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RCHAELOGY
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ns of the operator.
Archaeological data have been translated into images by means
of 3D solid modelling. Images help understanding of the
complexities of archaeological concepts in many different ways
(Pollefeys, 2000).
The archaeologists could use virtual reality for the
dissemination of archaeological material via excavation reports,
teaching materials, and research resources. Important it is to
balance realism vs. reality, and how these issues have been
addressed in 3D reconstructions.
What a 3D solid model is, what kind of “model” is a “computer
model”, how to build it, and how to use it are concepts very
important that we have illustrated above (Barceló, Forte,
Sanders, 2000).
The goal of the research has been to integrate VR techniques
into the generation of primary archaeological records. In this
way the idea that VR simulations could, and should, be seen as
a natural and complimentary adjunct to the familiar maps, plans
and elevation drawings of traditional archaeological research, is
strengthened and reinforced.
We presented a general overview of how to give photo-realism
to a 3D computer model. Archaeology demands exactness and
accurate visualisation of architecture, before its aesthetic
presentation. As a consequence, one of the aims of a virtual
reconstruction of archaeological sites is to obtain a realistic
reproduction in order to achieve a close approximation to the
original building as it was conceived and constructed by its
builders. Archaeologists want to experiment and live such
ancient space. Therefore it becomes clear why the precise
modelling and simulation of light is a key aspect of realistic
reconstruction.
Virtual Reality techniques in archaeology as presented in this
paper (reconstructions, 3D graphics, immersive imaging)
promise an accessible, highly visual, and interactive means of
representing difficult-to-see data, opening up new ways of
presenting research. Virtual Reality models allow us to put all
of our contemporary knowledge and thought about an object
into a user-interactive presentation. The advantage of virtual
computer models in comparison to traditional analysis is
evident. The visualising process resulting from solid modelling
can sometimes reveal relationships within an archaeological
‘reconstruction’ more clearly than any other current methods of
display (Fletcher and Spicer 1992, Molineaux 1992, Miller and
Richards 1994). Consequently, those models permit spatial
queries such as “what is next to”, what surrounds, what is
above, below, to the side of, etc. (Harris and Lock 1996).
By constructing detailed models of the excavated material,
archaeologists can re-excavate the site and search for evidence
which escaped attention during the actual dig Reilly 1990).
Computer models of archaeological buildings or artefacts can be
linked to text, image, and sound databases permitting self-
guided educational or research virtual tours of ancient sites in
which users can learn about history, construction details, or
daily life with a click of the mouse.
Some virtual models are intended for use in exploration and
analysis in which the user has some ideas about what he/she is
looking for, but is not fully sure. Other computer
representations are often prepared for presentations intended to
communicate one’s findings to others. The key difference here
is between the need of better understanding the data, versus the
desire to communicate a particular understanding that has
already been reached. To date, the catalyst for visualisation in
archaeology has not been the search for improved techniques
for discovering new knowledge but rather for improved ways
for presenting existing knowledge to the public Miller and
Richards 1994), but in the next years we look forward to new
applications in many different domains.
5. THE SEMI-INTERACTIVE MULTIMEDIA SYSTEM
Another important aim is the design of interactive systems. The
interactive system allows total access to the information about
the archaeological artefact by means of an environment with
text-windows and buttons (Graphic User Interface), which
allows us to interact with the application and guide the
consultation. The visitor gives orders by mouse pointer touching
on graphic buttons, located on the side of the screen. By
touching a button, the virtual exploration by multimedia video
stops and a window opens with a photograph and an
explanation text (Figure 15).
Figure 15. Display of the semi-interactive multimedia system
Users intuitively learn the ancient landscape of the site because
they can walk through the reconstructed 3D computer graphics
archaeological area. The systems provide intuitive information
access through the selection of objects such as buildings in the
3D computer graphics scene.
The advantages include their immediate accessibility as well as
the ease with which they can be updated as new data is collected
and analysed.
The movie of the site included a 3D walk-through of the city as
well as supporting pages containing text and photographs.
In fact there are different approaches to interactivity within a
virtual model. In the Panoramic VR the user is able to induce
some movements on a virtual scene, but the model is passive; it
is the user who changes points of view: the model remains in its
place. The alternative approach is a fly-through of the
landscape. In this case, the user does not move around a static
image but sees how a dynamic representation of a landscape
model moves in some directions. These computer animations
with a photo-realistic aspect allow the territory to be overflow.
A virtual multidimensional environment characterised by
efficient and effective navigation and orientation tools, using
virtual reality and interaction techniques to represent the
scenarios. In particular, the multimedia navigation is based on
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