GCH 2017 - Eurographics Workshop on Graphics and Cultural Heritage

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https://diglib.eg.org/handle/10.2312/2631771

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Browsing GCH 2017 - Eurographics Workshop on Graphics and Cultural Heritage by Subject "Computer graphics"

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    Digitising Ivory Artefacts at the National History Museum in Brazil
    (The Eurographics Association, 2017) Marroquim, Ricardo; Sá, Asla Medeiros e; Echavarria, Karina Rodriguez; Balbio, Vitor; Zamorano, Rafael; Tobias Schreck and Tim Weyrich and Robert Sablatnig and Benjamin Stular
    The advantages of digitisation technologies, such as 3D scanning, photogrammetry and 3D modelling, for the documentation and dissemination of cultural heritage artefacts is well understood by researchers. Nevertheless, practitioners, in particular those in developing countries, still have a lack of understanding of how 3D technologies could work for them in order to support their collections. This paper presents ongoing efforts to engage with museums in Brazil, in particular the National History Museum in Rio de Janeiro, in order to raise awareness of the potential of 3D technologies. Rather than applying 3D digitisation technologies on artefacts where it is known that the techniques can provide an easy solution, our approach was more experiments. Hence, several ivory artefacts were selected, including various figurines and a carved Junk Boat from East Asia which are part of the museum collection and which present particular problems both in terms of conservation and dissemination. The artefacts are complex and difficult to access. Nevertheless, the intention was to provide practitioners at the museum a good understanding on the advantages and limitations of the technologies. The contribution of this paper is the exploration of the use of 3D digitisation technologies for the documentation and dissemination of ivory carvings from a Brazilian perspective. The paper includes a discussion on the challenges in terms of having access to suitable infrastructures to support documenting, monitoring and dissemination of heritage artefacts at a larger scale within the Brazilian context.
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    The Fabricated Diorama: Tactile Relief and Context-aware Technology for Visually Impaired Audiences
    (The Eurographics Association, 2017) Samaroudi, Myrsini; Echavarria, Karina Rodriguez; Song, Ran; Evans, Roger; Tobias Schreck and Tim Weyrich and Robert Sablatnig and Benjamin Stular
    The recent popularity of digital fabrication has stimulated cultural heritage professionals to utilise such technologies for a variety of processes, including the creation of digitally fabricated handling objects. The design and production of these objects or replicas, as commonly known, depends on choices that do not only limit themselves to a variety of technologies. This paper presents a focused contribution towards increasing the understanding of the heritage community on how to introduce digitally fabricated objects within context-aware museum experiences for different audiences. The purpose of the project is to enhance enjoyment, learning and appreciation of cultural and natural heritage while avoiding the ''technological fetishism'' which often appears along with the introduction of new technologies. In particular, the paper presents research focusing on the needs of visually impaired and blind audiences; it describes the development of a context-aware tactile experience within the Booth Museum in Brighton (UK); evaluates the developments with this target audience; and presents the preliminary results of the research.
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    Streamlining the Preparation of Scanned 3D Artifacts to Support Digital Analysis and Processing: the GRAVITATE Case Study
    (The Eurographics Association, 2017) Mortara, Michela; Pizzi, Corrado; Spagnuolo, Michela; Tobias Schreck and Tim Weyrich and Robert Sablatnig and Benjamin Stular
    Digitally acquired 3D models of cultural assets are not always ready for further processing. Sometimes, the digital surface presents geometric or topological defects that may hinder downstream surface analysis algorithms. Furthermore, the high resolution meshes provided by acquisition might pose complexity issues to the processing afterwards. Preprocessing models can be a tedious and sometimes manual work. We present the processing needs for a set of cultural artifacts in the framework of the GRAVITATE project and describe a fully automatic procedure to fix and adaptively simplify 3D models of cultural interest.
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    Visual Computing for Archaeological Artifacts with Integral Invariant Filters in 3D
    (The Eurographics Association, 2017) Mara, Hubert; Krömker, Susanne; Tobias Schreck and Tim Weyrich and Robert Sablatnig and Benjamin Stular
    3D-artifacts from ancient civilizations contain many different kinds of information in form of forensic trace evidence, e.g., tool marks from styli or fingerprints on wax sealings. These very fine structures are increasingly captured by various 3D-acquisiton techniques and stored as irregular meshes. We introduce filter algorithms for the processing of these datasets to finally extract meaningful information at predefined scales. Therefore, Multiscale-Integral Invariants (MSII) are introduced as robust filter methods with their four different variants, using volume, patch, surface and line integrals for their specific sensitivity on mean curvature, Gaussian curvature or noise detection. Smoothing as known from 2D-raster image processing cannot be applied directly. It needs adaptation to the irregular structure of the triangular grids describing 2D-manifolds in 3D-space.We introduce a fast 1-ring smoothing with a skillful weighting by distance and area of the neighboring points and triangles. Finally, we apply our technique to the various motivating examples for showing the results as false color images with isolines, indicating the respective field of function values, e.g., curvature in various norms or correlations in the feature space. Smooth isolines are indicators for the successful removal of noise. We finally compare the fully automated results with a manual graphic rendering of a faded handwriting found in the tomb of the empress Gisela of Swabia.