of learning. Such a process demands a digital media process that operates as embodied interpretative practice through all stages of the knowledge chain. A preliminary proposal for including embodied interpretative practice is outlined below: 1. The lived body functions as a methodological starting point for an understanding of encounter between monument and user. 2. The capturing of somatic gesture as the material evidence of a somatic knowledge system. 3. The translation of body-centered real world experiences into modes of interaction 4. The identification of technologies and representational treatments that articulate the generative potential of emergent embodied processes. 6. Body performance This section of the paper seeks to attend to the proposal for an embodied interpretative practice. It 450 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:54:42 UTC from IEEE Xplore. Restrictions apply. briefly advances a process for capturing somatic impulses made evident by performance. Documenting movement provides a methodological starting point and a foundation for articulating movement in the heritage site and its translation to the affective responsive engagement of users. It outlines how Tilley’s notion walking the landscape as formative archaeological process might be extended to incorporate movement based expertise. A prehistoric structure is utilized as an example of somatic knowledge formation. The aim is to record a carnal or sensuous engagement with space that emerges from experiential movement and bodily gestures. The first stage is to translate the phenomenological foundations of interpretative archaeology into a design methodology. An investigation of somatic praxis such as mind body centering techniques and ideokinesis offers some possibilities [23, 24]. Bonnie Bainbridge Cohen’s somatic methodology uses the intentionality of the sensing, feeling and acting body. This provides an entry point into an understanding of how prehistoric architecture might be explored [23]. The somatic method outlines the encounter between the human body and prehistoric architectural space. This approach is characterized by an awareness of movement as an essential component in an encounter with the spatial matrix of the site. The movement practitioners ‘map’ the environment through developing a sensitivity and receptivity to the morphology and the sensuous qualities of the site. Movement is initiated by an impulse towards an element in the landscape, which might be a portal doorway, the texture of globigerina limestone, an artefact of the floor, the play of light and shade. The environment explored through bodily navigation is experienced as a place for contemplation, fluid or disjointed movement, dance or other performative acts rather than something merely gazed upon. The process for identifying somatic responses to space focuses on capturing and analyzing the specifics of body movement in the heritage environment. High quality video recording of the movements is proposed to document the movement of the performers body in the heritage space. This details specific inflections or gesture patterns in relation to architectural morphology. Analysis of these recordings provides a database of key movements in the heritage environment. For digital design the challenge is to translate the movements of people through the landscape and its consequent effects on spatiality into digital interaction scenarios. The intention is to create an environment where the mobile interaction of the body in encountering the heritage environment forms a framework for user experience. Taking account of and analysing ‘performers’ embodied experience provides a template for the design of interaction scenarios for the users movement in the digital environment. The emerging question is how the spatiotemporal characteristics of an archaeological site might be displayed in relation to the living moving bodies of visitors in the virtual environment. One response to this is to explore the phenomenological investigations of new media artists working with interaction visualisation technologies. The work by artists such as Char Davies and David Rokeby suggests further avenues for productive exploration [2527]. Further discussion of digital design using immersive technologies is outside the parameters of this paper and will be addressed in later publications. 7. Conclusion The paper has set out to investigate the processes of knowledge formation in an interpretative digital cultural heritage. It has argued that in order to redefine a cultural agenda for heritage visualisation we need to establish how aspects of cultural knowledge are embodied. That is – to identify how the body, as both interpretational constraint and enabling condition informs present day understandings of the past. The paper has pointed out the limitations of assuming a straightforward transfer of cultural heritage knowledge between the user and the digital representation. It argues that cultural knowledge is a complex process irreducible to the parameters of a visualisation model. It suggests that the past is culturally constructed as well as lived and experienced. The paper proposes a methodology for capturing the varying forms of bodily practice and somatic encounter. It outlines how the user is an active participation in the processes of knowledge formation and how interpretative practice from a phenomenological archaeology might be leveraged for the design of a digital cultural heritage environment. Overall, the paper throws up a number of questions rather than providing answers. Many of these require further theoretical development and attention through the trialing of methods of practice and prototype development. References [1] I. Hodder, Theory and Practice in Archaeology. London and New York: Routledge, 1992. [2] M. Gillings, "The Real, the Virtually Real, and the Hyperreal: The Role of VR in Archaeology," in Envisioning the Past: Archaeology and the Image, S. Smiles and S. Moser, Eds. Oxford: Blackwell Publishing, 2005, pp. 223-239. [3] S. Kenderdine, "Somatic solidarity, Magical Realism and Animating Popular Gods: Place-Hampi ' where intensities are felt'," IEEE Multimedia, 2007. [4] R. Tringham and M. Ashley, "Senses of Places: Remediations from Text to Digital Performance," 2005. [5] B. Leavy, J. Hills, C. Barker, and S. Gard, "Digital Songlines: Digitising the Arts, Culture and Heritage Landscapes of Aboriginal People," in New Heritage Forum, Hong Kong, 2006. [6] M. Forte, "Ecological Cybernetics, Virtual Reality, and Virtual Heritage," in Theorizing Digital Cultural Heritage: A Critical Discourse, F. Cameron and S. Kenderdine, Eds. Massachusetts: The MIT Press, 2007, pp. 389-407. 451 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 15:54:42 UTC from IEEE Xplore. Restrictions apply. [7] B. Flynn, "Prehistoric Archaeology in a Dynamic Spatial Visualization Environment," 2006. [8] B. Flynn, "Somatic Knowledge and Simulated Spaces," in 11th international Congress: Cultural Heritage and New Technologies, Vienna, 2006. [9] B. Flynn, "Digital Knowledge as Archaeological Spatial Praxis," in 13th International Virtual Systems and Mutlimedia Conference, Brisbane, 2007. [10] T. J. Csordas, "Somatic Modes of Attention," Cultural Anthropology, vol. 8, pp. 135-156, 1993. [11] C. Tilley, A Phenomenology of Landscape: Places, Paths and Monuments. Oxford: Berg, 1994. [12] C. Tilley, The Materiality of Stone: Explorations in Landscape Phenomenology. Oxford: Berg, 2004. [13] J. Thomas, "The Great Dark Book: Archaeology, Experience, and Interpretation," in A Companion to Archaeology, T. Earle and C. S. Peebles, Eds.: Blackwell Publishing, 2004. [14] R. Tringham, "Engendered Places in Prehistory," in Interpretive Archaeology, J. Thomas, Ed. London and New York: Leicester University Press, 2000. [15] Y. Hamilakis, M. Pluciennik, and S. Tarlow, "
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Hazard detection and prevention of natural and manmade disasters at critical civil infrastructure is becoming increasingly important. Recent events, such as earthquakes and terrorist attacks, clearly demonstrated the societal and economical impact stemming from the limitations and uncertainty within currently deployed emergency response systems. We present a new data visualization and simulation platform that will facilitate risk detection, emergency response and assessment in hazardous situations. The platform is based on the acquisition, modeling and analysis of sensor data, to capture objects and temporal changes in the observed spaces. Avatars are acquired, inserted and tracked in a virtual environment, enabling the simulation of multiple perilous situations and assisting in determining possible risk mitigation strategies. While the initial research focus is on algorithms and techniques in the field of hazard detection and prevention using path planning, the results can also be applied to diverse fields such as media contents development, cultural heritage,e-learning, teleconferencing, animation and video gaming. 1.
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We present Bema, a multimodal user interface that enables scholars of Greek rhetoric and oratory to perform virtual reality studies of ancient political assemblies at the hill of the Pnyx. Named after the flat stone speakers’ platform utilized at the Pnyx, theBemainterface supports the high-level task of gaining a nuanced understanding of what it would feel like to give or receive a speech together with as many as 14,000 Athenian citizens and, further, how this experience must have changed as a result of at least two massive renovations captured in the archaeological record. Bema integrates solutions for several low-level interaction tasks, including navigating in virtual space and time, adjusting data visualization parameters, interacting with virtual characters, and analyzing spatial audio and architecture. Navigation is accomplished through a World-in-Miniature technique, re-conceived to support multi-touch input within a 4wall Cave environment. Six degree-of-freedom head tracking and a sound level meter are used to analyze speeches delivered by users. Comparative analysis of different historical phases and assembly sizes is facilitated by the use of crowd simulation to generate realistic spatial arrangements for the assemblymen and staged animated transitions that preserve context while comparing two or more scenarios. An evaluation with our team’s scholar of ancient Greek rhetoric and oratory provides support for the most important design decisions and affirms the value of this user interface for experiential analysis. Index Terms:I.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism—Virtual reality 1
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Abstract not found.
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The system of Bologna porticoes, included in 2006 in the Italian tentative list of World heritage sites of UNESCO, will undergo a definitive recognition of the nomination as part of the program of the current municipal council. The nomination is aimed at highlighting the portico, not only as a high-quality architectural work, which in the past centuries has become a distinctive feature of the town, but also in its social, community and anthropological meanings, as a meeting place, a protected space. The nomination project refers to different subjects and is divided into many levels of action. Among them we are going to develop a platform conceived for on-line accessing the wealth of data and resources related to the Bolognese porticoes system, such as historical, artistic, architectural resources, besides all those data regarding its actual management. The platform will perform the harvesting of several already existing databases, making the data available to citizens, tourists and scholars thanks to a graphic interface allowing a navigation in space and time. Therefore our system will facilitate the development of further cultural and promotional cross-medial applications, such as apps for mobile devices, augmented graphics and 3D architectural mapping events. Through social media tools, citizens will be invited not only to enjoy and share the proposed contents, but also to take an active stance in the project by uploading contents and comments. The core of our platform will consist of reality-based high quality 3D models usable and navigable within the system as main user interface. Uniform quality and consistency of our reality-based 3D digital models along the more than 40 km of porticoes was ensured by a controlled, low-cost process starting from photo-modeling techniques. Keywords —Cultural Heritage; Photo Modeling; 3D Models; Digital Color; Bologna; I.
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In this paper we report our progress in building a system for the acquisition, analysis, and visualization of a collection of Native Californian baskets from the Phoebe A. Hearst Museum of Anthropology. Our project differs from existing cultural heritage applications in terms of its focus: to build tools and techniques for visualizing and studying a large number of related objects – in this case, baskets. We present our progress in the following system components: (i) laser-scanning of baskets, (ii) construction and processing of 3D models, and (iii) building virtual exhibits. We conclude the paper with our experiences and a summary of challenges we anticipate in building a completely automated system for processing and analyzing a large set of models – such as might be encountered when digitizing a large museum collection. Efficient retrieval and visualization of artifact collections are important to a number of communities, including anthropology researchers, Native American tribes, and the general public. I.
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Stereoscopic multi-user systems provide multiple users with individual views of a virtual environment. We developed a new projection-based stereoscopic display for six users, which employs six customized DLP projectors for fast time-sequential image display in combination with polarization. Our intelligent high-speed shutter glasses can be programmed from the application to adapt to the situation. For instance, it does this by staying open if users do not look at the projection screen or switch to a VIP high brightness mode if less than six users use the system. Each user is tracked and can move freely in front of the display while perceiving perspectively correct views of the virtual environment.Navigating a group of six users through a virtual world leads to situations in which the group will not fit through spatial constrictions. Our augmented group navigation techniques ameliorate this situation by fading out obstacles or by slightly redirecting individual users along a collision-free path. While redirection goes mostly unnoticed, both techniques temporarily give up the notion of a consistent shared space. Our user study confirms that users generally prefer this trade-off over naïve approaches.
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Acoustic Scene Classification (ASC) aims to classify the environment in which the audio signals are recorded. Recently, Convolutional Neural Networks (CNNs) have been successfully applied to ASC. However, the data distributions of the audio signals recorded with multiple devices are different. There has been little research on the training of robust neural networks on acoustic scene datasets recorded with multiple devices, and on explaining the operation of the internal layers of the neural networks. In this article, we focus on training and explaining device-robust CNNs on multi-device acoustic scene data. We propose conditional atrous CNNs with attention for multi-device ASC. Our proposed system contains an ASC branch and a device classification branch, both modelled by CNNs. We visualise and analyse the intermediate layers of the atrous CNNs. A time-frequency attention mechanism is employed to analyse the contribution of each time-frequency bin of the feature maps in the CNNs. On the Detection and Classification of Acoustic Scenes and Events (DCASE) 2018 ASC dataset, recorded with three devices, our proposed model performs significantly better than CNNs trained on single-device data. Index Terms—Acoustic Scene Classification, Multi-device Data, Conditional Atrous Convolutional Neural Networks, Attention, Visualisation. I.
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.In the paper we propose ontology based scientific visualization tools to calibrate and monitor various IoT devices in a uniform way. We suggest using ontologies to describe associated controllers, chips, sensors and related data filters, visual objects and graphical scenes to provide self-service solutions for IoT developers and device makers. High-level interface of these solutions enables composing data flow diagrams defining both the behavior of the IoT devices and rendering features. According to the data flow diagrams and the set of ontologies the firmware for IoT devices is automatically generated incorporating both the data visualization and device behavior code. After the firmware loading, it’s possible to connect to these devices using desktop computer or smartphone/tablet, get the visualization client code over HTTP, monitor the data and calibrate the devices taking into account monitoring results. To monitor the distributed IoT networks a new visualization model based on circle graph is presented. We demonstrate the implementation of suggested approach within ontology based scientific visualization system SciVi. It was tested in a real world project of an interactive Permian Antiquities Museum exhibition creating. Keywords:IoT devices ·Scientific visualization tools Ontology engineering ·Data flow diagrams Firmware source code generation 1
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Given the growing variety and volume of oceanographic observations, there is a need for data systems and services supplementing existing agency repository infrastructures to enable simpler access and synergistic use of multidisciplinary ocean data. The availability of a set of core software capabilities and data that can be reused, augmented, and scaled efficiently to support a wide range of regional use cases is also a related need. The CEOS (Committee on Earth Observation Satellites) Ocean Variables Enabling Research and Applications for GEO (COVERAGE) initiative seeks to address these imperatives, providing improved access to multi-agency, multidisciplinary remote sensing and in-situ oceanographic data in support of open science and applications for societal benefit. Here we provide an overview of COVERAGE, an initiative and 3-year pilot project within CEOS involving interagency participation. Emphasis is placed on describing technology and architectural aspects, available data, web-based tools and services in support of associated ecosystem thematic demonstration applications. International collaborative aspects of the project are discussed, including COVERAGE involvement in the UN Decade of Ocean Science for Sustainable Development. Keywords—NASA, CEOS, informatics, cloud computing, information systems, web services, analytics visualization, remote sensing, in-situ, ocean data, integration, ecosystem applications, UN Decade of the Oceans. I.
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The citizen science paradigm and the practices related to it have for the last decade called a wide attention, beyond academics, in many application fields with as a result a significant impact on discipline-specific research processes and on information sciences as such. Indeed, in the specific context of minor heritage (tangible and intangible cultural heritage assets that are left aside from large official heritage programs), citizen-birthed contributions appear as a major opportunity in the harvesting and enrichment of data sets (notwithstanding data quality and heterogeneity issues). In parallel, it seems we have today reached a moment when the acquisition and analysis of spatio-historical information appears “easier” since citizens are seen as potential (and legitimate) sensors. But is it really “easier”? And if so, at what cost? Having a closer look on practical challenges behind the curtain can avoid turning the above mentioned opportunity into a lost one. In this contribution we present a research initiative that aims at better circumscribing the difficulties one has to foresee when wanting to harvest and visualize pieces of data on minor heritage collections, and then to derive from them spatial, temporal, and thematic knowledge. The contribution focuses on three aspects: a short analysis of citizen contributions in the context of minor heritage, a description of the case study and of the data modeling bottlenecks we are facing, and an exemplification of the visual analysis solutions we experiment in order to portray and question our understanding of collections. The case study acts as a test bench helping to investigate data harvesting and modeling challenges, as well as potential added-value of the visualization step. Keywords-Spatio-historical data modelling; Citizen Science; Information visualization; Knowledge Discovery; Research Methodologies; Minor Heritage I.
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This workshop proposes to bring together researchers who are interested in improving collaborative experiences through the combination of multiple interaction surfaces with diverse sizes and formats, ranging from large-scale walls, to tables, mobiles, and wearables. The opportunities for innovation exist, but the ITS, CHI, CSCW, and other HCI communities have not yet thoroughly addressed the problem of bringing effective collaboration activities together using multiple interactive surfaces, especially in complex work domains. Of particular interest is the potential synergy that one can obtain by effectively combining different-sized surfaces and sharing information between devices.
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The CMIS workshop proposes to bring together researchers who are interested in improving collaborative experiences through the combination of multiple interaction surfaces with diverse sizes and formats, ranging from large-scale walls, to tables, mobiles, and wearables. The opportunities for innovation exist, but the ISS, CHI, CSCW, and other HCI communities have not yet thoroughly addressed the problem of bringing effective collaboration activities together using multiple interactive surfaces, especially in complex work domains. Of particular interest is the potential synergy that one can obtain by effectively combining different-sized surfaces and sharing information between devices.
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This workshop proposes to bring together researchers who are interested in improving collaborative experiences through the combination of multiple interaction surfaces with diverse sizes and formats, ranging from large-scale walls, to tables, tablets and phones. The opportunities for innovation exist, but the ITS, CSCW, and HCI communities have not yet thoroughly addressed the problem of bringing effective collaboration activities together using multiple interactive surfaces, especially in complex work domains. Of particular interest is the potential synergy that one can obtain by effectively combining different-sized surfaces.
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Europe has a unique heritage and culture that is largely hidden from its young people. New information and communication technologies present an opportunity to involve the young people of Europe in discovering this heritage and presenting it to others in an exciting, dynamic way. This paper describes early work on the INHERIT project which involves the development of a set of tools, data and structures to build and manage historical and three-dimensional models. This will enable school and college students to share in creating and exploring distributed simulations of dynamic aspects of history, geography, economics, politics and other subjects closely associated with European citizenship. With the tools developed it is envisaged that school pupils will be able to add, for example, landscape, buildings, avatars and a range of other objects, to a virtual world that models the heritage of Europe. The tools are based upon XML technologies to structure and distribute data and X3D or VRML to display that three-dimensional data. Keywords--Information Visualization, Interactive 3D Graphics, X3D, XML, VRML, Cultural Heritage. 1
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In building 3D site models for visualization and virtual walkthrough, most emphasis so far has been on creating the 3D shape models. Less emphasis has been on creating realistic textures, e.g. to simulate building materials or vegetation. Nevertheless, the appearance of object and landscape models will depend at least as much on their textures, as on the precision of their geometry. The paper proposes a texture synthesis technique for the simulation of building materials and vegetation types. As textures can often more easily be described as a composition of subtextures than as a single texture, a hierarchical extension of our basic texture synthesis is proposed. These "composite textures" are based on a kind of metatexture concept, i.e. the layout of the different subtextures is itself modeled as a texture, that can be generated automatically. Examples are shown for building materials with an intricate structure and for the automatic creation of landscape textures.
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Abstract not found.
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Reported are the findings of user experience and learning outcomes from a July 2019 study of an immersive, interactive, multimodal augmented reality (AR) application, used in the context of a museum. The AR Perpetual Garden App is unique in creating an immersive multisensory experience of data. It allowed scientifically naïve visitors to walk into a virtual diorama constructed as a data visualization of a springtime woodland understory and interact with multimodal information directly through their senses. The user interface comprised of two different AR data visualization scenarios reinforced with data based ambient bioacoustics, an audio story of the curator’s narrative, and interactive access to plant facts. While actual learning and dwell times were the same between the AR app and the control condition, the AR experience received higher ratings on perceived learning. The AR interface design features of “Story” and “Plant Info” showed significant correlations with actual learning outcomes, while “Ease of Use” and “3D Plants” showed significant correlations with perceived learning. As such, designers and developers of AR apps can generalize these findings to inform future designs. Index Terms—augmented reality, bioacoustics, data visualization, immersive, information fidelity, informal learning, interactive, multimodal, museums, narrative, photorealistic, place illusion, presence, virtual dioramas, virtual reality I.
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Thematic virtual museum system main goal is providing more relevant information based on user characteristic, behavior and desire. Thematic exhibition as main unique feature very considering on users’ whole activities. Barry and Maria define creation of new knowledge, transformative and selfdirected experiences, engagement with the full diversity of visitors, and transparency as the source of a viewpoint of the exhibition as museum specific evaluation criteria. Museum exhibition is not book on the wall rather than leading visitors to new attitudes, values and ideas even in very different cultural backgrounds or religious beliefs. The system with interactive information in the thematic exhibition which has been processing and delivering to the user will be leading to the better understanding by traveling in similar fields. In order to accomplish those tasks, this research have been performed and constructed thematic virtual museums inverted index to gain fastest retrieval document collections. The system is using special architecture and multi system indexing in thematic virtual museum inverted index. This index can manage collection in many forms of data structured, semi structured or unstructured which have processed by data access layer engine. In this paper showed a design and modification of the inverted index experimental result for thematic virtual museums system and a sample of exhibition visualization to get more precision by embedding method. Keywords— document collections; exhibition; inverted index; thematic virtual museums; visualization. I.
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Spatial augmented reality, where virtual information is projected into a user’s real environment, provides tremendous opportunities for immersive analytics. In this demonstration, we focus on real-time interactive crowd simulation, that is, the illustration of how crowds move under certain circumstances. Our augmented reality system, called CrowdAR, allows users to study a crowd’s motion behavior by projecting the output of our simulation software onto an augmented reality table and objects on this table. Our prototype system is currently being revised and extended to serve as a museum exhibit. Using real-time interaction, it can teach scientific principles about simulations and illustrate how such they, in combination with augmented reality, can be used for crowd behavior analysis. I.
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This paper presents four research projects currently underway to develop new omnispatial visualization strategies for the collaborative interrogation of large-scale heterogeneous cultural datasets using the worlds’ first 360degree stereoscopic visualization environment (Advanced Visualization and Interaction Environment AVIE). The AVIE system enables visualization modalities through full body immersion, stereoscopy, spatialized sound and camerabased tracking. The research integrates work by a group of international investigators in virtual environment design, immersive interactivity, information visualization, museology, visual analytics and computational linguistics. The work is being implemented at the newly established research facility, City University’s Applied Laboratory for Interactive Visualization and Embodiment – ALIVE) in association with partners Museum Victoria (Melbourne), iCinema Centre, UNSW (Sydney), ZKM Centre for Art and Media (Karlsruhe), UC Berkeley (USA), UC Merced (USA) and and Europeana (in association with Israel Museum of Jerusalem). The applications are intended for museum visitors and for humanities researchers. They are: (1) Data Sculpture Museum; (2) Inside Europeana; (2) Rhizome of the Western Han; (4) Blue Dots AVIE (Tripitaka Koreana). Keywords-3D; immersive; information visualization; interactive narrative; museum collections; archaeology; corpora I.
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: Cultural heritage exhibitions commonly have to arrange a high amount of diverse artefacts and associated information in architecturally complex facilities. This constellation issues challenges to both: exhibition designers who have to find ways to deal with spatial restrictions and visitors who often experience cognitive overload and museum fatigue due to the high amount of information available. Against this background, the article is focusing on the question, how information visualization can serve as advance organizer, to make the organizing principles of cultural heritage exhibitions (like common topics, themes, geographical or temporal origin) transparent to the visitors. For this purpose, we extend the visualization method of time geography to an interactive visualization framework of time topography, which can support the interactive exploration of conceptual and physical cultural heritage exhibition spaces in parallel. Keywords: cultural heritage visualization, digital humanities, advance organizer, time geography, visual analytics; I.
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In 1960s, Japanese Digital Artists were already introduced internationally by their pioneering works. In 2002, Digital/Media Art became the required course of junior-high/high schoolart classes, and digital art expressions including computer graphics have been in the ascendant to show the broader diversity than ever. Like other Asian countries, government has started supporting the Media Art contents and today’s Japanese art students, whose works have been highly evaluated even overseas, to enter a new phase. I would like to report on the current situations of media art education and support system for Media Art in Japan and consider the future of upcoming talents, by examining examples; Japan Media Arts Festival and also quote the experience of many exhibitions on media art for over ten years, at the Images & technology Gallery in Tokyo Metropolitan Museum of Photography, which founded as a public institution of image media.. 1.
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Interactive web-based resources are significant to the mediation of culture in that they act as an interface [10] between communities and information structures. The focus of this paper is on the use of digital media arts and user-centered technologies to develop a digital heritage resource to revitalize a community’s cultural capital. The paper addresses the creation and use of an interactive database that forms the portal to a digital repository of archival media. The database supports and extends an Australian classic memoir, Journey to Horseshoe Bend by [15]. Journey to Horseshoe Bend is a vivid ethno-historiographic account of the Aboriginal (Arrernte/Arrarnta), settler and Lutheran communities of Central Australia in the 1920’s. The Journey to Horseshoe Bend database <http://jhsb.bugs.commarts.uws.edu.au/heurist/> draws on a broad range of visual representations (including images, maps, concept diagrams, text and other media resources), and through hyperlinks connects these media to specific annotated points in an electronic version of the book. The paper focuses on the book’s use as a digital heritage resource and explores the link between information architectures and knowledge practices in particular contexts to address the following question: How can a digital heritage resource be conceived as a sustainable emerging “thing-in-the-making” to reflect community, cultural and knowledge interests? Background Resources: bugs.commarts.uws.edu.au/cocoon/jhsb/item/69994/ and project website: http://www.commarts.uws.edu.au/jthb/
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Upon completion of bridge inspection, monitoring and analysis, the subsequent and crucial step is to formulate decisions for bridge maintenance, which should be logic or evidence based, optimal considering economic and environmental constraints, and feasible subject to resources at hand. There exists a situation that the decision-making is straightforward if the data and information are of low complexity. The reality is often the opposite, that is, data and information from the life-cycle inspection and monitoring processes, when brought to the maintenance engineers and managers, are often non-structured, high-dimensional, mutually dependent, and still ‘big’ in their volume. Recognizing these challenges, this chapter focuses digital technologies that can facilitate scientific and rational decision-making for bridge maintenance and management. Among them, Artificial intelligence (AI) technologies can facilitate decision-making taking the role of assisting human-based decision-making or of driving the decision-making. Two human–machine interfacing technologies are introduced, including virtual reality (VR) and augmented reality (AR), which provide advanced visual analytics for facilitate spatial–temporal understanding, logic formulation, and rational decision-making. General applications and specific applications of these technologies in the context of bridge maintenance and management are highlighted too in this chapter. 9.1 AI Based Decision-Making 9.1.1 Overview Currently, bridge maintenance strategies primarily rely on bridge inspection results and reference to corresponding maintenance codes, such as the “Code for Maintenance of Highway Bridges and Culverts” (JTG 5120—2021), while taking into account the professional expertise and experience of the decision-makers. For instance, when dealing with crack damage in the substructure of a bridge, the bridge maintenance decision-maker may formulate a maintenance decision based on recommendations in the code and the results of on-site crack inspections, combined with © China Communications Press Co., Ltd. 2024 G. Wu et al., Intelligent Bridge Maintenance and Management, Springer Tracts in Civil Engineering, https://doi.org/10.1007/978-981-97-3827-4_9 403 4049 Decision-Making Technologies for Intelligent Maintenance ... their own maintenance experiences. This could involve counter-measures such as applying epoxy resin sealant or pressure grouting. It is apparent that this process is filled with subjective uncertainties. Often, different decision-makers might propose different maintenance strategies for the same situation. This implies that the maintenance strategies formulated by different decision-makers will have variations in quality, leading to differences in reliability, remaining service life and other indicators of the bridge health after maintenance. In this context, if the subjective uncertainties introduced by the decision-makers themselves in the current decision-making process are not addressed properly, even with the use of various advanced technologies to address the issues in bridge inspection, there is no guarantee that the bridge, based on the current maintenance strategy, will continue to meet the requirements of normal use, ultimate load-carrying capacity and serviceability in a satisfactory manner. Therefore, the primary goal of bridge maintenance decision-making is to achieve a structured and standardized decision-making process, reducing subjectivity and ensuring quality of bridge maintenance. Meanwhile, due to the existence of various objective factors, such as inability of AI technology to completely replace human involvement and inherent randomness in the external environment where bridges are located, the maintenance of different bridges still relies on the decision-makers’ experiences. Therefore, formulation of bridge maintenance strategies cannot completely exclude involvement of the decision-makers. However, in order to better develop a system for formulating bridge maintenance strategies, it is necessary to track the effectiveness of the final maintenance decisions for each bridge, quantitatively evaluate the decision-making level based on the assessment results of post-maintenance inspections, and compile them into a database. This will facilitate continuous improvements in the later stages. In addition, the current formulation of bridge maintenance strategies usually focuses on individual bridges, without considering the overall management, coordinated planning and formulation of maintenance strategies for other bridges within the same road network. As a result, bridge maintenance often requires long duration and frequent traffic closures, leading to a waste of time and money. In summary, we need to reform the current bridge maintenance decision-making process to introduce more structured, standardized and objective decision-making methods and systems, and eliminate the subjective uncertainties introduced by the decision-makers themselves. At the same time, in the decision-making process, we should shift from considering individual bridges to considering the overall road network where the bridges are located. This allows for coordinated planning, avoiding unnecessary waste, optimizing resource allocation, extending the lifespan of bridge clusters, and ensuring the safety of people’s lives and properties. Additionally, it is necessary to establish a reasonable evaluation system to quantitatively assess the bridge maintenance strategies formulated for each bridge. This will facilitate further improvement of the bridge maintenance strategy formulation system in the future. With this background, coupled with the advancement of computer science, the concept of AI based decision-making has been proposed to overcome the current deficiencies in bridge maintenance by incorporating AI technology into the bridge maintenance decision-making process. 9.1 AI Based Decision-Making405 AI based decision-making, as the name suggests, refers to the
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While previous work has found success in deploying visualizations as museum exhibits, it has not investigated whether museum context impacts visitor behaviour with these exhibits. We present an interactive Deep-time Literacy Visualization Exhibit (DeLVE) to help museum visitors understand deep time (lengths of extremely long geological processes) by improving proportional reasoning skills through comparison of different time periods. DeLVE uses a new visualization idiom, Connected Multi-Tier Ranges, to visualize curated datasets of past events across multiple scales of time, relating extreme scales with concrete scales that have more familiar magnitudes and units. Museum staff at three separate museums approved the deployment of DeLVE as a digital kiosk, and devoted time to curating a unique dataset in each of them. We collect data from two sources, an observational study and system trace logs. We discuss the importance of context: similar museum exhibits in different contexts were received very differently by visitors. We additionally discuss differences in our process from Sedlmair et al.’s design study methodology which is focused on design studies triggered by connection with collaborators rather than the discovery of a concept to communicate. Supplemental materials are available at:https://osf.io/z53dq/ Index Terms—Visualization, design study, museum, deep time. 1
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This paper presents the design and implementation issues associated with the development of a mobile device for the ARCHEOGUIDE project. We describe general and application specific design goals as well as the technical requirements the implementation is based upon. Since speed is crucial for an interactive application we provide a survey of mobile and wearable computing equipment especially considering performance aspects. A detailed overview of available hardware components follows. We describe the decisions made during prototype development and present the final result — a mobile unit for outdoor Augmented Reality tours in cultural-heritage sites. Finally we discuss the experiences we made using the system during a first trials phase at ancient Olympia in Greece.
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Like other works of art in ancient China, furniture in the Ming and Qing Dynasties not only has profound cultural and artistic heritage of the Chinese nation, but also has elegant and practical functions, which makes people have endless aftertaste. It represents the peak of Chinese traditional furniture manufacturing. This paper designs a mobile Internet platform based on the furniture display culture of the Ming and Qing Dynasties, which displays the furniture culture of the Ming and Qing Dynasties from multiple angles and all directions from the aspects of technology, history and entertainment, and brings those furniture flowing all over the world together. In the implementation process, we mainly use Unity3d for Android development and 3Dmax for model production. Through this platform, we can understand the development of furniture in the Ming and Qing Dynasties and learn history and culture interestingly and cultivate humanistic feelings. We can not only appreciate the style of furniture in the Ming and Qing Dynasties, but also spread China's excellent traditional culture and contribute to the development of China's cultural industry. Keywords—Furniture in the Ming and Qing Dynasties, Mobile Internet platform, Unity3D, 3Dmax, Traditional culture I. BACKGROUND Since human entered civilization, clothing, food, housing and transport have often been the most direct and important aspects of living standards, of which furniture, which is closely related to life, is an important carrier of the civilization of human living rooms. In the people's long-term creative practice, the wisdom and ability of human beings have been fully demonstrated, accumulating the contents of social life and various concepts of religion, philosophy and science of different peoples, countries and regions, and different historical periods. Therefore, under the influence of many different political, economic and cultural factors, social folklore and the customs of the times, the furniture of various nationalities around the world has produced their own different morphological features and stylistic characteristics [1-3]. China is one of the four most ancient civilizations in the world, and the ancient furniture of the Chinese nation has evolved over the course of several thousand years to take on a variety of different historical aspects. In particular, after the derivation of the Tang and Song dynasties, the Ming and Qing dynasties quickly developed to their historical peak. The furniture of the Ming and Qing dynasties gradually became an artistic treasure of Chinese and foreign fame, reflecting the glory of unparalleled art and unique cultural charm. Furniture collecting began in the 1930s, when foreigners collected and acquired Chinese Ming and Qing furniture in large numbers and shipped it overseas. The Chinese furniture styles that emerged as early as the sixteenth century were, in a sense, long been models and precursors of the Western design revolution. In a time when awareness of heritage conservation has been repeatedly stressed, the culture of Ming and Qing furniture should be explored and passed on even more deeply [4-6]. II.DESIGN PURPOSE This paper designs a mobile internet platform that allows people to experience the charm of Ming and Qing dynasty furniture more visually. Presented as a 3D model, the software brings together furniture from all over the world, starting from the five categories of furniture furnishing in the Ming and Qing dynasties sleeping, sitting, bearing, cupboard and miscellaneous furniture and allowing people to experience the evolution of furniture in both periods by learning about their materials and craftsmanship. Through an increasing awareness of classical furniture, people can expand the future of our lives at a higher level, presenting a wide field of scientific thinking and better contributing to the prosperity and flourishing of our arts and crafts. III. PLATFORM OVERVIEW A.Platform functionality Ming and Qing Dynasty furniture, like other ancient Chinese artworks, not only has a profound Chinese cultural and artistic heritage, but also has elegant, practical and evocative functions, which represent the pinnacle of traditional Chinese furniture manufacturing. The platform is a multi-faceted display of Ming and Qing Dynasty furniture culture in terms of craftsmanship, history and entertainment through the use of patterns and 3D models, bringing together those pieces of furniture that have flowed around the world. The platform mainly uses Unity3D for Android development and 3Dmax for model making. Through this platform, people can learn about the development of Ming and Qing dynasty furniture, learn history and culture in an interesting way, cultivate humanistic feelings, not only appreciate the elegance of Ming and Qing dynasty furniture, but also spread the excellent Chinese traditional culture and contribute to the development of China's cultural industry. The detailed functional diagram of this platform is shown in Figure 1. 625 2022 IEEE International Conference on Electrical Engineering, Big Data and Algorithms (EEBDA) 978-1-6654-1606-1/22/$31.00 ©2022 IEEEFebruary 25-27, 2022, Changchun, China 2022 IEEE International Conference on Electrical Engineering, Big Data and Algorithms (EEBDA) | 978-1-6654-1606-1/22/$31.00 ©2022 IEEE | DOI: 10.1109/EEBDA53927.2022.9744881 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 10:29:35 UTC from IEEE Xplore. Restrictions apply. Fig.1 Functional diagram of the platform B. Platform features In a world where cultural soft power is repeatedly emphasized, traditional cultural elements have greater scope for dissemination. It is not as easy to collect as ancient coins, nor as valuable as pottery and porcelain, but it must be acknowledged that classical furniture is also an extremely important part of Chinese culture [7]. It is for this reason that our project proposes a better way of spreading culture than museum exhibitions or books. Through this platform, people can pick up their mobile phones at home and have the experience of visiting a museum with physical furniture. From the point of view of consumers and usage scenarios, this software is mainly aimed at young students and adult groups interested in classical furniture. The software can be promoted to teaching venues as a teaching aid platform; it can also be promoted as a display tool through classical furniture cultural research organizations, youth palaces and libraries; it can also be promoted to historical transmission, especially cultural propaganda, as an aid platform for cultural exchange. IV. DESIGN DETAILS A. Platform application design This platform uses Unity3D as the tool for application development. During the development process, business logic scripts were written in C#, interface styles were deployed using UGUI, and network modules were built using UNET. 1) Furniture appreciation section Fig. 2 Rendering of the furniture appreciation section The furniture appreciation section involves gesture recognition technology and 3D modelling technology, using 3D modelling to construct various types of Ming and Qing dynasty furniture [8], such as a Ming dynasty pear fourheaded official hat chair. The modelling is imported into Unity3D to provide the base objects for gesture recognition and construct a gallery of Ming and Qing dynasty furniture. The gesture recognition script is divided into two main blocks: single-finger gesture recognition and two-finger gesture recognition. The single finger recognizes the user's swipe and 626 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 10:29:35 UTC from IEEE Xplore. Restrictions apply. tap operations, while the two fingers recognize the user's zoom operations. Using the gesture recognition function, it is possible to display the Ming and Qing furniture models in front of people, while providing voice explanations to make the
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Embodied interaction is particularly useful in museums because it allows to leverage findings from embodied cognition to support the learning of STEM concepts and thinking skills. In this paper, we focus on Human-Data Interaction (HDI), a class of embodied interactions that investigates the design of interactive data visualizations that users control with gestures and body movements. We describe an HDI system that we iteratively designed, implemented, and observed at a science museum, and that allows visitors to explore large sets of data on two 3D globe maps. We present and discuss design strategies and optimization that we implemented to mitigate two sets of design challenges: (1) Dealing with display, interaction, and affordance blindness; and, (2) Supporting multiple functionalities and collaboration. Index Terms—Embodied Interaction, Human-Data Interaction, Public Displays, Informal Learning, Museums I.
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Modern virtual reality (VR) technology has garnered significant attention in the geographic visualization community for its ability to immerse users within geospatial data sets. While immersion within one-to-one models of reality offers unique and powerful perspectives from which to view spatial data, VR also allows users to transcend the physical limitations of the real world, thereby allowing them to visualize, experience, and interact with spatial data at any scale, in any virtual environment, at any time. This paper presents a collection of 3D data-driven geovisualization case studies, implemented in an immersive virtual GIScience data visualization space (IVEVA). IVEVA was purposefully designed and developed to highlight the differences in spatial data type, the challenges associated with spatial data visualization in an immersive virtual environment, and the importance of adhering to the established design heuristics of cartography, human–computer interaction, and extended reality (XR) development. Through this process, we offer our observations on how well each data type fits this medium of visualization and interpretation, and how the design heuristics play out for an immersive virtual environment that extends the practicable space in which GIScience and visual analytics are performed. Finally, we offer our perspectives, from designing and developing this prototype, on the future for immersive interface-based GIScience. Keywords Geovisualization · Visual analytics · Virtual reality · Design heuristics · GIScience · 3D Data Gestaltung virtueller Räume für immersive Visual Analytics Zusammenfassung Moderne Virtual Reality (VR)-Technologien haben in der geographischen Visualisierungsszene große Aufmerksamkeit erregt, da sie es den Nutzerinnen und Nutzern ermöglichen in georäumliche Datensätze einzutauchen. Während das Eintauchen in Eins-zu-Eins-Modelle der Realität einzigartige und leistungsstarke Perspektiven bietet, aus denen Geodaten betrachtet werden können, ermöglicht VR den Nutzerinnen und Nutzern auch, die physischen Beschränkungen der realen Welt zu überwinden, wodurch sie raumbezogene Daten in jedem Maßstab, in jeder virtuellen Umgebung und zu jeder Zeit visualisieren, erleben und mit ihnen interagieren können. In diesem Beitrag wird eine Sammlung von Fallstudien zur datengesteuerten 3D-Geovisualisierung vorgestellt, die in einem immersiven virtuellen GIScience-Datenvisualisierungsraum (IVEVA) implementiert wurden. IVEVA wurde gezielt entworfen und entwickelt, um die Unterschiede in der Art der räumlichen Daten, die Herausforderungen, die mit der Visualisierung räumlicher Daten in einer immersiven virtuellen Umgebung verbunden sind, und die Bedeutung der Einhaltung der etablierten Design-Heuristiken der Kartographie, der Mensch-Computer-Interaktion und der Entwicklung der erweiterten Realität (XR) hervorzuheben. Im Rahmen dieses Prozesses stellen wir unsere Beobachtungen darüber vor, wie gut jeder Datentyp für dieses Medium der Visualisierung und Interpretation geeignet ist und wie sich die Design-Heuristiken auf eine immersive virtuelle Umgebung auswirken, die den praktikablen Raum erweitert, in dem GIScience und visuelle Analysen durchgeführt werden. Abschließend geben wir einen * Ian Lochhead ian_lochhead@sfu.ca 1 Spatial Interface Research Lab, Geography, Simon Fraser University, Burnaby, BC, Canada 224 KN Journal of Cartography and Geographic Information (2021) 71:223–240 1 3 Ausblick auf die Zukunft der immersive, oberflächenbasierte Geoinformationswissenschaften, die sich aus der Konzeption und Entwicklung dieses Prototyps ergibt. 1
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The creation of 3D models is generally considered by newcomers to be a difficult activity requiring a number of skills and considerable practice. This paper describes work in the INHERIT project which aims to address these issues by providing a 3D modelling tool set which is easy to use, requiring few skills and little practice. This is achieved by the development of software tools which are customised to build particular types of model. The key aspect of these tools is the treatment of the underlying data of the 3D model as a tree structure of nodes which consist of parameterised representations of the components of the object being modelled. The tools then automatically generate the graphics primitives that enable the visualisation and interaction with the object. This paper describes the implementation of the first tool created following this principle which enables schoolchildren to model church structures. Keywords--Information Visualization, Interactive 3D Graphics, VRML, Cultural Heritage. XML 1
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This paper treats a development framework for web-based VR tours of 360VR camera images/videos and lidar scanner data and introduce several example VR tours actually developed using the framework. Because of the advancement of XR(VR/AR/MR) technologies such as lidar scanners, 360VR cameras and high specification VR goggles, the demand of XR applications has become increased. However, the development of such XR applications is tedious work that needs much time. Therefore, the authors have proposed the development framework for web-based VR tours of 360VR camera images/videos and lidar scanner data and this paper introduces it and several VR tours as its examples. Keywords—VR tours, Development framework, 360VR camera, Lidar scanners I.
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In today's rapidly evolving technological landscape, marked by the proliferation of artificial intelligence and robotics, the role of engineering education stands as a cornerstone of sustainable progress. Recognizing this imperative, engineering curricula are increasingly incorporating a competency-based approach that reflects the complexities of the real world, for lifelong learning, using enabling and disruptive technologies such as humanoid robotics. We present a case study from the Tecnologico de Monterrey, Mexico City Campus, where NAO robots are used in social projects with immediate impact in the fields of health and education, addressing sustainable development objectives. This research shows projects that have had a significant social impact in different communities in Mexico, in the areas of education and health with innovative solutions that motivate and engage the attention of the audience. A group of students from different engineering careers design, develop and implement application scenarios for the accompaniment and social appropriation of challenges such as: the incorporation of girls in STEM areas, support for groups with intellectual disabilities, dissemination and knowledge of sign language and dissemination of the cultural heritage of Xochimilco as a cultural heritage of humanity. Preliminary results indicate that this pedagogical approach not only inculcates students with essential skills such as problem solving, critical thinking and teamwork, but also makes them more aware of the social implications of their engineering studies. Evidence and results of the involvement of undergraduate students in social scenarios are shown, showing that, by integrating these elements, engineering programs aspire to train professionals capable of harnessing their technical knowledge for the general good of society as well as the perception of the participants and audiences reached. Keywords—Complex thinking, competency-based education, educational innovation, higher education, data visualization, computational thinking. I.
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With togrammetry tion of point cl archaeological vations, how e rs requires a d ially locate ar y 3D or aerial ion of our dig digital GIS ne designed fo ctly connects t rd sub-centim kers, loci boun line enables th pective maps f ackend it uses import variou hosted by on-li ication of Arch y Iron Age sit dan. x Terms—A alization, str rmation syst rding Over the past become com gration of dig K GPS), low c ware. The qu ome integrated dle what wi rdings, and d yah, Southern research and writ ullah University o Kin of S ne gital A ension the rapid a among the loud ‘data scaf sites is now ever, the conti digital toolset in rtifacts, install l scan. We pr ital field recor 3D Top Plan or visualizing to Total Statio meter measur ndaries, and c he generation from the first a PostGIS d a s vector, raste ine geo-refere hField C++ to te of Khirbat Archaeology, ructure-from-m ems (GIS), I. INT t decade, digi mmonplace ital surveyin g cost tablets, a uestion now d within the ill become a igital docume n Jordan, the ting was funded i of Science and Te Neil G. Sm ng Abdullah U Science And T eil.smith@kau Archae n: Arc adoption of la archaeologica ffolds’ and dig w becoming co inual exposure n which to rec lations, and l resent ArchFie rding software production w massive 3D d ons and our R rements for a camera positio of publishable day of excavat atabase and th r, DEM and 3D enced database our 2014 field t al-Jariyah lo cultural he motion, LiD Level-of-Deta TRODUCTION ital archaeolog and cost ef g equipment (T and especially is how do archaeologist s an overload entation. In 20 excavation in part by NSF IG echnology. mith University Technology ust.edu.sa ology chField Fie aser scanning al community gital document ommon. In e of archaeolo ord, categorize oci within a eld C++, the l e that enables within a rend datasets. Arch RTK GPS uni artifacts, scan ons. 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It is the software th a coordination provides a un recordings (su vations and d seamlessly sy yses to enable ualized as 4D e. riyah (KAJ) exca . Levy rnia, San Dieg sd.edu SfM was , and easily vation r this in the ained ers of hField latest at has with nified urvey digital ynced e raw D top avation go 978-1-5090-0048-7/15/$31.00 ©2015 IEEE Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:09:51 UTC from IEEE Xplore. Restrictions apply. In reco exc a C++ arch the f Arc h reco and carr i 3 topic Perh arch syst e be st [17] map fro m (reco them arch co m com exca artifa surfa mult Fig Sit n this paper, rding in th e avation) and + are addresse haeological fie field of scienti Time-lap textured An intui annotati o Multi-DB hField C++ re rding and vis integrated in ied out in vari 3D/4D GIS so c of research haps the firs aeologists is em where diff tored and conn and ETANA servers that c m traditional orded in Acce m on online. 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Its majo rding include: of massive orthophotos. e for user edi sets ion: SQL + N ovel breakthro hat can be im aeological exc hroughout the ATURE REVIEW chaeology has ment for the p ation of a H [5], an im primarily dig lational databa re designed as asemaps (gene echniques) an spreadsheet pr ware specifica n is REVEAL This is a re continuous vi camera captu re goal of the space using te om research area, LRAP/L2HE proj ges in digital sequences in ed into ArchF D GIS tailored or contribution : 3D point cl o ting, drawing OSQL ough in 4D di mmediately app cavation curr world. W s been an ong past three dec tailored GI S mage manage gital photos, c ase. Archaeolo s open-source erated in ArcG nd database t rograms) and s ally developed L, an NSF fu ecording tool ideo recordin ures of impo project is to o echniques suc , depicting the sh jects (Map data: G field n the Field d for ns to ouds, g and igital plied ently going ades. S for ment could oGIS e GIS GIS© ables serve d for unded that ng of ortant orient ch as proj (e.g . GRA stud [11] O tool doc u GIS S large deve high envi cam into ass o R man and app r can pro p capa the m M Post of-D high view can I of th deve for inst r one harp elevation ch Google, Digital G In contrast to ects have ado . ArcGIS) or ASS, OSSIM dies in scholar . Others have s with LiD A ument excava . Several recen e datasets in eloped a VRh poly count ironment. The mera for fly-thr the scene c ociated metada Recently, wor nage a 3D GIS other GIS rel roach is that a be immediate perly imported ability of Arc models and tex MayaArch3D tGIS server [1 Detail (LOD) her resolution wing windows stream large c In contrast to he few archa elopment and archaeologist ruments utiliz more evoluti hange between th Globe 2012, Land o these in hous opted off-theropen source M, QGIS) to d rly journals or focused prim AR or SfM (e ations but do n nt publication n a 3D GIS -GIS that opt geometric m eir system su roughs and sk can be mani ata. rk by [4] use S that include lated datasets. all the analytic ely applied to d. A major dr Scene requiri xtures importe utilizes We 1][3]. This pro models in its models by e s. A major adv content over th all of these p aeological fiel a full GIS DB s that does r zed in field ex ionary step be he lowlands and h dSat7) se software de -shelf proprie e GIS program digitize their r in online da marily on inte e.g. [12], [2], not integrate t ns have attem S environmen timizes the v models in a 3 upports path keletal animati ipulated or s ed Esri’s ArcS s textured mo . A significant cal and editing the archaeolo rawback is the ng the author ed into the sof ebGL and di ogram can han s navigable v effectively op vantage of this he internet to m projects, Arch ld recording BMS. It is the real-time reco xcavations. W eyond its prev highlands of Anc evelopments, m etary GIS soft ms (e.g. Map data and pu atabases [12], egrating surve [6], [7], [19 the results in mpted to inte nt. In 2010, visual renderin 3D archaeolo animation o ion. Objects lo selected to a Scene as a to odels, artifacts t advantage o g tools of ArcS gical datasets e limited rend rs to simplify ftware. irectly links ndle limited L iewer and ha ening indepen s software is t many users. hField remains tool with ong only tool desi ording with d ith ArchField vious version cient Iron Age E many ftware pInfo, ublish [20], eying 9]) to a 3D egrate [10] ng of ogical f the oaded access ool to s, loci of this Scene once dering both to a Levelandles ndent that it s one going igned digital dC++ s has Edom. Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:09:51 UTC from IEEE Xplore. Restrictions apply. been made by making 4D field recording and visualization possible. III. A 4D GIS FOR FIELD RECORDING In recent years, a number of conference topics have addressed the idea of a 4D GIS (c.f. DHIC 2013 and CAA 2015 abstracts). In certain respects, every digital excavation is four-dimensional and once imported into current 3D GIS tools such as ArcScene it can be considered a 4D GIS (e.g. [4]). However, these current solutions do not fully address the underlying problem: archaeology is an inherently destructive science necessitating continual advancement in field recording tools that achieve an increasing improvement in accuracy and comprehensive recording. 4-dimensional GIS field recording should be envisioned as the new objective in digital archaeology requiring a fundamental change in both methodology and software. In this light, four core objectives of a 4-dimensional field recording methodology can be proposed that will require an ushering in of a new era of digital field recording. The purpose is to address more fully the endeavor by archaeologists to conduct scientifically based excavations that properly examine all available archaeological evidence to test anthropological and historical theories about past culture. Objective 1: 3D Scanning on a daily/hourly basis A core objective is digital 3D scanning of the current excavation on a daily basis. Each day’s 3D scan captures the newly exposed layers so that over the entire period of excavation every sedimentary change is documented. On an hourly basis as a new artifact, installation or even collapsed wall is discovered in situ, it’s excavation and eventual removal is fully documented with 3D scanning. This can be accomplished using TOF (Time-of-flight) Laser scanning, but photogrammetry may prove the most efficient approach. Using the widely adopted photogrammetry software amongst the archaeological community, an entire and complete (minimal occlusion) excavation can be captured in minutes either from the ground or air [23]. The new problem becomes how to store, manage, co-register, and visualize such massive datasets being generated on a daily or hourly basis. Objective 2: Integration of 3D layers with a spatial DBMS (Digital Database Management System) In order to qualify as a 4D GIS, the 3D data must be integrated spatially with all other time-sensitive database entries. This would include other 3D measurements (e.g. GPS or Total Station), digital images, field databases, field notes, and later auxiliary tables generated from specialist analyses of artifacts, loci, stratigraphy or architecture. This integration would require 3D layers to be able to represent three different types of time: 1. Field Excavation Processes: The ability to represent the artifacts, loci, architecture, sedimentary layers exposed on a specific day of excavation (e.g. a 3D Top Plan). 2. Stratigraphy/Phasing: Represent an entire stratigraphic layer of a specific time of occupation by the original inhabitants. This would require the ability to represent the key 3D scanned architectural elements associated with only that period of occupation. 3. Site Abandonment and Deposition: Model the depositional layers produced through natural and manmade post-abandonment processes. This could include modeling a series of collapsed walls, how upper-stories overlay lower floors, the decay of organic materials, and even the movement/levitation of artifacts through erosional processes. Objective 3: Real-time Visualization of 4D Top Plans In the field, archaeologists should be able to visualize top plans as they are recorded with the ability to traverse in time how it looked in 3D during previous days. They should be able to visualize the data in its full resolution (no simplification or loss of fidelity) with viewable frame rates (min 24fps). This will require more efficient rendering systems that can run on a modern laptop in the field. Second, it requires more efficient algorithms for processing photogrammetry, syncing 3D scans, images, and other 3D recorded measurements. The software should be able to integrate seamlessly the data as it becomes available and dynamically update the top plans accordingly. Objective 4: Analytical Tools tailored for 4D Data Analyzing and manipulating data in a 4D environment will necessitate novel tools to facilitate annotation, editing, drawing, segmentation, and time-sensitive comparisons. In the remainder of this paper we present the current contributions to this new field with ArchField C++ software and how our field methodology has changed to account for this new approach. We present the results, challenges, and future directions. IV. E VOLUTIONARY ADVANCES: ARCHFIELD C++ The development of ArchField has been an evolutionary process since 2009, undergoing five excavation seasons of modification and adaption to meet new demands in multifaceted digital field excavations. Previous versions were designed to run as imbedded web applications interoperable with many GIS software tools and even deployable on handheld tablets and phones [22]. However, there were a number of drawbacks to this approach primarily related to the limitations of being locked inside a web browser, limited memory allocation, slow rendering speed, restrictions on access and control, and complicated installation of the web server system or iOS app. Until the
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As we stand now at the end of year 2001, supposedly time for the miracle of the Space Odyssey, it looks like most of the archaeologists or keepers of the world heritage do remain "Indiana Jones without even a whip". Far from the dream equipment used by most of the known Tomb Raiders or Sea Looters, we still have to deal with very pragmatic realities that seem to keep us from using most of the recent technologies poured over our heads by an overwhelming industrial development.But at a time when Hollywood is overusing them to bring to the wider and money spending audiences a vision of our past that is more and more attractive but also disturbing when not totally false, it seems right to try at least to take these techniques over and to try to deal with the new ways they bring not only into the presentation of our research but also in our ways of dealing with the data we are recovering over the years.While recent encounters around this topic have turned into the sad but truthful acknowledgement of the difficulties that remain in the use of digital technologies to reconstruct the past we are slowly but also more and more precisely recovering, it is important to take note of old and recent achievements that show that a difficult relationship does not have to lead to a divorce. And maybe also be that childish dreams do not have to be forgotten along the way.These encounters have also clearly shown that scientists working in the digital fields are eager to help us to apply their research to our own, not only because "Archaeology is cool" as someone preciously reminded us, but also because problems we are actually facing represent problems not encountered in other fields, that can open doors on new fields or research for both communities.We are just at the beginning of a new age in archaeological research and it would be a shame to straightforwardly but bluntly reject new tools just because they are costly, difficult to use and disturbing for our own precious work habits (Though in fact these can look like pretty good reasons to turn back to paper and pencil).There shall soon come a time when all this shall have become of daily use for most of the good people we are actually working for, and the children of today might very well laugh of our technological fears and shyness. It is a necessary evil to be today the guinea pig testers of these technologies, to be riding the wave while surfing on the net, to be prepared for the revolution these things are bringing in our ways of dealing with our past and turn it into virtual but life-like realities that can be easily comprehended by a wider audience, while also opening our own scientific minds on realities we are not even suspecting to exist today.
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Interaction is an important channel to offer users insights in interactive visualization systems. However, which interaction to operate and which part of data to explore are hard questions for public users facing a multi-view visualization for the first time. Making these decisions largely relies on professional experience and analytic abilities, which is a huge challenge for non-professionals. To solve the problem, we propose a method aiming to provide diverse, insightful, and real-time interaction recommendations for novice users. Building on the Long-Short Term Memory Model (LSTM) structure, our model captures users’ interactions and visual states and encodes them in numerical vectors to make further recommendations. Through an illustrative example of a visualization system about Chinese poets in the museum scenario, the model is proven to be workable in systems with multi-views and multiple interaction types. A further user study demonstrates the method’s capability to help public users conduct more insightful and diverse interactive explorations and gain more accurate data insights. Index Terms—Interaction Recommendation, Visualization for public education, Mixed-initiative Exploration 1
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DVR (Desktop Virtual Reality) Pompei project is aimed to the creation of a virtual reality desktop system able to connect and to visualize data and spatial models in the same environment, interface and three-dimensional context of interaction. The archaeological case study of the House of Vettii has been chosen because of the features of the monument, of the related data, of the urgent needs of restoration, preservation and documentation and of the activity "in situ" of the Istituto Centrale del Restauro (maps, texts,, images, digital archives, archaeometric analyses). The activity of the ICR is fundamental for the knowledge and the history of the monument because it keeps the documentation of all the processes of survey, analysis and restoration; all these information are totally unaccessible without a digital connection of the spatial data. We can define this structural knowledge an augmented reality system of information.The system involves the creation of original software (written in C++), specifically addressed towards the OpenGl environment, in order to use the high performances of the last graphic cards for giving the users a real time interaction with the three-dimensional models. The acquisition of data in the fieldwork and the following 3D processing is involving the most advanced technologies of survey: EDM total laser stations, 3D laser scanners for the architectonic survey in micro scale, (i.e. walls; using Vivid 900 Minolta) and in macro scale (i.e. rooms; Cyrax) and photogrammetric techniques. The final goal of this project in progress is to create a pilot study for the scientific community for exporting then the system to the general public though digital stations positioned "on site".
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Creating a future where dreams walk among us.
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Point cloud is widely used in various applications like 3D geographical information system (GIS), cultural heritage preservation, urban planning, etc. Most of these applications require interactive visualization of massive point cloud, which is challenging since their sizes are usually very large. This paper presents a method to construct a hierarchical data structure for point cloud data organization and real-time rendering, with an emphasis on speeding up the construction processing. The overall pipeline consists of the following three steps: first, the spatial extent of the whole dataset is divided into nested blocks; second, data in each block is reorganized using a octree based on random subsampling in a parallel fashion; finally, octree of all blocks are merged into a consistent hierarchy. The effectiveness and efficiency of the a bove approach was demonstrated by applying it to a set of point clouds of varying sizes reconstructed using photogrammetry pipeline. Keywords—point cloud, large scale, hierarchy, visualization, photogrammetry I.
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In her 2009 new media artwork PolesApart, Australian Aboriginal artist r e a, 1 of the Gamilaraay people in northern New South Wales, explores issues relating to the Stolen Generations of Aboriginal children. Based on the personal experiences of her grandmother and great aunt as ‘stolen children’, r e a amplifies the work’s familial dimension by enacting the role of the protagonist fleeing from forced servitude. This paper looks at PolesApart in the broader context of the interrelated phenomena of the stolen generations and the so-called ‘history wars’. It is posited that the power, immediacy and affective dimensions of (moving) visual imagery have been instrumental in shifting Australians’ knowledge about the stolen generations from the margins into the mainstream. The capacity of the moving image to ‘embody affect’ [13], it is argued, has enabled many more Australians than previously to appreciate the historical implications and continuing ramifications of this prolonged episode in Australian history. This has in turn led to the development of a more sympathetic public understanding of the phenomenon of the stolen generations as ‘lived experience’. In turn this broader social knowledge, and its integration into our shared cultural heritage, has contributed to Australians’ general receptiveness to the official Apology issued to members of the stolen generations by Prime Minister Kevin Rudd in Federal Parliament (13th February 2008). It is also the case that the popular reception of mainstream stolen generation-themed movies has influenced Australians’ openness to the themes and issues explored in contemporary non-mainstream new media work such as r e a's PolesApart. In the latter work, through the use of the vehicle of her own body, r e a demonstrates that the personal is inescapably political, and vice versa. Keywords---Australian Aboriginal history, stolen generations, history wars, r e a, PolesApart (hd. video). 1 Please note that r e a spells her name entirely in lower case, with a space between each letter, which she explains as ‘a rejection of imposed identity’ and does not use a surname (pers. com, r e a to the author, June 2009 ). 1.
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Abstract This chapter presents brief descriptions and working principles of 34 emerging technologies which have market diffusion and are commercially available. Emerging technologies are the ones whose development and application areas are still expanding fast, and their technical and value potential is still largely unrealised. In alphabetical order, the emerging technologies that we list in this chapter are 3D printing, 5G, advanced materials, artificial intelligence, autonomous things, big data, biometrics, bioplastics, biotech and biomanufacturing, blockchain, carbon capture and storage, cellular agriculture, cloud computing, crowdfunding, cybersecurity, datahubs, digital twins, distributed computing, drones, edge computing, energy storage, flexible electronics and wearables, healthcare analytics, hydrogen, Internet of Behaviours, Internet of Things, natural language processing, quantum computing, recycling, robotic process automation, robotics, soilless farming, spatial computing and wireless power transfer.
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How can the emotions expressed by visitors after visiting a museum be analyzed through audio recordings and transcripts of interviews? Can an analysis based on colors help the qualitative researcher to identify patterns in the data? What can visual analysis of emotions tell the researcher? This paper presents a concept and some initial reflections on the data gathered from visitor experiences to identify patterns based on emotions, using a qualitative data analysis software NVivo or new types of 3D visual data analysis in immersive environments Keywords-emotion; qualitative; immersive; colors; museum I.
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From tactile paintings in sand to acrylic on board, Australian Aboriginal performative art can be thought of as also cultural heritage survival maps. This paper synthesises the two key authors’ work [1; 2] that address this concept. In so doing, it sheds new light on understandings of the indexicality of the Australian Aboriginal cultural heritage survival map to form a theory of the cultural specificity of the conventions used and their role as storytelling navigation aids. Keywords--Cultural Heritage, Cultural Knowledge, Australian Aboriginal Art as Survival Map. 1.0
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Recording immersive VR sessions performed in virtual environments through HMDs during public exhibits or permanent installations in a museum may offer valuable insights on visitors propensities, physical workload, spatial affordances, focus and locomotion data. A first challenge raises from storage, where large amount of casual visitors need to be recorded on a daily basis, analyzed and possibly streamed to remote profes-sionals. For each VR session in fact, size of collected dataset may grow very quickly. Another issue is related to the visual inspection of such data, providing a team of experts tools that allow to revisit the whole history of a single or multiple sessions. We propose, formalize and discuss image-based encoding techniques and quantized signals for compact and light ”musical scores” that allow both common offline 2D image processing and interactive manipulation on modern desktop and mobile GPUs. We describe compact quantization methods and flexible volumetric observers, including location ignition and signatures. The paper discusses obtained results for different case studies where we employed such encodings, including desktop VR, WebVR and streaming of recorded sessions from cheap hardware. Keywords —Virtual reality, Data collection, Image analysis, Visualization, Web services I.
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.This position paper aims to discuss challenges and opportunities related to human-computer interaction technologies for Industry 4.0 and to explore the role that end-user development can play in new industrial scenarios. The paper highlights the gap between what Industry 4.0 and related enabling technologies promise and how the Operator 4.0 will be called on to change his/her work practice. End-user development and meta-design are here proposed as suitable methods tofill this gap and improve operators’quality of work. Keywords:Industry 4.0 End-user developmentMeta-design 1
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.A number of software solutions for reconstructing 3D models from multi-view image sets have been released in recent years. Based on an unordered collection of photographs, most of these solutions extract 3D models using structure-from-motion (SFM) algorithms. In this work, we compare the resulting 3D models qualitatively and quantitatively. To achieve these objectives, we have developed different methods of comparison for all software solutions. We discuss the perfomance and existing drawbacks. Particular attention is paid to the ability to create printable 3D models or 3D models usable for other applications. Keywords:Multi-view 3D reconstruction ·Benchmark·Structure from Motion (SFM) ·Software comparison·Photogrammetry 1
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Weintroduceatechniquetovisualizethegradualevolutionary changeoftheshapesoflivingthingsasamorphbetweenknown three-dimensionalshapes.Givengeometriccomputermodelsof anatomicalshapesforsomecollectionofspecimens-herethe skullsofthesomeoftheextantmembersofafamilyofmonkeys -anevolutionarytreeforthegroupimpliesahypothesisaboutthe wayinwhichtheshapechangedthroughtime.Weuseastatisticalmodelwhichexpressesthevalueofsomecontinuousvariableat aninternalpointinthetreeasaweightedaverageofthevaluesat theleaves.Theframeworkofgeometricmorphometricscanthenbe usedtodeneashape-space,basedonthecorrespondencesoflandmarkpointsonthesurfaces,withinwhichtheseweightedaverages canberealizedasactualsurfaces. Oursoftwareprovidestoolsforperformingandvisualizingsuchan analysisinthreedimensions.Beginningwithlaserrangescansof crania,weuseourlandmarkeditortointeractivelyplacelandmark pointsonthesurface.Weusethesetocomputeatree-morphthat smoothlyinterpolatestheshapesacrossthetree.Eachintermediate shapeinthemorphisalinearcombinationofalloftheinputsurfaces.Wecreateasurfacemodelforanintermediateshapebywarpingalltheinputmeshestowardsthecorrectshapeandthenblending themtogether.Todotheblending,wecomputeaweightedaverage oftheirassociatedtrivariatedistancefunctionsandthenextracta surfacefromtheresultingfunction.Weimplementthisideausing thesquareddistancefunction,ratherthantheusualsigneddistance function,inanovelway. CRCategories:I.4.10[ImageProcessingandComputerVision]: ImageRepresentationMorphological;I.3.8[ComputerGraphics]:Applications Keywords:morphometrics,morphing,surfaceblending,merging, warping,distanceelds,extremalsurface e-mail:wiley@cs.ucdavis.edu,amenta@cs.ucdavis.edu, eedlc@cunyvm.cuny.edu,willhs@amnh.org,rohlf@life.bio.sunysb.edu 1
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Communication effectiveness and reconstruction validation are two important goals faced by archaeologists. This paper shows how these targets can be reached more easily by means of a mobile and user-centric fruition system designed with both the visitor's and the archaeologist's needs in mind. This system, called MUSE(1), consists of interactive multimedia tablets connected to a site control centre by a wireless link. Virtual models based on reconstructive hypotheses made by the archaeologists can be enjoyed on-site. Fruition may occur both on the mobile tablet and on conveniently located high-performance display stations radio-controlled by the tablet itself. The system allows for immediate comparison between present and original reality through simultaneous surfing of two synchronised virtual reconstructions. Natural and easy navigation in the virtual worlds is achieved by making the tablet sensitive to its rotation with respect to two axes.This paper shows how the proposed navigation metaphor supports the archaeologist in reconstruction validation and drives the visitor to an easy and engaging learning experience. The system will be demonstrated at the "Casa del Centenario" in Pompeii.
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Today, augmented and mixed reality (AR/MR) are found very promising. Even current handheld displays, such as smartphones and tablets, can provide a wide and low budget access to such applications. New devices, like Apple’s Vision Pro, smart tattoos1 [8], interactive clothing, and wearables2 propose an even higher immersion and are opening totally new exciting worlds for researchers, developers, and users. However, current research in this area faces many challenges, e.g., suitable interaction techniques, better user experience, navigation in MR environments, high cross-device UX, etc. These challenges are still limiting the usage of AR/MR application in real world activities. Targeting these challenges, our workshop will provide a platform for researchers, developers, and professionals to discuss issues and define novel methods and approaches suitable for developing the experience 2.0 and beyond: new interaction paradigms, user interfaces, 3D visualizations, and soundscapes, as well as applications for cross-device AR/MR.
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This paper intends to understand the cultural, stylistic and historical significance of architectural heritage in Brunei Darussalam in order to ensure its safeguarding and sustainability. This paper focuses on the use of digital technologies to support the surveying and archival analysis of architectural heritage in Brunei Darussalam. Through the methods of digital humanities, this current research endeavour is focused on documentation (geometric, architectural, and historical) through 2D and 3D drawings, creating digital and interactive maps for geo-spatial, contextual, and phenomenological navigation to locate architectural heritage. This research demonstrates the potential of digital technologies in the study and safeguarding of architectural heritage and the instrumentalization of this data to create an interactive and open access platform designed for education, conservation, cultural management, safeguarding awareness, social responsibility, and tourism development. Index Terms—Digital humanities, architectural heritage, interactive education, smart tourism destination 1.
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The aim of this study was to provide scientific support for the creation of policy on inbound tourism. A comprehensive and thorough understanding of fine-grained spatiotemporal dynamic patterns is crucial for tourism management, planning and policymaking. In spite of spatiotemporal pattern analysis on tourism movements, environmentand society-related topics have been developed to stimulate tourism. However, few studies have focused on the fine-grained spatiotemporal analysis of tourist behavior. Depending on a fine-grained Flickr data source, we investigated the spatiotemporal dynamic patterns of inbound tourism in the context of fine granularity in the spatial and temporal dimensions. The proposed approach based on fine-grained Flickr data and the emerging spatiotemporal analysis method was to first conduct a refined temporal variation analysis based on the annual, monthly, and daily variation; second, a thorough analysis of the seasonality of tourism was conducted with the kernel density estimation (KDE) method; third, the correlation between the attraction grade and popularity was complementarily exploited with both qualitative and quantitative methods; and finally, the patterns were identified and visualized with the spacetime cube in the context of fine granularity. The results from the analysis revealed that the downtown region of Beijing was the most popular place throughout the year due to the many famous Chinese cultural heritage attractions. In contrast, the landscape sites and thematic parks were nearly cold spots because of their strong seasonality. Our approach can also be applied to other crowdsourced data, such as that from Twitter and Instagram. Spatiotemporal analysis and empirical research have interesting implications for other cities in China or other developing countries. INDEX TERMSInbound tourism, fine-grained pattern, spatiotemporal analysis, geotagged photo, Beijing. I.
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Recent years witnessed an explosion in the number and variety of data crowdsourcing initiatives. From OpenStreetMap to Amazon Mechanical Turk, developers and practitioners have been striving to create user interfaces able to effectively and efficiently support the creation, exploration, and analysis of crowdsourced information.The extensive usage of crowdsourcing techniques brings a major change of paradigm with respect to traditional user interface for data collection and exploration, as effectiveness, speed, and interaction quality concerns play a central role in supporting very demanding incentives, including monetary ones.The First International Workshop on User Interfaces for Crowdsourcing and Human Computation (CrowdUI 2014), co-located with the AVI 2014 conference, brought together researchers and practitioners from a wide range of areas interested in discussing the user interaction challenges posed by crowdsourcing systems.
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We present here the conversion of Linguistic Linked Open Data into Semantic Maps to be used to produce contents in a set of technological applications for Cultural Heritage. The paper describes the architectural data collection and annotation procedure adopted in the Cultural Heritage Orienting Multimodal Experiences (CHROME) project (PRIN 2015 funded by Italian University and Research Ministry). Such data will be used in Multimodal Dialogue Systems to obtain precise information about Architectural Heritage, by means of pointing gestures or verbal requests. In particular, we design conversational agents accessing fine-detailed semantic data linked to available 3D models of historical buildings. The starting point of our scientific approach is the Getty Vocabulary on Art & Architecture Thesaurus, integrated with the Getty Thesaurus of Geographic Names (TGN) and the Union List of Artist Names (ULAN). These data are related to 3D mesh of the considered buildings in order to associate abstract concepts to architectural elements. In the field of 3D architectural investigation, a significant amount of research has been conducted to allow domain experts to represent semantic data while keeping spatial references. We will discuss how this will make it possible to support multimodal user interaction and generate Cultural Heritage presentations. I.
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The governors tombs located at Dayr al-Barsha are ranked among the most important heritage sites of the Egyptian Middle Kingdom. Unfortunately, the site underwent transformations and was affected by ancient quarrying, looting, and natural disasters such as earthquakes, thus bringing this archaeological site on the edge of ruin. For this reason, its digital documentation is important and valuable for the preservation and further study of this elite cemetery. This paper describes the work-flow towards the 3D digital recording and full immerse visualization of the monuments that compose this ancient site. These stages include the physical recording using Terrestrial Laser Scanners (TLS), the creation of realistic 3D models from the acquired data, and the creation of a Virtual Reality (VR) world of the most paramount burial monument of this archaeological area. The obtained digital representation of the site will not only serve as a basis for geoarchaeological surveying and analysis, but also as a digital tool for public disclosure of the archaeological remains. Index Terms: Heritage Documentation—Remote Sensing—Virtual Reality— Photogrammetry 1
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In this paper we present a system, called GeoARCO, which enables presentation of virtual museum exhibitions in a geographical context. The system is partially based on the results of the European project ARCO — Augmented Representation of Cultural Objects, which has developed technology for museums enabling them to create and manage virtual museum exhibitions for use in interactive kiosk displays and on the Web. GeoARCO uses the Google Earth platform to enable presentation of digital artefacts as well as complete cultural heritage exhibitions on top of the 3D globe model. Users can browse and search available exhibitions, display current location of objects as well as historical data about the objects, such as the place where the objects were made or discovered. A user can also display detailed 3D models of artefacts, reconstructed sites or entire virtual exhibitions. The system cooperates with multiple ARCO databases run by different museums.
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The e-Library on Ancient Spanish Cartography has been created inside the frame set by the European Union about the Europe’s digital cultural heritage to give a response to the real demand among citizens and within the research community. With this aim we have applied the most advanced information and communication technologies (ICTs) to make ancient Spanish maps and views accessible through Internet. On a first stage we have built a relational multiformat and multilingual database that included high resolution images of the cartographic documents and that supported the online accessibility structured by levels. This platform has been recently improved by implementing an open GIS based on the data sets of the e-Library. GIS tools have enlarged the usability of the system as the traditional geolocation searches are now completed with the queries based on maps’ georeferencing. The GIS on Ancient Spanish Maps suggests a new concept in digital map libraries. KeywordsGIS, Cartographic Heritage, Digital Libraries, Online accessibility, Multilingual and Multiformat Databases 1.
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Results of planetary mapping are often shared openly for use in scientific research and mission planning. In its raw format, however, the data is not accessible to non-experts due to the difficulty in grasping the context and the intricate acquisition process. We present work on tailoring and integration of multiple data processing and visualization methods to interactively contextualize geospatial surface data of celestial bodies for use in science communication. As our approach handles dynamic data sources, streamed from online repositories, we are significantly shortening the time between discovery and dissemination of data and results. We describe the image acquisition pipeline, the pre-processing steps to derive a 2.5D terrain, and a chunked level-of-detail, out-of-core rendering approach to enable interactive exploration of global maps and high-resolution digital terrain models. The results are demonstrated for three different celestial bodies. The first case addresses high-resolution map data on the surface of Mars. A second case is showing dynamic processes, such as concurrent weather conditions on Earth that require temporal datasets. As a final example we use data from the New Horizons spacecraft which acquired images during a single flyby of Pluto. We visualize the acquisition process as well as the resulting surface data. Our work has been implemented in the OpenSpace software [8], which enables interactive presentations in a range of environments such as immersive dome theaters, interactive touch tables, and virtual reality headsets. Index Terms—Astronomical visualization, globe rendering, public dissemination, science communication, space mission visualization 1
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Interactive digital storytelling becomes a form of information presentation in many fields. Its application spans from media industry through digital cultural heritage, serious games, information visualization to contemporary theater and visual arts. In order to develop a new digital storytelling methodology – hyper-storytelling, we engaged a team of multidisciplinary experts from computer science, visual arts, literature, film directing, psychology, communicology and human computer interaction. In this paper we present the first findings of this team in form of guidelines for interactive digital storytelling presentations of cultural heritage. Keywords: serious games for cultural heritage, interactive digital storytelling, user evaluation studies, hyper-storytelling, Sarajevo charter I.
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This study proposes to construct the Great Wall knowledge graph (GWKG) in a semi-automatic way. First, under the guidance of domain experts, we build the professional dictionary and ontology layer, where BERT is applied for Named Entity Recognition. The resulting entities are clustered by Word2Vec to automatically refine the ontology layer. Then, we conduct Relation Extraction based on semi-supervision, link entities to encyclopedia websites, and obtain semi-structured information by crawler technology for attribute filling. Finally, we visualize the GWKG and report the results of multiple data formats. The GWKG consists of 34 ontology concepts, 33 types of relations, more than 6,000 entities and attributes, and 720,000 Chinese corpora. Index Terms—knowledge graph, the Great Wall, ontology, semi-automatic I.
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The H2IOSC project aims to create a federated cluster of research infrastructures (RIs) in the domain of Cultural Heritage at the national level in Italy. Through four key Ris — DARIAH-IT, CLARIN, OPERAS, and E-RIHS — the project enables collaboration among researchers with interdisciplinary expertise. Within this context, DIGILAB emerges as a digital access platform for the Italian node of ERIHS, providing data management, digital tools, and services to boost cultural heritage preservation, fruition, and study. A significant aspect of DIGILAB architecture is its capability to support geo-localization and real-time monitoring of cultural heritage sites in terms of environmental conditions, structural integrity, and diagnostics, leveraging on novel Internet of Things (IoT) systems and large-scale Wireless Sensor Networks (WSNs). By integrating WSNs into DIGILAB framework, the project enhances remote monitoring and control of cultural sites. These networks facilitate the collection of real-time data on factors such as temperature, humidity, and air quality, providing crucial insights for the Cultural Heritage research community. Moreover, WSNs enable proactive measures to be taken in response to emerging threats, mitigating risks and minimizing damage to cultural assets at a national level. Keywords—IoT, cultural heritage, wireless sensor network, data processing, data management, data visualization. I.
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Haptic exploration adds an additional dimension to working with 3D data: a sense of touch. This is especially useful in areas such as medical simulation, training and presurgical planning, as well as in museum display, sculpting, CAD, military applications, assistive technology for blind and visually impaired, entertainment and others. There exist different surfaceand voxel-based haptic rendering methods. Unaddressed practical problems for almost all of them are that no guarantees for collision detection could be given and/or that a special topological structure of objects is required. Here we present a novel and robust approach based on employing the ray casting technique to collision detection, which does not have the aforementioned drawbacks while guaranteeing nearly constant time complexity independent of data resolution. This is especially important for such delicate procedures as pre-operation planning. A collision response in the presented prototype system is rigid and operates on voxel data, and no precalculation is needed. Additionally, our collision response uses an implicit surface representation ”on the fly”, which can be used with dynamically changing objects. Keywords-haptics; haptic rendering; collision detection; collision response; collision resolution; ray casting; implicit surface I.
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GPR is a versatile non-invasive method. Although its application in archaeology is widespread, there has been limited research done over historical floors. This paper presents results of how the combined application of high-frequency 3D GPR data acquisition methodologies together with advanced data visualization and complementing ultrasonic scanning is helping conservators in their efforts to protect a Roman mosaic. (Abstract) Keywords— Ground Penetrating Radar, NDT, cultural heritage, SFCW, archaeology I.
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We propose a method for precise point-based seethrough visualization in which feature regions are highlighted. And by using this method we can recognize the 3D structures of the cultural heritage clearly. The recent rapid development of laser scanners has enabled the precise measurement of real cultural heritage objects. In the measurement, we acquire a point cloud consisting of a large scale of 3D points. The point cloud records complex outer and inner 3D structures of the measured object. See-through visualization is an effective method for recognizing inner 3D structures. To recognize the entire 3D structures based on the point cloud, we need a method for extracting and visualizing feature regions recorded in the point cloud. Therefore we combined these two methods to obtain the highly visible 3D structures of cultural heritage objects. Keywords—laser-scanned point cloud; cultural heritage; principal component analysis; see-through visualization I.
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Sri Lanka, which is known as "the pearl of the Indian ocean" provides great survival and civilization history dating back to the 3rd century. Most of the archaeological sites are attracted by not only Sri Lankans but also by tourists. When searching for the information about the archaeological sites, there are lack of trusted information sources and smart online platforms. Even though some information is available, no convenient and efficient ways to retrieve them. When trusted information is provided in a user-friendly manner, the value will be added to the Sri Lankan economy. Since the world is driving towards the “E-Era”, everything is involved with Information Technology. The proposed system contributes to solve the above problems with Artificial Intelligence & Machine Learning concepts. The system is assisted using four major components namely, image identification, community platform, conversational bot, and image visualization. The image Identification component identifies the archaeological sites using image processing techniques. The community platform gathers trusted information from archaeologists and deep learning techniques are used to deliver that content to the users. The artificial intelligence conversational bot is established to communicate and retrieve available information in a convenient manner. The image visualization component is used to provide reality visualization on archaeological sites using the augmented reality techniques. The techniques and the algorithms are evaluated to deliver better performance with brilliant user experience. Keywords— Artificial Intelligent, Augmented Reality, Chatbot, Machine Learning, Natural Language Processing I.
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The digital transformation wave is significantly reshaping museum operations and amplifying the demand for robust data management technologies. As museums grapple with vast amounts of data, efficient solutions are essential to harness cultural heritage information effectively. This paper explores the critical role of data management technology in supporting realistic content creation, preservation, management, and educational endeavors within the museum context. Standardizing cultural heritage digital data, generated across diverse museum departments, emerges as a pivotal step toward successful digital transformation. Our ongoing research centers on developing an AI-based digital heritage platform tailored to traditional cultural artifacts. By establishing comprehensive standards for data creation, transformation, processing, analysis, and visualization, we aim to efficiently manage the substantial data volumes generated by museums. Index Terms—Huge Content, Digital Heritage, Cultural Heritage, Intelligent Platform, Digital Transformation I.
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It is possible to recognize the importance of knowledge of configurative geometry for creative thinking, the scientific knowledge and the practice? Do we can attribute to a geometric knowledge a founding and fundamental role for the correct displaying of the knowledge of the cultural heritage? The answers are affirmative certainly understanding that if this knowledge not only allows manual graphics processing (and, consequently, digital), at the same time rigorous and expressive, but is also fundamental for the construction of charming and realistic in motion computer images. Moreover, flexible geometry still ensures achieving a high level of expressive capacity, spendable in any other experience of architects and engineers, aimed at both the documentation and the design of complex and articulate spaces and structures. Being inadequate the only paper for the restitution of the aspects of dynamism and of going trough architectural spaces, we propose the management, in a hypertext, of drawings, surveys, maps and historical iconography, real and digital movies of CAD reconstruction (taking, as a case study, the ecclesiastical architectural heritage of the Padova historic centre); management which, in different ways, provides the highest level of completeness and speed through an analysis of different resources. Keywords--configurative geometry, architectural representation, hypertext, hyper-representation. 1.
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There are a growing number of Information Communication Technology (ICT) applications in cultural heritage. However despite funding constraints, projects often involve similar or even duplicate work carried out at the same site. This emphasizes the need for an enterprise whose purpose is to coordinate research projects in this field. The EPOCH programme has been established to address this requirement. This paper focuses on the development of a diagram depicting the technologies used in cultural heritage research from papers presented at VAST 2003. The aim of this paper is to draw together technologies currently being used by researchers in the cultural heritage sector in order to direct future research in this field.
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s presentations Title: Top paper session A1.1: 08.00 08.20 O.001 A Large Multicenter Brazilian Study: The Experience in High Volume of Patients Centers A1.2: 08.20 08.40 O.002 Pre-operative liver shrinking diets can alter collagen gene expression in wound healing: A Randomised Controlled Trial A1.3: 08.40 09.00 O.003 Long-term weight change and behaviour: is there a relationship? A1.4: 09.00 09.20 O.004 Occurrence or Remission of Antidiabetic Treatment Six Years After Bariatric Surgery: A Nationwide Matched Cohort Study A1.5: 09.20 09.40 O.005 Laparoscopic Sleeve Gastrectomy or Roux-YGastric Bypass. 5-Year Results of the prospective randomized Swiss Multicenter Bypass or Sleeve Study (SM-BOSS) A1.6: 09.40 10.00 O.006 In search of a better Bypass: 4 year results of an RCT on Biliopancreatic Limb Length in RYGB w w w . i f s o 2 0 1 7 . c o m 39 Session: A2 Room: Churchill Track: video presentations Title: Bariatric surgery tips and tricks – technical aspects A2.1: 08.00 08.12 V.001 Bikini Line Port Access Sleeve Gastrectomy: A Novel Approach A2.2: 08.12 08.24 V.002 Bariatric Surgery After Nissen ́s Fundoplication A2.3: 08.24 08.36 V.002 The 15cm Roux limb: A technical misadventure A2.4: 08.36 08.48 V.004 Conversion Of Prior Nissen Fundoplication To Roux-En-Y Gastric Bypass: A Safe Technique A2.5: 08.48 09.00 V.005 Taming the Anaconda: laparoscopic strategies for the treatment of an incarcerated anastomotic retrograde intussusception after RNY gastric bypass A2.6: 09.00 09.12 V.006 Reversal of Omega Loop Bypass Practical Steps A2.7: 09.12 09.24 V.007 Laparoscopic Conversion of One Anastomosis Gastric Bypass to a Standard Roux-en-Y Gastric Bypass A2.8: 09.24 09.36 Video: Tips and tricks when performing MGB/OAGB A2.9: 09.36 09.48 Video: Low pneumoperitoneum bariatric surgery A2.10: 09.48 10.00 Video: Ways to cosmetically but effectively retract the liver in bariatric surgery w w w . i f s o 2 0 1 7 . c o m 40 Session: A3 Room: Victoria Track: oral abstracts and invited presentations Title: Early complications of bariatric surgery prevention & management session A3.1: 08.00 08.15 O.007 Risk assessment tool for venous thromboembolism after bariatric surgery: results from the Metabolic and Bariatric Surgery Accreditation and Quality Improvement Program A3.2: 08.15 08.30 O.008 Diagnostic value of Computed Tomography for detecting anastomotic or staple line leakage after bariatric surgery A3.3: 08.30 08.45 O.009 Pre-operatively Planning for High Risk Bariatric Surgical Patients – Can We Predict HDU Admissions? A3.4: 08.45 09.00 O.010 Large Bariatrics-specific Stents and Over-theScope Clips in the Management of Post-bariatric Surgery Leaks (with video) A3.5: 09.00 09.15 O.011 In-hospital postoperative complications following different bariatric procedures: Results from the Israeli bariatric surgery registry A3.6: 09.15 09.30 O.012 Portomesenteric Vein Thrombosis Following Sleeve Gastrectomy: A Multi-Center Case-Control Study A3.7: 09.30 09.45 O.013 C-Reactive protein on postoperative day one: a significant predictive marker for early deep surgical side infections after elective bariatric surgery A3.8: 09.45 10.00 Edmonton Obesity Staging Score: Practical Applications w w w . i f s o 2 0 1 7 . c o m 41 Session: A4 Room: St James Track: Symposium Title: Medical and Metabolic Symposium in collaboration with EASO (Part 1) State of the art management of adolescents and adults with severe obesity in the realworld setting of limited access to surgery A4.1: 08.00 08.30 State of the art surgery. Indications for surgical treatment (primary and revisional) A4.2: 08.30 09.00 State of the art medical management (pre-surgery and weight regain post-surgery) A4.3: 09.00 09.30 State of the art management of adolescents A4.4: 09.30 10.00 Panel discussion: Polymodal approach: Is there a role for revisional surgery at all? w w w . i f s o 2 0 1 7 . c o m 42 Session: A5 Room: Westminster Track: oral abstracts and invited presentations Title: Bariatric Surgery and Mental Health – pre and postop challenges A5.1: 08.00 08.15 O.014 Improvement in quality of life and depression after bariatric surgery is not related to excess weight lost A5.2: 08.15 08.30 O.015 Impulsivity predicts weight loss after obesity surgery A5.3: 08.30 08.45 O.016 Identification of Sub-Types of Binge Eaters in a Bariatric Surgery Population A5.4: 08.45 09.00 O.017 Unreal expectations and risk-acceptation in bariatric surgery A5.5: 09.00 09.15 Are there any psychological contraindications for bariatric surgery? A5.6: 09.15 09.30 Do psychological evaluations and interventions before bariatric surgery influence post-operative results? A5.7: 09.30 09.45 Does bariatric surgery increase suicide risk? The evidence A5.8: 09.45 10.00 Discussion w w w . i f s o 2 0 1 7 . c o m 43 Session: A6 Room: Moore Track: oral abstracts and invited presentations Title: Gastric banding A6.1. 08.00 08.15 O.018 Late Complications of Laparoscopic adjustable gastric banding (LAGB) A6.2. 08.15 08.30 O.019 Laparoscopic Adjustable Gastric Banding (LAGB). Results after 3736 patients A6.3. 08.30 08.45 O.020 Weight loss after laparoscopic adjustable gastric band and resolution of the metabolic syndrome and its components A6.4. 08.45 09.00 O.021 Short-Term Weight Loss results In Western Europeans Versus South Asian Patients After Laparoscopic Adjustable Gastric Banding: a 1:2 Matched Control Cohort Study A6.5. 09.00 09.15 O.022 Removal of gastric band does not necessarily lead to significant weight gain A6.6. 09.15 09.30 O.023 Patient Centred Gastric Band Clinic Yields High Quality Outcomes: Results From 293 Consecutive Patients A6.7. 09.30 09.50 Is there a role for adjustable gastric banding in 2017? A6.8. 09.50 10.00 Discussion w w w . i f s o 2 0 1 7 . c o m 44 Session: A7 Room: Abbey Track: oral abstracts and invited presentations Title: Pre-operative care A7.1. 08.00 08.15 O.024 Cardiac risk stratification in bariatric patients: a screening tool A7.2. 08.15 08.30 O.025 Can Pharmacotherapy be superior to Diet for Preoperative Bariatric Surgery Preparation? A7.3. 08.30 08.45 O.026 Advanced NAFLD is Common in Patients Undergoing Bariatric Surgery and Poorly Staged Preoperatively by Existing Non-Invasive Biomarkers A7.4. 08.45 09.00 O.027 Preoperative prediction of cirrhosis in bariatric patients: a proposed model A7.5. 09.00 09.15 O.028 The impact of preoperative investigations on the management of bariatric patients; results of a cohort of more than 1100 cases A7.6. 09.15 09.30 tbc A7.7. 09.30 09.50 The role of the bariatric nurse specialist in a busy bariatric program A7.8. 09.50 10.00 Discussion w w w . i f s o 2 0 1 7 . c o m 45 Session: A8 Room: Windsor Track: symposium Title: Robotic symposium part 1 A8.1. 08.00 08.15 How is technology impacting our world. Is surgery being left behind? A8.2. 08.15 08.30 Postgraduate training, accreditation and certification in the robotics era A8.3. 08.30 08.45 Economic, healthcare policy and reimbursement issues impacting robotic adoption in Europe A8.4. 08.45 09.00 Panel Discussion A8.5. 09.00 09.15 RYGB: Technique and Literature Review A8.6. 09.15 09.30 Sleeve Gastrectomy: Totally Robotic technique using robotic stapler: Advantages and Limitations A8.7. 09.30 09.45 Revisional Surgery: Maximizing the advantages of robotics A8.8. 09.45 10.00 Panel discussion w w w . i f s o 2 0 1 7 . c o m 46 Session: A9 Room: Mountbatten Track: symposium Title: Joint EAES-IFSO symposium A9.1. 08.00 08.20 Is endoluminal the right approach? A9.2. 08.20 08.40 Can we better control po bleeding in bariatric surgery? A9.3. 08.40 09.00 Solutions for chronic fistulas after sleeve gastrectomy A9.4. 09.00 09.20 Tips and tricks for proper bowel positioning in bypass procedures A9.5. 09.20 09.40 Portal vein thrombosis after bariatric surgery A9.6. 09.40 10.00 Is Robotics a better tool for revisional surgery? Session: A10 Room: Albert Track: oral abstracts presentations Title: Outcomes of bariatric procedures abstracts A10.1. 08.00 08.15 O.030 Incontinence surgery or bariatric surgery for morbidly obese women with urinary incontinence? A10.2. 08.15 08.30 O.031 The Impact of Bariatric Surgery on the Resolution of Obstructive Sleep Apnoea: a Single-Centre Study A10.3. 08.30 08.45 O.032 Hedonic hunger and weight loss trends in a population of patients with severe obesity following Rouxen-Y Gastric Bypass or Sleeve gastrectomy A10.4. 08.45 09.00 O.033 EndosleeveEndoscopic Sleeve Gastroplasty With Apollo Overstich: A New Procedure for Endoluminal Bariatric Surgery In High Risk And Super-Obese Patients w w w . i f s o 2 0 1 7 . c o m 47 A10.5. 09.00 09.15 O.034 Setting realistic expectations for weight loss after Laparoscopic Sleeve Gastrectomy – Predict BMI calculator A10.6. 09.15 09.30 O.035 Efficacy and safety of the duodenal-jejunal bypass liner: a prospective cohort study with two years implantation duration A10.7. 09.30 09.45 O.036 Positive outcomes for hypertensive and nonhypertensive patients following bariatric surgery A10.8. 09.45 10.00 O.037 Improvement in physical functioning after Bariatric Surgery: A two-year prospective study at a single center Session: B1 Room: Great Hall Track: invited presentations Title: Royal Flush: Best of British B1.1. 10.30 10.45 Why does society find it so hard to accept interventions for obesity as mainstream treatments? B1.2. 10.45 10.55 Questions B1.3. 10.55 11.10 Obesity as a biological condition; not a moral failing B1.4. 11.10 11.20 Questions B1.5. 11.20 11.35 How close are we to a medical bypass? B1.6. 11.35 11.45 Questions B1.7. 11.45 12.00 What our genes tell us and what does surgery have to do to become a mainstream treatment for obesity? B1.8. 12.00 12.10 Questions B1.9. 12.10 12.30 Panel discussion: What it is that we need to do now to move forward in the face of better evidence and declining numbers of bariatric surgery operations? w w w . i f s o 2 0 1 7 . c o m 48 Session: B2 Room: Churchill Track: video presentations Title: Top video session B2.1. 10.30 10.42 V.008 Duodenal Switch Reversal For Hyperinsulinemic Hypoglycemia B2.2. 10.42 10.54 V.009 Problematic Open VBG and Gastric Band to Laparoscopic Gastric Bypass After 20yrs Technical Aspects and Outcome B2.3. 10.54 11.06 V.010 Duodenal ileal interposition with sleeve gastrectomy and selective intra-abdominal denervation for Type 2 Diabetes Mellitus B2.4. 11.06 11.18 V.011 Successful delayed surgical treatment of staple line leak after laparoscopic sleeve gastrectomy B2.5. 11.18 11.30 V.012 Laparoscopic Conversion of Single Anastomosis Duodenal Switch to Mini Gastric Bypass for Duodenoileostomy Leak B2.6. 11.30 11.42 V.013 Laparoscopic total gastrectomy with Roux en-y esophago-jejunostomy for a chronic gastro-colic fistula after Laparoscopic Sleeve Gastrectomy B2.7. 11.42 11.54 V.014 Small bowel obstruction caused by migrated Intragastric balloon. Laparoscopic resolution B2.8. 11.54 12.06 V.015 RNY Gastric Bypass to SADI-S with repair of hiatus hernia and cholecystectomy for weight gain & symptomatic gallstones B2.9. 12.06 12.18 V.016 Robotic Assisted Bariatric Surgery: Single Anastomosis Duodenal Switch B2.10. 12.18 12.30 V.017 Intraoperative Complications of Laparoscopic Duodenal Switch w w w . i f s o 2 0 1 7 . c o m 49 Session: B3 Room: Victoria Track: oral abstracts presentations Title: Late complications of bariatric surgery prevention and management session – abstracts B3.1. 10.30 10.45 O.038 Surgical management of Gastro-Gastric Fistula after Laparoscopic Roux-en-Y-Gastric Bypass B3.2. 10.45 11.00 O.039 CT findings in patients with internal herniation after Roux-en-Y gastric bypass surgery B3.3. 11.00 11.15 O.040 A study on the risk factors of hair loss following bariatric surgery B3.4. 11.15 11.30 O.041 Inversion technique for the removal of partially covered self-expandable metallic stents B3.5. 11.30 11.45 O.042 Incidence of Cholecystectomy After Bariatric Surgery B3.6. 11.45 12.00 O.043 Evidence of Objective Endoscopic Gastroesophageal Reflux Post Sleeve Gastrectomy B3.7. 12.00 12.15 O.044 Reflux disease after Sleeve gastrectomy – a quality of life assessment B3.8. 12.15 12.30 O.045 Bidirectional jejunojejunostomy prevents the kinking of the anastomosis after closure of the mesenteric defect in Lönroth’s Roux-en-Y laparoscopic gastric bypass w w w . i f s o 2 0 1 7 . c o m 50 Session: B4 Room: St James Track: symposium Title: Medical and Metabolic Symposium in collaboration with EASO (Part 2) Mechanisms contributing to the beneficial effect of bariatric surgery in engendering sustained weight reduction and improvement in glycaemic control B4.1. 10.30 10.50 Altered GI signals B4.2. 10.50 11.10 Alter glucose transport B4.3. 11.10 11.30 Altered reward: Bile acids and microbiota B4.4. 11.30 11.50 Altered energy expenditure B4.5. 11.50 12.10 Modulating gut biology B4.6. 12.10 12.30 Panel discussion w w w . i f s o 2 0 1 7 . c o m 51 Session: B5 Room: Westminster Track: oral abstracts and invited presentations Title: Multidisciplinary management B5.1. 10.30 10.45 It’s all in how you say it bad words in bariatric and metabolic surgery B5.2. 10.45 11.00 Are probiotics beneficial after bariatric surgery? B5.3. 11.00 11.15 Outcome reporting in bariatric and metabolic surgery B5.4. 11.15 11.30 Discussion B5.5. 11.30 11.45 O.046 Evaluation of Carbohydrate Restriction as Primary Treatment for Post-Gastric Bypass Hypoglycemia B5.6. 11.45 12.00 O.047 Could pre-probiotic usage enhance metabolic effects of Roux-en-Y Gastric Bypass Surgery and prevent from nutritional deficiency?: A prospective randomized trial B5.7. 12.00 12.15 O.048 Medium Term Results Following Laparoscopic Gastric Bypass (LRYGB) in the NHS. Does bariatric surgery lead to sustained reductions in medications? B5.8. 12.15 12.30 O.049 Public hospital admissions and emergency department presentations for patients wait-listed for bariatric surgery in Tasmania, Australia: a state-wide cohort study w w w . i f s o 2 0 1 7 . c o m 52 Session: B6 Room: Moore Track: oral abstracts and debate Title: Sleeve Gastrectomy Session 1 B6.1. 10.30 10.45 O.050 Laparoscopic Greater Curvature Plication Versus Laparoscopic Sleeve Gastrectomy: Long-Term Results of Prospective Randomized Trial B6.2. 10.45 11.00 O.051 Resolution of Diabetes Mellitus type 2 after Sleeve Gastrectomy: a two steps Hypothesis B6.3. 11.00 11.15 O.052 Comparing Sleeve Gastrectomy to Single Stage Band Removal and Concomittant Sleeve Gastrectomy, Analyses of 98,298 patients nts B6.4. 11.15 11.30 O.053 Sleeve gastrectomy in the era of robotic surgery: a meta-analysis B6.5. 11.30 11.45 O.054 The effect of Bougie size on the outcome of laparoscopic sleeve gastrectomy – Mid-term follow up results B6.6. 11.45 12.00 O.055 Sleeve gastrectomy plus jejunaljejunum bypass for the treatment of obesity: Short-term Outcomes B6.7. 12.00 12.30 Debate: Sleeve gastrectomy is currently the ‘gold standard’ bariatric operation B6.7a Pro 7 minutes B6.7b Against 7 minutes B6.7c Rebuttal Pro 3 minutes B6.7d Rebuttal Against 3 minutes B6.7e Audience vote and discussion – 10 minutes w w w . i f s o 2 0 1 7 . c o m 53 Session: B7 Room: Abbey Track: oral abstracts and invited presentations Title: Bariatric surgery in older individuals B7.1. 10.30 10.50 Managing the older bariatric patients – special considerations in the over 65s B7.2. 10.50 11.00 Discussion B7.3. 11.00 11.15 O.056 Age-related effects of bariatric surgery on early atherosclerosis and cardiovascular risk reduction B7.4. 11.15 11.30 O.057 Laparoscopic Sleeve Gastrectomy In The Elderly B7.5. 11.30 11.45 O.058 Safety and efficiency of sleeve gastrectomy in elderly patients B7.6. 11.45 12.00 O.059 Incidence and risk factors for intensive care unit admission after laparoscopic sleeve gastrectomy in high risk elderly: safety and feasibility B7.7. 12.00 12.15 O.060 Comparative Outcomes of Totally Robotic Rouxen-Y Gastric bypass (TR-RYGB) in Matched Patients Aged ≥65 versus ≤50 years B7.8. 12.15 12.30 O.061 Outcomes of bariatric surgery in the 65+ years old patients: experience of a bariatric centre of excellence w w w . i f s o 2 0 1 7 . c o m 54 Session: B8 Room: Windsor Track: symposium Title: Robotic symposium part 2 B8.1. 10.30 10.45 ICG Fluorescence: Role of routine use in primary cases versus selected complex cases B8.2. 10.45 11.00 Does the robot offer an advantage in the presence of challenging hiatal and paraoesophageal hernias? B8.3. 11.00 11.15 Converting prior fundoplications to the proper antireflux operation in the morbidly obese. robotic approach to fundoplication conversion to gastric bypass B8.4. 11.15 11.30 Evolution of why the robot for ventral hernia and advantages of robotic approach B8.5. 11.30 11.45 Robotic IPOM with closure of defect versus robotic preperitoneal approach B8.6. 11.45 11.55 Panel discussion B8.7. 11.55 12.10 Xi, SP, Integrated Table, Robotic Staplers: What are the added advantages? B8.8. 12.10 12.30 Panel Discussion: What do surgeons want in the next robotic platform? w w w . i f s o 2 0 1 7 . c o m 55 Session: B9 Room: Mountbatten Track: symposium Title: Pan-Arab Symposium B9.1. 10.30 10.35
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This paper describes a series of transdisciplinary research projects in five large-scale, interactive visualization architectures. These immersive architectures and their associated visual, sonic and algorithmic techniques offer compelling means for mapping and remediating the tangible, intangible and abstract aspects of culture and heritage landscapes. This paper brings these unique systems and the installations developed for them together for the first time. The task here is to highlight the strategies for embodied, kinaesthetic, multisensory and collaborative engagement as powerful ways to reformulate narrative made possible through these stereographic, panoramic, situated interfaces. Keywords-augmented reality, immersive architecture, interaction, kinaesthetic, post-processural archaeology, museums, situated media, narrative, cultural heritage, visual analytics. I.
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Web services have become one major way for people to obtain and explore information nowadays. However, web browsers currently only offer limited data analysis capabilities, especially for large-scale 3D datasets. This project presents a method of immersive web browsing (ImWeb) to enable effective exploration of multiple datasets over the web with augmented reality (AR) techniques. The ImWeb system allows inputs from both the web browser and AR and provides a set of immersive analytics methods for enhanced web browsing, exploration, comparison, and summary tasks. We have also integrated 3D neuron mining and abstraction approaches to support efficient analysis functions. The architecture of ImWeb system flexibly separates the tasks on web browser and AR and supports smooth networking among the system, so that ImWeb can be adopted by different platforms, such as desktops, large displays, and tablets. We use an online 3D neuron database to demonstrate that ImWeb enables new experiences of exploring 3D datasets over the web. We expect that our approach can be applied to various other online databases and become one useful addition to future web services.
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High-dimensional imaging is becoming increasingly relevant in many fields from astronomy and cultural heritage to systems biology. Visual exploration of such high-dimensional data is commonly facilitated by dimensionality reduction. However, common dimensionality reduction methods do not include spatial information present in images, such as local texture features, into the construction of lowdimensional embeddings. Consequently, exploration of such data is typically split into a step focusing on the attribute space followed by a step focusing on spatial information, or vice versa. In this paper, we present a method for incorporating spatial neighborhood information into distance-based dimensionality reduction methods, such as t-Distributed Stochastic Neighbor Embedding (t-SNE). We achieve this by modifying the distance measure between high-dimensional attribute vectors associated with each pixel such that it takes the pixel’s spatial neighborhood into account. Based on a classification of different methods for comparing image patches, we explore a number of different approaches. We compare these approaches from a theoretical and experimental point of view. Finally, we illustrate the value of the proposed methods by qualitative and quantitative evaluation on synthetic data and two real-world use cases. Index Terms:Mathematics of computing—Dimensionality reduction; Human-centered computing—Visualization techniques; Human-centered computing—Visual analytics; 1
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-Sustainabledevelopmentislargelyseen as pertaining primarilytoenvironmentalissues andgrassroots socialdevelopment.Thisstereotypemisses therealitythat sustainabledevelopmentandtheinformationsocietyare operationallyinterconnected.The twophasesoftheWorld Summiton theInformationSociety(WSIS)inGeneva(December 2003) andTunis(November2005)provideanexcellent opportunitytointegratesustainabledevelopmentprinciplesand practicesinto theinstitutions andpolicyframeworksthatare shapingtheinformationsociety.WhiletheWorldSummiton SustainableDevelopment(WSSD) andWSISPhaseI brought theseissues tointernationalattention,Southernvoices and visions arestillnotablylackingfrom thedebate As we move into the age ofinformationit iscritically importantfor us toconsidertheimplicationsofICTin SustainableDevelopment andvice-versa.Thisresearch undertakinglooks atpreciselythisintersectionwith itsprimary focus onsustainablecommunities.SustainableCommunities developmentis anevolvingdiscourse.Thelocally-ownedor adaptedknowledgeofa communityisessentialforintegrated sustainabledevelopment, andisbecominga keypriorityfor developmentpractitioners.Thepopularityof theconceptof communitiesis growing, andsoareideas on how tosupportthese communitieswithtechnologiesand howthesecommunitiesmight use ICTstosupportthemselves.These issuesarepertinentin assessingtherealcontributionofICTstosustainable development, andthereforemeritacloserexamination.The paperpresentsthefindingsfrom thestudyof 9communitiesin the NigerDeltaregion ofNigeria.The aim of thestudywas to explorehow ICTsmaycontributeto the socialsustainabilityof communitiesin theNigerDeltaRegion ofNigeria.Thestudy groundsthe understandingofICTusageamongindigenous communitiesandconsumersin therealityof theireverydaylives, in ordertopromoteactionsforsustainability. IndexTerms-CommunicativeEcology,Information CommunicationTechnology,SocialChange,SustainableCommunities ManuscriptreceivedFebruary20, 2009. This work is partofadoctoral research.It isfundedby aresearchGrantprovidedby AkwaIbomState Government,Nigeria. UduakOkonis aDoctoralStudentat RoyalHolloway,University ofLondon and is amember oftheICT4DCollective.(Phone:01784248786;Mobile: 07776474379; Email:u.akpan-okon@rhul.ac.uk;okonud@yahoo.com). 1.
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The capture of digital data for cultural heritage includes multidisciplinary data types, analyses and formats from many diverse fields; including materials science, archeology, botany, biology, engineering, physics and chemistry, to name but a few. The continued challenge for digital data in any discipline is sustainable access and the capacity for a more integrated approach to linked data, including high level metadata to enable searchability. Many related fields and disciplines have begun to focus on the need to integrate and assess approaches from other scientific disciplines while also engaging with humanities colleagues who utilize the same information from different perspectives. An initiative for linked scientific data generated from heritage materials has been developed within the Library of Congress Preservation Research and Testing Division. This database integrates multiple scientific analyses all linked back to the original heritage object. For ease of access, a visualization interface integrating humanities and heritage science creates a “digital cultural object” with layers of integrated and linked data. These digital initiatives include, the Center for Linked Analytical Scientific Samples – Digital (CLASS-D) – an infrastructure enabling the unique capability to link a range of types of scientific instrumental analyses back to original source materials, expanding the capability for managing web-accessible access to heritage collections; and the Data Visualization Project (DVP) visual interface. Keywords—linked data, heritage science, visualization of scientific data I.
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Smart Cities have gradually shifted their focus from just being technology hubs that simply collect information to be consumed by their citizens, to large scale interactive environments with their users being inherently considered as vital elements of the city. Therefore, the overall interaction paradigm has evolved to promote active participation and collaboration between different parties, and support their new roles and objectives. Already a variety of domains such as transportation, healthcare, entertainment, agriculture, economy, and government provide smart solutions and efficiently utilize the Smart City’s resources, towards improving the overall quality of life of its citizens; this trend can only continue given the forecasted increase of the number of IoT connected devices. Within this promising world where citizens are the main players, natural interaction will be a critical need for the new generation of Smart Cities. The recent advancements in Information and Communication Technologies along with the emergence of innovative technologies (e.g. Augmented Reality, Artificial Intelligence, 5G) and the abundance of IoT devices empower the employment of various interaction modalities (i.e. presence, body posture and motion, eye gaze, speech, touch) able to accommodate different user abilities, context of use (i.e. public or private space), or device variations. Finally, the need for explicit This chapter is being also simultaneously published in Chinese as a chapter in: “Dong, J., Fu, P., Rau, P-L.P., Stephanidis, C., & Salvendy, G. (2021). Human-Computer Interaction 6th Ed. (in Chinese). (398 pages), P.R. China: Tsinghua Press, (ISBN: 978-7-302-58948-8)”. A. Leonidis · M. Korozi · M. Antona · C. Stephanidis ( B ) Institute of Computer Science (ICS), Foundation for Research and Technology—Hellas (FOR TH), Heraklion, Crete, Greece e-mail: cs@ics.forth.gr A. Leonidis e-mail: leonidis@ics.forth.gr M. Korozi e-mail: korozi@ics.forth.gr M. Antona e-mail: antona@ics.forth.gr C. Stephanidis University of Crete, Heraklion, Greece © Springer Nature Switzerland AG 2023 V . G. Duffy et al. (eds.), Human-Automation Interaction, Automation, Collaboration, & E-Services 12, https://doi.org/10.1007/978-3-031-10788-7_30 513 514A. Leonidis et al. interaction has started to minimize, since automatic knowledge inference already enables cities to take the appropriate actions, both proactively and reactively. This chapter initially defines the vision of a Smart City, present the main objectives that provide its foundation and the contributing technologies that promote its realization. Then, it outlines the key interaction paradigms encountered in Smart Cities and introduces a variety of use cases that highlight, from an HCI perspective, interactions of citizens with Smart City services and applications. Finally, it discusses the key challenges that engineers and official authorities should address in their endeavor to build truly efficient and well-accepted cities, and concludes by offering some closing reflections about their promising potentials. Keywords Smart city ·Human-environment interaction ·Implicit interaction · Internet of things ·Digital city ·Ambient intelligence ·Interaction 1
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Multimedia technologies provide new opportunities for museums to enhance their visitors' experience. However, its use brings new challenges for presentation preparation, among which are how to enrich the visit while not diverting the visitors' attention from the actual objects in the museum, which should remain the focus of the visit; and how to provide a rich information space suitable for a wide variety of visitors. These challenges need to be addressed during planning and preparation of information presentations for mobile, multimedia museum visitors' guides.This paper describes the design and implementation of the AMICo prototype to an exhibition room for visitors who are equipped with wirelessly connected handheld devices. The prototype has been implemented on an exhibition showing a set of architectural scale models from the famous Spanish architect Rafael Moneo hold in the Kubo exhibition centre of the Kutxa Foundation in Donostia-San Sebastian during September and October 2005. The architectural scale models were augmented with information in the form of multimedia content. Users were able to access those contents in a personalized way when in the proximity of the artwork.
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When exploring a 3D medical dataset, data occlusion creates difficulties for users to understand the dataset in detail since many internal structures are occluded. Techniques such as transfer function design, isosurface extraction, etc., have been proposed in the past to address the occlusion problem and assist expert users in exploring volumetric data. However, these techniques may not be feasible for some non-expert users’ scenarios, such as science museum visitors exploring a brain CT image data volume on a large touch screen or high school students learning the human body structure on a tablet because they have no need to conduct long-term data exploration and rigorous scientific analysis. To address the non-expert users’ need for an easy-to-use data exploration tool, we propose an interactive data exploration system for non-expert users to interact with the dataset with a short learning time and simple inputs. Non-expert users can remove the obstructing material to reveal the occluded structures by simply clicking on the obstructing material. Our system also preserves the context for non-expert users to understand the dataset after the obstructing material is removed easily. Additionally, for data providers such as the engineers in a museum, our system provides a semi-automatic workflow to set up a dataset into our system for non-expert users. In this work, we conduct two user studies to evaluate our system’s usability. INDEX TERMS3D data visualization and exploration, human–computer interaction, occlusion management. I.
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Determining similar objects based upon the features of an object of interest is a common task for visual analytics systems. This process is calledprofiling, if the object of interest is a person with individual attributes. The profiling of musicians similar to a musician of interest with the aid of visual means became an interesting research question for musicologists working with the Bavarian Musicians Encyclopedia Online. This paper illustrates the development of a visual analytics profiling system that is used to address such research questions. Taking musicological knowledge into account, we outline various steps of our collaborative digital humanities project, priority (1) the definition of various measures to determine the similarity of musicians’ attributes, and (2) the design of an interactive profiling system that supports musicologists in iteratively determining similar musicians. The utility of the profiling system is emphasized by various usage scenarios illustrating current research questions in musicology. Index Terms—visual analytics, profiling system, musicians database visualization, digital humanities, musicology 1
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We present an atmospheric model tailored for the interactive visualization of planetary surfaces. As the exploration of the solar system is progressing with increasingly accurate missions and instruments, the faithful visualization of planetary environments is gaining increasing interest in space research, mission planning, and science communication and education. Atmospheric effects are crucial in data analysis and to provide contextual information for planetary data. Our model correctly accounts for the non-linear path of the light inside the atmosphere (in Earth’s case), the light absorption effects by molecules and dust particles, such as the ozone layer and the Martian dust, and a wavelength-dependent phase function for Mie scattering. The mode focuses on interactivity, versatility, and customization, and a comprehensive set of interactive controls make it possible to adapt its appearance dynamically. We demonstrate our results using Earth and Mars as examples. However, it can be readily adapted for the exploration of other atmospheres found on, for example, of exoplanets. For Earth’s atmosphere, we visually compare our results with pictures taken from the International Space Station and against the CIE clear sky model. The Martian atmosphere is reproduced based on available scientific data, feedback from domain experts, and is compared to images taken by the Curiosity rover. The work presented here has been implemented in the OpenSpace system, which enables interactive parameter setting and real-time feedback visualization targeting presentations in a wide range of environments, from immersive dome theaters to virtual reality headsets. Index Terms—Physical & Environmental Sciences, Engineering, Mathematics; Computer Graphics Techniques 1
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There is an increasing trend to present cultural heritage with the help of virtual visualisation. It offers a unique level of understanding of the heritage in question. Moreover, depending on the precision of the virtual model, it can be used for scientific research, and it can inspire new ideas and conclusions about the actual looks of the visualised objects. Over the years, companies and institutions have specialized in this field of work, creating new demands on the CG artists of the involved teams, as well as establishing a new kind of archaeological methodology that seeks to research and develop ways of using computer-based visualisation for the comprehensive management of archaeological heritage. However, the interpretation of archaeological datasets and their subsequent transformation into 3D representations of the interpretation usually requires a timeconsuming process of re-evaluation and discussion. Very often, a discrepancy between scientific architectural interpretation that is normally presented in a 2D plane and its realisation in a 3D space occurs, because the 2D representation is not able to show the physical laws of the third dimension. To overcome these difficulties, we propose alternative solutions that lessen the disconnection between the parties. Our software solution enables the archaeologist to perform an interpretative work-flow that places ideas within a customizable 3D environment, therefore resulting in a more direct involvement throughout the reconstructive or representative process. On a broader scale, CGI artists would benefit greatly if they could follow the project evolving and gain a deeper understanding of the specific cultural heritage. Index Terms—Virtual Archaeology, Interdisciplinarity, Communication Gap and Visualisation Workflow. I.
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Intuitive access to information in real environments is a challenge for Information Society Technologies. Having this in mind, a new device for Mixed Reality applications called Virtual Showcase has been developed. It has been conceived to be used in museums and exhibitions, due to its compatibility with traditional museum showcases, offering additional information to the public by means of a simple, direct and intuitive interface. This paper presents the real implementation and usability evaluation of a Virtual Showcase passive-stereo prototype exhibited in a museum for three months. Some results concerning the evaluation process have also been included. Although the technology seems to be promising, implementation aspects such as size should be improved.
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sense. An image not only can represent a realistic scene from the everyday world, but it can also be graphics such as histograms or pie charts, or the graphical user interface of the software. In the following section, some application fields of computer graphics are presented as examples to give an impression of the range of tasks in this discipline. This is followed by explanations of the main steps in computer graphics and an overview of how a rendering pipeline works using the graphics pipeline of theOpen Graphics Library (OpenGL). Computer graphics belongs to the field ofvisual computing. Visual computing, also known as image informatics, deals with both image analysis (acquisition, processing and analysis of image data) and image synthesis (production of images from data). Visual computing is an amalgamation of individual merging fields such as image processing, computer graphics, computer vision, human–machine interaction and machine learning. Computer graphics is an essential part of image synthesis, just as image processing is an essential part of image analysis. Therefore, in basic introductions to visual computing, the two disciplines of computer graphics and image processing are taught together. This book also integrates solutions to image processing problems, such as the reduction of aliasing in rasterisation or the representation of object surfaces using textures. Further links to computer graphics exist with neighbouring disciplines such as computer-aided design/manufacturing (CAD/CAM), information visualisation, scientific visualisation and augmented reality (AR) and virtual reality (VR) (see Chap.11). © Springer Nature Switzerland AG 2023 K. Lehn et al.,
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This paper explores the potential of using Microsoft’s Kinect to create a low-cost and portable system to virtually navigate, through a prototype 3D GIS, the digitally reconstructed ancient Maya city and UNESCO World Heritage Site of Copan in Honduras. The 3D GIS, named QueryArch3D, was developed as part of the MayaArch3D project (http://mayaarch3d.unm.edu), which explores the possibilities of integrating databases and 3D digital tools for research and teaching on ancient architectures and landscapes. The developed system, based on the Flexible Action and Articulated Skeleton Toolkit (FAAST), controls in a remote and touchless mode the movements in the 3D environment in order to create a sense of spatial awareness and embodiment. A user can thus use gestures to interact with information stored in the spatial database, calling up photos, videos, textual descriptions as he/she moves through the virtual space of the ancient Maya city. Keywords3D Modeling, Virtual Reality, 3D GIS, Kinect, Archaeology I.
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Engaging in interdisciplinary projects on the intersection between visualization and humanities research can be a challenging endeavor. Challenges can be finding valuable outcomes for both domains, or how to apply state-of-the-art visual analytics methods like supervised machine learning algorithms. We discuss these challenges when working with cultural heritage data. Further, there is a gap in applying these methods to intangible heritage. To give a reflection on some interdisciplinary projects, we present three case studies focusing on the labeling of cultural heritage collections, the problems and challenges with the data, the participatory design process, and takeaways for the visualization scholars from these collaborations. Keywords:Labeling, Cultural Heritage, Visualization in the Humanities, Participatory Design. Index Terms:Human-centered computing—Visualization—; Human-centered computing—Human computer interaction—; Applied computing—Arts and humanities—; 1
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Bogda is one of the three sites in Xinjiang Tianshan that merit nomination as natural World Heritage. To apply for recognition as world natural heritage, it is necessary to demonstrate the value of the landscape of the nominated property. In this paper, 3D visualization of remote sensing images is applied to describe the landscape of the nominated site, and the 3D visualization module of ArcScene, which is one module of ArcGIS Desktop, is used as the platform for threedimensional visualization. Using a digital elevation model (DEM) expressing terrain elements and remote sensing images representing the land-cover condition, the landscape visualization of the nominated property was achieved. Based on the threedimensional view of the nominated property, detailed understanding of the nominated property can be obtained, and this can provide decision support for boundary identification. After boundary identification, virtual three-dimensional roaming is also implemented to show the landscape of Bogeda. In this paper, the spatial information expression-and-visualization method that is used is a novel application for work on natural World Heritage. Keywords-mountain heritage; nominated property 㧧Bogda; landscape visualization; “3S”technology; World Heritage I.
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Interactive visualizations can allow science museum visitors to explore new worlds by seeing and interacting with scientific data. However, designing interactive visualizations for informal learning environments, such as museums, presents several challenges. First, visualizations must engage visitors on a personal level. Second, visitors often lack the background to interpret visualizations of scientific data. Third, visitors have very limited time at individual exhibits in museums. This paper examines these design considerations through the iterative development and evaluation of an interactive exhibit as a visualizationtoolthat gives museumgoers access to scientific data generated and used by researchers. The exhibit prototype, Living Liquid, encourages visitors to ask and answer their own questions while exploring the time-varying global distribution of simulated marine microbes using a touchscreen interface. Iterative development proceeded through three rounds of formative evaluations using think-aloud protocols and interviews, each round informing a key visualization design decision: (1) what to visualize to initiate inquiry, (2) how to link data at the microscopic scale to global patterns, and (3) how to include additional data that allows visitors to pursue their own questions. Data from visitor evaluations suggests that, when designing visualizations for public audiences, one should (1) avoid distracting visitors from data that they should explore, (2) incorporate background information into the visualization, (3) favor understandability over scientific accuracy, and (4) layer data accessibility to structure inquiry. Lessons learned from this case study add to our growing understanding of how to use visualizations to actively engage learners with scientific data. Index Terms—Information visualization, user interaction, evaluation, user studies, science museums, informal learning environments. 1
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Almost every country have their own museum and standard procedure with different characteristics based on their state policies. In Indonesia itself until now, there are approximately 300 museum institutions. There are many problems currently faced by the museums include the management and processing data collection either structured or unstructured inside the institutions. Therefore, this research was undertaken in processing and managing data in the museum institutions in order to be delivered to the public based on customized information they need. Virtual museum as instrumental for supporting the achievement of the museum functions as a whole and using social media to campaign collections, broadcast contents based on their location, communicating with visitor, attract and influence society, exchange information and waiting for their feedback from user perspective to improve public services. Virtual museum as a complex system delivering an information to the user to answer necessary services for internal and external uses. In our investigation, virtual museum should know, determining, providing information based on visitors characteristics, behaviours and desires. In this case we assume that right information is not enough, therefore system need to process once more time the information to become closest information for the visitors. We have investigated Museum of Geology, National Museum in Indonesia, Hermitage Museum in Russia, and for balancing we also observe online resources provided by Louvre Museum in France and Virtual Museum of Canada. Our result is a design of virtual museum engine which can obtain relevant information based on visitor characteristics, behaviours and desires through variety of media. Keywords — museum, management, processing, collection, information I.
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Large collections resulting from archaeological excavations can present challenges for data management and analysis. Confronted with a new collection of approximately half a million artifacts, the Pointe-à-Callière Museum partnered with the Université du Québec à Montréal and the Université de Sherbrooke to incorporate complex data visualization into a webbased GIS platform. This partnership has helped transfer expertise from universities to the institution and created a system which the Museum can use to better understand the site and its components. Keywords— archaeology, geographic information system, data, management, visualization, spatial analysis I.
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Exploration and analysis of high-dimensional data are important tasks in many fields that produce large and complex data, like the financial sector, systems biology, or cultural heritage. Tailor-made visual analytics software is developed for each specific application, limiting their applicability in other fields. However, as diverse as these fields are, their characteristics and requirements for data analysis are conceptually similar. Many applications share abstract tasks and data types and are often constructed with similar building blocks. Developing such applications, even when based mostly on existing building blocks, requires significant engineering efforts. We developedManiVault, a flexible and extensible open-source visual analytics framework for analyzing high-dimensional data. The primary objective ofManiVaultis to facilitate rapid prototyping of visual analytics workflows for visualization software developers and practitioners alike.ManiVaultis built using a plugin-based architecture that offers easy extensibility. While our architecture deliberately keeps plugins self-contained, to guarantee maximum flexibility and re-usability, we have designed and implemented a messaging API for tight integration and linking of modules to support common visual analytics design patterns. We provide several visualization and analytics plugins, andManiVault’s API makes the integration of new plugins easy for developers.ManiVaultfacilitates the distribution of visualization and analysis pipelines and results for practitioners through saving and reproducing complete application states. As such, ManiVault can be used as a communication tool among researchers to discuss workflows and results. A copy of this paper and all supplemental material is available at osf.io/9k6jw, and source code at github.com/ManiVaultStudio. Index Terms—High-dimensional data, Visual analytics, Visualization framework, Progressive analytics, Prototyping system. 1
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In the last decade, vast amounts of planetary science data has been made available publicly often focused on Mars. Such data is typically disseminated via the web and made available through screen-based visualisations. However, this approach can make it difficult to convey the broader context of a feature of interest or the spatial arrangement of surface phenomena. To better support learning and engagement, we present and evaluate MarsCAPE: Mars Communicated through an Augmented, Physical Environment. MarsCAPE consists of physical models of the surface of Mars, augmented by projected information and visualizations. To assess its learning and engagement value, a structured workshop and formal evaluation were conducted. Participants reported a significant increase in knowledge, found the models engaging, and exhibited natural learning without prompting. Systems such as MarsCAPE have potential to provide an interesting, educational way for the public to access planetary data that goes beyond the capabilities of on-screen visualizations.
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Digital technologies in the last twenty years have offered cultural heritage (CH) new possibilities in conservation and promotion. 3D digitization has especially become more and more affordable and efficient. This leads to massive digitization projects and increasing amount of CH digital data. As an engineering team working on industrial techniques for reverse engineering, we are deeply affected by this effect. In this paper we propose a way to combine semantic information on top of the acquisition and modeling steps in order to manage heterogeneous historical data. We illustrate our approach with a use case composed of three overlapping historical objects related to Nantes’ harbour history. Index Terms—Industrial heritage, knowledge management, 3D modeling, information visualization, levels of detail. I.
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This paper focuses upon the reframing of cultural heritage as bodily experience articulated through narrative based media. The concept of mediation is introduced and explored, as a knowledge intensive process that integrates the production and construction of information interfaces. Such interfaces are negotiated through, and translated by, bodily interaction and bodily reasoning. As such, the mediation process is shaped through the reformulation of kineasthetic, somatic and embodied experiences, that both, customize the interaction process, and shape the resultant outputs that effect construction of knowledge. For enhancement of the mediation process, guidelines for maintaining the integrity of the mediation are discussed. The approach is demonstrated over several projects that explore these concerns through low fidelity prototypes executed in an experimental manner. Keywords-cultural heritage, mediation, embodied interaction, information visualisation, visual analytics. 1.
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The increasing power and decreasing size of mobile devices and tablets provide a compelling new platform for mobile field geographic information system (GIS) operations with geospatial datasets. As these data sets become increasingly larger and more dynamic, it introduces the need for real time analysis and data collection in the field. Successful field research in the digital age requires computing power, functionality, and mobility. Location aware mobile computing devices enable new methods of knowledge synthesis by merging physical and virtual data layers. The geospatial dataset in this study is both large in scale and quickly transforms on a daily basis, requiring innovative strategies for effective application. This paper presents the novel combination of mobile tablets, GIS, and geospatial data to direct ground exploration and discovery of cultural heritage sites in Mongolia.Keywords—Geographic Information Systems, mobile computing, geovisualization, spatio-temporal dataGeographic Information Systems, mobile computing, geovisualization, spatiotemporal data, I.
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In this paper we discuss the use of models of space in the building of mixed-reality systems. By model of space we mean a geometric or symbolic description associated with a physical space. We outline several types of model that exist, how they are surveyed and authored, how they are represented to the users and how they are supported by middleware and sensors. We show that systems often contain numerous models of space and we discuss the issues in maintaining or reifying assumptions about transformations between models. We illustrate these ideas by describing the implementation of a collaborative mixed-reality system that allows users to experience a museum in three modalities: physically co-located visitor with personal digital assistant guide, virtual reality visitor and web visitor. 1.
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The scope of this work has been to apply multidimensional data visualization techniques to the study of the ancient building decay events. With this aim we have created new visual tools based on the shape variation (glyph), that with more traditional techniques based on the color have been implemented in object-oriented software programs using the innovative and powerful Visualization Toolkit (VTK), a free C++ class library for visualization and 3D computer graphics. The data used are climatic, chemical and environmental measurements detected on/near the Roman Theatre in the city of Aosta, acquired in the ambit of an Italian research project focused on the restoration of ancient monuments. 1.
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-This paper describes PLUGGY platform which is the first European social platform for cultural heritage and its extension the Smart Discovery tool. These tools were developed to bring culture closer to a wider public audience. After decades of digitization of cultural heritage objects there are several initiatives to present all these data in a meaningful, engaging and educational way. Most of the time these digital libraries present content only in searchable list format without meaningful interpretation. PLUGGY platform tries to fill this gap with a set of authoring and presentation tools. These tools allow creation of a wide variety of virtual exhibitions and narrative stories linked to the content from the digital libraries or user's uploaded content. We are extending PLUGGY with the Smart Discovery tool for the simplification of the curatorial process. It is a visualization, modelling and recommendation tool for the elimination of a cognitive load of art curators. The tool allows to model relationships between cultural heritage objects. During the modelling process the tool recommends related concepts aggregated from multiple external art content libraries. Created models can be transformed to the different types of virtual exhibitions skeletons ready for further PLUGGY curation. Keywords-data visualization, ontology, modelling, semantic search, art I.
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Abstract Recently, there has been an upsurge of activity in image-based non-photorealistic rendering (NPR), and in particular portrait image stylisation, due to the advent of neural style transfer (NST). However, the state of performance evaluation in this field is poor, especially compared to the norms in the computer vision and machine learning communities. Unfortunately, the task of evaluating image stylisation is thus far not well defined, since it involves subjective, perceptual, and aesthetic aspects. To make progress towards a solution, this paper proposes a new structured, three-level, benchmark dataset for the evaluation of stylised portrait images. Rigorous criteria were used for its construction, and its consistency was validated by user studies. Moreover, a new methodology has been developed for evaluating portrait stylisation algorithms, which makes use of the different benchmark levels as well as annotations provided by user studies regarding the characteristics of the faces. We perform evaluation for a wide variety of image stylisation methods (both portrait-specific and general purpose, and also both traditional NPR approaches and NST) using the new benchmark dataset.
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Virtual time travel from existing remains of a heritage site to its previous states and original condition is an educational and interesting experience and can provide better understanding of history. However, digitally reconstructing non-existing objects is a challenge. The interaction and navigation within virtual 4D worlds (adding time to 3D worlds) is also problematical due to the time dimension. In this paper we developed an approach to modelling of heritage sites that has undergone changes over the years. The method creates independent models from different types of data, such as frescos and paintings, drawings, old photos, historic descriptions, and digitization of remains, then assembles and integrates these models for an interactive presentation. Several research issues had to be addressed: (1) Modelling from frescos and drawings with incorrect perspective, (2) modelling from paintings and old photos including fine geometric details from shading (3) colouring models from old photos and drawings to match the colours of existing elements, (4) the seamless and accurate integration of models created independently from different sets of data, and (5) the creation of intuitive interactive presentation that combines all the models and other useful information. We provide contributions to these issues, including our own advanced model viewer, and apply them to modelling of: destroyed Haida house of Chief Weah (Masset, Canada), the demolished and partially relocated Rideau Chapel (Ottawa, Canada), and the Stenico castle (Trentino, Italy) which undergone many changes over several centuries. Each of these diverse examples illustrates different approach for reconstructing heritage sites that changed through time.
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In recent years, a number of projects have been undertaken for the access to cultural heritage that rely on metadata derived from an ontology. Ontologies also open to visualization techniques that leverage the structure of the semantic relations to bridge the gap between the complexity of data and the need for immediate, simplified access. In this paper, we address the representation and access to the intangible cultural heritage, that has received much attention recently and typically lacks a physical counterpart. In order to illustrate this approach, we describe two case studies in ontologies and visualization for cultural heritage. In the first case study, the user is immersed in a 3D labyrinth where turning points and paths represent, respectively, a set of cultural artifacts and the semantic relations holding among them; the second case study relies on an ontology of contemporary art and a cartographic visualization of the public art in a city. I.
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Recording geometrically and aesthetically accurate models of cultural heritage sites is important for both their conservation and understanding of historical importance. Rapid imaging systems are required to capture models efficiently so that large sites can be documented with sufficient resolution. Increasing availability of consumer-level drones has fostered digital data collection to replace traditional surveying methods. While such systems allow photogrammetric data to be gathered, they often prove inadequate for large scale rapid imaging. We propose an aerial system infrastructure based on: adapted aerial platforms; optimizations for flight path generation and UAV operations; high-bandwidth LTE transmission; methods of efficient point cloud generation, to rapidly document large scale heritage sites. Index Terms— UAV; Photogrammetry; LTE; Structurefrom-Motion I.
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Computer graphics, and in particular high-fidelity rendering, make it possible to recreate cultural heritage on a computer, including a precise lighting simulation. Achieving maximum accuracy is of the highest importance when investigating how a site might have appeared in the past. Failure to use such high fidelity means there is a very real danger of misrepresenting the past. Although we can accurately simulate the propagation of light in the environment, little work has been undertaken into the effect that light scattering due to participating media has on the perception of the site. In this paper we investigate how the appearance of the interior of the ancient Egyptian Temple of Kalabsha is affected when including dust in the simulation. Given that the sun was a key feature of Egyptian religion, the correct perception of the sun rays entering the temple and being scattered by the dust may be important for a better comprehension of that culture.
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Digitisation of the cultural heritage means that a significant amount of material is now available through online digital library portals. However, the vast quantity of cultural heritage material can also be overwhelming for many users who lack knowledge of the collections, subject knowledge and the specialist language used to describe this content. Search portals often provide little or no guidance on how to find and interpret this information. The situation is very different in museums and galleries where collections are organized in exhibitions which offer themes and stories that visitors can explore. The PATHS project, which is funded under the European Commission’s FP7 programme, is developing a system that explores the familiar metaphor of a trail (pathway) to enhance the discovery and use of the content made available in digital libraries. This paper will report on the findings of the user requirements analysis and the specifications for the first prototype of the PATHS system which is based on contents from Europeana and the Alinari Archives. Keywordscultural heritage, digital libraries, pathways, storytelling, Europeana 1.
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In spite of the political discourse dominating heritage issues, despite academic constraints and a certain cross-disciplinary inflexibility, photographs have now come to be considered part of our cultural heritage. Keywords--Cultural Heritage, Photography, Digitising Photographs, Archiving. 1.
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The discourse on the image and the archive is critical in these times of higher capacity storage, bigger bandwidth, and larger than ever digital projections and display applications. As we move from giga to terabytes, machines are now equipped to handle and manage thousands of images, opening up possibilities of increasing the numbers in photographic documentation of culture and heritage. Data or photographic capture of a chosen subject has never been as liberated with this phenomena, thus the availability of DSLRs with more than 30MP picture taking capacity. This paper describes the technical and theoretical elements, as well as the output of images, of a documentary photography of the Pua Kumbu textile making of Sarawak, on the island of Borneo. The location of this documentary is the Garie Longhouse, situated on the bank of Kain River, a tributary to the Rajang River, in the district of Kapit, Sarawak. Three fieldwork of a week each were conducted over a period of one year, to document the processes, weavers, environment, tools, and the produced textiles. Isolated in the interior of Borneo, access to the longhouse is only via the river, which means 8 hours of boat ride on 2 types of boats from the International Airport of Sibu, Sarawak. As a common issue in documentary photography, which is; what is more important, the subject or the photograph, this paper will elaborate on the theories and practice when capturing the scenes and objects. The whole collection of images, with a pixel dimension of 4912 × 7360, averaging 15Mb (pre-processed), at 300dpi are intended for an interactive projected display in a full scale mobile exhibition, with selected images for large digital prints and a book publication. Keywords – Documentary Photography, Culture and Heritage I.
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Many interrelated planetary height map and surface image map data sets exist, and more data are collected each day. Broad communities of scientists require tools to compose these data interactively and explore them via real-time visualization. While related, these data sets are often unregistered with one another, having different projection, resolution, format, and type. We present a GPU-centric approach to the real-time composition and display of unregistered-but-related planetary-scale data. This approach employs a GPGPU process to tessellate spherical height fields. It uses a render-to-vertex-buffer technique to operate upon polygonal surface meshes in image space, allowing geometry processes to be expressed in terms of image processing. With height and surface map data processing unified in this fashion, a number of powerful composition operations may be uniformly applied to both. Examples include adaptation to nonuniform sampling due to projection, seamless blending of data of disparate resolution or transformation regardless of boundary, and the smooth interpolation of levels of detail in both geometry and imagery. Issues of scalability and precision are addressed, giving out-of-core access to giga-pixel data sources, and correct rendering at scales approaching one meter. Index Terms—Terrain visualization, GPU, GPGPU, render-to-vertex-buffer, level-of-detail. Ç 1
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Virtual Reality and multimedia technologies are central components of the heritage presentation programme at Ename, Belgium. These techniques are designed to help the visitor understand and experience the past as it has been revealed through archaeological and historical research. This paper briefly traces the development of multimedia and Virtual Reality technologies in presenting the archaeological site of the early medieval fortress and St. Salvator Abbey at Ename and in the archaeological exhibits in the Ename Provincial Museum. It then highlights the approach used in Ename to present the 10th-century Saint-Laurentius Church and its restoration to the public, describing the methodology of creating scientifically verifiable Virtual Reality reconstructions. In conclusion it will place this project in the context of an international heritage initiative, the Francia Media Project, in which new interpretive technologies will be developed by members of a scientific consortium to offer new media of public heritage presentation in a European context.
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Digital preservation of cultural heritage sites has become a global problem. The paper proposes a real 3D digital method for culture heritage sites using 3D laser scanners and CCD cameras. Firstly, we preprocess the laser scans for noise removal and hole filling. Next step is using an improved ICP algorithm we present step-by-step registration to align all range scans into a common coordinate system. And then, we proposed a filtering of 3D data compression and use a volumetric-based algorithm for the construction of a coherent 3D mesh that encloses all range scans. Finally, through texture mapping, we obtain real 3D and real texture models. The example of the construction of the 3D model of buildings and grottos are presented. Keywords---Cultural Heritage Sites; Digitization; Laser scan; 3D model; Camera calibration; Texture mapping. 1.
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With modern microscopes, nowadays, in the biomedical domain large numbers of 3D images are acquired. In order to understand the content of these 3D images, suitable interactive visualization techniques are required. Holographic display techniques are potentially suited to this task, as these allow objects to be displayed as true 3D images without the requirement of additional devices for the observers. Additionally, this visualization technique has advantages in a team setting because it allows simultaneous observation of a 3D image in different viewpoints by multiple observers. 3D images are simplified to 3D models, however, these are still complex. The visualization task of 3D models, focusses on the capability to visualize both the outline and inside parts of such models. Conventional implementations of holographic displays fall short with respect to these visualization tasks as the display area is limited and edge effects distract from the real image. In this paper, we propose a real-time interactive visualization method using a holographic pyramid setup and we implement this method in Unity3D. In order to supply interactivity to the setup, a Leap Motion is added. An evaluation of the system performance shows that compared with the conventional method, our method allows models to be visualized in a display area that is 2.25 times as large, without having to increase the size of the display source. Moreover, the boundary of the display area will not be observed on the pyramid surface which contributes to a positive visualization experience. The user evaluation resulted in a SUS score of 73.75, suggesting that the usability level of this interactive visualization system is good. This setup also is applicable to common 3D models which are created from a variation of 3D modelling software. Keywords—Holographic pyramid, 3D models, bioimaging, interactive data visualization, Unity3D, GPU. I.
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Collaborative Virtual Environments are a class of desktop applications that allow the user to explore a 3D environment, being aware of the presence, the position and the activity of other users, which share the same space. In virtual environments oriented to Cultural Heritage contents, it is thus possible to envision collaboration between users, focused to learning in an innovative and intriguing way. While several CVE frameworks are present both in commercial and research contexts, most of them overlook the issue of regulating in an ordered fashion the collaboration between users to support their learning. The WebTalk framework developed at Politecnico di Milano aims at supporting CSCL via complex collaboration between peers and teachers connected to a Virtual Environment.Based on the experience of our previous collaborative 3D projects for museums, we recently implemented a new environment, the reconstruction of the 'Ideal City' of Leonardo da Vinci, excerpted from various portions of his manuscripts. The curatorial side of the project was led by the National Science Museum 'Leonardo da Vinci' in Milan, Italy, while a team of modelers and programmers used our new Collaborative Framework, named WebTalk-II, to deploy the application. The Collaborative 3D Virtual Ideal City will be soon online at the National Science Museum's WebSite.The project website is at the following URL: http://webtalk.elet.polimi.it
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Stereoscopic and immersive visualisations are used in various scientific and engineering fields. We describe our experience with long-distance transmissions enabling real-time interaction with a remote 3D model of historical architecture over a long-distance transmission. We illustrate the potential of such technology for distance research, education and research using models of historical architecture and other digitized cultural heritage . Index Terms—distance learning, real-time 3D transmissions, virtual reality, digital cultural heritage I.
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The article uses computer as an auxiliary teaching method in art teaching, which can not only enrich the content of art teaching, but also provide guidance for students from theory and art creation. The article first analyses the advantages of auxiliary teaching from the application value of computer-aided technology, and then studies the design of auxiliary platform system. The focus is on the analysis of the system's database construction and web search service construction, and the system framework and system teaching process are also given. Finally, the system is applied to the practice of art teaching and has achieved certain results. Keywords—Art teaching, computer, big data technology, art online teaching system I.
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It can be frustrating to ensure that cultural heritage work, from archaeological excavations to historic surveys, is documented fully and that the evidence is recorded properly and thoroughly. Automated computer-based documentation and research tools would seem to offer many benefits. They can be more accurate and cost effective, saving time and ensuring that all finds and their contexts are appropriately and fully recorded. And if designed well, new digital field data acquisition systems can enable new types of hypothesis testing, new insight into the past, and new visualizations that in turn can lead to a paradigm shift in how heritage sites are managed and information disseminated. There have been many computer-based data collection systems for heritage management; many databases, many digital archives, and many digital publication options. REVEAL is special. REVEAL (Reconstruction and Exploratory Visualization: Engineering meets ArchaeoLogy), is the product of a US National Science Foundation collaboration among the Institute for the Visualization of History, Brown University’s Division of Engineering, Laboratory for Man/Machine Systems, and the University of North Carolina, Charlotte's Department of Electrical and Computer Engineering. The project uses computer-vision, pattern-recognition, and machine-learning research to augment applications for archaeology and the humanities. REVEAL is a single piece of (free and open-source) software that coordinates all data types (e.g., photos, drawings, 3D models, and tabular information) with semi-automated tools for documenting sites, trenches and objects, recording excavation and site-evaluation progress, researching and analyzing the collected evidence, and creating 3D models and virtual worlds. Search and retrieval, building interactive visualizations, and testing hypotheses against the recorded material can all happen in real time, as the work proceeds. That is an important advance. Thus, REVEAL could be the only one software package that heritage fieldworkers might ever need. This paper will discuss and demonstrate this ground-breaking software toolkit. Index Terms—Virtual heritage, archaeology, integrated software, heritage documentation, photomodeling
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Pharaonic inscriptions contain a lot of scenes that illustrate many activities in ancient Egypt, such as daily life activities, religious rituals, festivals, battles, etc. This paper aims to show how the Egyptian Center for Documentation of Cultural and Natural Heritage (CULTNAT) used computer graphics in some projects to visualize the ancient Egyptian scenes in an attractive manner. This paper is concerned with four different projects; namely the botanical garden in Karnak temple, the Zodiac of Dendera Temple, the Opet Festival, Kadesh Battle. In each of them, the heritage data visualization was realized with different methodology that suits better the content being presented. The paper describes those different methodologies, why they were used and challenges faced to achieve those projects. Keywords—visualization; computer graphics; Multimedia; Culturama; Zodiac; Dendera; Karnak; Kadesh; Opet I.
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The use of immersive virtual reality (VR) systems in museums is a recent trend, as the development of new interactive technologies has inevitably impacted the more traditional sciences and arts. This is more evident in the case of novel interactive technologies that fascinate the broad public, as has always been the case with virtual reality. The increasing development of VR technologies has matured enough to expand research from the military and scientific visualization realm into more multidisciplinary areas, such as education, art and entertainment. This paper analyzes the interactive virtual environments developed at an institution of informal education and discusses the issues involved in developing immersive interactive virtual archaeology projects for the broad public.
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representations that are usually targeted toward more general audiences. In contrast, what challenges does scientific visualization face in storytelling? Scientific Storytelling Visualization has become an important tool for scientists in their daily work. Scientists create visualizations for various purposes: to validate experiments, explore datasets, or communicate findings to others. If appropriately presented, such visualizations can be highly effective in conveying narratives. So, using the criteria we mentioned earlier, let’s explore the possibility of telling stories using scientific visualizations. Information visualization’s narrative impact stems from visual comparisons using simple, abstract representations of data: bar charts show differences in length, scatterplots show differences in position, treemaps and pie charts show differences in area, and heat maps show differences in color and intensity. As such, information visualization stories are about comparison or change: “Look at how much bigger A is than B,” or “Look at how C has grown over time.” In contrast, much of scientific visualization’s narrative impact comes from being able to see real data that are normally invisible. At its best, scientific visualization extends our senses, letting us perceive and manipulate data at otherwise impossible scales and perspectives, such as vector fields in weather systems, isosurfaces in supernova simulations, and layers of human anatomy rendered semitransparently. Whereas information visualizations are allegories—abstractions and summaries of raw data—scientific visualizations are more literal; they strive for realism and spatial accuracy, sacrificing details only to facilitate understanding. In some ways, scientific visualization has it easy. Usually, the intended viewers are the scientists How can we aid Mr. Twain in his plight and ensure that he isn’t the exclusive purveyor of good stories well told? Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:53:44 UTC from IEEE Xplore. Restrictions apply. 14 January/February 2012 Visualization Viewpoints who generated the data, and others in the same field. So, they need little
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We examine the process of designing an exhibit to communicate scientific findings from a complex dataset and unfamiliar domain to the public in a science museum. Our exhibit sought to communicate new lessons based on scientific findings from the domain of metagenomics. This multi-user exhibit had three goals: (1) to inform the public about microbial communities and their daily cycles; (2) to link microbes’ activity to the concept of gene expression; (3) and to highlight scientists’ use of gene expression data to understand the role of microbes. To address these three goals, we derived visualization designs with three corresponding stories, each corresponding to a goal. We present three successive rounds of design and evaluation of our attempts to convey these goals. We could successfully present one story but had limited success with our second and third goals. This work presents a detailed account of an attempt to explain tightly coupled relationships through storytelling and animation in a multi-user, informal learning environment to a public with varying prior knowledge on the domain and identify lessons for future design. Index Terms—Narrative visualization, storytelling, animation, evaluation, user studies, informal learning environments 1
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Massivetaxitrajectorydataisexploitedforknowledgediscoveryintransportationandurbanplanning.Existingtools typicallyrequireuserstoselectandbrushgeospatialregionsonamapwhenretrievingandexploringtaxitrajectoriesandpassenger trips.Toanswerseeminglysimplequestionssuchas“WhatwerethetaxitripsstartingfromMainStreetandendingatWallStreet inthemorning?”or“WherearethetaxisarrivingattheArtMuseumatnoontypicallycomingfrom?”,tediousandtimeconsuming interactionsareusuallyneededsincethenumericGPSpointsoftrajectoriesarenotdirectlylinkedtothekeywordssuchas“Main Street”,“WallStreet”,and“ArtMuseum”.Inthispaper,wepresentSemanticTraj,anewmethodformanagingandvisualizingtaxi trajectorydatainanintuitive,semanticrich,andefficientmeans.WithSemanticTraj,domainandpublicuserscanfindanswersto theaforementionedquestionseasilythroughdirectqueriesbasedontheterms.Theycanalsointeractivelyexploretheretrieveddata invisualizationsenhancedbysemanticinformationofthetrajectoriesandtrips.Inparticular,taxitrajectoriesareconvertedintotaxi documentsthroughatextualizationtransformationprocess.ThisprocessmapsGPSpointsintoaseriesofstreet/POInamesand pick-up/drop-offlocations.Italsoconvertsvehiclespeedsintouser-defineddescriptiveterms.Then,acorpusoftaxidocuments isformedandindexedtoenableflexiblesemanticqueriesoveratextsearchengine.Semanticlabelsandmeta-summariesofthe resultsareintegratedwithasetofvisualizationsinaSemanticTrajprototype,whichhelpsusersstudytaxitrajectoriesquicklyand easily.Asetofusagescenariosarepresentedtoshowtheusabilityofthesystem.Wealsocollectedfeedbackfromdomainexperts andconductedapreliminaryuserstudytoevaluatethevisualsystem. IndexTerms —TaxiTrajectories,TaxiDocument,Textualization,NameQuery,SemanticInteraction,TextSearchEngine 1
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Findings from embodied cognition suggest that our whole body (not just our eyes) plays an important role in how we make sense of data when we interact with data visualizations. In this paper, we present the results of a study that explores how different designs of the ”interaction” (with a data visualization) alter the way in which people report and discuss correlation and causation in data. We conducted a lab study with two experimental conditions: Full body (participants interacted with a 65” display showing geo-referenced data using gestures and body movements); and, Gamepad (people used a joypad to control the system). Participants tended to agree less with statements that portray correlation and causation in data after using the Gamepad system. Additionally, discourse analysis based on Conceptual Metaphor Theory revealed that users made fewer remarks based on FORCE schemata in Gamepad than in Full-Body.
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This paper presents the SmartLET project, a coordinated research project funded by the Spanish Ministry of Science, Innovation and Universities, which just started in 2018. The main aim of this project is to provide support for the design and orchestration of Smart Learning Environments (SLEs) with the support of learning analytics and the Internet of Things. This paper gives an overview of our conception of SLEs based on previous works, provides some ideas about the connection of learning design and orchestration with SLEs, and analyses different ethical and privacy issues for SLEs. In addition, an initial hypothesis and some specific objectives for a support environment for SLEs are proposed.
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This paper presents an immersive geo-spatial social media system for virtual and augmented reality environments. With the rapid growth of photo-sharing social media sites such as Flickr, Pinterest, and Instagram, geo-tagged photographs are now ubiquitous. However, the current systems for their navigation are unsatisfyingly one- or two-dimensional. In this paper, we present our prototype system, Social Street View, which renders the geo-tagged social media in its natural geo-spatial context provided by immersive maps, such as Google Street View. This paper presents new algorithms for fusing and laying out the social media in an aesthetically pleasing manner with geospatial renderings, validates them with respect to visual saliency metrics, suggests spatio-temporal filters, and presents a system architecture that is able to stream geo-tagged social media and render it across a range of display platforms spanning tablets, desktops, head-mounted displays, and large-area room-sized curved tiled displays. The paper concludes by exploring several potential use cases including immersive social storytelling, learning about culture and crowd-sourced tourism.
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The Antikythera Mechanism is not only an artifact. It is the first known geared computer that spurs interest of archaeologists, astronomers, mechanical engineers and software developers. Its high level of corrosion, make very difficult its further studies. Although, the generated data which have been produced during an international research project for the Antikythera Mechanism, are going to be public. On the other hand, the fast evolution in computer graphics area, both in hardware and software, offers to users more possibilities than a few years ago in analysis, visualization and representation. In this paper, powerful and non-commercial software packages are presented, suitable for the study of the Antikythera Mechanism, and generally, for similar artifacts of Cultural Heritage. Index Terms—Antikythera Mechanism, visualization, volumetric analysis, computer tomography, cultural heritage 1.
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Painting collections from the old masters are valuable cultural heritage of human history. Their artistic styles can be generally determined by their art periods. From analyzing and visualizing the relationships of different artistic styles, information can be found to facilitate art history studies. In this paper, we propose a Selforganizing Map (SOM) based framework specifically for analyzing and visualizing the relationships among painting collections from artistic perspectives. In our framework, we first define a set of image features based on artistic concepts used in art criticism; then a SOMbased hierarchical model is used to analyze features extracted from individual artists’ painting collections. For our experiments, we obtain painting collections of six painting masters representing three art movements: postimpressionism, cubism and renaissance. An interactive web interface is also built to present our artistic influence analysis results. Through our experimental results, styles of different painting collections and their influential relationships can be analyzed and visualized from artistic perspectives. Index Terms—Artistic styles visualization, Artistic image features, Self-organizing map (SOM) 1.
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Place-Hampi is an embodied theatre of participation in the drama of Hindu mythology focused at the most significant archaeological, historical and sacred locations of the World Heritage site Vijayanagara (Hampi), South India. The research described in this paper examines a history of several scopic regimes observable in Indian aesthetic traditions (principally those associated with chromolithography) and their socio-cultural implications—to articulate the somatic engagement inherent to encounters with the mythological deities in image form. Information derived from the examination of diverse scopic regimes has been used to guide the decisions in symbolic logic and high level cognitive programming of computer graphic characters that help co-evolve the narrative engagement between intangible heritage of ‘place’ and participants. PlaceHampi investigates experiences of encounter—as tangible knowledge that has implications for immersive heritage visualizations for diverse cultural audiences. Keywords --virtual heritage, Indian aesthetics, magical realism, stereoscopic panoramas, augmented reality, co-evolutionary narrative, chromolithography, cognitive programming, symbolic logic, intangible heritage 1.
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Spatiotemporal data displayed in a spatial layout are not the best visualization for simultaneously exploring visitor paths and comparing their residing time. A challenging problem is the visual analytics of circulation patterns in varying layouts commonly found in both real and virtual environments. A circulation pattern is defined as how visitors move within space regarding a sequence of visited items. Understanding and discovering the circulation patterns has received much attention from space designers for increasing visitor satisfaction. This paper proposes a layout-independent visualization approach that transforms the four dimensional data of visitor trajectories (3D-position + time) into time series data. One time series datum represents a visitor path and his/her time spent residing in each particular region. In our visualization, we encode a time interval residing in an item boundary into a line segment. The length of a segment is in proportion to the total time spent in the layout. The time segment is placed in the row corresponding to its item boundary. A path of visited items is illustrated by connecting the time segments with vertical lines. The resulting visualization technique, called Path And Residing Time displaY (PARTY), enables users to find trends of circulation behaviors in a consistent fashion regardless of the targeted layout. The scalability of PARTY can be enhanced by a clustering technique which we enable PARTY to handle real data of more than two thousand visitors. We demonstrate the effectiveness of PARTY on these datasets. First, we show circulation behaviors of visiting styles in a 3D virtual museum. Second, we illustrate a flow of people who escaped from an explosive in a building. Third, we analyze players’ patterns in a massively multiplayer online game, named Angel Love Online. Keywords-layout-Independent visualization; visual analysis; spatiotemporal data; visitor circulation; virtual environment; I.
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Open laboratories (OpenLabs) in Cultural Heritage (CH) institutions constitute an effective practice for providing visibility of all the processes that take place “behind the scenes”, as well as for the promotion of documentation data, which the specialists of the domain collect and produce. However, a simple “presentation” of processes, or the absence of necessary further explanation and communication with the specialists, may be problematic in terms of what visitors eventually see and understand. The exploitation of digital media and their efficient management and interlinking to meaningful data and knowledge may contribute significantly to the dissemination of publicly available information and the support of OpenLabs. Considering all the above, the CAnTi (Conservation of Ancient Tiryns) research project aims to design and implement virtual and augmented reality interactive applications that will visualize the conservation and restoration (CnR) data of the Acropolis of Ancient Tiryns. The digital content of the applications will be modeled using Semantic Web (SW) technologies, providing cultural visitors with access to insight documentation data and media produced by CnR scientists. The applications will constitute a part of the OpenLab activities that will be carried out on the archaeological site, enhancing the visitors’ experience regarding the CnR of the site's current practices and past. Keywords—openlabs, cultural heritage, digital applications, semantic modeling, conservation, restoration data I.
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This paper presents the architecture of a system to provide user orientation with the capability to automatically show multimedia information (audio, static images, panoramic images, VRML models, HTML pages) according to the user real or virtual location within a site. System architecture is based on Client-Server technology. Site related information is mainly located at the Server side. The orientation devices are the Clients which request information to the Server according to each user position, profile and, what it is more important, terminal capabilities. The proposed architecture has been applied to provide tourist orientation when visiting, either actually or virtually, an open-area of the city of Madrid named The Orient Square.
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Living in the information technology era amidst the rapid digital transformation that we are experiencing, Virtual Reality (VR) and Augmented Reality (AR) are regarded to have great potential in changing the landscape of many fields such as gaming and entertainment, education and training, tourism and cultural heritage, architecture, and engineering, automotive, defense and security, and healthcare. While it is true that AR and VR technologies brings tremendous growth and potential, these technologies face a wide range of challenges. The most common challenges and issues among the AR/VR applications as observed in this study are the privacy and security concerns of users where personal and sensitive information can be gathered and collected and are vulnerable to unauthorized intrusion. Affordability, latency, health concerns, perceived usability challenges, and ethical issues are among the other issues that are being addressed in recent research to improve adoption of these technologies. Most of the identified concerns lies upon the responsibility of manufacturers and industry actors, but policymakers should maintain balance and promulgate regulations to allow for the growth and adoption of these technologies. This study highlights several policy recommendations for the technology adoption of augmented and virtual reality. Keywords—augmented reality, virtual reality, technology adoption, disruptive technology I.
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The EUscreenXL initiative represents the European television archives. It acts as a domain aggregator for Europeana, Europe’s digital library, which provides access to over 20 million digitized cultural objects. The main motivation for the EUscreenXL initiative is to aggregate a comprehensive amount of professional audiovisual content and make it accessible through Europeana. EUscreenXL builds on the EUscreen project, which provided unified access to a representative collection of television articles, and in this way allowed students, scholars and the general public to study the history of television in its wider context. This paper gives an overview of related projects that work on bringing audiovisual heritage online. It furthermore explores the EUscreen activities related to [1] novel ways of presenting curated content in virtual exhibitions and [2] publishing EUscreen metadata as Linked Open Data. Regarding the latter, it is demonstrated how available metadata can be enriched and visualized using a timeline interface. Keywords—Visualization, Linked Open Data, TV on the Web, Metadata Interoperability, Europeana, Linked Media I.
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”Some archaeologists have rightly criticized the tendency of computer-based visualizations to be driven by the need to demonstrate advanced graphic techniques, rather than by archaeological considerations" [17, p.2]. An accurate representation of an archaeological site depends on the quality and completeness of the archaeological data. In the absence of complete site and historical documentation, the modeling of these historic sites can be a response to the demands for website content, VR worlds, instructional video, and CDROMS rather than accurate representation. This paper expands the discussion of methods for modeling significant archaeological sites to include the limitations of data, data interpretation, application software, and hardware and display devices. As illustration, the computer reconstruction of the temple site in Phimai, Thailand will serve as a specific case study to highlight many of the issues faced during an architectural reconstruction project. Issues of time, scale, geometric representation of form, and image resolution of surface detail will be discussed. A second goal is to consider the needs of government departments, ministries and museums to promote tourism and stimulate museum attendance. Finally, some recommendations will be given to enhance the communication process between computer modelers and archaeologists that may help guide future efforts. Background This paper documents the creation of a computer model of a temple site in Phimai, Thailand. A United Nations World Heritage site, this walled complex of reconstructed temples, libraries and ancillary structures is considered the most important Khmer monument in Thailand. Located 60 km south of the modern capital of Nakhon Ratchasima (Korhat), Phimai was a center of royal patronage of Suryavarman II (11131150) and Kauavarymam VII (1181-1219). Aymonier first inventoried the site in 1901. Documentation of the site continued under Philippe Groslier, the last French conservator of Angkor. Thailand’s Fine Arts Department under the auspices of Prince Yachai Chitrabongse completed the reconstruction from 1964 to 1969 [20, pp. 33, 233]. Visitors today have a unique opportunity to experience a complex of temples in various states of reconstruction. Adjacent to the site, the Phimai Museum contains many of the artifacts and architectural sculptural elements that were retrieved. A plan to promote the site through the use of an educational video and website was the impetuous behind the creation of the computer model. In the summer of 1999, the author created a simple computer model of the site. The test model was used to generate images, animations, QTVR panoramas, and interactive VR worlds, which would form the basis of a multimedia presentation. During the fall of 1999 a site visit was conducted to collect data and discuss the scope of the modeling effort with the Museum staff at Phimai and Dr. Walter Jamieson, the Director of the Urban Management 1 Proceedings of the Seventh International Conference on Virtual Systems and Multimedia (VSMM’01) 0-7695-1402-2/01 $17.00 © 2001 IEEE Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:10:22 UTC from IEEE Xplore. Restrictions apply. Program at AIT who oversaw the creation of the educational video. The computer model of the temple site at Phimai began as a demonstration project to illustrate the value of new media in the promotion of an historic site. During a visit to Thailand in the fall of 1999 material created in the summer was presented to staff members at the museum in Phimai and to students and faculty in lectures given at the Urban Management Program AIT and at the School of Architecture, Klungorhum University in the fall of 1999. These initial presentations established a dialogue on the potential uses of computer modeling and assessment of the type of information that would be needed to create a more detailed model of the temple site completed in the fall of 2000 (Fig.1). A key issue was how images, animations and VR could be used both for both to educate and to create a heightened awareness of Phimai as a tourist destination. A central question emerged during the course of reconstructing the temple site; can a single model serve both the needs of scholars and tourists? The experience gained from modeling the temple complex at Phimai can be used to address this question. The examples from the Phimai case study follow an
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Recently,thanksto thediffusionofscanningdevicesand the availability ofpowerful3Dmodelingsoftware,as well as to theimprovementsin theautomation oftheimage-based modelingapproach,it isforeseenthat 3Dmodelswill becomemoreandmoreubiquitousinseveralresearchfields. However, 3Dmodelsobtainedbythesetechnologiesoften arelackingfor asuitablephotorealisticappearance,due to the lowqualitygeneratedtexture,or to thecompleteabsence ofit. Apost-processingtexturemappingisoftenusedto obtainhighlyrealisticmodels,throughanaccuratemanual alignment ofthemodeland therelatedtexture.In this work, weproposeanautomaticapproachformappingthetextureon flat-like3Dmodels,inwhichthedepthcomponentis smaller comparedto theobject'sheightandwidth,such as inbassrelieves,coins,paintingsorfacades.Themethodrelieson the evaluationfrom themodelgeometry ofa depthmap,usedto align thetextureimage. Theresultsshow theeffectiveness of theproposedmethod. IndexTerms-texturemapping,3D,mesh,registration, mutualinformation 1.
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Seokguram Grotto is the most n of the Shilla dynasty, representing the Budd various architectural, mathematical and g Owing to its universal value and a representa Buddhist culture around the world, it was Herita ge Site in December 1995 under the Heritage Criteria for Selection. Due to its si gnificance and diverse location, the site environmental conditions and tourism pressur prestigious status and sustainability. This raise reconstruction and visualization, and present a pproach is a generally accepted technique fo 3D representation of heritage sites. For this rea technology was extensively used by meas coordinates to produce a complete 3D Seok guram Grotto. Particularly, laser scann used to collect various 3D scan data, fea acquisition rates, good accuracy and high 3D scan data were then optimized to produce g and visual quality of the collected textured approach has enabled us to produce a comple exhibition of Seokguram Grotto. Keywords—Seokguram Grotto; 3D r e visualization; 3D scanning; I.
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We present a new approach to displaying and browsing a digital library collection, a set of Greek vases in the Perseus digital library. Our design takes advantage of three-dimensional graphics to preserve context even while the user focuses in on a single item. In a typical digital library user interface, a user can either get an overview for context or else see a single selected item, sacrificing the context view. In our 3D Vase Museum, the user can navigate seamlessly from a high level scatterplot-like plan view to a perspective overview of a subset of the collection, to a view of an individual item, to retrieval of data associated with that item, all within the same virtual room and without any mode change or special command. We present this as an example of a solution to the problem of focus-plus-context in information visualization. We developed 3D models from the 2D photographs in the collection and placed them in our 3D virtual room. We evaluated our approach by comparing it to the conventional interface in Perseus using tasks drawn from archaeology courses and found a clear improvement. Subjects who used our 3D Vase Museum performed the tasks 33% better and did so nearly three times faster. Categories and Subject Descriptors H.5.2 [Information Interfaces and Presentation (e.g., HCI)]: User Interfaces – interaction styles, prototyping, user-centered design, evaluation/methodology. General Terms Performance, Design, Experimentation, Human Factors. Keywords Human-computer Interaction (HCI), Information Visualization, Virtual Reality (VR), Perseus Digital Library, Usability, Focus versus Context, Focus-plus-Context (F+C). 1.
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This paper reports the main activities planned within the context of the ArchaeoTrack research project. The project aims at creating a new ground-penetrating radar (GPR)-based methodology producing information for use of communities and local administrations within a preventive archaeology perspective. To this aim, the project provides i) identification of the most suitable GPR system for archaeological prospections, ii) development of a virtual “buried” museum and iii) data storage and visualisation in a freeware dissemination digital platform. An overview of GPR applications in archaeology is reported, followed by a description of the main structure of the project and the expected results. Keywords— ArchaeoTrack project, preventive archaeology, ground-penetrating radar (GPR), virtual “buried” museum I.
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This paper presents the results of a multidisciplinary research project that combines the fields of architecture and the conservation of the built heritage, history, communications and computer science. The study of new methods of experimentation will enable us to define and validate new orientations in the way we understand, structure and transfer acquired knowledge about a given architecturally significant complex.The aim of the project is to present the various experiences obtained during the interpretation of heritage spaces, and in particular intangible heritage, using information and communication technologies. More specifically, it involves acquiring, through ICT, computer modelling and archaeologists' accurate documentation, an understanding of the consequences of successive occupations of an archaeological site on its current condition. It also seeks to gain a better understanding of the construction techniques and know-how of the Ancients.The objective of this project is to introduce computer modelling, which is capable of showing the site's evolution over the centuries, in order to help us understand the superposition of historic layers.This work will reflect on how to respond to certain challenges using the example of the experiences acquired at the site of the ancient city of Byblos in Lebanon, a city included in UNESCO's World Heritage List. The Byblos project also helps to re-create and re-mould a monumental complex without having all the information and to test hypotheses that we would otherwise be unable to validate without compromising the heritage values of a site by physically reconstructing it. Such a compromise was experienced in the case of the Roman theatre of Byblos (A.D. 218) which, in the 1930s, was moved and rebuilt by the sea by archaeologist M. Dunand.
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Improper method of data storage, lack of complete and up-to-date information sources, weakness in information sharing and decimation, and poor visual representation have attributed to loss of megalithic cultural heritage. Thus, the study aims to design a web-based application that visualises megalithic culture information in Malaysia, specifically in Negeri Sembilan. This study used the Rapid Application Development (RAD) research methodology, which consists of four phases: requirements planning, design development, testing, and implementation. The RAD model was selected to ensure that the design and development processes of information visualisation were conducted systematically. This study has discussed each phase in detail, highlighting specific activities involved. These phases were optimised using the Gestalt principles and Visualisation techniques, the main component of the conceptual research model. The Gestalt principles play an important role in ensuring the application development layout and web interfaces by considering the psychological aspects and experience of the users. Furthermore, visualisation techniques, including photos, maps, charts, and drawing illustrations, were applied to enhance the delivery of information for easier understanding and interpretation by the users. The conceptual framework was designed to reflect the overview of the application development and highlight the components and elements involved. In this light, Negeri Sembilan megalithic culture information should be highlighted to the public as it is a unique treasure and culture practised by previous generations. Thus, the web applications produced in this study are expected to encourage the digital preservation of Megalithic culture in line with current technological developments. Keywords— Information visualisation, conceptual design, R apid Application Development RAD, Web Applications, megalithic I.
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In this paper, we present the DeepTree exhibit, a multi developed DeepTree to facilitate collaborative team of computer scientists, learning scientists, biologists, and museum curators worked together throughout design, d and evaluation. We present the importance of designing the interactions and the visualization hand active learning. The outcome of this process is a fractal all life on earth; a custom rendering and navigation engine that prioritizes visual appeal and smooth fly interface that encourages collaborative exploration while offering guided discovery. We dataset encouraged free exploration, triggers emotional responses, and Index Terms—Informal science education, 1 IN TR O D U C T I O N The design of information visualizations to support science learning in museums must strike a balance between validity to educate, artistry to entice, and playfulness to engage. This form of visualization in public spaces is different from casual information visualization [46] often have specific scientific learning goals from the onset, requiring close collaboration among experts disciplines. It also differs from visualization domain experts or analysts [24] in that the users of the visualization system are mostly novices with a diverse range of experiences and backgrounds. In this paper, we present the DeepTree exhibit (cf. Fig. 1), an interactive visualization of the Tree of Life that illustrates the phylogenetic relationship of all life on DeepTree is part of a larger NSF-funded project called • Florian Block, Brenda Caldwell Phillips, and Chia Shen are with Harvard University. E-mail: {fblock, bcphillips, cshen}@seas.harvard.edu • Judy Diamond is with University of Nebraska. E-mail • E. Margaret Evans is with University of Michigan. E evansem@umich.edu • Michael S. Horn is with Northwestern University. Ehorn@northwestern.edu Manuscript received 31 March 2012; accepted 1 August 2012 14 October 2012; mailed on 5 October 2012. For information on obtaining reprints of this article, please send e tvcg@computer.org. The DeepTree Exhibit: Visualizing the Tree of Life to Facilitate Informal Learning Michael S. Horn, Brenda Caldwell Phillips, Judy Diamond, E. Margaret Evans Senior Member, IEEE The DeepTree Exhibit: main view of the tree of life, image reel, and action button (left). Three kids collaboratively exploring the DeepTree (middle). Special learning activity for common descent, inheritance, and traits (right). In this paper, we present the DeepTree exhibit, a multi-user, multi-touch interactive visualization of the Tree of Life. to facilitate collaborative learning of evolutionary concepts. We will describe an iterative process in which a team of computer scientists, learning scientists, biologists, and museum curators worked together throughout design, d and evaluation. We present the importance of designing the interactions and the visualization hand-in-hand in order to active learning. The outcome of this process is a fractal-based tree layout that reduces visual complexity while being able to capture all life on earth; a custom rendering and navigation engine that prioritizes visual appeal and smooth fly-through; interface that encourages collaborative exploration while offering guided discovery. We present an evaluation dataset encouraged free exploration, triggers emotional responses, and facilitates visitor engagement and informal , collaborative learning, large tree visualizations, multi-touch interaction The design of information visualizations to support science must strike a balance between scientific and playfulness to . This form of visualization in public spaces is different [46] in that museums scientific learning goals from the onset, experts in a variety of visualizations designed for at the users of the with a diverse range In this paper, we present the DeepTree exhibit (cf. Fig. 1), an interactive visualization of the Tree of Life that illustrates the phylogenetic relationship of all life on earth. The funded project called Life on Earth [1] with the aim of helping concepts of biological evolution in (ISE) setting. The project is multitwo computer scientists, one learning scientist, developmental psychologists, one external science advisors. The DeepTree offers visitors an interactive visualization of the Tree of Life as a vehicle to grasp important evolutionary concepts including relatedness, biodiversity, common descent, and shared traits. The exhibit utilizes a multi-touch tabletop, and i collaborative learning in museums. The DeepTree and evaluated at the Harvard Museum of Natural History throughout the design and development process ( 2011 to March 2012) Our contribution in this work is three present an analysis of the problem domain, deriving challenges and key questions. Second, we describe the design and implementation of a fractal tree layout algorithm based on a relative coordinate system and a custom engine that provides seamless navigation through tree structures of unlimited size and depth. algorithm in conjunction with an interaction system and a multi-touch interface that allow a lay person to freely explore the tree, as well as to navigate to various points of interest enriched with learning content. The design of our exhibit is based on principles of informal science learning. Thirdly, we present insights collected from 18 months of iterative design, testing, and evaluation. We provid and guidelines for visualization and UI design for informal and Chia Shen are with Harvard : {fblock, bcphillips, cshen}@seas.harvard.edu mail: jdiamond1@unl.edu . E-mail: E-Mail: michaelaccepted 1 August 2012; posted online For information on obtaining reprints of this article, please send e-mail to: The DeepTree Exhibit: Visualizing the Tree of Life to Facilitate Evans, and Chia Shen, and action button (left). Three kids collaboratively exploring touch interactive visualization of the Tree of Life. We learning of evolutionary concepts. We will describe an iterative process in which a team of computer scientists, learning scientists, biologists, and museum curators worked together throughout design, development, hand in order to facilitate while being able to capture through; and a multi-user present an evaluation showing that the large informal learning. interaction. of helping the public learn key al evolution in informal science education -disciplinary, consisting of one learning scientist, two cognitive developmental psychologists, one museum curator, and five The DeepTree offers visitors an interactive visualization of the Tree of Life as a vehicle to grasp important evolutionary concepts including relatedness, and shared traits. The exhibit touch tabletop, and is designed for collaborative learning in museums. The DeepTree was tested at the Harvard Museum of Natural History throughout the design and development process (from April Our contribution in this work is three-fold: First, we problem domain, deriving challenges and key questions. Second, we describe the design and implementation of a fractal tree layout algorithm based on a relative coordinate system and a custom-built rendering ovides seamless navigation through tree structures of unlimited size and depth. We developed this tree in conjunction with an interaction system and a touch interface that allow a lay person to freely explore the tree, as well as to navigate to various points of interest enriched with learning content. The design of our exhibit is inciples of informal science learning. Thirdly, we 18 months of iterative design, provide concrete lessons learned and guidelines for visualization and UI design for informal 2789 1077-2626/12/$31.00 © 2012 IEEE Published by the IEEE Computer Society IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 18, NO. 12, DECEMBER 2012 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:13:37 UTC from IEEE Xplore. Restrictions apply. science education settings. We also highlight challenges faced when applying information visualization methodology to informal learning designs, and provide indicators demonstrating that the size of the tree structure increases engagement, triggers emotional responses, and may provide a beneficial context for visitor learning. 2 TH R E E CH A L L E N G E S Four distinctive groups of stakeholders are usually involved in the development of an informal science exhibit: (1) designers and developers, (2) scientists and museum curators, (3) end users, and (4) learning researchers and evaluators. In our case the designers are information visualization and humancomputer interaction specialists; the scientists are biologists; the users are museum visitors, and the evaluators are learning scientists and cognitive psychologists. This inter-disciplinary scenario gives rise to a set of design challenges to InfoVis. 2.1 Challenge 1: Users are not domain experts. With the ubiquity of increasingly large hierarchical data sets, a significant body of research has focused on the visualization of large tree structures. A series of challenges have been addressed to optimize usage of screen real-estate [19,42,43,45,49,50,53], to provide a good global overview of the complex dataset [19,54,50], to facilitate effective navigation [34,36,43,45,50,51,52], and to support the comparison and analysis of large tree structures [21,30,40,51]. The majority of the proposed solutions have been driven by the requirements of expert audiences and professional domain tasks. As the DeepTree is for a lay audience in informal science education, our tree visualization was subjected to different design criteria and required different solutions. First, visitors cannot be assumed to be familiar with the underlying dataset (even the phylogenetic tree representation may be foreign to visitors), thus in contrast to maximizing the amount of elements on the screen, we must prioritize aesthetics to attract visitors [25], and provide visual clarity so visitors can easily recognize the tree itself, its visual components, and its meaning in the context of evolution. Secondly, instead of navigating the tree as efficiently as possible, we want to utilize animated navigation techniques that purposefully unfolds each branching structure in the tree of life to convey the sense of scale of the tree of life and bio-diversity. Thirdly, interaction is needed to systematically and subtly guide the visitors in the learning and discovery process, in addition to afford walk-up-and-use as described in [25]. 2.2 Challenge 2: Domain experts are not users. Using information visualization for science learning also requires us to take extra care with the visual representation of the tree structure layout itself. Biologists illustrate phylogenetic trees in many different ways, ranging from a ladder or diagonal branching pattern, to a rectangular tree or a circular tree [20] depending on whether they are drawing on a blackboard, sketching on paper, making a PowerPoint slide or writing a scientific paper. For them, convenience (e.g., sketching) and space limitations (e.g., to publish a tree in a journal paper) might dictate the layout of the tree. Our biological science advisers can validate whether the phylogenetic trees we visualize are scientifically correct, but they do not have the expertise to fully judge whether certain layouts are optimal for a learner. In this case, we need to base our visual designs on recent research on novice understanding of phylogeny [11,20]. 2.3 Challenge 3: Guided free-choice interaction. In the museum learning literature, Planned Discovery (PD) and Active Prolonged Engagement (APE) are two interactive exhibit paradigms pioneered and carefully examined by the San Francisco Exploratorium [29]. PD exhibits lead visitors through a set of prescribed scientific phenomena with directive labels, while APE exhibits are open-ended and experiential, enabling visitors to become active participants in the construction of meaning through the use of an exhibit. In this problem space, interaction design plays a central role for information visualization in providing visitors with learning opportunities. Getting it right can give the visitor the ability to actively engage in the interactive visualization. One challenge is to not only allow visitors to interact with the encoded data, but also to enable multiple ways to move freely through the visualization in order to understand the learning content. Another challenge is to design the interaction to enable learning at user-selected levels, so that the system provides guidance for novices and depth for experts, while leading both to new inquiries and discoveries. In the rest of this paper, we summarize how we addressed these three challenges in the design, development and evaluation of the DeepTree exhibit. 3 RIT E F O R DE S I G N A N D EV A L U A T I O N While information visualization [39], software engineering [15], exhibit design [29], and learning sciences [18] all advocate an iterative, or “spiral” approach to designing interactive systems, no existing methodology sufficiently addresses our three challenges. In the absence of single disciplinary experts who can continuously evaluate the efficacy of our visualization, we needed a process that could equally involve input from all four groups of stakeholders. We utilized an adapted process of Rapid Iterative Design and Evaluation [38] – RITE – to drive the development of the DeepTree exhibit. RITE proposes rapid iterations of design driven by expert observations, in a fashion similar to formative evaluations. We were able to exhibit our interactive prototype in our partner museum, and let museum visitors interact on a walk-up-and-use basis. We obtained IRB approval to collect field notes and record video of visitor interaction for internal analysis (a sign pointed out that video recording was in progress). Our formative evaluator also obtained feedback from the visitors on their experience with our exhibit as they were leaving. Deployments between iterations varied in length, but were typically one week and involved approximately 20-40 users. A new iteration was begun when it became clear that our design goals were not yet met, or when software bugs prevented meaningful observations. Twelve iterations were conducted over the course of a year, with over 250 visitors observed in total. RITE has a series of advantages. First, it allowed us to run all experiments in the museum setting where our exhibit would be installed with visitors who spontaneously interacted with our system – which is key to ensuring ecological validity. Secondly, in contrast to controlled experiments, the 2790IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 18, NO. 12, DECEMBER 2012 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:13:37 UTC from IEEE Xplore. Restrictions apply. methodology is robust to (and in fact encourages) changes in design during the process, allowing us to quickly and continually improve user experience and learning content, make remedial modifications, rather than continue throughout a study period with a possibly flawed system (as advocated by [55]). Thirdly, collected observational data (video / audio recordings) can be independently analyzed by our computer scientists regarding UI usage, by our learning psychologists to extract indicators for learning outcomes, and by our curator to judge issues related to user engagement. RITE could also be extended by two additional assessment matrixes: 1) measures of active prolonged engagement [26,33] (APE), in which visitor engagement is derived based on dwell times and other interaction measures; and 2) discourse analyses in which conversations of selected groups were transcribed, coded and analyzed for learning indicators. While these matrixes take more time than expert observations (but less than full learning studies), they can be flexibly integrated into the RITE process. 4 DO M A I N PR O B LE M A N D DA T A CH A R A C T E R I Z A T I O N The requirements for the DeepTree exhibit are to create a collaborative (R1) and interactive (R2) exhibit that uses a visualization of the Tree of Life (R3) as a platform to help the wider public to learn about evolution (R4). The specific learning goals were further specified by our learning scientists as follows: LG1 All life on earth is related. LG2 Biodiversity on earth is vast. LG3 Relatedness comes from common descent. LG4 Species inherit shared traits from common ancestors. LG5 Evolution is ongoing and happens over very long periods of time. To inform our design, we translated the requirements and learning goals into a set of more specific design goals: G1 The tree rendering should be a) visually appealing, b) clearly show its components and minimize visual complexity, and c) have an easy to use interface. G2 Allow visitors to freely and seamlessly explore the tree of life. G3 Provide multiple entry points to engage with specific learning content. G4 Encourage multiple visitors to collaborate and work together when interacting with the exhibit. G5 The tree conveys the idea that a) its leaves represent “life”, b) that the tree includes “all” life, and c) that the tree’s branching pattern connects all leaves. G6 The tree conveys its enormous size. G7 Any two leaf nodes “meet” on an internal node that is the deepest common "parent" within the tree structure (most recent, in terms of time). G8 Internal nodes represent evolutionary innovations (traits) that through inheritance are passed down to all its children. G9 Time should be represented in the tree. To build an interactive visualization that can achieve these learning goals requires a substantial dataset. We used data from a combination of four publicly available biological databases: (1) The Tree of Life Web Project (tolweb.org) [7] database is our primary phylogenetic tree dataset. It represents the result of years of continuing collaboration by hundreds of scientists across the world. The data contains the phylogenetic tree itself, describing over 70,000 species (terminal branches) and 20,000 internal nodes with 123 levels of depth – defining the relationship amongst all species. The web portal [7] also provides about 8,000 thousand images for selected species. The database lacks many common names of species, species images, and time of divergence that are all required for our learning goals. We therefore further collected and merged data from three additional datasets. (2) Eol.org [2] catalogues over 1.6 million species along with imagery and common names. (3) NCBI [5] is a large database containing over 347,649 taxa and a large set of common names. (4) Timetree.org [8] provides estimates for times of divergence of any two species, from which we derive approximations of our internal nodes. Through the respective web APIs of these databases, we walked through our base tree of tolweb.org and queried an additional 10,000 common names, 40,000 images and 250 timestamps for important internal nodes within our tree, which we selected. 5 RE L A T I N G T O PR I O R TR E E VI S U A L I Z A T I O N S A list of around 230 tree visualizations can be found in [35]. The most relevant to our work are visualizations a) tailored for lay audiences, b) designed for large trees and c) visualizations of phylogenetic trees. 5.1 Tree visualization for the general public Static phylogenetic trees are ubiquitously used in museums and schoolbooks ([37] provides a good overview). Most strikingly, educational tree visualizations make heavy use of color, rich imagery, and easy to understand labels, which are also reflected by our visualization. For the purpose of illustration, most of these examples either capture only a small selection of species (contrasting with G5 & G6), or show complexity but do not go down to the species level [10]. Another issue is that “organic”-looking tree illustrations do not map time / succession of nodes to a clear axis [10], making it hard to trace relationships between species (G7, G8), as well as to extract the direction of time (G9). EMDialog [25] shows an interactive tree for an art museum – and thus targets the general public – but its layout and interaction techniques were not designed for large phylogenetic trees, nor multi-user interaction. Visualizations of family trees targeted at lay people [9,17] make relationships between nodes in the tree very apparent, but are not designed to scale up to thousands of nodes. Involv [33] is a interactive visualization of the Linnaean Taxonomy, which contains over 1.6 million species. The utilized Voronoi treemaps, just like all other treemaps, suffer from the fact that the underlying hierarchy is hard to discern [45,48,54]. Generally, we considered visualization based on tree-maps unsuited for our exhibit, as a central requirement was to clearly visualize the nested branching relationships between all species G6, G8 & G9. 2791BLOCK ET AL: THE DEEPTREE EXHIBIT: VISUALIZING THE TREE OF LIFE TO FACILITATE INFORMAL LEARNING Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:13:37 UTC from IEEE Xplore. Restrictions apply. 5.2 Visualizing large trees To a lay observer many existing visualizations of large trees do not “look like trees”. This includes radial and hyperbolic trees [12,21,36,54], treemaps [33,49,53], and other ways of depicting hierarchies that are prone to look “unconventional” to the non-expert, such as Information Pyramids [12], visualizations of hierarchical blood vessels [13], “island”-like 3D visualizations [14], point-based tree representation [50], or FlexTrees [51]. Another problematic artifact of rendering large trees is that when zoomed out large portions of the tree structure can merge into solid areas [34,40], making it hard for a lay person to recognize the tree or parse its structure. From a learning perspective, our visualization should be immediately and continuously recognizable as a tree structure, further its branching pattern and internal relationships should be easy to discern (G1b). To satisfy both aesthetics (G1a) and visual clarity (G1b), we also dismissed literal “botanic” visualizations of trees [30] and settled on simple, but aesthetically pleasing Bezier curves, similar to [31]. Much work is concerned with optimizing screen usage [19,42,45,50,53]. While this is desirable from the standpoint of an expert, for a layperson it constitutes overwhelming complexity (G1b). Also, instead of optimizing the performance of navigation and node retrieval [34,45,52], we chose a fly-through algorithm that purposefully unfolds the tree branching structure in sequence in order to create a sense of the scale of the underlying dataset (G6). The stark contrast between our requirements and those of expert audiences is reflected in the layout of the DeepTree, which in prior work was discarded for its inefficiency regarding space use and navigation (cf. Space Tree [45], Fig. 9). 5.3 Visualizations of large phylogenies Visualizations of large phylogenetic trees appear to be exclusively designed for professional audiences and domain tasks, such as those that visualize multiple traits [31], comparing large trees [40], visualizing clusters [21], and provide tree editing [34]. None of these examples seemed to provide solutions that catered for our requirements. Navigation of the tree of life has been a long standing challenge [44]. 6 VI S U A L EN C O D I N G A N D IN TE R A C TI O N DE S I G N While presenting visual encoding and interaction design separately, both components were tightly entwined throughout the development process in order to ensure key learning steps for visitors. We will highlight these interdependencies throughout the subsections. 6.1 Rendering the Tree of Life Our DeepTree visual design is based on recent research examining how learners comprehend phylogenetic trees that have been illustrated in textbooks [20] and museum exhibits [11], pinpointing problems leading to misconceptions and misinterpretations of the underlying scientific hypotheses. In concurrence with related work [11,20], we found that different tree depictions may induce different conceptual interpretations of the underlying structure. First, the way we illustrated the branches had an impact on the way visitors perceived the tree. We started with a very abstract rectangular layout (Fig. 2a), which did not satisfy our need for aesthetics (G1a); on the other end of the spectrum, we experimented with “organic” looking branches (Fig. 2d), similar to [30], but our learning psychologists wanted to avoid a too literal interpretation by the visitors, while still conveying the idea that the tree of life is in fact an abstract scientific model (G1b, G5c). To strike a balance between visual appeal and meaningful representation, we tried different types of Beziercurves. “Elbow”-like curves (Fig. 2b) were visually appealing, but feedback from both science educators as well indicators from visitor observations showed that these curves convey a “sudden” split of an ancestral species, while in reality, speciation is a gradual process. In our final exhibit, we use curves as shown in Fig. 8c. These curves seemed to strike a good balance between attractiveness, conveying an abstract impression, and illustrating the gradual nature of speciation. The placement of species images in the tree also had conceptual impact. Initially, we had no images at all, which lead to a clean, but “empty” look. Adding images clearly increased visual engagement and provided a crucial motivator for free exploration, but the placement of the images also led to problematic misconceptions. Fig. 2e) shows one of our initial placements: tolweb.org assigns a sample of representative species for each internal node, which we positioned at the branching points. On the positive side, the images gave internal nodes more meaning and guided visitors' exploration: as images reoccur through zooming in, people can find their preferred species in the tree (for example one kid played a game of “chasing the monkey”). On the downside, placing the pictures on the internal node seemed to convey the idea that these species were “already alive” at that point in evolutionary history, which is wrong (the internal node represents common ancestors that lived in past). Our final layout is shown in (Fig. 2f). We anchor our pictures to the fixed canopy line, where they are constantly visible, while providing illustrating “directions” or “pointers” to the species positions in the tree. We display two types of image pointers: as soon as a terminal node comes into view, the species' image “sprouts” out of its location. Additionally, we permanently display 200 “signpost” species in the tree, which are scaled to convey a sense of distance: as visitors zoom deeper into the tree, these signposts grow in size. This way of positioning the pictures brought the illustration of all current “life” to the conceptually correct location in the tree, avoiding the mentioned misconception, while emphasizing the value of the picture in terms of aiding navigation and motivating free exploration. The pictures are a major attractor in our exhibit, which lead us to design a navigation technique around the images as well. Fig. 2. Different ways of drawing branches (a-d) and positioning images (e&f). 2792IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 18, NO. 12, DECEMBER 2012 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:13:37 UTC from IEEE Xplore. Restrictions apply. In order to reinforce the role of time in the tree (G9), we labeled 200 important internal nodes with their estimated time. We also only show labels for those nodes that exceed a certain screen size to minimize the amount of text that is simultaneously visible, reducing screen clutter (G1b). 6.2 Tree layout algorithm The tree layout used by the DeepTree is shown in Fig. 3 (left). It is based on SpaceTree’s [45] “continuously scaled tree” – using fixed progressive scaling of the nodes. The principle governing this layout is that all children are fully contained within the width of the parent. This “fractal” rule leads to an exponential decrease of bounding box width based on the node’s level within the tree. For our purpose, this layout had several advantages. First, because of the rapid decrease of node size, only a few nodes are visible, as the lower levels rapidly shrink into sub-pixel “singletons”. This allowed us to maintain a clean, bare and intuitive look (G1) at all times. Secondly, the branches are laid out in a consistent coordinate system through which we can seamlessly zoom and pan (G2) – this was preferred by our learning experts over a layout with distortions (such as hyperbolic trees [41]) or frequent changes (such as expandable trees [45]) in order to avoid alternative interpretations by the learners. Due to the fractal nature of the layout, the same visual qualities apply to any given view, as the pattern of nested children continuously repeats itself. This enabled us to allow free exploration (G2), without compromising visual clarity and consistency (G1). However, due to the size of our tree structure, which had 123 levels at its deepest point currently and will undoubtedly increase continuously, we ran into accuracy problems with the structure on which the bounding boxes of our nodes were based. As we are continuously sub-dividing the available width of a node to accommodate its children, we are also continuously decreasing the accuracy of the floating point of our bounding box. If we assume a perfectly bifurcated tree, in which every node has exactly two children, we would exhaust our floating point accuracy after 52 levels (a double floating point allocates 52 levels to the fraction), preventing us to further subdivide space for contained nodes. Accuracy problems on the implementation levels should be a concern for all fractal algorithms (such as [36][42][52]), however, we could not find any reference to this problem in prior work. Rendering “all life” – and being able to render both large and deep trees respectively was central to G5b & G6. Furthermore, we wanted to have a scalable layout and rendering engine that could accommodate future changes of the Tree of Life. Our solution was to implement a layout and rendering engine that is based on relative bounding boxes (a full technical description is available for download [3]): the bounding box of each node are expressed relative to the top left corner of its parent’s bounding box, and as multipliers of the parent’s bounding box' width. In a first iteration, we calculated a relative distribution of nodes as shown in Fig. 2, left. However, our learning scientists criticized this layout as it positions species at different heights – which reinforces the misconception that some species are less evolved, while others are “higher” organisms. Top-aligning the tree removed this issue, as it moves every terminal node to the same vertical level (cf. Fig. 3, right). It also correctly conveyed time (G9) where the “canopy” embodies species that are alive today. 6.3 DeepTree Rendering Engine Rendering any portion of our tree requires three basic steps: First we choose the lowest node that has to be visible – initially the root of the tree – and assign it absolute bounds in a virtual coordinate system (Fig. 4, left); second, based on the absolute bound of this render root and the relative definitions of their bounding boxes, we recursively calculate the absolute bounds of its children (Fig. 4, center); third, based on a viewport defined in the virtual coordinate system, we transform the virtual bounding boxes into screen space (Fig. 4, right). We can terminate the recursive calculation of bounding boxes when the size of a node’s bounding box is sub-pixel, or when it is horizontally outside of the viewport. We can seamlessly navigate through the tree by translating and/or scaling the virtual viewport at each frame (basis for G2, G6), while applying two constraints. First, more detail can only be found in the very top of the tree – the canopy. Thus we always scale the viewport around the canopy, which causes the canopy to remain on the same vertical screen coordinate. Second, panning of the viewport is limited to the x-axis. These constraint had several benefits for us: 1) a portion of the canopy of the tree – the space in the tree where all the “life” is – would be always visible and at a consistent screen location, making it easy for visitors to keep it in focus, and use it as navigational aid (G5a); 2) it enabled a simple input gesture for manual navigation (G1&G2). As we are zooming into the tree, portions of the tree will be outside the viewport (cf. Fig. 5, left, red highlight). When the viewport changes we define the deepest parent of all visible nodes as the new render-root (Fig. 5, left, “candidate”). The absolute virtual bounds of the new renderroot, as determined in the previous render pass, is set as the new initial bounding box for the described calculations (Fig. 5, right). Additionally, both the viewport, as well as the initial Fig. 3. Visualization of the DeepTree layout algorithm. Children are contained within the width of the parent node. (right) top aligned. Fig. 4. Projecting relative coordinate system to absolute screen coordinate system. 2793BLOCK ET AL: THE DEEPTREE EXHIBIT: VISUALIZING THE TREE OF LIFE TO FACILITATE INFORMAL LEARNING Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:13:37 UTC from IEEE Xplore. Restrictions apply. bounding box are multiplied by a factor, so that the accuracy of the floating point structures holding the bounding box is reset. This ensures that the structures holding the bounding boxes can always be sub-divided, at least until bounding boxes surpass pixel size, and the cut-off criteria is met, respectively. An equivalent process can be done when zooming out. It is important to note that a root transfer is not visible to the viewer, as it simply recalibrates the viewport around a new visible root, which stays in a fixed screen location before and after the transfer. This was essential to support G2. The described rendering engine allows us to render and seamlessly navigate trees with unlimited depth and size (G5b&G6). 7 IN TE R A C TI N G W I TH TH E DE E PTR E E The user interface of the DeepTree consists of three major components (cf. Fig. 1, left): the first is the main tree visualization, in which we provide basic interaction techniques to explore the tree; the second component on the very right is a scrolling image reel containing 200 species, which serves as the first entry point for learning; the third component is an “Action” button, centrally overlaying the image reel. Tapping the button reveals a sub menu with three items: “Relate”, “Find” and “Return”. Each of these components is described in the following subsections. 7.1 Basic Interaction Techniques Interaction techniques should work for a single visitor and for a group of visitors equally well in museum settings. To satisfy G1 and G2, we wanted to provide simple and easy to understand means of navigating the tree. Initially, we drew on established gestures from multi-touch devices such as the iPad, where moving a single touch pans the view, and two touches moved away from each other/towards each other zoom in and out, respectively. These gestures, however, do not scale well to a multi-user scenario. As we cannot distinguish between touches of different users, two users trying to pan with a single finger look, to our touch mechanism, identical to a single user using two touches. Also, two users trying to zoom into different areas of the tree creates a conflict, as both compete for adjusting the viewport in different ways. To solve this problem, we utilize the fact that the canopy of our tree is fixed at a constant vertical screen coordinate. We created the following input metaphor: moving a finger left or right pans the tree left or right; moving a finger down “pulls” the tree downwards, revealing more branches at its canopy; moving a finger up “pushes” the tree upwards, shrinking detail and revealing nodes that are below the current view. Fig 6 illustrates this metaphor. As both zooming and panning are expressed as a single directional gesture, we can also enable “flicking”, causing the motion of the tree to speed up until its momentum is depleted. This simple control for zooming and panning “scales” relatively well to multiple users: as soon as we sense multiple fingers, we can simply base our pan and zoom on the geometrical center of all touches (the average of all coordinate vectors). This enforces social cooperation and negotiation (G4): if two fingers move away from each other, they cancel each other out. If all users cooperate and “pull” into the same direction, the view is being updated accordingly. Our observation showed that visitors would spontaneously tap the images along the canopy, prompting us to facilitate this attraction to provide a complementary navigational aid. Initially, we experimented with automatically flying to a species once tapped, however, this method was discarded, as frequent accidental touches would trigger undesired effects. In our final exhibit, tapping only invokes a tooltip, prompting the user to hold the species. Once an image is held, it causes the tree to automatically zoom in towards the respective species. If the finger is released, the zoom stops. 7.2 Learning Entry Points 7.2.1 200 Signposts While providing free exploration, we also wanted to introduce a series of entry points that would “lure” visitors to important points in the tree (PD), which were enriched with learning activities (G3). First, we added a scrolling image reel that contains 200 species. The species were selected by our evolutionary biologists and museum curators to represent major evolutionary groups, and to lead the visitors to areas in the tree that had additional learning content. The list can be scrolled manually by vertically sliding a finger along its elements. If a user taps a tile, it shows an animated arrow, prompting the user to drag the tile onto the tree (Fig. 7b). Once dragged, the tile detaches from the reel, and starts showing a “chord”, connecting the dragged tile with the actual position of the respective species in the tree (Fig. 7c). The current view automatically starts zooming towards the respective species, but only as long as the tile is held. If tiles are left untouched for several seconds, the tiles snap back into their space in the reel to prevent screen clutter (in response to kids frequently pulling out as many tiles as they could). 7.2.2 Relating Species While visitors could effectively engage with our exhibit through free exploration, two of our core concepts – Common Ancestry and Shared Traits – and the corresponding design goals G7 and G8 were not commonly discerned by our museum audience. In response, we introduced a “Relate” function through an “Action” menu (Fig. 7a), which allowed users to drag any two species from the reel into a target UI slot (Fig. 7d), causing the tree to automatically fly to the most recent common ancestor of both species. Upon arrival, the Fig. 6. Zooming and panning with a single finger gesture. Fig. 5. Root transfer. 2794IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 18, NO. 12, DECEMBER 2012 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:13:37 UTC from IEEE Xplore. Restrictions apply. lineages of both species are visually highlighted and a bouncing button appears at the location of the most recent common ancestor. This is the entry point for a separate activity – the trait display – as shown in Fig 1, right. Upon tapping the button, the current view is shrunk into the top-left corner of the display, revealing a simplified tree that shows selected important groups, and the two selected species. Bouncing buttons appear at a series of shared ancestors that, when tapped, “flood” the respective groups with color. Information bubbles appear that point out that all highlighted organisms have inherited a special trait from a shared ancestor. A “learn more” button can be tapped to get a description of the trait’s evolutionary meaning (e.g. “Jaws are used for hunting and eating”), as well as illustrating the trait in members of this group. 7.2.3 Fly Me There Based on visitor feedback, we also provided a “Find” function, which allows users to automatically fly to a species selected from the image reel. 7.2.4 Animation as attractor and “encoding” Animation can attract attention, support object consistency, and be emotionally engaging which were all desirable attributes for our exhibit [23]. Both our “Relate” and “Find” function are based on an animated flight through our tree space. This fly-through takes varying amounts of time, from a fraction of a second when one flies to a close-by species up to several seconds when navigating between species that are separated by high numbers of branching points. We found that apart from attracting and engaging visitors, this animation had several learning effects. First, when making multiple successive “Relate”-queries (e.g. Human-Chimp, HumanBanana), visitors make inferences regarding the relative “closeness” of both species based on the direction of the flythrough: if the tree zooms out, the two species that are compared are further related than the previous pair, and vice versa (G7). We saw this type of inference frequently, for example, comparing humans and X. The length of the flythrough was also effective in conveying the size of the tree, and the vastness of biodiversity (G6). Additionally, the path of the fly-through was chosen to fly from species to species via their common ancestor – enforcing G7. As the speed of the animated viewport comes to a temporary halt before it starts accelerating, visitors are also able to read the time label of the common ancestor, which adds the concept of deep time to automatic fly-through (G9). 7.2.5 Multi-user interface Similar to our basic interaction technique, which scaled to larger groups by enforcing cooperation, we wanted to provide a touch interface to access our functions that would adhere to similar principles. In our initial designs we used buttons – hence tapping – as the primary mode of navigating to points of interest. However, buttons were prone to accidental activation [47] (e.g. through sleeves) and even when intended other collaborators often lacked the awareness for cause-andeffect in our interface, as tapping is easy to overlook. To remedy this issue we introduced the “slot-tile-drag” interface metaphor that are used for our Find and Relate actions. First, dragging is less prone to being accidentally invoked than tapping. Dragging elements towards a target slot in the center of the screen is also easier to detect by all by-standers. It is also possible to anticipate and intervene, for instance, by physically blocking hands, or by covering the target slot with a hand. Generally, we found this system to work very well in practice as it encouraged consensual navigation of the tree. Regardless of its suitability, tapping was the most common spontaneous way of interacting with graphical elements, and was observed to also be the first type of interaction with our species tiles on the side. Consequently, we used the tap modality to invoke visual instructions: if a tile is tapped, an animated arrow shows up for few seconds, and if a slot is tapped, and “shadow hand” performs a drag motion from the reel to the slot. This was usually sufficient instructions for users to drag the species tiles out onto the tree. We can generalize our UI interface principles as follows: • Tapping is the most common spontaneous way of interacting with graphical controls, so buttons should be used for all local actions that do not affect the experience of all participants. • Tapping should not be used for actions that trigger global changes, as it is a) prone to accidental touches and unintended action and b) easily goes unnoticed. • Dragging visual elements to the center of the screen is the most suitable form of triggering a global change, as it enables anticipation and possibility for intervention. • Dwelling can be used for elements that clutter the screen, as it requires active attendance to maintain an effect. Based on these criteria, the final interface presented in this paper enabled the majority of visitors and visitor-constellation to effectively collaboratively interact with the DeepTree after an acceptable learning curve – it took some visitors a few seconds to learn about the action button, and dragging the species tiles, but even little children could perform required interactions with relative ease. 8 EV A L U A T I O N In this section, we present an analysis of our observational data, which was conducted as part of our extended RITE method. We recorded conversations of 18 visitor groups to extract insights in regards to engagement and group discourse (6 multi-generational groups, 7 child dyads, 2 young adult dyads, 2 single older adults, and 1 single child). Most of the groups approached the table on their own. We then observed free exploration, and presented visitors with posttest questions. All interactions were recorded and utterances were transcribed and coded for 4 selected groups. We do not include discussions on demographics or group constellation in museums, as it is described in depth in [16,25]. Fig. 7. DeepTree UI: a) action menu, b) image reel, c) chord to species location, and d) Relate dialog. 2795BLOCK ET AL: THE DEEPTREE EXHIBIT: VISUALIZING THE TREE OF LIFE TO FACILITATE INFORMAL LEARNING Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 11:13:37 UTC from IEEE Xplore. Restrictions apply. 8.1 User-Selected Level of Learning A general observation we made was that the large dataset serves different purposes for different levels of learning. To visitors with basic biological knowledge, the size of the large tree encourages free exploration and conveys the vast size of biodiversity. Many college students have been exposed to phylogenies before, and are well versed in evolutionary biology. For this group of visitors, the tree allows them to see a seemingly complete tree of life for the first time. It is important to note that the size of the tree seemed to enable more advanced learners to make deeper connections with their preexisting knowledge, while not hindering the beginner in their discovery of more general and basic information. For example, when asked to describe the exhibit following exploration, beginners made comments such as “How anything, like anything, can relate to anything...like, for example, humans can relate to anything like a banana or coral fish” and “How far they go back...how long ago they have a common ancestor.” Advanced learners made comments such as “The relation between humans and bananas is something I never would have thought about” and “You learn in class that everything is connected...we all came from this little cell that started somewhere, but to think of it this way, we are all connected...from that direct line.” Both beginners and advanced learners commented on the deep time displayed: “Whoa! Fourteen million years ago...that’s a long time ago!” and “We’re going back to the distinction between animals and plants so we are going back a very, very, very long way.” 8.2 Engagement Groups spent an average of 8:30 minutes at the exhibit (range 3:50 – 15:40). Groups accessed our “Relate” and “Find” function between 1 and 6 times. Engagement through free exploration of a large dataset. The measured dwell times exceeded those of regular exhibits, and indicate that our exhibit could facilitate active prolonged engagement (APE) [29]. Children, in particular, engaged in manual exploration of the tree. Over the course of our iterative design, we have established that the size of the tree, and enriching the data with images and common names are both essential to facilitate exploration. In previous iterations, our dataset had significantly less imagery and common names. We also tested smaller trees (same layout and rendering engine, but only containing our 200 “signpost” species). While we did not continuously measure dwell times, our observation throughout several iterations showed a clear qualitative improvement regarding the level of engagement through providing an enriched large dataset. Striking a balance between APE and PD. All groups used at least once our “Relate” and “Find” function, which led to planned discovery (PD) of our trait display. As these actions were triggered through visitor’s own initiative, and the parameters were chosen freely, we prefer to use the term Guided Discovery (GD), as it may appear to the user as if they bumped into the content by free choice. 8.3 Discourse Analysis Based on four selected groups (1 multigenerational, 1 child dyad, 2 young adult dyads) we coded 264 utterances in total. The utterances were categorized into biological content (23%), questions (16%), affective responses (9%) and other: e.g., UI statements (52%). We further analyzed all biological content, as shown in Table 1. The discourse analysis provided two more indicators: Conveying our learning goals. The discourse analysis indicated that we had brought all core evolutionary concepts to the visitor’s attention (LG1, LG3, LG4 and LG5), albeit at different intensities: relatedness (LG1) was the most prominent topic, which we attribute to the
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– This case study focuses on the Digital Maritime Silk Road as referring to Chinese scholarly publications. The purpose is to allow museum visitors to experience the evolution of the concept of the Maritime Silk Road in China through the use of new technologies. Thus, an interactive visual and dynamic historical GIS (geographic information systems) approach has been created to be applied within a granularity retrieval platform. This project was conducted by an interdisciplinary team from digital media, computer science and history at the Guangdong University of Technology (GDUT) in 2014 and 2015. Keywords–Granularity Retrieval; Interactive Platform; Information Visualization; Dynamic GIS of Maritime Silk Road I.
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Reconciliation is the process of reconciling differences, whether they be historical misrepresentations of cultural identity or any other site of dissonance. In the Australian context, the role of Media in portraying Indigenous persons and nonIndigenous alike has been to marginalise Indigenous history in favour of a predominantly white history. A ‘Reconciliation Pedagogy’ aims to educate for a more holistic, shared Australian Cultural Heritage. The key issues are: Nationalism, Racialisation and Reconciliation. This paper addresses the need for a reconciliation pedagogy, providing an overview of the issues raised and an outline for a tool for use as a teaching aid. This is a position paper exploring the potential of role plays to teach reconciliation in Australia. It proposes that a transformative education emerges through role play triggering empathy and raising questions about Indigenous cultural heritage. The relationship between games and learning is well known [1, 2, 3, 4, 5]. It is through supervised role play games that we feel a more holistic shared, reconciliatory cultural heritage knowledge can be shaped. This paper concludes with some recommendations for the implementation of a more inclusive reconciliation pedagogy. Keywords--Reconciliation, Nationalism, Racialisation, Indigenous, Pedagogy, Role-Play, Cultural Identity.
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Recommender systems are becoming common tools supporting automatic, context-based retrieval of resources. When the number of retrieved resources grows large visual tools are required that leverage the capacity of human vision to analyse large amounts of information. We introduce a Web-based visual tool for exploring and organising recommendations retrieved from multiple sources along dimensions relevant to cultural heritage and educational context. Our tool provides several views supporting filtering in the result set and integrates a bookmarking system for organising relevant resources into topic collections. Building upon these features we envision a system which derives user’s interests from performed actions and uses this information to support the recommendation process. We also report on results of the performed usability evaluation and derive directions for further development. 1
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Left in the wake of cataclysmic change are the knowledge creation and holding structure of the past. Information knowledge and culture are central to human freedom and human development. How they are produced and exchanged in our society critically affects the way we see the state of the world as it is and might be. In recent years Mixed Reality (MR) has emerged as an area of extreme interest for visualizing and interacting with three-dimensional (3D) information in context, set in a story that reinforces learning and understanding of the cultural content. A commonly used and very inclusive definition of MR is that of all applications between pure Virtual Reality and the real world. How can we provide an intuitive userfriendly application for cultural heritage, which blends virtual imagery with the actual world, where users operate and interact with the information? How effectively can historical information and visual interpretations of the past be disseminated through such technologies? ‘Tangible Pasts’ consists of cultural domain expressing and analyzing the intended meaning of the shared vocabulary of concepts and relations in a domain of knowledge containing hierarchical classification systems and structured vocabularies with rich inter-linking of conceptual ‘trees’ i.e.: an object-oriented conceptual KC “Knowledge Cube", which combines audio-visual information and three dimensional models and animations. Modern cultural heritage exhibitions have evolved from static exhibitions to dynamic and challenging multimedia explorations. The main goal of visualization is to bring understanding of data. The task is to present complex information in the most comprehensive manner. Considering architectural artefacts, the visualization process is mostly focused on the understanding of spatial relations and on the recognition of particular style and form, letting users see characters and events in the past. This paper describes a storytelling-driven framework for Islamic Cultural Heritage representation that supports a new communication strategy able to combine content belonging to different cultural archives and accessed through an ontology-based integration and discovery mechanism, and fosters new data sharing and distribution policies that preserve the intellectual property rights of the involved institutions. Keywords— cultural heritage; Islamic civilization; Islamic architecture; cultural tourism; augmented reality I.
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SHAPE, "Situating Hybrid Assemblies in Public Environments", is an EU Future and Emerging Technologies project of the Disappearing Computer initiative, concerned with designing and developing novel technology to enhance interpersonal interaction in public locales: exploratoria, galleries, and museums, for example. This paper outlines a use of hybrid reality technology to enhance users' social experience and learning about antique artefacts and their related history. We describe early SHAPE technical work where we explore whether there are benefits: educational and social, to visitors of extending virtual archaeology or augmented reality archaeology into the public setting of the museum.
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We discuss and present design probes investigating how pervasive displays could offer unique opportunities for enhancing discovery and learning with“big data.”Our collaboration across three universities undertook a series of design exercises investigating approaches for collaborative, interactive, tangibles, and multitouch-engaged visualizations of genomic and related scientific datasets. These exercises led to several envisionments of tangible interfaces that employ active tokens and interactive surfaces to facilitate co-located and distributed engagement with large datasets. We describe some of the motivation and background for these envisioned interfaces; consider key aspects linking and distinguishing the designs; and relate these to the present and near-future state of the art for tangible and multitouch engagement with pervasive displays toward collaborative science. KeywordsTangiblegenomics . Collaborativegenomicinterfaces . Tangibleinterfaces . Pervasivecollaborativescientificdisplays 1
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Soft sensors have been successfully applied to simulate physical and chemical measurements in specific locations of a monument. They allowed monitoring the quality conditions of the monument surface for long periods of time. This is a not invasive process that provides a huge set of multidimensional data. They have been analyzed by the Cultural Heritage experts to find physical or chemical critical condition which could generate some degradation process. Here we propose several multidimensional visualization techniques to represent the predictions of environmental parameters, given by several soft sensors, in a comprehensive and compact way. Visualization tools using both shape variation (glyph) and color are developed to realize an homogeneous communication paradigm. Moreover, each tool uses a 3D navigable model of the monument as visual support. 1
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Cultural heritage takes an important part in defining the identity and the history of a civilization or a nation. Valuing and preserving this heritage is thus a top priority for governments and heritage institutions. Through this paper, we present an image completion (inpainting) approach adapted for the curation and the completion of damaged artwork. Our approach uses a set of machine learning techniques such as Generative Adversarial Networks which are among the most powerful generative models that can be trained to generate realistic data samples. As we are focusing mostly on visual cultural heritage, the pipeline of our framework has many optimizations such as the use of clustering to optimize the training of the generative part to ensure a better performance across a variety of cultural data categories. The experimental results of our framework are promising and were validated on a dataset of paintings. Keywords— Image Inpainting, Generative Adversarial Networks, Deep Learning, Cultural Heritage I.
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Geological fieldwork forms an integral part of science discovery, exploration, and learning in many geoscientific domains. Yet, there are barriers that can hinder its practice. To address this, prior research has investigated immersive geovisualisations, however, there is no consensus on the types of interaction tools and techniques that should be used. We have conducted a literature review of 31 papers and present the visualisation environments, interaction tools and techniques, and evaluation methods from this last decade. We found a lack of established taxonomy for visualisation environments; an absence of thorough reports on interaction tools and techniques; and a lack of use of relevant human-computer interaction (HCI) theories and user-centered approaches. This review contributes towards the development of a design framework as we propose a basic taxonomy; demonstrate the need for holistic records of user interactions; and highlight the need for HCI evaluation methods. Addressing these gaps will facilitate future innovation in the emerging field of immersive geovisualisations.
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Zero-shot classification is a promising paradigm to solve an applicable problem when the training classes and test classes are disjoint. Achieving this usually needs experts to externalize their domain knowledge by manually specifying a class-attribute matrix to define which classes have which attributes. Designing a suitable class-attribute matrix is the key to the subsequent procedure, but this design process is tedious and trial-and-error with no guidance. This paper proposes a visual explainable active learning approach with its design and implementation called semantic navigator to solve the above problems. This approach promotes human-AI teaming with four actions (ask, explain, recommend, respond) in each interaction loop. The machine asks contrastive questions to guide humans in the thinking process of attributes. A novel visualization called semantic map explains the current status of the machine. Therefore analysts can better understand why the machine misclassifies objects. Moreover, the machine recommends the labels of classes for each attribute to ease the labeling burden. Finally, humans can steer the model by modifying the labels interactively, and the machine adjusts its recommendations. The visual explainable active learning approach improves humans’ efficiency of building zero-shot classification models interactively, compared with the method without guidance. We justify our results with user studies using the standard benchmarks for zero-shot classification. Index Terms—Active Learning, Explainable Artificial Intelligence, Human-AI Teaming, Mixed-Initiative Visual Analytics 1
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This paper presents the optical tracking solution developed in the ArcheoGuide project (The Augmented Reality based Cultural Heritage On-site GUIDE, IST-1999-11306). The system enables to recover precisely the user head position and orientation at predetermined viewing location without the support of markers.The tracking approach is novel and bases on the real-time registration of the live video-image with so called "reference images" of the site. Once the matching between a live- and a reference-images could have been established, the virtual information can be presented correctly to the user, either using a 2D image warping transformation or after deduction of the current 3D position/orientation of the camera.The image matching algorithm represents the core of the tracking system. It must have real-time performance and be particulary robust to intensity and local changes. We opted for an analysis in frequency space and exploit the invariance properties of the Mellin-Fourier transform.The tracking system has been tested outdoor in the context of the Archeoguide project. It runs on a laptop at around 10 to 15 Hz and provides views of virtual monuments in a Head Mounted Display superposed to the ruins of the archaeological site.
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To control the space is an important task in preserving cultural heritage. For example, the edge design of traditional settlements in historical cities and blocks determines the basic size, space and shape of the space. However, unlike the space designed in paper, the formation of edges of traditional settlements are the presentation of residents’ public consciousness in the settlements, value orientation and behaviour law under the long-term historical influence, rather than the expression of the designer’s personal moment will. This topic cites some traditional cities and settlements of Fujian sea system in China as example and use the boundary as research subject in order to present nonobjective historical documents hidden in this system in details by researching documents, field study and chart analysis. The article also comes up with a new angle of research into Cultural Heritage Knowledge Visualization. Keywords:settlement space; boundary; culture; visualization expression I.
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Studying variation among time-evolved translations is a valuable research area for cultural heritage. Understanding how and why translations vary reveals cultural, ideological, and even political influences on literature as well as author relations. In this paper, we introduce a novel integrated visual application to support distant and close reading of a collection of Othello translations. We present a new interactive application that provides an alignment overview of all the translations and their correspondences in parallel with smooth zooming and panning capability to integrate distant and close reading within the same view. We provide a range of filtering and selection options to customize the alignment overview as well as focus on specific subsets. Selection and filtering are responsive to expert user preferences and update the analytical text metrics interactively. Also, we introduce a customized view for close reading which preserves the history of selections and the alignment overview state and enables backtracing and re-examining them. Finally, we present a new Term-Level Comparisons view (TLC) to compare and convey relative term weighting in the context of an alignment. Our visual design is guided by, used and evaluated by a domain expert specialist in German translations of Shakespeare. Index Terms—Text visualization, Othello, Parallel Translations. F 1
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Data science, an emerging multidisciplinary field, resides at the intersection of computational sciences, statistical modeling, and domain-specific sciences. The current norm for data science education predominantly focuses on graduate programs, which presume a preexisting knowledge base in one or more relevant sciences. However, this framework often overlooks those who don’t plan to pursue graduate studies, thereby limiting their exposure to this rapidly expanding field. Penn State addressed this gap by establishing one of the first undergraduate degree programs in data sciences, a collaboration between the College of Information Sciences and Technology, the Department of Computer Science and Engineering, and the Department of Statistics. One key component of this program is a projectfocused, writing-intensive course designed for upper-class undergraduates. This course guides students through the entire data science project pipeline, from problem identification to solution presentation. It allows students to apply foundational data science principles to real-world problems, advancing their understanding through practical application. This chapter details the objectives, rationale, and course design, alongside reflections from our teaching experience. The insights provided could be helpful to instructors developing similar data science programs or courses at an undergraduate level, broadening the influence of this important field. Keywords Undergraduate data science education · Project-based learning · Interdisciplinary curriculum · Interpersonal skills · Intrapersonal skills
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This is an experimental work presenting a study about usability experience of users in a cyberarcheology fully immersive 3D environment in Virtual Reality (VR). Particularly we research how users explore a realistic 3D environment with VR devices through archaeometry conventional techniques for archeology analysis and discoveries. Our main objective is to evaluate user’s experience with interactive archaeometry tools of a population called archeologists, not a VR expert, but expert on the context of the real experience of practicing archeology in remote site; and compare the results with another population called VR experts, in this case, not experts in archeology, but in VR technology and multimedia applications. Several standard metrics will be used to collect data about their interactions with the cyber system (efficacy, efficiency, satisfaction, level of presence and cyber-sickness). Two hypotheses will be tested with this experiment: a) it is possible to represent the virtual world as realistically as the real one, in such way that a person unfamiliar with this kind of technology, in this case the archaeologist, can develop analytical process of discoveries in the VR model; and b) if this VR model is passive of exploration, virtually it is possible to create analytical tools that will help the archaeologist to manipulate archaeometry tools. Both sample population had participated in usability tests and the results are promising. KeywordsUsability . Virtual reality . User experience . Human computer interaction and multimedia . Telepresence 1
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Advanced interaction techniques are necessary to explore the potential of large data-volume systems. In this context, rich internet application patterns were defined, but usually reduced to the development of social web applications. However, other types of applications, such as data-analysis applications, require also advanced interaction solutions to assist users in making decisions and data-analysis. This paper identifies a set of problems emerged in the interaction between humans and data-analysis applications. We propose a set of guidelines for rich applications as a solution for these problems. As illustrative example of a real data-analysis environment, the paper focuses on a case study in the cultural heritage domain, highlighting the existing interaction problems and how they can be solved through the design guidelines proposed. The set of design guidelines allows to specify interfaces abstractly, creating a repository to solve interaction problems. These guidelines aim to serve as a basis for a future identification of new rich applications design patterns. Keywords —Design Guidelines; Rich Application; Data Analysis; Cultural Heritage I.
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Faceted search is a well known and broadly implemented paradigm for filtering information with various types of structured information. In this paper we introduce a multiple-view faceted interface, consisting of one main visualisation for exploring the data and multiple miniaturised visualisations showing the filters. The Recommendation Dashboard tool provides several interactive visualisations for analysing recommender results along various faceted dimensions specific to cultural heritage and scientific content. As our aim is to reduce the user load and optimise the use of screen area, we permit only one main visualisation to be visible at a time, and introduce the concept of micro-visualisations – small, simplified views conveying only the necessary information – to provide natural, easy to understand representation of the the active filter set. Keywords— Recommendation Visualisation, Faceted Filtering, Multiple Views, Micro-Visualisations 1
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The creation of digital 3D models for cultural heritage is commonplace. With the advent of efficient and cost effective technologies archaeologists are making a plethora of digital assets. This paper evaluates the identity of 3D digital assets and explores how to enhance or expand that identity by integrating photogrammetric models into VR. We propose that when a digital object acquires spatial context from its virtual surroundings, it gains an identity in relation to that virtual space, the same way that embedding the object with metadata gives it a specific identity through its relationship to other information. We explore this concept by integrating reality-based photogrammetric models with hypothetical 3D reconstructions in VR to bring together “realism” and “reality” to help users form a spatial identity for the objects they are viewing and pursue a more interactive experience with both the embedded models and pursue new lines of archaeological inquiry. Keywords—virtual reality, GIS, photogrammetry, landscape archaeology, embodiment I.
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The analysis of subtle deviations between different versions of historical prints has been a long-standing challenge in art history research. So far, this challenge has required extensive domain knowledge, fine-tuned expert perception, and time-consuming manual labor. In this paper we introduce an explorative visual approach to facilitate fast and accurate support for the task of comparing differences between prints such as engravings and woodcuts. To this end, we have developed a customized algorithm that detects similar stroke-patterns in prints and matches them in order to allow visual alignment and automated deviation highlighting. Our visual analytics system enables art history researchers to quickly detect, document, and categorize qualitative and quantitative discrepancies, and to analyze these discrepancies using comprehensive interactions. To evaluate our approach, we conducted a user study involving both experts on historical prints and laypeople. Using our new interactive technique, our subjects found about 20 percent more differences compared to regular image viewing software as well as “paper-based” comparison. Moreover, the laypeople found the same differences as the experts when they used our system, which was not the case for conventional methods. Informal feedback showed that both laypeople and experts strongly preferred employing our system to working with conventional methods. Index Terms—Visual analytics, user interaction, art history, qualitative evaluation, visual comparison Ç 1
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Looking at the perception of archaeology within our society, and the development of new technologies, we discover that we are faced both with new challenges and new opportunities. Ideally, our own research from excavation and documentation to analysis and publication, and a popular presentation of it, could somehow be combined within one consistent workflow, using technology tailored to meet the purpose. Given the limits of resources and know-how in academic archaeology — even at Troy — such ideas are mostly bound to remain science-fiction. How can we archaeologists actually be enabled to meet the challenge and make the best of new opportunities a new millenium has to offer?The general aim of the project "Virtual Archaeology" is the introduction of fundamentally changed working methods in archaeology with the aid of the most modern technologies, not only in the area of primary data acquisition but also in data processing and editing for scientific purposes and for the presentation of archaeological knowledge to a broad general public.
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The properties and applications of rosy curve are introduced first in the paper. Afterwards, a class of generalized rosy curves is proposed. Their algebraic and geometric properties are discussed and their applications are prospected. Then, they are used to represent virtual flowers of different types 1.
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This paper intends to establish the relationship between the heritage content of mobile pedestrian navigation system–augmented reality application and learning processes through mobile devices. In this context, a teaching–learning process will be developed that is linked to urban heritage, determining the educational effectiveness with these tools. The methodological research focuses on two dimensions: 1) technological design of a mobile learning platform and 2) determining educational modes of understanding of the program. A patrimonial thematic unit will result from this design whose significance in mLearning–uLearning processes will be determined, considering the elements of identity and local culture. Index Terms— Augmented reality, computer-aided instruction, mobile computing, navigation. I.
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Public engagement with underwater cultural heritage presents a number of special challenges, particularly with regards to realism, authenticity and education. Digital archaeology specialists working in Adelaide, Australia have undertaken a collaboration with maritime archaeologists and museums in Reykjavik, Iceland to create a Virtual Reality (VR) diving experience based on Iceland’s oldest identified shipwreck, Melckmeyt, a Dutch flute which sank in 1659. The experience was designed using a fully animated 2.5D VR environment, taking participants on a guided tour with a set time limit rather than offering an interactive experience. This approach maximises the sense of immersion in the underwater environment and replicates as closely as possible the experience of diving for the non-diver. This chapter considers the benefits of 2.5D VR compared to the more commonly applied 3D or interactive VR and argues that 2.5D VR offers significant potential benefits for museum use and ad hoc use for public engagement. 1 Keywords— Iceland; 3D reconstruction; Shipwrecks; Virtual Reality; Maritime Archaeology I.
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This paper describes the work carried out from 2007 to 2008 by the research group of Dardus about the virtual reconstruction and the communication of the Temple area between Thien Mu and Van Thanh in Hue City, Vietnam. This site is located in the West side of Hue City, that is Unesco World Heritage site since 1993. The first aim of this work was to realize a Virtual Reconstruction of the temple area, including all the historical building and the surrounding environment, starting from different fonts and data. The second aim was to define a system of friendly and real-time application of the Virtual Environment, in order to join it with other documents made by the research activities, and to allow an organic understanding of the historical architectures features. The final product will be used in the city museum and it will be published on the research website. 1.
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Virtual Technologies can provide information visualisation and manipulation, and coupling such technology with virtual mapping can provide a promotional tool for geographic locations. Interest levels of particular historical and tourist sites are low as they lack the necessary promotion to become viable destinations, thus lowering employment and revenue potential. A high number of promotional tools exist and have been employed to create awareness of tourists, however, most have not quite grasped the imagination or attention of potential tourists. This paper aims to discuss the benefits of Virtual Reality to tourism promotion and go on to analyse and formulate a model framework for how to employ virtual technologies for geographic information through Webbased services that network millions of people together can promote tourism in Zimbabwe. Keywords—Virtual Reality, Tourism Promotion, Immersive Technology. I.
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For preserving the grotto wall paintings and protecting these historic cultural icons from the damage and deterioration in nature environment, a visual analytics framework and a set of tools are proposed for the discovery of degradation patterns. In comparison with the traditional analysis methods that usedrestricted scales, our method provides users with multi-scale analytic support to study the problems on site, cave, wall and particular degradation area scales, through the application of multidimensional visualization techniques. Several case studies have been carried out using real-world wall painting data collected from a renowned World Heritage site, to verify the usability and effectiveness of the proposed method. User studies and expert reviews were also conducted through by domain experts ranging from scientists such as microenvironment researchers, archivists, geologists, chemists, to practitioners such as conservators, restorers and curators. Index Terms—Cultural heritage, wall paintings, degradation, visual analytics 1
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Technology that serves to enhance the visitors' experience is gradually becoming more commonplace at Cultural Heritage (CH) sites. However ICT is not usually the CH professional's area of expertise and they have to make choices from a bewildering array of technology, often without fully understanding their visitors' ICT needs. This research aims to alleviate the situation by gathering visitors' evaluations of technologies that are frequently used at CH sites along with advanced applications, to identify which technologies visitors use and what they need. The research took place in five CH attractions in the UK and incorporates the results of one hundred and sixty four interviews with visitors. Both CH professionals and technology developers can use this research to gain insights into the use of ICT applications at sites and to identify emerging needs in the marketplace. The findings of this research indicate that ICTs in use at the CH sites involved were underutilised. Despite this, respondents strongly supported the advanced applications which included: Augmented Reality; an Interactive Museum Installation; a Mobile Media Guide and an Avatar Application. This is because they could see how they would benefit. This paper concludes that the use of ICT was supported by visitors to some degree. However in order to encourage use, the benefits must be clearly communicated to visitors.
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This article describes the methodology that results in a visual reasoning process for heritage valuation, which has been based on a descriptive modeling process and have characterized three levels: meta-, analysis and operational. The proposed approach is not only about heritage but the complex relationship between people and heritage. The agents are the protagonists in the process, along with heritage; they give value to the testimonies of past life and imbue them with meaning. The hypothesis of this research argues that a visual reasoning process for heritage valuation allows people involved in the process to initiate an interaction with a heritage and to build its mental image to reach certain conclusions regarding its value and meaning. Therefore, this approach of a visual reasoning process is used to detect changes in value of heritage and its polyhedral dimension in spatial and temporal terms. The proposed process enables potential agents to be actively involved in their own heritage valuation. Index Terms— heritage, heritage process, heritage valuation, visual reasoning process I.
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This paper studies the current urban landscape gardens that can allow people to have close contact with nature through design, and meet people's needs for being close to nature. At this stage, the greening work of landscape gardens can also fully improve the existing ecological environment of the city, which is convenient for my country to build an eco-friendly society. In the process of landscape garden design, space art plays an important role. It is mainly based on space art to mo del the visual reconstruction data points in the garden landscape. The content of space art design mainly includes the overall topogra phy of the garden, vegetation and planting conditions, and va rious activity areas. The coordinated design of the garden landscape makes the overall design of the garden landscape more scientific and visually e xpressive, an increase of 4.6%. Keyword s—Visual Reconstruction, Data Point Modeling, Spatial Art, Garden Landscape I. INT RODUCT ION The coastal areas of Eu ropean and American c ities have a long history of development. They have e xperienced a process of prosperity and decline, and are now in the stage of redevelopment. In Ch ina, the development boo m of the coastal area of modern c it ies began in the 1990s. W ith the government’s emphasis on the construction of the coastal area and the increase in people’s demand for coastal recreation, the landscape and functions of the urban coastal area developed in the early days can no longer satisfy people. The urban coastal areas urgently need further transformat ion or redevelopment; some newly developed urban coastal areas also need overall planning, development and construction [1-6]. The urban coastal area has a p leasant environment and rich landscape levels, which to a ce rtain e xtent shows the urban style and features of coastal cities and represents the image of coastal cit ies. Ho wever, the construction of the coastal area of domestic cities lacks the connection with the overall urban planning, resulting in the urban coastal landscape like a piece of "lace rag", the coastal landscape belt has a pleasant scenery, but it cannot be integrated with the internal urban landscape. The concept of public space art first e merged in the Un ited States in the 1950s, and it e me rged in China a round the century. With the development of economy, public space art is also constantly developing. The biggest feature that distinguishes it from other art is "publicity", wh ich appeals to the interaction between the public space artwork and the public environ ment, the interaction between the public and the public space artwork, and the public s pace art the interactivity is the driving force for the development of public space art. Cultura l inheritance is not to inherit tradit ional culture intact. It should take its essence and discard its dross. It means to carry forward the positive and social require ments. Those backward and decadent things must be transformed or eliminated. Therefo re, cultura l inheritance is innovative. The so-called "innovation and innovation" refers to the critical inheritance of old things and old culture, re moving dross, taking its essence, and creating new ones [7-14]. We can't talk about innovation in va in, we should combine the spirit of the times and pursue cultural innovation. The goal of co mputer vision is to use two-dimensional images to rea lize the perception of e xterna l things and the objective threedimensional world. The method and technology are three dimensional vision functions that the system uses computer and other related auxiliary equip ment to achieve. The three dimensional in formation we a re ta lking about includes many, among wh ich posture, position, shape, move ment, etc. are the focus of our research. At the same time , three-dimensional objects must be stored, described, recognized and understood. Due to the increased require ments for detection methods and the booming visual detection technology, the development of image visual detection technology has been promoted. Visual inspection technology is a modern inspection technology that uses image information as a detection method, cooperates with related knowledge such as optics, and uses computer knowledge to solve the proble m of detection. Co mputer vision systems have many advantages, such as: rapidity, informat ion richness, easy integration, etc., and the designed computer inspection equipment has many advantages. Chinese garden landscape plant design art takes Confucian cultural thought as its core concept, and Confucian aesthetic thought and characteristics as its constituent factors [15-19]. With its unique ideological and spiritual cultura l connotations, Chinese garden landscape highlights the important ro le of Confucian cultural aesthetics in the a rt of garden landscape plant design. Harmony and unity are an important man ifestation of Confucian aesthetics for the aesthetic form of garden landscape plant design. The art of Chinese garden landscape plant design has a profound imprint of Confucian aesthetics and has a unified style of beauty and goodness. Confucianism advocates benevolence as the foundation and happiness as the influence, and it pays more attention to the tempering of personality and the cultivation of character. Chinese garden landscape plant design art pays more attention to not only the beauty of form, but also realizes the pursuit of Confucian cultural thoughts of beauty and kindness through the unity of shape and color, form and content. The Chinese people have unique ingenuity in the design and use of plants in the garden landscape, creating distinctive national characteristics and unique cultural interest. In the process of shaping the traditional garden landscape plant culture, it will naturally be ca rved with the imp rint of the Proceedings of the Fifth International Conference on Electronics, Communication and Aerospace Technology (ICECA 2021) IEEE Xplore Part Number: CFP21J88-ART; ISBN: 978-1-6654-3524-6 978-1-6654-3524-6/21/$31.00 ©2021 IEEE1325 2021 5th International Conference on Electronics, Communication and Aerospace Technology (ICECA) | 978-1-6654-3524-6/21/$31.00 ©2021 IEEE | DOI: 10.1109/ICECA52323.2021.9675928 Authorized licensed use limited to: TU Wien Bibliothek. Downloaded on October 26,2024 at 10:29:11 UTC from IEEE Xplore. Restrictions apply. times, such as Spring and Autumn Orchid Culture, Tang Dynasty Peony Culture, Song Dynasty Plu m Cu lture, etc. These imprints constitute the history of the growth of Chinese garden landscape plant culture. In the Western Jin Dynasty, Tao Han wrote "The Plants and Trees in the South", the later Wei Jia Sixie wrote "Qi M in Yao Shu", Tang Wang Fangqing wrote "The Garden and T rees and Trees", Song Ouyang wrote "Luoyang Flowers and Trees", Ming Wang Xiangjin wrote "Two Ru Pavilion Group Fang Pu" [20-24]. II. THE PROP OSED MET HODOLOGY A. Chinese Garden Landscape The art of Chinese garden landscape plant design embodies the aesthetic characteristics of typical Confucian cultural thinking. Ch inese garden landscape plant design emphasizes that beauty and goodness are inseparable. Beauty and goodness can achieve the perfection of life fro m d ifferent angles. Goodness can make people symbiosis and beauty can be shared. The primary feature of the aesthetic psychology of Confucian cultura l thought is beauty and kindness, and the highest state is perfection. In addition to the pursuit of beauty, the art form of Chinese garden landscape plant design e xpresses a strong demand for good. The materia l e mbodiment of the aesthetic appeal of Chinese garden landscape plant design is full of the wo rking people's eager hope and unremitting pursuit for a better life, and reflects the unchanging national cultural psychology of Confucianism. Fig. 1. Overlooking t he garden landscape In 19 years, Ha rp Soc ks used the concept of giving one free to the commun ity in the ecologica l form in the design of the coastal farm residential area in the north of San Francisco in the United States; W combined with the env ironmental characteristics and environmental protection as the starting point for the design, retaining the wild landscape of coarse mines and the topography of natural cliffs. Pay attention to the protection of wild resources, and conduct in -depth research on local topography, landforms, vegetation and other aspects. In the 1960s, the United Kingdom established the "Marine Enterprise District" to study how to effectively control the development of the coastal zone. In the 1990s, the Un ited States developed the coastal zone fro m a regional perspective, which pro moted the economic development of the six counties running through the coastal road in Georg ia. In 1998, the planning of the Cape Code Coastal Area in Massachusetts used GIS technology to conduct a co nceptual regional analysis of landscapes and recreational experiences, and established a corresponding database to facilitate subsequent development and management. Since the 1960s, the redevelopment of coastal landscapes in fore ign cit ies has ma inly focus ed on the revival of abandoned piers. Successful cases include the Baltimore Inner Harbor in the Un ited States and the Newport in Yokoha ma, Japan. B. Visual Reconstruction Data Point Modeling Modern informat ion technology has knocked on the door to the era of "reading pictures". The aesthetics of popular culture tends to be visualized, and people generally enjoy the cultural lifestyle of fingertips. The aesthetics of te xts is gradually declining, and the ideographic space of te xts is suppressed. The "eyeball effect" captures a lot of Fans are more ma rketable and can bring visual pleasure and intuit ive perception to viewers. At present, my country’s red culture communicat ion main ly re lies on traditional media such as materia l, language, management, and activities. Although there are also Internet med ia involved, the te xt annotations focused on the
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The analysis of the historical evolution of the territories and landscapes has been seldom based upon the study of old cartographic documents; they have been always set in a second place after texts and writings. Trying to bridge this gap, we have designed and implemented a relational database of the ancient maps and charts that are already preserved in the main spanish collections, archives and libraries, that includes the possibility to access to a a high resolution digital image of each one of them. The personalized queries to the database will allow the scholars and searchers to visualise the document together with its main features. 1.
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The effective visual exploration of dynamic networks has been one of the toughest challenges and an unsolved problem; however, it is very important to understand network evolution. Although many developments have been achieved in modeling evolutionary networks, the closely related task of visualizing continues to remain a major concern. Therefore, in this study, quantitative analysis is used to assign node attributes in the network topology, and then, the evolutionary process of networks is analyzed. By fixing the position of nodes, the possibility of a stationary shape of the network is suggested, and a more intuitive and comprehensive explanation of the enumeration of the types for the evolutionary process is provided. Further, a large amount of information is presented in this study in an extremely economical and accessible way by incorporating a circular layout and evolution laws, which offers a new approach for the estimation and evaluation of network evolution. Finally, this three-pronged approach—network analysis, quantitative method, and topological modeling—is expected to provide a revelatory insight into the principle of network evolution. Index Terms—Art, Communication/Networking and Information Technology, Data and Knowledge visualization, Evolution, Image Processing and Computer Vision, Simulation, Modeling, and Visualization. I.
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Scientific analysis of the scanned model can enhance interpretation of heritage. Visualization methods that use various rendering algorithm can reveal geometric features of the model clearly, which may not be recognized in pictures or even on the site. Thus it helps to overcome the subjectivity or restriction in first-hand interpretation. In this paper, visualization of scanned model for interpretation of heritage was surveyed. Based on that survey, a classification scheme was proposed which can be used in the interpretation pipeline. In a case study of dinosaur track, we analyzed the possible problems in the interpretation stage and proposed various visualization of scanned model according to the purpose. User test was performed to evaluate the effectiveness of the method. A practical survey in this paper showed that 3D scanned model and its appropriate visualization could be used for effective interpretation of heritage. Keywords—3D scan; heritage interpretation; rendering; visualization I.
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This paper presents our digital publishing process and its editing system developed for a specific use case – the scholarly digital edition of a set of Roman inscribed lead tags – but suited for analyzing a broad variety of text-bearing objects. This pipeline covers the spectrum of the activities from data acquisition of the visual aspects to complex analysis of the writings and text of incised inscriptions. It employs a twodimensional medium, Reflection Transformation Images (RTI), to support visual analysis. The visual and textual data it generates are open access, ready to be used for machine learning processes. Index Terms—Language technologies for Cultural Heritage, Digital Epigraphy, Digitization, Visualization, Reflection Transformation Images, Digital Autoptic Process, Paleography I.
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Understanding the degree of satisfaction for visitors has been a key factor in selecting attractive collections and designing appealing layouts in art galleries and museums. Although monitoring the actual spatiotemporal behaviors of visitors is essential for this purpose, introducing an expensive monitoring system would impose a heavy burden on the financial management and leads to unwanted restrictions on the layout design in the exhibition rooms. This paper presents an approach to visualizing the spatiotemporal changes in the maps of visitors’ interest with a system of installed single-board computers such as Raspberry Pi devices. Employing single-board computers as IoT sensors facilitates monitoring systems to maximally covers the entire exhibition space while keeping the associated installation cost and power consumption sufficiently low. Our approach for this novel system organization begins by first detecting individuals from camera images using machine learning techniques and reconstructing their spatial positions from perspective views. Kernel density estimation was employed to represent the distribution of interest across the entire exhibition room as a continuous function by respecting the reconstructed positions of visitors. This allowed the use of heatmaps to visualize the changes in the map of interest reflecting the travel history of individual visitors and the accumulated distribution of interest over a specific period. Experimental results from eight months of measurement data demonstrate the capability of the proposed approach, including meaningful trends that reveal how the layout of collections attracted visitors to the exhibitions. Index Terms—maps of interest, single-board computers, spatiotemporal changes, heatmaps, exhibition layout design I.
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Information design is intended to complete the combing and optimization of modern information, and convey the logic-based and image-based content to the people. In the Digital Age, information design relies on the computer technology in a great extent. In the design of information using large amounts of writing, the different proportions of individual character recognition and sentence reading coherent make different typeface design and selection. Compared to other designs, large amounts of information design concerns the writing composition of contents more than typeface design itself. Whether the information is processed and communicated appropriately is the design’s essence. The western mainstream computer typeface’s development has not only manifested close relation of Serif and Sans-serif in readability and readable aspect of information content from design angle, but also reflected influence of social development and technological progress to typeface change. Keywords—western mainstream computer typeface; the Digital Age; large amounts of information; information design I.
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This work presents our experience in using Virtual Reality techniques to digitally reconstruct the World famous Hydro Junction-Three Gorges Dam. This paper discusses the work undertaken by the China Water Museum to develop X3D-based Water Museum Virtual Reality System. This system is to deal with difficulties in applying 3D information system in virtual reality experience, which is written in Extensible-3D (X3D) and Java. In order to achieve an accurate 3D representation, the process was divided in phases to better structure and fundament such development: historical data gathering and analysis; 3D modeling and; interactive immersive visualization. Due to the nature of this project, different people from different areas of expertise were involved, working together in a unified development environment. It is our opinion that the online design review has achieved its objectives. However we identified some features that would improve collaboration such as digital 3D annotation and support for online collaboration in current X3D browsers. KeywordsVirtual Reality; X3D; 3D Modeling, VRCluster; Graphics Rendering 1.
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Cultural Heritage applications have often exploited 3D reconstructions in order to better convey contents, but virtual environments need also new solutions to be accessed in a flexible as possible way. X3DOM, Blender Game Engine and OSG4WEB are three different tools able to perform on-line, mobile and desktop visualisations, each one with pros and cons. Do they meet the requirements raised by Cultural Heritage curators? This paper will be offering an overview of these navigation tools by means of some case studies in order to better highlight problems and opportunities. Keywords—Open Source, Cultural Heritage, Real Time Virtual Environments, X3D, Blender, OpenSceneGraph. I.
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