Humanities Visualization

Popular vs. scientific in archaeological visualization: an irrelevant contradiction?

by Athanasios Sideris

Co-authored with Dimitris Paleothodoros. Only abstract available Co-authored with Dimitris Paleothodoros. Only abstract available

Recontextualised Antiquity: Interpretative VR Visualization of Ancient Art and Architecture

by Athanasios Sideris

At the Computer's Edge: The Value of Virtual Constructions to the Interpretation of Cultural Heritage in Archeomatica 2010 (4)

by Konstantinos (Costas) Papadopoulos

Co-authored with Efi Kefalaki

The title of this paper is an adaptation of Ian Hodder’s notion that interpretation starts ‘at the trowel’s edge’... more The title of this paper is an adaptation of Ian Hodder’s notion that interpretation starts ‘at the trowel’s edge’ (1997), as excavations should be active, reflexive and multivocal practices, during which interpretation takes place as an inextricable part of our research. The process of interpretation is a complicated issue. It has engrossed most practitioners, and is closely related to the conceptualisation of the past as reflecting contemporary social and cultural experiences through the scrutiny of cultural heritage remains. Archaeological remains are under appreciated, as they can be accessed only by specialised audiences, and any finds are presented by means of conventional illustrations and comprehensive list of artefacts. Even the most common recording method in archaeology, i.e. fieldnotes, and the subsequent site reports, have been criticised (Hodder 1989) for their distance and impersonality, as well as their attempt to demonstrate objectivity by establishing rigorous classifications and complex terminologies. For that reason, different forms of media have been used in the interpretive processes, not only in scientific research, but also for providing varied levels of engagement with the archaeological datasets by the public.
The advent of computer applications in archaeology and cultural heritage over the last twenty years has transformed both the way we do archaeology and our understanding of fundamental words, such as artefact, heritage and interpretation (Cameron & Kenderdine 2007: 1-3). Although these technologies tried to overcome the issues discussed above, as they were rapidly evolving they created a trend, usually leading to the application of these tools for the sake of it, in order to demonstrate their powerful capabilities, and were not being driven by any scientific considerations (Gillings 2005, Goodrick & Earl 2004, Richards 1998: 341). Virtual constructions have been constantly used in various forms, such as virtual and augmented reality, for the interpretation of cultural heritage in museums and institutions, but they have also been employed to illustrate journals, and even externalise our reasoning in academic books.
The high visual stimulus that virtual constructions usually provide is a useful way to attract visitors to museums, archaeological sites or other heritage institutions. They also allow archaeological knowledge to be communicated and interpreted more effectively. In addition, online platforms have been used to make archaeological knowledge approachable to the public, by incorporating multimedia, simplified versions of field notes and self-explanatory images. On the other hand, novices in the field of digital methodologies are not aware of the potential of virtual constructions in investigating and interpreting archaeological data. This means that digitally constructed versions of the past can be effectively employed as a means of formal spatial analysis in the reasoning process of archaeological scientific research. It can be used to investigate multifaceted issues, which cannot be approached by any conventional means used in archaeology, such as architectural drawings and photography.
This paper examines how the interpretation of archaeological remains, and consequently cultural heritage, can be facilitated by the use of computer methodologies, and argues that these applications should be considered one of the most promising ways to approach incomplete, abstract and ambiguous archaeological evidence. They create unique perspectives and new theoretical visions, advancing the construction of disciplinary knowledge, while making the audience extract meaning from the information being visualised, and making difficult-to-understand or abstract concepts more comprehensible. In order to examine this potential we use as a case study a Minoan site in Greece.

Requirements and Assumptions in Visualization Process of Urban and Surrounding Areas

by Athanasios Sideris

Co-authored with George Sidiropoulos

Formal Three-dimensional Computational Analyses of Archaeological Spaces

by Konstantinos (Costas) Papadopoulos

Co-authored with Graeme Earl

Papadopoulos, C. & Earl, G. (in press). ‘Formal Three-dimensional Computational Analyses of Archaeological Spaces’ Ιn Paliou, E., Lieberwirth, U., Polla, S. Spatial Analysis in Past Built Spaces – Workshop (Berlin, 1-2 April 2010).

Illuminating the Burials in the Aegean Bronze Age: Natural & Artificial Light in a Mortuary Context

by Konstantinos (Costas) Papadopoulos

Proceedings of Computer Applications & Quantitative Methods in Archaeology 2009 – UK Chapter (Liverpool 6-7 February 2009)

Illumination within ancient environments was dependant on daylight and flame, offering a great number of advantages,... more Illumination within ancient environments was dependant on daylight and flame, offering a great number of advantages, helping people in their everyday lives. Due to the fact that the light can be related to the uses of a particular area, visualising the illumination can participate in the study of its functional use. In addition, of particular interest in archaeology is the use of light in connection with religious phenomena or afterlife perceptions especially in mortuary contexts. For these reasons, lighting is one of the characteristics that give to each construction its own personality and deeply affects the way we perceive them. This paper will discuss the results of the illumination study for the Minoan cemetery at Phourni, Crete, while mentioning any constraints. It will also address problems and innovative components, suggesting potential solutions and recommending additional work for the future.

Virtual Windows to the Past: Reconstructing the Ceramics Workshop at Zominthos, Crete

by Konstantinos (Costas) Papadopoulos

Co-authored with Yannis Sakellarakis. In Proceedings of the XXXVIII Conference in Computer Applications in Archaeology, Granada, Spain 6-9 April 2010

At the northeast corner of the Central Building, Room 13, which has been reasonably characterised as a Ceramics... more At the northeast corner of the Central Building, Room 13, which has been reasonably characterised as a Ceramics Workshop, was unearthed in 1989. It is a 15-square-metre area with more than 250 vessels for everyday use, some bronze and stone tools, a potter’s wheel, and a basin in the middle of the room. Ceramics were placed on two benches running along the northern and southern walls, some of which were found in situ. Some of them may have also been positioned on wooden shelves along the walls, as indicated by the great quantity of carbonised wood revealed.
However, there are two peculiar characteristics, which need further investigation: Although the walls are preserved to a significant height, no window was revealed. 2. The basin in the middle of the room, is an extraordinary find.

This project is an ideal example of the contribution of three-dimensional computer applications in archaeological interpretation. Before this project, Room 13 was characterised without any question as a ceramics workshop. The various peculiar characteristics were faced as exceptions to what is known to date about pottery production. However, our virtual windows to the past, proved that the contribution of light to the interior, was not sufficient to consider this construction as a working space. Mainly the lighting analysis, as well as several reasons closely related to the archaeology of this building and the ethnographic comparators used, make it probable that the ceramics workshop was used for multiple tasks, such as the storage and drying of vessels produced in another area of the Central Building.

Structural and Lighting Models for the Minoan Cemetery at Phourni, Crete

by Konstantinos (Costas) Papadopoulos

Co-authored with Graeme Earl

The importance of death to the living is of interest to scholars in a range of disciplines. This paper describes a... more The importance of death to the living is of interest to scholars in a range of disciplines. This paper describes a computer-based research project undertaken to create a series of alternative readings of the dataset from the Minoan cemetery at Phourni, Crete. This attempted to evaluate the tombs’ architecture, use, visual impact, their capacity as well as the contribution of illumination to their interior, by using computer graphic methodologies. However, since the software deployed is primarily developed for use in other fields, there are certain limitations and difficulties for a virtual reconstruction of such an archaeological site, which can prevent production of a model that is accurate in every detail. This paper will discuss the results and these constraints. It will also address problems and innovative components, suggesting potential solutions and recommending additional work for the future.

The Mythological Key to Organizational Culture

by James Siburt

A culture’s myths originate from its collective memory and serve “to create a picture of the world, to establish... more A culture’s myths originate from its collective memory and serve “to create a picture of the world, to establish identity between distant spheres” (Lotman, 1990, p. 152). In other words, our myths help us to make sense of the world, how it functions, and the individual’s significance or purpose within that world. The mythologies shared by an organization provide the culture’s worldview, ethical structures, and the reasoning beyond the norms within which the members operate. These shared mythologies are a cultural product of society created by its members. Yet, the members are also a product of society (Berger, 1990, p. 3). It might be said that the organization creates the mythologies that create them. Learning to recognize and interpret these mythologies provides one with the means to contextualize change strategies that may be more quickly adopted. (Article Available Upon Request)

Miles Davis: Leading in Sacred Space

by James Siburt

Exploring Jazz culture reveals a symbolically rich experience played out within a highly ritualized sacred space. It... more Exploring Jazz culture reveals a symbolically rich experience played out within a highly ritualized sacred space. It is within this context that we witness the leadership of Miles Davis as he relentlessly pursued his Jazz vision. Leadership within the context of the arts, specifically certain genres of music such as Jazz, operates under a very different understanding of the image of a leader. In the sphere of musical genres, antisocial acts, such as excessive indulgences and misanthropic behavior, are believed to add to the authentic image of a true artist. Without these significant anti-social symbols, the artist, by some perspectives, may not be seen as legitimate but as a pretender or “wannabe.” The art produced by those labeled as “original” is considered authentic and perceived to contain legitimacy. The pretender’s art is not a reflection of a “lived” life and lacks any of the rich qualities that would be expected from the “experienced” life. (Article Available Upon Request)