Virtual Archaeology Review. Virtual Museums S P E C I A L I S S U E. VAR. Volumen 3 Número 7. ISSN:

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1 1 Virtual Museums S P E C I A L I S S U E VOLUMEN 3 NÚMERO 7 DICIEMBRE 2012 ISSN Diciembre

2 EQUIPO EDITORIAL EDITORIAL TEAM VIRTUAL ARCHAEOLOGY REVIEW Directores / Directors Alfredo Grande INNOVA CENTER. European Center for Innovation in Virtual Archaeology. Sevilla. Spain. Víctor Manuel López-Menchero Bendicho LAPTE. Universidad de Castilla-La Mancha. Ciudad Real. Spain ISSN Edita/ Edit Secretarios / Secretaries Mariano Flores Gutiérrez Universidad de Murcia. Murcia. Spain Mª Angeles Hernández-Barahona Palma SEAV. Sociedad Española de Arqueologia Virtual. Sevilla. Spain Consejo de Redacción / Editorial Board Maurizio Forte School of Social Sciences, Humanities and Arts. University of California, Merced. USA Bernard Frischer IATH. Institute for Advanced Technology in the Humanities. University of Virginia. USA Juan Antonio Barceló UAB. Universidad Autónoma de Barcelona. Spain Mario Santana Quintero Universidad de Carleton. Canada Robert Vernieux Grupo AUSONIUS. Bordeaux. France Marinos Ioannides National Committee for the Digitalisation and e-preservation at Ministry of Education and Culture Cyprus. Cyprus Michael Ashley CHI. Cultural Heritage Imaging, USA Daniel Pletinckx Visual Dimension bvba, Ename, Belgium Hugh Denard King's Visualisation Lab. King's College London., UK INNOVA Centers in Spain Colaboradores/ Colaborators Número Especial / Special Issue Museos Virtuales / Virtual Museums Roberto Scopigno CNR ISTI. Pisa. Italy Eva Pietroni CNR Institute of Technologies Applied to Cultural Heritage. Rome, Italy Earl Graeme University of Southampton. UK Jim Shang Beijing Tsinghua Urban Planning & Design Institute. Beijing. China José Luis Lerma GIFLE. Universidad Politécnica de Valencia. Spain Jorge Onrubia Pintado LAPTE. Universidad de Castilla-La Mancha. Ciudad Real. Spain Francisco Seron GIGA. Advanced Computer Graphics Group. University of Zaragoza. Spain Luis A. Hernández Ibáñez VIDEA LAB. Universidade a Coruña. A Coruña. Spain. Juan Carlos Torres GIIG, Universidad de Granada. Granada. Spain. Volumen 3 Número 7 Sevilla 1 diciembre de 2012 The research leading to these results is partly funded by the EU Community's FP7 ICT under the V-MusT.net Project (Grant Agreement ). The publication reflects only the author s views and the Community is not liable for any use that may be made of the information contained therein. Neither the V-MusT.net consortium as a whole, nor a certain participant of the V- MusT.net consortium, warrant that the information contained in this document is capable of use, nor that use of the information is free from risk, and accepts no liability for loss or damage suffered by any person using this information.

3 3 CONTENIDOS Museo Virtual Hiperrealista. GAVLE; Documentación Gráfica del Patrimonio. España. 1.- ORGANIZATIONAL ASPECTS OF ICT APPLICATIONS IN CULTURAL HERITAGE VIRTUAL MUSEUM CONTEXT: THE PERMANENT CHALLENGE OF RECONCILIATION OF DIVERGING SCIENTIFIC, TECHNICAL, OPERATIONAL AND FINANCIAL OBJECTIVES. Georgios Giannoulis-Giannoulopoulos Foundation of the Hellenic World Páginas UNDERSTANDING VIRTUAL OBJECTS THROUGH REVERSE ENGINEERING Vera Moitinho y Juan Anton Barceló Departamento de Prehistoria de la Universidad Autónoma de Barcelona. España Páginas DESARROLLO DE PROYECTOS ORIENTADOS AL ARTE Y LA RESTAURACIÓN DE PATRIMONIO: EJEMPLO DEL PROYECTO HIPERESCAN 3D Luis Granero, Francisco Día, Rubén Dominguez, Yolanda Sanjuan y Josué Jiménez AIDO. Departamento de Ingeniería. Paterna, Valencia. España Páginas MUSEO VIRTUAL HIPERREALISTA Pedro Ortiz Coder GAVLE; Documentación Gráfica del Patrimonio. España Páginas The Marcus Caelius Project. Civical Archaeological Museum of Bologna. Bologna. Italy

4 4 5.- INTEGRACIÓN DE CONTENIDOS 3D DE LA CULTURA IBÉRICA EN EUROPEANA A.L. Martínez Carrillo, Francisco Gómez y Alberto Sánchez Vizcaíno Centro Andaluz de Arqueología Ibérica-Universidad de Jaén, España Páginas MUSEOS VIRTUALES. UN CASO PRÁCTICO: MUSEO NACIONAL DE ARQUEOLOGÍA SUBACUÁTICA (ARQVA) Jon Arambarri Basáñez y Unai Baeza Santamaría VIRTUALWARE. Basauri, Vizcaya. España Páginas EVOLUCIÓN DE LAS TECNOLOGÍAS UTILIZADAS EN EL DESARROLLO DE MUSEOS VIRTUALES Mª Dolores Robles Ortega, Francisco R. Feito Higueruela, Juan J. Jiménez Delgado y Rafael J. Segura Sánchez Departamento de Informática de la Universidad de Jaén. España Páginas CUENCA, REALIDAD VIRTUAL Concepción Rodríguez Ruza, Adela Mª Muñoz Marquina, Aurelio Lorente González y Virginia Cañas Córdoba Museo de Cuenca. Cuenca. España Páginas Producción de cartografía multiescala 3D en la Alhambra y su territorio. Patronato de la Alhambra y Generalife. Consejería de Cultura. Junta de Andalucía. Granada. Spain 9.- ESPACIOS EXPOSITIVOS VIRTUALES: PROYECTO UMUSEO, UNA NUEVA OPCIÓN PARA LA DIFUSIÓN ARTÍSTICA. Francisco Javier Caballero Cano Departamento de Bellas Artes. Facultad de Bellas Artes de Murcia. Murcia. España. Páginas INTEGRACIÓN DE SENSORES AÉREOS Y TERRESTRES PARA LA PRODUCCIÓN DE CARTOGRAFÍA MULTIESCALA 3D EN LA ALHAMBRA Y SU TERRITORIO. Antonio Manuel Montufo Martín, José Manuel López Sanchez, Stefano Ferrario, Isidoro Gómez Cápitas y Isabel García Garzón Patronato de la Alhambra y Generalife. Junta de Andalucía. Granada. Spain TCA Geomática. Sevilla. Spain Páginas 50-54

5 5 Etruscanning 3D project. The 3D reconstruction of the Regolini Galassi Tomb Allard Pierson Museum-Amstersam University. CNR Institute of Technologies Applied to Cultural Heritage. Visual Dimension DIGITALIZACIÓN 3D Y DIFUSIÓN EN WEB DEL PATRIMONIO DE LAS UNIVERSIDADES ANDALUZAS MEDIANTE X3D Y WEBGL Juan Gabriel Jiménez, Manuel García, Jorge Revelles y Fco. Javier Melero AgeO C.A.I., Dpto. Backup3D Páginas FORMACIÓN DE PROFESIONALES PARA LA EDUCACIÓN EN LOS MUSEOS Y LA PUESTA EN VALOR DEL PATRIMONIO. MÁSTER UNIVERSITARIO EN EDUCACIÓN Y MUSEOS: PATRIMONIO, IDENTIDAD Y MEDIACIÓN CULTURAL Rosa María Hervás Avilés, Raquel Tudela Romero, Elena Tiburcio, Sánchez y José Mariano Luján González Universidad de Murcia. Murcia. España. Páginas SERIOUS GAMES PARA LA PUESTA EN VALOR DE LA CULTURA. UN CASO PRÁCTICO: SUM Jon Arambarri Basañez, Leire Armentia Lasuen y Unai Baeza Santamaría Virtualware. Bilbao, España. Páginas MATERA: TALES OF A CITY PROJECT: AN ORIGINAL MULTIPLATFORM GUIDE ON MOBILE DEVICES Eva Pietroni CNR Institute of Technologies Applied to Cultural Heritage, Italy Páginas The everyday-life in neanderthal times. Casal De' Pazzi Museum (Rome).

6 THE EVERYDAY-LIFE IN NEANDERTHAL TIMES: A FULL-IMMERSIVE PLEISTOCENE RECONSTRUCTION FOR THE CASAL DE' PAZZI MUSEUM (ROME) Augusto Palombini, Antonia Arnoldus-Huyzendveld, Marco Di Ioia, Patrizia Gioia, Carlo Persiani y Sofia Pescarin Consiglio Nazionale delle Ricerche Istituto per le Tecnologie Applicate ai Beni Culturali Roma. Italy Comune di Roma Sovraintendenza ai Beni Culturali. Italy Páginas COMPUTER SIMULATION OF MULTIDIMENSIONAL ARCHAEOLOGICAL ARTEFACTS Vera Moitinho de Almeida and Juan Anton Barceló Department of Prehistory, Universitat Autònoma de Barcelona. Spain Páginas THE MARCUS CAELIUS PROJECT: A TRANSMEDIAL APPROACH TO SUPPORT CULTURAL COMMUNICATION AND EDUCATIONAL ACTIVITIES AT THE CIVICAL ARCHAEOLOGICAL MUSEUM OF BOLOGNA Laura Bentini, Daniele De Luca, Cristina Donati, Paola Giovetti, Antonella Guidazzoli, Federica Guidi, Marinella Marchesi, Alessandro Pirotti y Micaela Spigarolo Museo Civico Archeologico. Bologna. Italy.CINECA. Bologna. Italy. Páginas The Marcus Caelius Project. Civical Archaeological Museum of Bologna. Bologna. Italy 18.- NATURAL INTERACTION IN VIRTUAL ENVIRONMENTS FOR CULTURAL HERITAGE: GIOTTO IN 3D AND ETRUSCANNING STUDY CASES Eva Pietroni y Claudio Rufa CNR Institute of Technologies Applied to Cultural Heritage, Italy Páginas ETRUSCANNING 3D PROJECT. THE 3D RECONSTRUCTION OF THE REGOLINI GALASSI TOMB AS A RESEARCH TOOL AND A NEW APPROACH IN STORYTELLING Wim Hupperetz, Raffaele Carlani, Daniel Pletinckx y Eva Pietroni Allard Pierson Museum-Amstersam University, CNR Institute of Technologies Applied to Cultural Heritage, Italy and Visual Dimension, Belgium Páginas THE VIRTUAL MUSEUM OF THE TIBER VALLEY PROJECT Antonia Arnoldus Huyzendveld, Marco Di Ioia, Daniele Ferdani, Augusto Palombini, Valentina Sanna, Sara Zanni y Eva Pietroni nstitute for Technologies Applied to Cultural Heritage, CNR. Rome, Italy Páginas

7 7 Natural interaction in Virtual Environments for Cultural Heritage. Giotto in 3D CNR Institute of Technologies Applied to Cultural Heritage, Italy 21.- TECNOLOGÍAS PARA MUSEOS VIRTUALES EN DISPOSITIVOS MÓVILES María Dolores Robles Ortega, Francisco R. Feito Higueruela, Juan José Jiménez Delgado y Rafael J. Segura Sánchez Departamento de Informática de la Universidad de Jaén. España Páginas ARQUEOLOGÍA VIRTUAL EN DISPOSITIVOS MÓVILES. UN CASO PRÁCTICO: PATRIMONIO DEFENSIVO MEDIEVAL. José M. Noguera, María V. Gutiérrez, Juan C. Castillo y Rafael J. Segura Grupo de Gráficos y Geomática de Jaén. Grupo de Investigación del Patrimonio Arqueológico de Jaén. Universidad de Jaén. Jaén, España. Páginas DPUBLISH: SOLUCIÓN WEB PARA CREAR MUSEOS VIRTUALES 3D DINÁMICOS P. Aguirrezabal, S. Sillaurren Media Unit, Tecnalia Research & Innovation Centre, Derio. España Páginas Patrimonio Defensivo Medieval. Universidad de Jaén. Jaén, España.

8 8 Organizational aspects of ICT applications in cultural heritage Virtual Museum context: the permanent challenge of reconciliation of diverging scientific, technical, operational and financial objectives. Georgios Giannoulis-Giannoulopoulos Foundation of the Hellenic World. Greece. Abstract: The applications of ICT in the cultural heritage field are including a new expanding category of applications, having a creative character, and a multidisciplinary approach. Motivations and priorities of involved players (individuals and organizational players), are presented, through various FHW paradigm projects, in order to explore the possible impact of this kind of projects in science and cultural heritage concept, as well as to explore their hidden added value, that makes them capable to attract resources. Key words: ICT, CULTURAL HERITAGE, VIRTUAL RECONSTRUCTION. Resumen Las aplicaciones de las Tecnologías de la Información y la Comunicación en el patrimonio cultural comprenden una nueva categoria de acciones, con un caracter creativo, y un concepto multidisciplinario. Este trabajo sirve para presentar las motivaciones y prioridades de los actores involucrados (individuos o instituciones), que participan en estos proyectos, para examinar en base a estos las posibles consecuencias de estos proyectos en el concepto mismo de ciencia y patrimonio cultural, al mismo tiempo que se explora también su oculto valor añadido, valor este que les puede permitir atraer nuevos recursos. Palabras clave: TICS, PATRIMONIO CULTURAL, RECONSTRUCCIÓN VIRTUAL. 1. Introduction The applications of ICT in the cultural heritage are covering a very wide range of applications in the field: from the simple use of working software such as the simple text processing software, to applications of data processing and material analysis, for specific archeological research and conservation works. Despite the fact that they are changing the way of work, of an archeologist for example, they have no impact in the methodology and objectives of its own science. We could call them operational ICT applications in CH. Changing the paper notebook to the electronic one is a new, and far more effective professional tool, improving dramatically productivity, but not a change at all in terms of the science of archeology. The applications we are dealing with, here, are not belonging to this category. Another kind of applications of ICT in the cultural heritage field, are concerning external from the cultural heritage disciplines applications, have an impact to the cultural heritage operation also: development of on-line networks, allowing the quick communication of results, on line publications, communication and on line conferences, even the on-line access to pictures and data that would be more costly to access with the traditional ways, etc. We could call them systemic applications ICT applications in CH. They have an impact on cultural field actions, improving productivity and changing habits of work, changing and improving day-to-day operation. They are creating also, in some way, a generation gap, leading on the same time to a kind of prim of the scientific positions and knowledge of the younger generations, more familiarized with this kind of work environment. However they remain external to the core of values and objectives of the cultural heritage field. We are not going to examine these applications either. Finally, a third kind of ICT applications has emerged, in the field of cultural heritage: projects that combining archeological research methodologies with ICT applications, are creating results, and somehow also products, which are integrating internal cultural value. Scientific knowledge within that process is transformed to something else, which contains that knowledge but it is not part of the traditional methodological system of archaeology or history. Tangible and intangible cultural heritage (UNESCO, 2003) can be the object of this kind of projects. We can call them Creative ICT applications in CH. This particular kind of applications, although they seem quite marginal in terms of the total number and financial value of ICT applications in cultural heritage, they almost monopolize the interest of the researchers, networks, analysts and public comments. This is the question we are going to try to answer. We are going to examine here, that kind of applications, illustrating 2 paradigmatic, projects of the Foundation of the Hellenic World.

9 9 2. Paradigms of projects a. The Virtual Reconstruction of the Ancient Agora of Athens The Virtual Reconstruction of the Ancient Agora of Athens (FHW, Ancient Agora) is a 4 years project of FHW, which has been implemented between The projects objective was to rebuild, one of the modern world symbolic landmarks: the ancient Agora of Athens, present its architectonic and historical evolution through the antiquity from pre-classical to roman times. The ancient agora of Athens has been rebuilt piece by piece following a strict scientific visualization methodology, summarized as following: scientific documentation, scientific control and validation in the visualization process, publication of documentation, choices and decisions for visualization aspects, educational oriented approach concerning presentation to the public using interactive possibilities of technology. The approach of FHW consists on the accurate reconstruction, through various layers of scientific documentation and research, on the same time with the provision of that documentation in a scientific way, for the researchers, the educational community and the wide public. The overall cost, from the starting point to the beginning of the operation to the public, has been around 2 million Euros, from which contributed by EU and National funds, and the rest by FHW in work and infrastructures and other expenses. Around 350 MM have been invested to the projects, from which approximately 50MM of historian archeologists, 30 MM of architects, 170 MM of 3d modelers and graphic designers, 50 MM of VR programmers, around 10 MM efforts of museum educators, and the remaining 40 MM resources where allocated to scenario writers, musicians, sound designers, producers etc. The project results, the collection itself, is, since 2008, accessible to the public to Tholos, an advanced dome shaped VR theater museum, of 135 seats, belonging to the museum and cultural center complex of FHW in the center of Athens, named as Tholos from the homonym monument of the Ancient Agora of Athens, due to the dome shaped figure. Various presentation and guidance scenarios are available to the public (scholars, pupils, tourists, simple visitors). Since then more the persons have paid a 45 minutes visit to the virtually reconstructed ancient agora of Athens. The project has been presented and commented to various scientific publications, in different fields (academic, or technological) and has also received a high national and international visibility, through any kind of Media. b. The virtual reconstruction of Hagia Sophia monument, as it where in the 11th century: An ongoing project The next large scale project of FHW, actually on-going, is to create an entire, original 3D reconstruction of the church of Hagia Sophia in Istanbul, based upon its classic Byzantine form, as it was around 11th century. We also aim to present the development, through the centuries, of certain characteristic elements of the monument, through partial, dynamic virtual reconstructions. The project will take into account the latest evidence and studies on Hagia Sophia and, thus, will further the study of the monument creating a solid base for future research. The project aims to go beyond the experience and the possibilities explored by the existing applications and projects of virtual and 3D reconstructions of Hagia Sophia. With our principal model we aim to present both the architecture and the interior decoration of the church. Detailed aspects of the building s different phases will be presented through the development of a number of scenarios and applications, which will be connecting its development with the historical context of each period, taking into account the technological limitations. The visualisation of the details will vary, depending of the extent of the documentation. Three general categories will be distinguished: surviving elements, secure reconstructions and conjectural reconstructions. The attempted restitution of the evolution and the successive alterations of the building will ensure the dynamic character of our reconstruction. When finished the reconstruction, Hagia Sophia will be displayed at Tholos, following 5 different scenarios, focusing of different aspects of the monument: architecture, art, religion, historical events. Image 1: The Ancient Agora in front of the public The overall project cost is going to reach more than 2 million Euros, from which are assured through European structural funds and the remaining amount is covered by FHW resources. Modelers, archeologists, historians, interactive application creative developers and scenario writers, scientific experts, VR programmers are involved in the project, that initially is foreseen to be completed at the end of The virtual reality applications mentioned above have been enriched with educational scenarios, and metadata and documentation provided either on site, during the visit, either through complementary technologies, such as the internet. The methods and the archeological data of the reconstructions are exposed in the form of scientific articles, including assumptions and different interpretations on-line. Practical evaluations and studies have proved in relevant literature that learning effectiveness is accentuated through that kind of IT experiences (ECONOMOU & PUJOL, 2007).

10 10 3. The framework of the virtual re-creation of an ancient world The current dominant discourse about the reconstruction of ancient places, sites, monuments etc using Virtual reality techniques, is tending to focus on the point of view o the discipline of archeology in contrast of the Hollywood type fictions. However the reconstruction of an ancient world can not remain a reconstruction of the archeological knowledge only: no empty space is allowed by the medium. Sounds, visual continuity, movement capability within the environment, oblige to produce something far more complete than just the percentage of the past tackled and proved by the archeologists. It leads to the recreation of worlds, rather than reconstruction of a simple monument, or site. A real world is composed by objects, build environment, clothes, human and natural sounds, language (written and spoken), music, natural environment as transformed by humans, but also human bodies, and faces, body movements and expression and facial expression (both elements changing through time and cultures), natural movements, temperature, and far more. Wherever somebody starts from, the rest also will be needed. A virtual world is composed, in the mind of the visitor, from the same elements with the real world. During any virtual reconstruction operation, explicitly or not, consciously or not, at the end those elements are there. Even if some of them are not included, they still are perceived by their absence. Who is making up decisions for those elements though? About the sound or the language, about the plants, about gests? Wouldn t be more reasonable that these aspects should be claimed by other than archeology disciplines and arts? Philology, theater, musical studies, natural history sciences, biology, climatology etc. And beyond that a virtual world recreation leads definitely to the recreation of meanings, values and feelings, historical facts and explanations, expressed through story telling techniques: moving and acting characters, historical facts narrated, the human situation recreated (scheme 1). Images of the build and natural environment: architecture build environment, nature, plants, animals, geography and terrain, materials Human life visual cultural characteristics changing through time: body movement, gests, face and body expression codes, clothes Dark material of the world: Interaction between various elements, human characteristics within a meaningful world. Stories expressing values and feelings of the ancient world. Sound: Natural sounds, Music, Speech language (including intonation ) expressions meanings) Scheme 1: Components of a virtual world: a creative process In conclusion the virtual re-creation of a past world (even the most limited piece of a past world), involves a lot more disciplines and arts than archeology. And even though a large aspect of any world will be unrecoverable, the dark material of the past, that has to be represented in the virtual space, values, meanings, actions. VR does not allow empty space. That space is filled finally by the unique capacity of human imagination: that is the process of creativity. All those aspects of the virtual recreation are actually studied by number of disciplines and arts, using different methodologies and approaches, with many methodological difficulties to communicate. All those aspects virtual recreation are representing decisions to be taken within the recreation process that are taken anyway by somebody. If the right person is not involved and is not there, they will be taken by somebody else: if there is no musicologist somebody will decide about the sound, if there is no historian, somebody else will decide about the facts and values, if there is no theater persons somebody else will decide about human body and face movements, if there are not creative people or others, modelers and programmers, will take their place. A struggle of power of players involved and to-be-involved is in place. Who is distributing the roles? 4. The involved players and their objectives Each separate group of scientists and players involved in these projects has a different set of objectives and personal priorities, depending on its own background and position within the discipline he/she belongs as well as his current organic position

11 11 related to the project (external writer, or collaborator, scientific committee member, internal programmer etc.). - ARCHEOLOGY AND ARCHEOLOGISTS UNDER VARIOUS ORGANIZATIONS: INTERNAL FHW TEAM, with established work methodology, external experts and scientific committee working for the project. They provide the core scientific information for the project. They work with different roles, as data providers, solution providers, and validation actors. Objectives: Personal success and visibility to the archeological and academic community through accurate scientific results including sometimes primary research Publication of findings Personal visibility within the community of archaeologists Always need to get more time and effort - ARCHITECTURE AND ARCHITECTS SPECIALIZED IN ANTIQUITY. Working in close collaboration with modelers in order to guide the rebuilding process, feeding them with drawings, materials for colors textures Objectives: Personal success and visibility within the community of architects and general visibility, by achieving to provide accurate and correct architectural instructions for the project Individualization of their input as a separate scientific input from the archeological one Always need to get more time and effort - 3D MODELERS AND GRAPHIC DESIGNERS: building the site column by column, reconstructing from the scratch literally: the drawings provided by architects and the data of the archaeologists and the scenarios of the art direction. Personal success and visibility within the community of modelers and general visibility concerning the quality of graphics Personal creativity s accomplishment Always need to get more time and effort - VIRTUAL REALITY PROGRAMMERS Objectives: Personal success through the achievement of programming tools, creating more effective solutions, able to integrate the highest quality of graphics in the real time world of Virtual reality. Always need to get more time and effort - ART DIRECTORS, SCRIPT WRITERS FOR INTERACTIVE EXPERIENCES, MUSIC CREATORS Objectives: Wider possible visibility and acceptance of the entertainment and aesthetical part of the work, success to the target group Personal visibility through the artistic part of the project and visibility of results - HISTORIANS AND WRITERS OF SCIENTIFIC TEXTS Objectives: Publish new research results and be recognized by their community within a high level scientific corpus. Avoid trivial subjects in research Have comfortable deadlines - ADMINISTRATORS AND MANAGERS Objectives: Keep finances and funding within the initial budget plan, update if and when necessary: means actually to be able count progress (not easy word in the humanities field). Keep timetable within reasonable schedule Act, inform and report to owners and funding bodies, following the guidelines Extract quick decisions and agreements from different players. Assure convergence of decisions and avoid diverging positions Always ask for acceleration and oblige the scientists, engineers, artists to make the steps they are not use to do, within their strict scientific field, in order to meet the other scientists needs as well as the administrative and financial background. Succeed to set up compromises leading to the better possible result. - OWNERS AND FUNDING BODIES Objectives: Have a high visibility result acceptable to all communities and the wider public Keep expenses as low as possible and monitor the overall alignment with the legal and financial framework of operation of the organization and of the precise project. Meet overall timetable End with a high cultural added value result 5. Diverging forces Analyzing the above mentioned priorities and objectives of different players we can indentify various diverging scientific/personal objectives, leading to the development of strong desegregating forces: modelers have to accept lower quality of graphics according the programming restrictions and the monuments themselves, programmers have to accept and be forced to resolve problems of real time power processing systems in order to

12 12 meet the project technology limiting needs creating robust applications for industrial operation with the wide public, Archeologists, in the case of visualization projects, have to deal with the way that resolved scientific issues are visualized, and integrated to the metadata of the project, instead of advancing research with new hypothesis and discoveries. They have more to synthesize than analyze. Historians and archeologists and other social scientists have to write articles within a thematic corpus, dealing with Hellenic culture, short in size, compressed somehow, scientific information, that would be probably less meaningful out of the corpus as a separate article. Educators and scenario s designers are working under the very hard restrictions of mass interaction virtual reality devices, such as virtual reality theaters, in terms of time of the visit, objectives of the scenario, limitations of the interaction. Creative persons have to deal with the limitations related to the archeological and historical information, in terms of accuracy and ethics. Owners and funding bodies are undertaking considerable costs and risks from the evolution of the technology and immaturity of technological applications in some cases. Finally, managers are transformed to creative motivators. They have to be able to understand the concerns and priorities, set up compromises in terms of choices of persons and choice of solutions in order to assure the integrity and success of the project. 6. Disintegrating forces Fast technological evolution creates often unpredictable tensions within the project lifecycle, imposing serious changes to project plans and content design ICT technologies immaturity and rapid change create doubts about the possibility of the result to survive in a longer period of time (essential for creative work and science) 7. Gravitational forces Given the diverging objectives of the different clans involved in this kind of projects, it becomes legitimate to ask the question what keeps all that together? Certainly there is one common value to everybody involved in the project: the professional relationship with the project: everybody is paid for his/her work. However this fact does not explain all. The salaries of the persons involved in the creative ICT projects in CH, are not higher than those for the same persons in their traditional scientific or industrial work. Although the persons needed are usually more skilled working under harder restrictions within cultural heritage ICT creative projects, than their counterparts in their respective sectors, especially persons coming from human sciences. Additionally the cost of the projects raises another question: why those projects are funded? Why the decision makers in our societies (through private or public funds) are spending significant amounts of resources in this kind of projects? We have also to keep in mind that one of the common aspects of creative ICT projects in CH, is also the relatively higher cost compared to any traditional pure scientific action (i.e. field research and a book for example) or industrial application (i.e. a video game). Why private and public organizations are deciding to fund visual reconstructions, virtual museums, and large scientific databases etc.? Do the funding bodies earn directly money out of that? The answer is no, given the high development and operation costs, and the fact that most of them are public or non-for-profit organizations. A possible explication of the phenomenon, is attaching the general interest to the attractiveness of the classical antiquity, for the wide public, proved by references everywhere, even in commercial publicity, as presented by Athanasios Sideris (SIDERIS, 2008; Σίδερης, 2008). That idea is certainly part of the explication. But it is not justifying alone the general trend leading to the development of applications not only in the classical antiquity but in other heritage fields also. Something more is hidden in the projects adding value for individuals and certainly at the end of the day, creating a new field of value for the final product itself, independent from each separate objective and priority. 8. Social Visibility Looking back to the individual objectives and success priorities of all players involved, we will find a common objective toward a different target group: visibility and at the end recognition. The creative ICT applications in cultural heritage are assuring a high cross public visibility for up-to-now, marginally visible fields of science: visualized know ledge, the power of image, the power of synthesis around a context, touches directly the collective imaginary about the past. On the same time the scientific credits of the method, liberates this process from the accusation of being a vulgar Hollywood product or on the best to be just popular science. Scientific aesthetical choices made within high visibility projects are dressed even unconsciously with the power of the image and public acceptance, influencing balance of power within historians and archeologists scientists, for the interpretation of the past. The catalogue of subjects of the entries of the Encyclopedia of the Hellenic World is touching the core idea of the Modern Greek identity and on the same time it interacts with the western identity, it creates an imaginary fact. The visual approach of the ancient Agora of Athens and the immersion to this environment, given that it is dressed with the scientific approval, creates emotional reactions to the core of our western identity, even if the approach remains neutral. In fact it seems that social visibility of creative ICT applications on cultural heritage, has a double source: the emotionally charged fascination of the wide public (including the members of the scientific bodies) from the evolution of internet and visual technologies and the collective curiosity and emotional approach of the past, as a reference to our modern values and identities. It seems that this meeting point is creating a new space, beyond the traditional borders of human sciences and creative arts:

13 13 archaeologists or historians are starting to consider that new mediums such as Virtual reality reconstructions or new knowledge collections are emerging as a new field of scientific work, where they are not alone any more. Programmers and modelers, multimedia designers, musicians and artists, are creatively integrated by motivators and coordinators within that new Cultural heritage domain. This seems to be the main factor that creates the gravitational force attracting resources, brains, creativity to the development of creative ICT applications on cultural heritage: visibility and released scientific and artistic creativity within the creative IT environments. A new power struggle is organized around the new tool, archeological and historical views are not neutral views: they are part of modern identity construction and closely linked with that process (PLANTZOS & DAMASKOS, 2008). Participating to this adventure, seen suspicious in the beginning by academics, seems to be slowly seen as inevitable: individuals participating in this kind of creative projects, through their social visibility and trans-discipline acknowledgment and validation, are modifying the traditional balance of power within their own discipline. Going back to Michel Foucault, and its own archeology of knowledge (FOUCAULT, 1969), we could probably suspect that a new line of scientific discourse and a new concept has been rooted and lunched? It remains to proved. What seems certain is that internal balance of powers and possibly validation processes of disciplines involved in the multidisciplinary process under Creative ICT projects in cultural heritage, are going to start changing. Questioning the limits of the convention of UNESCO for the intangible heritage, given the geometrical expansion of new ICT applications digitizing one way or another our scientific knowledge, using visual and other creative techniques, could we consider the results of this kind of projects as something more than a simple addition of their components? Would it be legitimate to think that some of them really start to form part of our future intangible cultural heritage, creating a new field, merging arts, human sciences and informatics? If the current trend is generalized and amplified in the future, bringing far more resources in the process, could we suppose that our new cathedrals and libraries, will be built by pieces of algorithms located in massive storage devices? Bibliography ECONOMOU, M. & PUJOL TOST, L. (2007): Evaluating the impact of new technologies on cultural heritage visitors, in J. MacLoughin, K. Kaminski, B Sodagar (eds). Technology strategy, management and socio-economic impact, heritage management series, vol. 2, Budapest, Archaeolingua. FHW (2007): Ancient Agora, Visual reconstruction of the ancient Agora of Athens. FHW (2007): THOLOS the dome shaped theater of FHW. FOUCAULT, Michel (1969): L'Archéologie du savoir. Paris, Gallimard. PLANTZOS, D. & DAMASKOS, D. (eds.) (2008): A Singular Antiquity, MOUSEIO BENAKI 3rd supplement, proceedings of the conference entitled Archaeology, Antiquity and Hellenicity in twentieth century Greece. SIDERIS, A. (2008): Recontextualised Antiquity: Interpretative VR Visualization of Ancient Art and Architecture, in Makropoulos T. A. and Papachristos N. M. (eds), Proceedings: International Symposium on "Information and Communication Technologies in Cultural Heritage", Ioannina, 16-18/10/2008 (Ioannina 2008), pp UNESCO (2003): Convention for the Safeguarding of the Intangible Cultural Heritage. Σίδερης Α., (2008): "Συγκείµενα, ερµηνείες και αφήγηση ιστοριών σε εικονικά αρχαιολογικά εριβάλλοντα", Πρακτικά της ηµερίδας Αφήγηση Ιστοριών (Storytelling) σε Αρχαιολογικά Εικονικά Περιβάλλοντα, 25/11/2008 Αθήνα, Ελληνικός Κόσµος, (online publication).

14 14 Understanding Virtual Objects through Reverse Engineering Vera Moitinho y Juan Anton Barceló Departamento de Prehistoria de la Universidad Autónoma de Barcelona. Barcelona. España Resumen El principal objetivo de nuestra investigación consiste en desarrollar una nueva metodología de análisis e interpretación de artefactos arqueológicos para el estudio de la relación entre forma y función de los artefactos. El fundamento de nuestra propuesta es un enfoque basado en técnicas de Ingeniería Inversa que partiendo de datos visuales procedentes de escaneo 3D, los pone en relación con las consecuencias esperadas de las acciones sociales que tuvieron lugar en el pasado en un enfoque de Inteligencia Artificial y análisis cuantitativo de datos. Además, nuestro trabajo está basado en la nueva manera de ver la realidad arqueológica. El procedimiento consiste en la simulación computacional de la cinemática de esas acciones y ele estudio de las características geométricas y visuales de sus consecuencias potenciales, expresando los resultados en términos de relaciones entrada-salida. Palabras Clave: DIGITALIZACIÓN 3D, INTELIGENCIA ARTIFICIAL, INGENIERÍA INVERSA, SIMULACIÓN, RECONSTRUCCIÓN VIRTUAL. Abstract The main objective of our research is to develop a new methodology, based on Reverse Engineering processes 3D scan, quantitative data analysis and Artificial Intelligence techniques, in particular simulation to study the relationship between form and function of artefacts. Furthermore, we aim to provide new data, as well as possible explanations of the archaeological record according to what it expects about social activity, including working processes, by simulating the potentialities of such actions in terms of input-output relationships. Key words: 3D SCAN, ARTIFICIAL INTELLIGENCE, REVERSE ENGINEERING, SIMULATION, VIRTUAL RECONSTRUCTION. 1. Introduction In archaeology, capturing and processing 3D digital data have been frequently directed for preservation and dissemination purposes, through a wide number of virtual reconstructions, virtual reality and visualizations, virtual museums, replicas or even entertainment. Although these technologies have been around for some time, it appears that there are still few studies and research projects in virtual archaeology that go in further directions (Fig. 1). How to capture and process these new digital data? What kind of information can these accurate data provide us? development cycle and analysing its structure, function and operation (ITA; DENNET, 1991; EILAM, 2005; RAJA, 2008; WANG, 2011). The same way RE has been used for a variety of different purposes for instance, industrial manufacture, aerospace, automotive, software, medicine, inspection and quality control we may also ask: Can RE be of any use in archaeology? If so, how can it play an important role in solving certain archaeological questions? The main objective of this research is to develop a new methodology, based on RE processes 3D scan, quantitative data analysis and Artificial Intelligence techniques, in particular simulation to study the relationship between form and function of artefacts. Furthermore, it aims to provide new data, as well as possible explanations of the archaeological record according to what it expects about social activity, including working processes, by simulating the potentialities of such actions in terms of input-output relationships. 2. Methodology Figure 1. Basic framework. As each discipline of engineering has a different definition for Reverse Engineering (RE), henceforth when we refer to RE we refer to the process of extracting missing knowledge from anything man-made, by going backwards through its Ever since the studies of materials from direct observation and handling has provided data of great and unquestionable relevance. Visual perception makes us aware of many fundamental properties of material evidences from past human activities. Different visual characteristics have almost certainly been of great importance for different explanations. For their study it is essential to measure, to compare and to classify the

15 15 various attributes of the shapes and forms of archaeological materials, as much as to quantify them, since these allow to describe its (ir)regularity and to some extent making possible the study of its causes (BARCELÓ, 2010). In this context, it becomes critical to understand on the one hand the meanings of both Form and Function and how to describe each one of them. In an archaeological perspective, it is essential to understand and define objective parameters, as well as the characteristics, attributes and quantitative properties that are to be taken into account. What and how to identify, characterize and classify? And how to extract and use the geometrical and structural information therein contained? On the other hand, to understand the different types of possible relationships between form and function. Hitherto, the insufficiency and lack of a clear consensus on the traditional methods of form description mostly visual, descriptive, ambiguous, subjective and qualitative have invariably led to ambiguous and subjective interpretations of its functions. It is thus strongly advisable to systematize, formalize and standardize methods and procedures more objective, precise, mathematical and quantitative, and whenever possible automated. Can the form of an artefact determine its function(s)? How can form be a key factor in determining the actions that can be and/or were possibly performed with a specific artefact? Thus, how to determine the working processes that produced certain artefacts with specific forms? Hence, based on the premises that form identification is fundamental to the archaeological study; and that form should be considered as a quantitative property, referring to the metric characteristics of an object and therefore be expressed geometrically and not verbally, emerges the need to investigate: a) Since archaeological objects have at least three dimensions and belong to a physical space in which we human being move i.e. the archaeological context why not study all this geometry, instead of only its two-dimensional representation e.g., sketches, drawings or photographs and the obvious loss of information? The major problem of two-dimensional representations has been that assumptions, rather than measurements, have often sufficed for a missing third dimension for instance, assumptions that surfaces are plane or that they are truly vertical or horizontal. So, if one needs to study an artefact in depth, two-dimension context is not generally sufficient (MOITINHO, 2007). b) If computational analysis of forms of archaeological evidences can play an important role in solving certain archaeological problems. If so, how? Since computational analysis allows identifying forms and inferring its mapping, responding to questions raised by visual perception, its potentialities let us clearly foresee many practical applications, such as geometric morphometrics in three-dimensional space; forms and patterns recognition; lithic, bone and pottery refitting and reconstruction, among others. c) If it is possible to automate the recording, processing and transformation of archaeological data in a systematic and efficient way, in order to enable its analysis and classification. If so, how? If it is then possible to interpret in a systematic and efficient way the relationship between form and function of different archaeological artefacts, from different geographical and chronological contexts, to thereafter be able to suggest working processes and deduct past social dynamics. If so, how? 2.1. Reverse Engineering As mentioned earlier, RE is the process of extracting missing knowledge from anything man-made, by going backwards through its development cycle and analyzing its structure, function and operation. It consists of a series of iterative steps, each addressing different questions regarding, in this case, an overall artefact. These steps may be repeated as often as needed until all steps are sufficiently satisfied. In this research, the scope of RE processes refers only to geometric features of the form of artefacts. We intend to apply RE from the physical-to-digital stage to the interpretation, by simulating the artefacts function and inferring possible inherent working processes (Fig. 2). During this experimental work, it will be important to analyse its potentialities, constraints and limitations. At the end, we aim to use these processes in the effort to achieve more efficiently better results, as well as to decrease research time and efforts. 3. 3D Digital Model Figure 2. Proposed framework. Given the fragile nature of many archaeological material evidences, we intend to use a non-contact close-range 3D scanner to first proceed with the capture of three dimensional geometric digital models and new data concerning to the form of several artefacts from different spatial and chronological provenances. Secondly, we will have to deal with several issues related with data processing e.g. scans alignment, point cloud processing, polygonization, hole filling, data filtering (algorithms) levels of detail and desired accuracy. Next step will consist in utilizing form descriptors to extract quantitative data, in a way it can be decoded and understood by the archaeologist. By describing objectively the form of an artefact ambiguities or subjectivities are avoided, and

16 16 quantifications and comparisons become less tough. This new information is expected to provide sufficient and meaningful data to distinguish one artefact from another, by evaluating its mathematical function; thus to allow surface and volumetric comparisons, according to standards universally considered among the different types of archaeological artefacts. It seems obvious to us that one can only explain and interpret, if one has previously measured and described correctly. However, before proceeding with the data capture, processing and extraction, it is crucial to define previously what sort of data are archaeologically relevant to solve a specific problematic. In other words, what data to extract from the 3D geometrical digital models and to what purview are they representative of what is intended to demonstrate? How can these 3D digital data be useful in our archaeological research? What sort of gains to expect in the present project? In what way can the collected data generate useful information and how to translate it into knowledge? The intrinsic value of the data comes from the ability to be able to extract useful information from them, i.e. semantic data. 4. Computer Simulation and potential body deformation. Besides FEA, it is also possible to apply restraints to the whole assembly and analyze how it will react to the effect of, for instance, stress, forces and torsions, pressures, strains and deflections, fatigue, bearing load, drop, movement, gravity, temperature, and deformations; or to predict buckling or collapse, flexibility and breakage susceptibility, crack propagation, or even to evaluate a component s lifetime. Simulation results may provide new insights into the complex dynamics of certain phenomena, such as event-based motion or kinematics. Here, the computer simulates the motion of an artefact or an assembly and tries to determine its behaviour by incorporating the effects of force and friction. Meshes density, component contacts and connections, and material properties are also to be taken into account, when simulating motion capabilities in order to assess artefacts functions. Mechanism Analysis allows to understand how the mechanism of an artefact assembly performs e.g., to analyze the needed force to activate a specific mechanism or to exert mechanical forces to study phenomena and processes such as wear resistance. Of course, one should keep in mind that depending on the problematic and artefacts to be studied, some of these simulations might be more or less suitable, not suitable at all, or should even be used in conjunction with each others. Based on the extracted descriptors, in this case the quantitative data previously obtained, we aim to develop and experiment advanced computational techniques, in the effort to automate geometric morphometrics analysis of different types of archaeological artefacts with an emphasis on the analysis of three-dimensional simple and complex geometries and execute more efficiently part of the proposed methodology. Artificial Intelligence techniques, in particular computer simulation, permit to test different features and replicate distinct behaviours on a specific 3D digital model of an archaeological artefact here described as a mathematical model that incorporates several variables. That is to say, the use of computer simulation as an experimentation and validation tool towards a better understanding of archaeological artefacts, by endowing 3D digital models with physical properties and thereafter manipulate virtually these enhanced multidimensional models (REICHENBACH, 2003; KAMAT, 2007; PERROS, 2009). The advantages of including mass and assigning raw-material properties to distinct artefacts components, the mechanical properties of raw materials (including artefact and destiny impact surfaces), the mechanics between artefacts components, the mechanics of human movement, the type of medium (air, water, etc.) and physics are considered in order to conduct tests, analyze and predict how the virtual artefact would behave as a physical object in real world operating conditions. Ergo, enabling a wide variety of what if scenarios, in order to determine probable functions of artefacts and working processes that produced objects with specific forms. Computer simulation and visualization tools offer several possibilities to tackle. Among them is Finite Element Analysis (FEA), which allows the body of an artefact, or even a component, to be divided in a large number of sections, i.e. elements, where each element intersection is called a node. By applying a force and indicating its magnitude on each node, FEA can determine how it will react, for example, to certain stress levels, while indicating the distribution of stress, displacement 5. Conclusions It seems quite clear to us that, on the one hand, the choice of appropriate methods and techniques should definitely depend on the archaeological problem to solve. On the other, that the use of any technological or methodological advance should assume an important step for the archaeological research in question. Given that the purpose of this paper is to introduce a preliminary methodology, there is of course much work ahead. The next step will then consist in its implementation. The potentialities of 3D scanning and some of the advantages of working and conducting experiments with 3D digital models are already well-known (BERALDIN, 2004; MARA, 2004; BATHOW, 2008; GEORGOPOULOS, 2010). Computer simulation can be understood as an experimentation and validation tool that takes care of many different tasks; as well as a kind of coordinator between the different artefact s elements, properties and data. At the end, we intend to evaluate RE processes constraints, quality, robustness and effectiveness, by controlling the flow of information and vulnerabilities of the system. While the priority here is given to the computational study of the geometry of archaeological artefacts in order to deduct its possible functions and consequently to be able to suggest working processes and inherent past social activities to a greater extent, to build new hypothesis and to improve understanding of the data ideally these achieved results should be both compared and supported by other sorts of data e.g., use-trace and sediment analyzes, indirect information (ethnoarchaeology, photographs, documents), geographical and chronological context to enable more complete what if? scenarios and therefore an overall understanding of the subject. Moreover, if feasible, one should also conduct real world testing to completely verify.

17 17 Aknowledgements This research is funded by the Spanish Ministry for Scienc and Innovation, under grant No. HAR , and it is a part of the joint research team Social and environmental transitions: Simulating the past to understand human behaviour (SimulPast) ( funded by the same national agency under the program CONSOLIDER-INGENIO 2010, CSD This research also benefits from Vera Moitinho s Ph. D. grant from the Fundação para a Ciência e Tecnologia (FCT), Portugal. References BARCELÓ, J. A. (2010): Visual Analysis in Archaeology. An Artificial Intelligence Approach, in Morphometrics for Nonmorphometricians, edited by E.M.T. Elewa. Springer. BATHOW, Christiane and WACHOWIAK, Mel (2008): 3D Scanning in Truly Remote Areas, in Coordinate Metrology Systems Conference - CMSC, Charlotte, NC. [View: ]. BERALDIN, J.-A. (2004): Integration of Laser Scanning and Close-range Photogrammetry The last Decade and Beyond. [View: ]. DENNET, Daniel (1991): Cognitive Science as Reverse Engineering: Several Meanings of Top-Down and Bottom-Up, final draft for Proceedings of the 9th International Congress of Logic, Methodology and Philosophy of Science. [View: ]. EILAM, Eldad (2005): Reversing: Secrets of Reverse Engineering. Wiley Publishing, Indianapolis. GEORGOPOULOS, Andreas et al. (2010): Assessing the Performance of a Structured Light Scanner, in Commission V Symposium. International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, 38(5). [View: ]. KAMAT, V. R. and MARTINEZ, J. C. (2007): "Variable-speed object motion in 3D visualizations of discrete-event construction simulation models". ITcon, Vol. 12, pp , [View: ]. MARA, Hubert et al. (2004): The Uniformity of Wheel Produced Pottery Deduced from 3D Image Processing and Scanning, in Proceedings of the 28th Workshop of the Austrian Association for Pattern Recognition - OAGM/AAPR, Digital Imaging in Media and Education. W. Burger, J. Scharinger (ed.). Schriftenreihe der OCG, nº 179, pp MOITINHO, Vera (2007): Virtual Archaeology: Work in Progress, in Proceedings of the 35th Computer Applications and Quantitative Methods in Archaeology Congress, CAA PERROS, Harry (2009): "Computer Simulation Techniques: The definitive introduction!". Computer Science Department - NC State University, Raleigh, NC. [View: ]. RAJA, Vinesh and FERNANDES, K. J. (ed.) (2008): Reverse Engineering: An Industrial Perspective. Springer-Verlag, London. REICHENBACH, Tomislav and KOVAČIĆ, Zdenko (2003): "Derivation of Kinematic Parameters from a 3D Robot Model Used for Collision-free Path Planning", in Proceedings of the 11th Mediterranean Conference on Control and Automation, MED '03. [View: ]. USAIT: Glossary, in U. S. Army Information Technology Agency, [View: ]. WANG, Wego (2011): Reverse Engineering: Technology of Reinvention. CRC Press.

18 18 Desarrollo de Proyectos Orientados al Arte y la Restauración de Patrimonio: Ejemplo del Proyecto HIPERESCAN 3D Luis Granero 1 1, Francisco Díaz 2, Rubén Dominguez 1, Yolanda Sanjuan 3, Josué Jiménez 1 1 AIDO. Departamento de Ingeniería. Paterna, Valencia. España 2 AIDO. Laboratorio de Metrología. Paterna, Valencia. España 3 UPV Bellas Artes. Valencia. España Resumen En el presente artículo pretende mostrar cómo el desarrollo de proyectos innovadores a nivel industrial ha derivado en el desarrollo de proyectos centrados en el sector del arte, aprovechando las capacidades del centro tecnológico AIDO gracias a la visión de futuro de dichas aplicaciones en este sector, que en un principio no es tan permeable a las nuevas tecnologías como otros de carácter netamente industrial y/o técnico. Además se presentará el ejemplo de un proyecto iniciado por AIDO hace 2 años, y que ha derivado en una transferencia clara de tecnología del ámbito industrial al del Arte y Restauración de Patrimonio. Palabras Clave: TRANSFERENCIA TECNOLÓGICA, TECNOLOGÍAS ÓPTICAS, DIGITALIZACIÓN 3D, VISIÓN HIPERESPECTRAL, ANÁLISIS QUÍMICO DE OBRAS Abstract In this paper, we will show the development of industrial projects has created in new projects oriented to Cultural Heritage, derived from the capabilities of the Technological Institute AIDO, thanks to applying them into this new field of application. Moreover, this paper will show the example of a project developed two years ago that has derived in an explicit transfer of technology from the industry to the Cultural Heritage technology. Key words: TECHNOLOGY TRANSFER, OPTIC TECHNOLOGIES, 3D DIGITIZING 1. Introducción El Instituto Tecnológico de óptica, color e imagen, AIDO, es un centro de investigación adscrito a Redit (Red de institutos de tecnológicos) y es miembro de Fedit (Federación española de institutos tecnológicos). El centro AIDO, creado hace ya más de 20 años, está especializado en la utilización de las técnicas y tecnologías ópticas derivadas de la investigación pura para aplicaciones diversas que puedan servir de ayuda a las empresas del ámbito regional y nacional. A lo largo de estos años, AIDO se ha caracterizado por el desarrollo de proyectos y aplicaciones basadas en las tecnologías ópticas más novedosas, que han derivado en la generación de productos comercializables y que han servido para dar un impulso tecnológico a las empresas involucradas en los mismos. Aunque originalmente estos proyectos se ceñían al ámbito regional de la Comunidad Valenciana, con el paso de los años, AIDO fue ampliando su modelo investigador al resto de Comunidades y, finalmente, al mercado internacional, participando en multitud de proyectos en colaboración con empresas e instituciones de diversos países. En concreto, el centro tecnológico AIDO, como parte de su plan estratégico que definía el sector del arte como uno de los sectores prioritarios, ha focalizado parte de sus esfuerzos y recursos en el desarrollo de todo tipo de aplicaciones en dicho sector, aprovechando la vasta experiencia adquirida en el desarrollo de proyectos dentro de sectores industriales como la automoción, el sector biomédico, el sector aeronáutico, etc. para realizar una transferencia de conocimientos y tecnologías a los sectores relacionados con el Arte y Restauración de Patrimonio (restauración, conservación, documentación, etc.). Fruto de esta transferencia es el desarrollo del proyecto que ilustra la parte final de este artículo relacionado con el desarrollo de un sistema de visión 3D hiperespectral y que será ampliamente desarrollado en su apartado correspondiente. 2. De la industria al arte: la transferencia de conocimientos Como se ha comentado anteriormente, a lo largo de los últimos años, AIDO ha abierto una nueva línea de investigación principal: el arte y la restauración de patrimonio artístico y cultural. En este sentido, se ha pretendido aprovechar la amplia base de conocimientos tecnológicos que AIDO tiene dentro de sectores industriales como la automoción o el molde y la matricería, para el desarrollo de nuevas aplicaciones en sectores no industriales, que poco a poco han ido incorporando dichas aplicaciones en sus procesos de desarrollo de actividad, obteniendo como resultado una amplia gama de herramientas tecnológicas dentro del sector del arte, como la restauración, la conservación preventiva, el desarrollo de embalajes personalizados, el análisis de daños en desplazamientos, el

19 19 análisis de daños en la escala temporal, la limpieza por métodos láser de obras de Arte, los análisis hiperespectrales de diferentes piezas o el proceso de restauración virtual. De esta forma, desde AIDO se ha llevado a cabo la implantación de un modelo de negocio orientado al sector del arte y la restauración basado en la aplicación de las tecnologías ópticas utilizadas, y en algunos casos estandarizadas, en los sectores más industriales a aplicaciones que trabajan con objetos tan sensibles como las obras de arte. En un principio, el cambio de modelo hacia el sector del arte y la restauración, vino motivado por la incipiente necesidad del colectivo de restauradores de la incorporación de nuevas tecnologías no invasivas dentro de sus procesos de trabajo. Con estas ideas claras, se puso en marcha el proceso de adaptación de los conocimientos del Instituto entre sectores tan dispares como la automoción y la escultura, el medio ambiente y la pintura o el sector aeronáutico y la arquitectura. Además, y gracias a la aportación que estas tecnologías hacen al sector del arte y la restauración de patrimonio histórico y artístico, es posible dar un salto cualitativo tanto en los estudios realizados sobre las obras de arte, como sobre las propias obras en sí, aportándoles valores importantísimos como riqueza (en el sentido de que la técnica aporta mucha más información sobre la obra estudiada, lo que permite optimizar los procesos de análisis, inspección y restauración de las obras), desarrollo (en el sentido de que la utilización de las diferentes técnicas permite el desarrollo de nuevos métodos de tratamiento, así como la aportación de nuevas ideas para la mejora y optimización de los procesos de restauración y/o certificación de las obras), y cohesión (en el sentido de que tanto la restauración y preservación como la autentificación de las obras, ayudan a fortalecer el interés por las mismas). Para la ejecución de la conversión y adaptación comentada, AIDO ha presentado a lo largo de estos últimos años diferentes proyectos de aplicación de diversas tecnologías al sector del arte, tanto centrados en las aplicaciones de la digitalización 3D como en aplicaciones de visión hiperespectral. Como ejemplo de proyectos centrados en la digitalización 3D se pueden destacar los siguientes: REDART - Plataforma Española para el Arte y Restauración de Patrimonio: Proyecto financiado por la Generalitat Valenciana, desarrollado en colaboración con las empresas SIT Transportes Internacionales, la fundación de Patrimonio Histórico de Castilla y León y el Instituto Valenciano de Conservación y Restauración de Bienes Culturales. El objetivo principal del proyecto es la creación de una plataforma de intercambio de conocimientos y tecnologías entre diferentes asociaciones, instituciones, empresas y Universidades cuyas principales líneas de investigación y desarrollo se centran en la Conservación, Transporte y Restauración de Patrimonio, tanto cultural como artístico. 3D Art - Desarrollo de un sistema de gestión y adquisición de modelos 3D de piezas arqueológicas: Proyecto financiado por la Generalitat Valenciana, de desarrollo propio. El principal objetivo es el diseño, implementación y aplicación de un sistema de gestión de modelos 3D para piezas arqueológicas, basado en el empleo te tecnologías ópticas de adquisición tridimensional. Dentro de estos objetivos se incluyen además el desarrollo de un sistema automático de digitalización para la obtención de los modelos 3D de las piezas a catalogar y el desarrollo de una aplicación informática que permita la manipulación de dichos modelos facilitando la obtención de información relevante de los mismos. Además, como complemento a los proyectos relacionados con la digitalización 3D, es importante destacar la amplia experiencia obtenida por AIDO a lo largo de los últimos años, lo que le ha permitido realizar trabajos de gran complejidad e impacto, entre los que se pueden destacar las siguientes digitalizaciones: Imágenes del Paso de la Hermandad de la Amargura, en Sevilla. Mano de bronce, resto de una estatua romana del Museo MARQ de Alicante. Imagen de la Virgen del Rebollet, en Oliva. 3. Ejemplo de proyecto: proyecto HIPERESCAN 3D El ejemplo de transferencia que ilustra de forma práctica la labor de aplicación de las herramientas industriales dentro de los sectores relacionados con el arte es el proyecto HIPERESCAN 3D - Desarrollo de un sistema de digitalización Tridimensional Basado en Imágenes Hiperespectrales. Este proyecto financiado a través de la Generalitat Valenciana mediante su programa de Investigación Propia para Institutos Tecnológicos, tiene como objetivo último es el desarrollo de un sistema de captura 3D de obras de arte que además recoge su información espectral, lo que permite obtener información respecto a su composición química y sobre la posible presencia de organismos o sustancias extrañas. El sistema se basa en la combinación una técnica muy utilizada en la industria, la digitalización 3D, y otra de amplio uso en aplicaciones meteorológicas y sobre todo, en la investigación académica, que es la visión hiperespectral Objetivos del proyecto En la actualidad el proceso de catalogación de piezas arqueológicas se lleva a cabo de forma manual, basándose en la generación de modelos o secciones de los mismos y generando fichas de piezas con una información limitada de las mismas. Este proceso es largo y costoso, y conlleva costes y retrasos innecesarios en la catalogación de piezas. Esto se traduce en una reducción de las piezas expuestas en Museos y galerías, con el consiguiente perjuicio para el usuario final. Con el desarrollo del proyecto HIPERESCAN 3D se pretende desarrollar un sistema con las siguientes características: Adquisición 3D automática de piezas arqueológicas. Complementado con una aplicación de catalogación automática de piezas. Acompañado de una aplicación de generación de modelos 3D a partir de digitalizaciones. Desde el punto de vista de las aplicaciones tecnológicas, los objetivos a alcanzar son los siguientes: Implementar y evaluar diferentes sistemas de digitalización tridimensional para la adquisición de piezas arqueológicas.

20 20 Esta evaluación se llevará a cabo siempre sobre sistemas ópticos sin contacto, preservando así en todo momento la integridad de las piezas. Desarrollar en base a los resultados obtenidos anteriormente un sistema de guiado para la captación de información. Este sistema de guiado automatizaría el proceso, evitando así cualquier interacción sobre la pieza. Desarrollar una aplicación de gestión y tratamiento de los datos obtenidos con este tipo de tecnologías. Esta aplicación permitiría al usuario manipular de forma digital la información obtenida, generando informes de las partes significativas a estudiar. Desarrollar una aplicación que permita gestionar una base de datos global con la información generada sobre las piezas catalogadas. Esta aplicación, permitiría a los museos disponer de una herramienta de consulta eficaz y rápida. Informe de evaluación de resultados de cada una de las técnicas y sistemas desarrollados Desde el punto de vista educativo, y haciendo uso de los sistemas desarrollados: Contrastar los resultados obtenidos empleando diferentes técnicas desarrolladas y compararlos con las técnicas de catalogación tradicionales. Generar aplicaciones educativas destinas a la gestión del conocimiento en el campo de la arqueología. Como objetivo último del proyecto: Disponer de sistemas de semi-asistidos basados en digitalización tridimensional: a. Reducir el tiempo empleado en la catalogación de las piezas arqueológicas. b. Preservar en todo momento la integridad de las piezas arqueológicas analizadas. El desarrollo del sistema responde a la necesidad del sector del arte de disponer de sistemas cada vez más completos (genéricos) que sean capaces de dar la mayor cantidad de información sobre una obra sin tener que recurrir a su complementación con sistemas adicionales. Además, y gracias a la aportación que el sistema hará al sector del arte y la restauración de patrimonio histórico y artístico, se podrá dar un salto cualitativo tanto a los estudios realizados sobre las obras de arte como sobre las propias obras en sí, aportándoles los siguientes valores añadidos: Riqueza, en el sentido de que la técnica aporta mucha más información sobre la obra estudiada, lo que permite optimizar los procesos de análisis e inspección de las obras; Desarrollo, en el sentido de que la utilización de la técnica permite el desarrollo de nuevos métodos de tratamiento, así como la aportación de nuevas ideas para la mejora y optimización de los procesos de restauración y/o certificación de las obras; Cohesión, en el sentido de que tanto la restauración y preservación como la autentificación de las obras ayuda a fortalecer el interés por las obras y la identificación que se pueda conseguir, tanto a nivel local dentro de municipios o provincias como a nivel global trabajando con obras o elementos de carácter internacional que van más allá de las fronteras de los países particulares para unir a regiones como Europa. Por último, el desarrollo del sistema pretende convertir tanto a la Comunidad Valenciana como a España en un referente en el desarrollo de sistemas y aplicaciones relacionadas con el arte y la restauración y ser un foco de generación de ideas y tecnologías que fomenten la I+D y atraigan la inversión tanto nacional como internacional, con el fin de dar un alto grado tecnológico y poder estar en la vanguardia europea y mundial, lo que permitiría tener una mayor fortaleza económica frente a la presente situación económica internacional de globalización y la debilidad mostrada en tiempos de crisis como el actual, que han demostrado que la mejor forma de hacer frente a crisis económicas está en estar a la cabeza tecnológica, generando puestos de trabajo en momentos en los que se tiende a destruirlos Estado del arte de la tecnología requerida en el proyecto Con este sistema se busca obtener información espectroscópica de la pieza analizada en diferentes bandas del espectro, complementando así la información tridimensional con información de la composición de los materiales que forma la obra analizada. Para ello, se han combinado técnicas de digitalización 3D, técnicas espectroscópicas y técnicas de procesado digital de imagen. Así, se busca aglutinar en un solo sistema más de 6 técnicas empleadas habitualmente en el sector del Arte y Restauración de Patrimonio, lo que convertirá al sistema en el único en su campo dentro del sector del Arte y Restauración, y permitirá llevar a cabo ensayos completos no destructivos de las piezas analizadas. Por todo ello, desde AIDO se está trabajando en el desarrollo de un sistema capaz de realizar todas las acciones mencionadas. A través de la financiación de IMPIVA, AIDO se embarcó el pasado año en un proyecto plurianual que tiene como objetivo final la obtención de un prototipo funcional precompetitivo de un sistema de digitalización 3D hiperespectral Tecnologías empleadas El desarrollo del proyecto HIPERESCAN 3D está basado en la integración, en primera aproximación, de dos tecnologías: la digitalización 3D y la visión hiperespectral. Su integración es el núcleo del proyecto y es lo que generará la información que será utilizada en aplicaciones posteriores. Dentro de estas tecnologías hablaremos a continuación de una de ellas, que está imponiéndose en el estudio de obras de arte Visión Hiperespectral La segunda tecnología principal en el desarrollo del proyecto HIPERESCAN 3D es la visión hiperespectral, basada en el análisis del espectro electromagnético tanto reflejado como emitido por los objetos, como forma de obtener información inherente a la pieza a analizar. Dicho análisis se hace en función de la las capacidades que las diferentes técnicas para la separación entre las longitudes de onda del espectro analizado. Para ello se hablará de técnicas de visión X-espectral para englobarlas a todas, y que se definen dentro del rango del espectro que comprende el espectro