Mixed Reality and Gamification for Cultural Heritage

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Mixed Reality and Gamification for Cultural Heritage

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This volume on virtual and augmented reality (VR/AR) and gamification for cultural heritage offers an insightful introduction to the theories, development, recent applications and trends of the enabling technologies for mixed reality and gamified interaction in cultural heritage and creative industries in general. It has two main goals: serving as an introductory textbook to train beginning and experienced researchers in the field of interactive digital cultural heritage, and offering a novel platform for researchers in and across the culturally-related disciplines.

To this end, it is divided into two sections following a pedagogical model developed by the focus group of the first EU Marie S. Curie Fellowship Initial Training Network on Digital Cultural Heritage (ITN-DCH): Section I describes recent advances in mixed reality enabling technologies, while section II presents the latest findings on interaction with 3D tangible and intangible digital cultural heritage.

The sections include selected contributions from some of the most respected scholars, researchers and professionals in the fields of VR/AR, gamification, and digital heritage. This book is intended for all heritage professionals, researchers, lecturers and students who wish to explore the latest mixed reality and gamification technologies in the context of cultural heritage and creative industries.

Nánar um bókina

Útgefandi
Springer Nature
ISBN
9783319496078
Print ISBN
9783319496061
Format
Page Fidelity (PDF)
Útgáfa
0
Höfundar
Author
Tungumál
English
Útgefið
2017-04-26
Prent takmörkun á líftíma
100
Prent takmörkun
2
Afritunar takmörkun
2

Kaflar

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