Abstract
In the field of archaeology, when a discovery is made, the comparison of images is often used to catalogue a find and give it an interpretation. The image on an exhibit is always subject to analysis, comparisons, graphic reconstructions, which can define it, classify it, and most of all, understand it as a whole. The problem arises when the discovered find proposes a completely new and unpublished image. It therefore requires an in-depth study in all its elements. Photographic images, online databases, and archive collections of museums provide some valid help for solutions or interpretations; and the theories that come out of this comparison can then shed light on the meaning of an image present in a find, when there is no direct confirmation.
TopIntroduction
One of the areas where new technologies have been developed since the rise of multimedia and virtual reality, since the end of the last century, is cultural heritage. As it is well known, Italy has around 70% of the world's cultural heritage. Much of it makes up the UNESCO World Heritage Site. Many are the scholars of the history of art who have contributed to motivate that interest towards the new generations through their publications (Ess, 2001; Veltman, 2006; Oliveira, 2017). However, less than 4% of all workers in Italy are dedicated to the task of conserving the cultural and natural heritage of the territory (Cipolla-Ficara, 2011; Cipolla-Ficarra, 2010; Ferkiss, 1994). Many of her young university professionals from the cultural property sector, being in such a rich country from an artistic point of view, must work in other diverse tasks in order to survive on a daily basis.
However, universities have trained excellent professionals from a theoretical point of view, for example (Ess, 2001; Smith, 2004; Lazarinis, 2010; Oliveira, 2017). They are capable of obtaining great results in their theoretical investigations and conclusions with modest equipment, from a technological point of view. Also, they know how to revalue the techniques of pencil drawing, watercolor, painting, etc., for historical reconstructions. Digital cameras have enhanced direct observation capabilities. This is a technique that within usability engineering requires laboratories connected to simple (video recorders) or sophisticated recording equipment (software or ad hoc applications) to store the data of the movements of the eyes, hands, body position, etc. (Nektarios & Xenos, 2012; Vote, et al., 2002). The purpose is to obtain results of the behaviors of the end users in front of certain contents in the interactive systems.
Some private university education centers in Europe use such usability equipment or labs as a promotional means to attract the attention of future students. However, it is not the technological equipment, the size of the laboratory or the volume of cement used for its construction, the qualitative parameters of education, creativity and technological innovation. Now, this denaturation is transmitted to professionals who act as heads of laboratories.
For example, cultural heritage and social networking are a kind of magnet for astronomers, physicists, geologists, geographers, geodesists, engineers, computer scientists, mathematicians, chemists, etc. (Azuma, 1997; Rasheed & Nordin, 2015; Harrell & Lim, 2017; Marshall & Shipman, 2017; Koo, et al., 2020). However, some professionals continually repeat the same theoretical concepts and practical cases, such as the use of new technologies for the 3D viewing of objects within museums, virtual visits, the architectural context in augmented reality, reconstructions with mixed reality, the comparison of collections between various emblematic museums in the countries, the need to bring culture closer to children, grandparents, the disabled, etc. But all these research works lack original content and research towards that fundamental variables of the latest generation interactive systems. In this chapter it is demonstrated how it is possible to obtain high results of content in archaeology, resorting to field research, consultation in libraries and online databases: EDCS (Epigraphik-Datenbank Clauss / Slaby. See: https://bbcc.ibc.regione.emilia-romagna.it). The steps followed in this regard are detailed below, in one of the towns with a great cultural background that has survived to this day, such as the city of Ravenna.
Key Terms in this Chapter
Stele of the Classiary: is a type of epigraphic and figurative elements also to date it. Some models underlying its creation and the clues that testify to the interventions of the workshop and the client.
Cultural Heritage: "It is the legacy of physical artefacts ad intangible attributes of a group or society that are inherid from past generations, maintained in the present and bestowed for the benefit of future generations." (UNESCO definition)
Architectural Steles: a large block of parallelepiped stone and decorated with sculptural reliefs, both figurative and architectural (usually to define aedicules culminating in a tympanum). On the other hand, a series of simple poorly decorated stone slabs, usually with engravings, called a “framed” slab or “anarchietectonic” steles.
Digital Cultural Heritage: A collection of images, textual, video, etc., information with a remote access through Internet (e.g., EDCS, ARACHNE and PATER). The digital content and materials present and describe human knowledge and cultural manifestations. Although there is a constant evolution from capture to storage in 2D or 3D image format, for example.
Reconstruction from Multiple Digital Images: is to infer the 2D / 3D geometry and structure of objects, scenes, people, etc., from one or multiple 2D / 3D images, for example, 2D / 3D digital photography, 2D / 3D scanner, 3D printer, etc.
Ineractive System: It is a computer device made up by a CPU (Central Processing Unit) and peripheral, whose functioning requires a constant interaction with end user. Currently these systems tend to their miniaturization and / or invisibility, the mobility and wireless connectability among them.