2 DELIVERABLE REPORT Public

2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

DELIVERABLE REPORT

D 2.3

Document identifier: V-Must.net - D 2.3c

Due Date of Delivery to EC End of Month 8 – 30 September 2011

Actual Date of Delivery to EC M36

Document date: 03/03/2014

Deliverable Title: State of the art on Virtual Museums in Europe and outside Europe

Work package: WP 2

Lead Beneficiary: CNR KCL, FHW, INRIA, Ulund, CREF-Cyl, IME, UVA, Cultnat, CDR, Other Beneficiaries FHG, VisDim, SEAV, NL, UoB,

Daniele Ferdani, CNR ITABC [other contributors] Marco Sartini, Paolo Vigliarolo, Hugh Denard, Andrew Prescott, Authors: Sofia Pescarin, Victor Menchero Lopez, Efsthasia Chatzi, Giorgos Giannoulis, Sorin Hermon, Luigi Calori, Holger Graff, Breffni O’Malley, Emanuel Demetrescu, Alessandra Antonaci

Document status: Version

Document link: http://www.v-must.net/library/documents

Grant Agreement 270404 KCL Public 1 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

Changes

Version Date Comment Authors Marco Sartini, Paolo Vigli- 1.1 10/10/2011 Addenda by CDR arolo, Marco Sartini, Paolo Vigliarolo, Giorgos 1.2 10/10/2011 Structure modification by CDR and FHW Giannoulis, Esftathia Chatzi

Marco Sartini, Paolo Vi- 1.3 30/10/2011 Addenda by CDR gliarolo, Esftathia Chatzi

Marco Sartini, Paolo Vi- gliarolo, Sofia Pescarin, 1.4 31/10/2011 Addenda by CDR Esftathia Chatzi

Mrco Sartini, Paolo Viglia- rolo, Hugh Denard, An- Structure modification by KCL, CNR, SEAV and 1.5 14/10/2011 drew Prescott, Sofia Pe- CDR scarin

Daniele Ferdani,Emanuel Demetrescu, Esftathia Structure modification and addenda by CNR- 1.6 12/01/2013 Chatzi, Giorgos Giannou- ITABC lis.

Copyright notice: Copyright © V-Must.net. For more information on V-Must.net, its partners and contributors please see http://www.v-must.net/ The information contained in this document reflects only the author's views and the Community is not liable for any use that may be made of the information contained therein.

Grant Agreement 270404 KCL Public 2 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

Table of Contents 1.Executive summary...... 4 2.Aim of the report...... 4 3.Challenges in defining “Virtual Museums”...... 4 4.“Virtual Museum” work-in-progress definition...... 6 5.2011 - ON LINE SURVEY...... 10 5.1Methodology of the online survey ...... 10 5.2Categories of VM technologies and deployment purposes ...... 12 Scenario 3: Web-delivered Virtual Museum...... 15 Scenario 4: Multimedia Virtual Museum...... 17 Scenario 5: Digital Archive...... 18 5.32011 Conclusions...... 19 5.4What “innovation” means in VMs? 2 case studies...... 19 5.5New researches required in 2011...... 21 6.2012 “EXPERT” SURVEY in 2012...... 22 6.1Goal and methodology...... 22 6.2Results ...... 23 6.3Representative cases evaluated...... 27 7.2013 “EXPERT” SURVEY in 2013...... 44 7.1Goal and methodology...... 44 8ANNEXES...... 46 8.1ANNEX 1: LIST OF SURVEYED EXAMPLES (survey 2011)...... 47 8.2ANNEX 2: CHART AND IMAGES (survey 2011)...... 86 8.3ANNEX 3: LIST OF SURVEYED EXAMPLES (UPDATED VERSION 2012) 93 8.4ANNEX 4: CHARTS AND IMAGES (2011 and 2012 surveys)...... 142 8.5ANNEX 5: LIST OF SURVEYED EXAMPLES (UPDATED VERSION 2013) 157 8.6ANNEX 6: CHARTS (2011, 2012 and 2013 surveys)...... 190 8.7ANNEX 7: BIBLIOGRAPHY...... 195

Grant Agreement 270404 KCL Public 3 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

1. Executive summary

This document describes the work carried out within the Virtual Museum Transnational Project (V- MUST.NET), and the Work Package 2 “house of Questions”, dedicated to establish requirements and criteria analysis in the Virtual Museum domain. This document contains the research and the state of the art about Virtual Museums (VM) taking into account the results of Deliverables 2.1 and 2.2 and increasing them with new researches about the presence of VM in Europe and outside Europe, describing and analyzing their main characteristics.

2. Aim of the report

With this Deliverable we aim at drawing an overview of Virtual Museums in Europe and outside Europe, trying to better define their identity based on "Categories" and "Definitions" already chosen in Deliverable 2.1. Cross-sectional analysis of each VM is useful not only for data collection and cataloging, but also to try to reach a clear definition VM. After the activities in the House of Questions, in fact, what has emerged is not what it means as VM. One of the main objectives of WP 2 is precisely to achieve a correct definition of VM so that in the future, we can include only certain instances of the VM.

Starting with some proposals for defining the VMs that arise from the interaction with partners and from the analysis of the material already produced by the activities of the WP, We carried out an extensive research on the web using different web browser and various keywords related to VMs. Through this research and analysis work we intend to make further progress on the knowledge about the presence of VMs in the world and their characteristics, so then try to move further to - wards the most objective possible definitions of the VM.

This research of VMs in the world and the identification of their geographic location will allow us to identify the countries where there are most presence of MVs. In addition, the analysis and comparison of each VM identified, will highlight the diversity of understanding of VM registered amongst the various countries in Europe and outside Europe.

Furthermore, the subdivision of VMs distinct by categories of content, here implemented respect D.2.1, will allow us to identify and also to examine VMs with others contents from those strictly dedicated to cultural heritage.

Grant Agreement 270404 KCL Public 4 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

3. Challenges in defining “Virtual Museums”

So what is a Virtual Museum? The problem when we try to find a definition, is that the term “Virtu - al Museum” is currently used in many different ways, as a sort of “short-cut”.

Gilles Deleuze defines the world “virtual” as « tout champ problématique susceptible d’établir des liens entre des objets ou des processus en apparence étrangers les uns aux autres: le virtuel est en- tièrement réel même si tout en lui n’est pas actualisé » (Deloche, 2001).

As F. Antinucci was writing in 2007 “This fact immediately becomes apparent when we observe the vari ous entities that are called by this name and realize that we are dealing with a wide variety of very different things, often without any theory or concept in common”. (Antinucci, 2007: 79)

He also was indicating a possible way to start to define a Virtual Museums, by “stating what a virtual museum is not”. This exercise seems to be in fact easier and the result was the following (Antinucci, 2007:80-81): a. ”The virtual museum is not the real museum transposed to the web (or to any electronic form)” b. “ The virtual museum is not an archive of, database of, or electronic complement to the real museum”. These archives in fact aren’t developed for ordinary visitors, who do not have enough understanding, ending with a non-communicative result. c. “The virtual museum, finally, is not what is missing from the real museum”

The real potentiality of a virtual museum is helping, guiding users and visitors who do not already “know” a topic, communicating with them. Antinucci, moreover, underlined as “the visual narrative is the best means to effectively communicate about objects in a museum to the ordinary visitor”.

In order to develop hypotheses of definition of VMs It’s first undoubtedly necessary to define what is a museum.

The definitions of museum can be obviously many, depending on which perspective is chosen as a parameter to get the definition.

Grant Agreement 270404 KCL Public 5 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

ICOM updated definition of “Museum” is:

“a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.”

(http://icom.museum/who-we-are/the-vision/museum-definition.html)

There are therefore 5 points to arrive at a definition of a museum:

1. Institution behind the museum

2. Heritage (tangible and intangible) that form the museum's collection

3. Communication system that links each object

4. Open to a public

5. Museum’ goals: education, study and enjoyment

The coexistence of these five elements is the most important condition to speak of a "museum".

If we move to a possible definition of Virtual Museum, underlining that this is still under development within v-must network, we can notice that:

1. There are three possible conditions: a) a VM where the space doesn’t need to be “real” (i.e. VM on the web); b) a VM that exists within a physical space devoted to it (i.e. virtual theaters, etc.); c) a VM is also intended as a traditional museum with multimedia products or other technological installations that accompany the public during the visit. Nevertheless is there always a institution behind also a Virtual Museum?

2. In a VM the tangible and intangible heritage can be completely virtual, going far beyond the simple physical collection. Virtual Museums can in fact become “museums of museums” (clustering museums that may be distant, i.e. virtual museum of a region or a city)

Grant Agreement 270404 KCL Public 6 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

or “imaginary museums” (total abstraction of the objects, i.e. virtual museum of Olympic games) [Djndjian 2007:10]

3. Communication is the main focus of a Virtual Museum. Therefore its communication system may use the same characteristics of that used in a traditional museum, but it can also be completely different, aiming at making users to better understand heritage;

4. In a VM the presence of the public is a key element just like a traditional museum; is a Vir- tual Museum with no public (i.e. a website not visited) still a VM?

5. The scopes of a Virtual Museum are wider than those of a museum: educational, edutainment, enhancement of visitor experience, entertainment, promotion and research (see De- liverable 2.1).

A first proposal to define what is a Virtual Museum can be:

A virtual museum, in a real or virtual space, exists if there is a focus on tangible or intangible herit - age, real or virtual, linked by a communication system, and it’s used in various forms of interactivity and immersion, by a public for the purpose of education, research, enjoyment, enhancement of visitor experience or promotion.

Of course this is a generic definition that does not imply a specific technology or media used. This is a starting point that, compared to several case studies that will be discussed below, will allow to better understand the main features of each VM.

The results of the analysis of both technical and content aspects of the case studies can be used as a new starting point to go on with the work of the HoQ.

4. “Virtual Museum” work-in-progress definition

The term “virtual museum” has been defined as “…a logically related collection of digital objects composed in a variety of media which, because of its capacity to provide connectedness and various points of access, lends itself to transcending traditional methods of communicating and interacting with visitors…; it has no real place or space, its objects and the related information can be disseminated all over the world”

(Andrews and Schweibenz in Art Documentation, Spring Issue, 1998).

Grant Agreement 270404 KCL Public 7 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

The virtual museum is the result of the conjunction of the traditional concept of a museum with the multimedia computer and communication technology of the Internet. The virtual museum is dema- terializing the object for the benefit of providing much more information on the object. [...] It de- materializes the museum itself by making possible a “remote visit”.

(Djndjian, 2007)

And:

“the virtual museum will be an attempt to use the great power of visual media created by the de - velopment of visual-interactive technologies to enable and enhance the appreciation and understanding of the specific cultural patrimony of the real museum [...] the virtual museum is the communicative projection of the real museum.”

(Antinucci, 2007: 85)

In the previous section we have tried to define a Virtual Museum. But let's take a small step back in order to understand that the definition of VM is still a “work-in-progress” not only within the V- Must.Net network, but also outside of it.

The work proposed in this deliverable draws its inspiration, as we mentioned above, mainly by on- line searches. So we will focus mainly on how Virtual Museum is defined on the web.

Wikipedia (definition accessed in March 2013):

“A virtual museum is a museum that exists only online. A virtual museum is also known as an on- line museum, electronic museum, hypermuseum, digital museum, cybermuseum or Web museum. The term used depends upon the backgrounds of the practitioners and researchers working in this field.

As with a traditional museum, a virtual museum can be designed around specific objects (akin to an art museum, natural history museum, or archive), or can consist of new exhibitions created from scratch (akin to the exhibitions at science museums). Moreover, a virtual museum can refer to the mobile or World Wide Web offerings of traditional museums (e.g., displaying digital representations of its collections or exhibits); or can be be born digital content such as Net art, Virtual Reality and Digital art.”

TheFreeDictionary by farlex:

Grant Agreement 270404 KCL Public 8 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

“A virtual museum is a museum that exists only online. A virtual museum is also known as an on- line museum, electronic museum, hypermuseum, digital museum, cybermuseum or Web museum.The term used depends upon the backgrounds of the practitioners and researchers working in this field.

The virtualization of physical museums can increase interest by students learning about their collections: “Virtual visitors to museum websites already out-number physical (on-site) visitors, and many of these are engaged in dedicated learning”.

Virtual museums include museums that hold art originally created digitally, such as Net art, Virtual Reality and Digital art. The term is often used to refer to a museum that takes advantages of the Internet, especially the World Wide Web, to display digital representations of its collections.”

Encyclopaedia Britannica:

“Virtual museum, a collection of digitally recorded images, sound files, text documents, and other data of historical, scientific, or cultural interest that are accessed through electronic media. A virtual museum does not house actual objects and therefore lacks the permanence and unique qualities of a museum in the institutional definition of the term. In fact, most virtual museums are sponsored by institutional museums and are directly dependent upon their existing collections. Nevertheless, through the hyperlinking and multimedia capabilities of electronic information media - particularly the World Wide Web (a hypermedia system carried on the Internet) - digitized representations can be brought together from multiple sources for enjoyment and study in a manner largely determined by the individual user. Virtual museums of this type can be a powerful tool for comparative study and for research into a particular subject, material, or locality.

Many virtual museums have their roots in “Web sites” or “home pages” maintained on the Inter- net by museums in order to disseminate information about themselves. Museums’ home pages usually contain administrative information such as opening hours, policies, and services”.

“Le musée virtuel est celui que le visiteur peut créer lui-même, par divers moyens. Le premier « outil » était l’imagination humaine : c’est le musée imaginaire de Malraux. Internet permet de re- créer à l’infini des infinités de collections d’œuvres et d’objets, suscitant des confrontations nou- velles. Le musée virtuel permet lui aussi un jeu, un commentaire et une réappropriation des œuvres (grâce aux moteurs de recherche et aux outils du Web 2.0).”

Grant Agreement 270404 KCL Public 9 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

As we can see most of the definitions of VMs that are on-line refer to the Wikipedia definition. This definition emphasizes the characteristic "online" of VMs. So in the common meaning, in Europe, the VM is understood as something little more than a website.

This fact is very important because strongly constrains the search for VMs online since, too many products, in relation to this common understanding, are called VMs.

Comparing the various definitions of VM arising from our research online, on Web sites in Europe and outside Europe, we can also say that, in its most common understanding, the VM is also intended as a source of information, mainly available on the Internet. The authenticity of the virtual museum is centered on information rather than objects, which is the case of the physical museum. The architecture of the virtual museum contains rooms rather than pages, and is navigated with the help of a dynamic interface. This dynamic interface make it possible to go from one room to another without having to follow a restricted path, as in the case of the physical museum where the architecture make it impossible to navigate freely.

Sometime VMs are also considered as a virtual complement to the physical museum, however, con- sidering the advanced technology offered today, we think that VM can function as a museum in its own right. Museums are defined as places that collect, preserve and display heritage. So we believe that VMs can also live up to the main principles of the traditional museum, those of collect, preserve and display but in a different way and with different tools, reaching out virtual visitors who might never be able to visit a certain museum in person.

From the definitions of VM that appear on-line rarely there are references to the virtual theaters, to immersive and interactive installations, structures characterized by their tangibility.

These are installations where the visitors can physically enter and immerse themselves in virtual reality. Making an analysis based on online material relating to VMs understood in this last sense, is obviously very complex. Each case study should be physically visited by the researcher.

So what is surprising is how, especially in Europe, many researchers continue to define VMs only products online, excluding all the others that, from our point of view, are instead part of VMs.

With the D.2.1 was set the starting point of the HoQ. That was, simplifying, to formulate questions to be shared with partners. With the D.2.2 were established "definitions" and "categories" in order to give to the partners objective values to analyse each case of the VM.

Grant Agreement 270404 KCL Public 10 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

In this deliverable the work has been pushed forward in search of a definition of VM. So we proposed some definitions of VMs starting by an extensive research online. Sharing with the partners the first proposed definition of VM, as well as the analysis of individual case studies and scenarios, we propose a new starting point for the work of the next deliverables. The goal is to extend the research and the analysis to all VMs, not just only online; so virtual theaters, kiosks, interactive and immersive reality inside and outside traditional museums.

Following this work program, the HoQ should allow us to reach a new, more analytical and objective definition of VM, for the identification of a larger number of VMs in the world.

Grant Agreement 270404 KCL Public 11 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

5. 2011 - ON LINE SURVEY

Methodology of the online survey

The starting point of this research was the identification of VM in Europe and outside Europe. The result is merged into a Map, in which more - less 90 different VMs are geolocated and distinguished by different colors on the basis of the contents of each virtual collection. The thematic division was defined by the D 2.1. The map allows a really immediate double reading. On one side the types of VM in the world, on the other the identification of higher concentrations of VM in certain geographic areas. Types of Virtual Museums defined by their content are:

- Archaeology Virtual Museum - Blue color - Art Virtual Museum - Purple color - Ethnographic Virtual Museum - Pink color - Historical Virtual Museum - Cyan color - Natural History Virtual Museum - Green color

Two more categories have been added to the list of D. 2.1: one concerning a particular aspect, that in the last two years is having a big following: 3D reconstructions of entire cities, ancient or modern, navigable online (red color). We also highlighted the need to identify a generic category (Yellow color) for other types of VM, such as that of Ducati VM, or the Erotic Art VM.

Data presentation

As we can see in the Chart 1, most of the VM has been produced inside the categories “history” and “archaeology”. The other classes of content have minimum values. This result can seem obvious, but highlights instead the need to recreate virtually the fragments of history that have disappeared, the desire to communicate and to reconstruct our past (Chart 1).

The second category concerns Interaction Technology. In the research we took into account only the presence or absence of interaction, while distinguished (in the subcategory Interaction), the presence of desktop device interaction. The results of the Chart 2 clearly put in evidence as the most part of VMs are mainly non-interactive, according to another important point, that the massive use by the public is exclusively online (infra, p. 17). The interaction depends on several factors, related to the physical space where the VM is hosted, the physical spaces dedicated to them has got a direct and important role, but at the same time even the most advanced technological equipment is more complicated to handle than an simple online site (Chart 1).

The third category the Duration, conceived not only in the timing of a Virtual Museum but also in the con- sequences in terms of technology, content, installation, sustainability of the projects. The search results are visible

Grant Agreement 270404 KCL Public 12 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

in Graph 3, which shows the predominance of the subcategory "permanent", while the periodicity is related mainly to the fact that virtual museums are conceived for an exhibition ( Discover Islamic Art, Daily Life in Middle Ages) (Chart 3)

The fourth category is the Communication: it collects terms related to the type of communication style used to create a virtual museum. A large number of virtual museums analysed is concentrated in the exposition of the contents, although it has been some interesting examples of "dramatization" (Battle of Thermopylae, Medieval Dub- lin). (Chart 4)

The fifth category is the Level of immersion. The immersion is here defined as ”the extent to which the actual system delivers a surrounding environment, one which shuts out sensations from the ‘real world’, which accommod- ates many sensory modalities, has rich representational capability [...] ” (Slater & Wilbur, 1997). Here too, non-immersion prevails: most applications focus on the presentation of content, and few include an interaction with the public. (Chart 5)

The sixth category is the Format. This category has been the subject of more detailed research, to focus the attention on the distribution of multimedia products (online or off-line or mobile) or their non-distribution (portable e on site). The on-line or on-site solutions are the most common, while, despite the extraordinary spread of software such as IOs and Android, there aren't examples of portable applications, and a only one mobile (Medieval Dublin). (Chart 6)

The seventh category is the Scope. The scope of the VM refers to its purpose: it’s very important for the representation of the VM, and it depends on its audience and can have a great impact on the technological, communication, and business plans. Education and Research are the most developed categories. (Chart 7)

The last category is the Sustainability. One of the main aspects about the VMs is the issue of their longevity and replicability, given the speed of development in the field of software and hardware. This principle applies especially for thesauri and databases and their content, that may become obsolete and no longer readable, even by machines, if we do not seek accredited standards. (Chart 8)

Categories of VM technologies and deployment purposes

After the analysis within the consortium and on the Internet-based side, we have defined 5 reference scenarios that represents a combination of categories, as they are defined in Deliverable 2.1. Those scenarios will be revised every year during the project and will represent the evolving state of the art of the sector. Each scenario will be described together with technological solutions adopted, while pros and cons of each solutions in term of re-usability, exchange - ability, maintenance, etc. will be analysed by other deliverable (Del 2.4). Their success in term of communication and knowledge transfer will be then analysed in the next deliverables.

In the next paragraph we describe the 5 scenarios, with examples of already developed case studies. A table at the end summarize the work.

Scenario 1: Mobile Virtual Museum or Micro Museum (VR/AR)

Grant Agreement 270404 KCL Public 13 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

Short description: Exploring history in compelling ways with augmented reality has always been an challenging area - particularly when being outside. Although recent smart phones are well prepared for AR technology (equipment with components such as cameras and inertial sensors), robust marker less tracking solutions for outdoor situations stay critical, due to still limited hardware power. Mobile AR systems have a recent history and also their usage for heritage applications. Next generation smartphones allow people to download software applications from a central store where ever they are, enabling them to have museum content, its explanation and shared experiences at hand – we call them micro museums. The mobile application (“App”) uses AR technology to explain history and architecture visually at the real building in an indoor or outdoor environment. With recent smartphone generations, AR finally becomes a mainstream medium, ready for mass markets without the need for special or custom crafted hardware. But the current hype around AR on mobiles raised also high expectations on user experience and visual quality and 3D computer vision tracking that is working in every situation and not only on posters and markers in controlled environments. Thus qualitative AR of end users is even after years of research still a challenge.  Indoor virtual archaeology It Is sometimes not possible to visit a site or explore its findings on-site: here, AR Can act as a presenter, which superimposes information or annotations on e.g. an inaccessible excavation site at face or on posters of it in a museum.  Embedded Virtual Reconstruction Only Ruins or at worst nothing is left of an object, a place or a spot: here, AR can “revive” and depict the original state and show a reconstruction.  On-site Data Exploration A huge amount of historical media and material would be available in databases and archives only: here, AR can link material to its original place and create a context for laymen and experts alike even for not self- explaining content. Examples:  Archeoguide - The system visualized missing and reconstructed artefacts, damaged areas of Greeks old Olympia site and overlaid information of ancient Olympic sports events.  iTacitus - The work already presented concepts for using historical media as augmentation layers for historical sights (Fig. 1)  Westwood Experience - introduced AR and other Mixed Reality techniques for site-based history- and fictional storytelling. At certain spots users could use Nokia’s N900 to get AR views of a building, to receive additional location-based information or to listen to audio narrations.

Innovation: Established, so called AR browsers, like Wikitude, Layar or acrossair started to present AR to a broad audience in 2009 when they enabled simplified inertial-sensor based AR especially on the iPhone 3GS, which featured the necessary technical capabilities. However, these systems share only simplified AR views by depicting location- based information by small icons or bubble overlays relying on often inaccurate GPS, compass and accelerometer data instead of applying computer vision (CV) techniques. The system deployed in V-Must enhances the concept on “Snapshot Augmented Reality”out-sourcing processing intense tracking techniques to cloud services and extend it by online 3D feature tracking methods. Major challenge here is to realise a robust and reliable outdoor 3D feature tracking approach that is able to overcome e.g. changing lighting and weather condition issues. It would not work on the mobile phones today, due to the limitations of processing power, battery life, sensor accuracy (GPS, compass) and heterogeneous software platforms.

Grant Agreement 270404 KCL Public 14 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

innovation (communication/pedagogical): The envisaged mixed reality experience in V-Must provides historical correct representations and enables users to access profound existing historical media that is often not published or presented. Recent visualization techniques (e.g. expressive rendering of INRIA) bases on working with original and historical material as overlay types such as pictures, drawings and blueprints in order to digitally reconstruct the building’s facade and shape in a stylized manner - hence employing AR views beyond sole icons and text-overlays. Instead of 3D mesh reconstructions, which often suffer from poor visual quality or are too detailed to run on mobiles, the taken approaches propos working with original and historical material. This may not only save costs and time of an otherwise intense modeling process but also opens up new ways of communicating uncertainty and historical facts to visitors. Reference (state of art): Especially early scientific projects proposed own hardware setups with custom made solutions (see bibliography), because ready-to- buy hardware wasn’t available. Mobile AR systems have a recent history (see bibliography). Ar- cheoguide (see bibliography) proposed a system for AR-enhanced exploration of heritage sites. The system visualized missing and reconstructed artefacts, damaged areas of Greeks old Olympia site and overlaid information of ancient Olympic sports events. Users were freely walking around equipped with an Head Mounted Display (HDM) and a (heavy) portable computer in a backpack. The project resulted in a prototype that hasn’t been in real practical use, though. Due to the young technology the performance was very low and vision based tracking as well as real-time 3D graphics were at an early (low) stage. iTacitus (see bibliography) presented a framework for an mobile AR guide for heritage sites. The work already presented concepts for using historical media as augmentation layers for historical sights. However, the system ran on an UMPC that was (although more mobile compared to others) still too heavy and too huge for taking along and the costs for mass usage too high. iTacitus utilized 2D feature-tracking methods that were also working outdoors at predefined spots but not very robustly and users had to stick to predefined view angles. The Westwood Experience project (see bibliography and Fig. 2) introduced AR and other Mixed Reality techniques for site-based history- and fictional storytelling. At certain spots users could use Nokia’s N900 to get AR views of a building, to receive additional location-based information or to listen to audio narrations. The evaluation approved that AR helped to enhance user’s immersion in historical facts and the feeling of being in the story. But users disliked the linear pathways and found the fictional story as boring and distracting from history. Snapshot AR (Fig. 3) allowed to overlay photographs and still images over a stream of captured images and align it precisely to the extracted position within the video. It further more opened up a new trend in outsourcing computational expensive tasks into a service backbone deploying cloud concepts. Yet, streaming videos and enriched data between client and services are challenging thus moving features within a video sequence with an additional computation of the adequate and right camera position, its enrichment with meta data and transmission back to the client are building the playground for further developments within V-Must.

Scenario 2: On site interactive installation Short description: In the last 10 years several examples of on-site virtual museums have been developed, such as caves, kiosks, virtual theatres etc. This category exclude immersive not-interactive installations. In those years the context has changed. While at beginning most of the computer-based applications inside museums, ended up with a PC in a room, where visitors could inquiry a multimedia application between 2003 and 2008 there has been an increase of interactive 3d and immersive stereo installations. The use of multi-user environments, aimed at conserving the collective experience, typical of the visit to a museum, was also explored. The examples developed are very different from the technological point of view. A common characteristic is the use of 3d models reconstructing monuments, sites, landscapes, etc. Those 3d model are explorable in most case in real time, either directly or through a guide who

Grant Agreement 270404 KCL Public 15 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

acts as main driver of the application. In most cases 3d is mixed with other multimedia assets (audio tracks – music and voices; short texts; short movies integrated). Narrativity is the communication style more adopted, often mixed with explanatory style. Examples: Virtual Museum of Ancient Via Flaminia (Fig. 4); Meeting at the Ancient Agora (Fig. 5) Context of use: On site interactive installations have been set up inside museums or visitor centre to attract visitors and make them experiencing the past. Innovation (technological): complex behaviours implementation within a 3d reconstructed environment; virtual story telling; infinite alternative scenarios are created, within the same virtual model, which are being developed during the show and the visitor has the opportunity to navigate in real time. Innovation (communication/pedagogical): complex concepts are explained visually and by means of interacting with them. Enhancement of experiential learning through the combination of media. VR’s specific capacity to provide a quick idea about a place at a particular time and about spatial information in general, thanks to its visual and experiential character. In parallel specifically in the case of historical development and processes, the visual information is supported by a verbal discourse or other means of representing human action by the presence of human mediators; And, in the case of the Agora project, of the complementary exhibition’s ability to offer a multi-sensorial, interactive and self-controlled exploration aimed at obtaining knowledge about the social and political meaning of the agora. Reference (state of art): availability of more and more user-friendly and easy to use authoring tools to enable also non-programmers to set up an interactive installations (from OpenGL code to Unity 3D); development of powerful real-time libraries and game engines released as open source, available to the community for the use of programmers (from Performer to OpenSceneGraph, OGRE3d); complex 3d models optimization for real time purposes; low-cost hardware solutions for museums set-ups; increasing of rendering quality; increasing of visual quality thanks to shader adoption. Bibliography: Forte M. (2008); Economou, M. & Pujol Tost, L. (2011); Maria Roussou (2009); Athanasios Sideris (2009); Athanasios Sideris (2008);

Scenario 3: Web-delivered Virtual Museum Short description: Presence on web is one of the target any museum have in some way to address, either for mere advertising or, as in this scenario, to effectively provide a consistent and appealing user experience of the museum assets through web technologies. We bring here examples and technologies that address some of the main challenges of web fruition: Data size, Data protection and 3D experience. These are the issues that mostly differentiate a web application from an on-site interactive application. Data size and data protection often pairs as the case of High res 2D images which is one of the most mature example, where different solutions address both data size as well as DRM (Digital Right Management) protection issues using either systems or underlying algorithms derived by GIS multi-resolution map tiling.

Web deployment of 3d applications is a much less mature field: Virtual Museums are currently using a variety of technologies for addressing the challenges that different content types and target audience pose to interactive web deployed applications. The lack (until recent adoption of WebGL) of a 3D API within browser has forced developers to go the plug-in route: a wide variety of 3D viewers and players have been developed to provide 3D interactive applications “embedded” within browsers, being activated by website exposing specific 3D content. Many of these tools were licensed as proprietary technology, charging for development tools / site license, while providing the closed player free of charge. Examples: gallery paintings (Google Art, Haltadefinizione, Centrica ) Scrolls (Dead Sea Scrolls) Plug-in base technology:

Grant Agreement 270404 KCL Public 16 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

State of the Art of Virtual Museums Date: 31-01-2014

Google Ancient Rome (Google, UCLA / Virginia University) 3DCoform Unity3D demo Virtual Rome (CNR ITABC, CINECA); Aquae Patavinae VR (CNR ITABC, Univ. Padova) Web enabled applications; InstantReality VEX

Development Plugin based: Unity3D is the most diffuse commercial game engine and authoring tool able to span over wide variety of platform, including web browser and mobile devices It is currently available as cross browser plugin for Win and OSX platform. There are plans to also use Google Native Client .

Flash based: Papervision 3D X3D in-browser player BS-Contact from Bitmanagement OpenVRML XVR (IExplore only from VRmedia)

WebGL: X3DOM : X3D under WebGL BTF photo-realistic accurate interactive rendering SpiderGL a graphics library for 3d web applications, some CH examples blockmaps,HDR osgjs: mapping OpenSceneGraph to WebGL

Grant Agreement 270404 KCL Public 17 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Scenario 4: Multimedia Virtual Museum Short description: A Multimedia Virtual Museum is an interactive experience that blends video, audio and interactivities and is delivered via CD-ROM or DVD. The example cited below – Medieval Dublin – is delivered via DVD.

Examples (context, deployment): 'Medieval Dublin: From Vikings to Tudors' is a two disc interactive multimedia experience covering life in Dublin from 800AD to 1540AD. The ‘video experience’ DVD provides a tour of nine medieval sites using a dramatic blend of 3D visualizations and modern live action footage. The ‘interactive DVD’ presents a detailed 3D model of Dublin that illustrates how the city developed from 840 to 1540. Context of use: 'Medieval Dublin' was developed as an educational tool, to communicate Dublin's medieval history to primary school children. It was distributed to all schools in the city. RA second edition containing more material was developed for a general interest/tourist audience. Innovation (technological): The principal innovation of Medieval is the interactive 3D model. It is displayed as a map with a scrollable timeline and includes numerous clickable ‘hotspots’. Using the map and timeline, users access over an hour’s worth of interactive video covering daily life, historical events, interesting stories and famous characters that existed over 700 years. The model enables users to see not only how the city appeared at any one time, but also how it developed over time. Other innovations include the development of a customized kiosk with ‘timeline slider,’ and development of an iPhone app on Dublin’s Medieval Wall (Fig. 6). Innovation (communication/pedagogical): Medieval Dublin uses a number of innovative approaches to communicate the medieval history of the city. Historic- al events, concepts and beliefs are explained using 3D visualizations and animations of many historic sites. A ‘street-tracker’ feature overlays a modern map of Dublin over the medieval one, demonstrating the influence of the historical period. Multiple modern narrative formats are used to bring historical stories to life. Specific learning out- comes aligned with the Irish primary school curriculum were identified for each ‘hotspot.’ This ensured that the content of the VM complimented classroom teaching (Fig. 7). CG and Video 3D - XSI Softimage and 3DMax Design - Adobe suite of products FX - AfterEffects, Flame Video - Avid, FCP Development Flash, Arduino and resistor strip for Kiosk iPhone development kit

Grant Agreement 270404 KCL Public 18 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Scenario 5: Digital Archive Short description: Digital archives are becoming more and more popular, as the amount of digital information increases, together with the wish of the public to gain access to information. This requires not only a robust system of storing information, but also intelligent tools to retrieve it. Examples (context, deployment) There are several crucial factors that have to be considered when designing a digital archive for Cultural Heritage: 1. a well-defined thesaurus of terms that best describes the CH assets and is in line with the planned use of the digital archive 2. A user-friendly ingestion system 3. A digital repository that takes into consideration the possible different metadata schemes of its digital content. 4. An intelligent search / browse system that offers alternative paths of access to the stored information. 5. A digital archive that is easily accessible and connectable to other similar archives. Context of use: Digital Archives are a fundamental component for virtual museums; the success or failure of any kind of virtual museum lies on designing and implementing a solid digital archive, with a robust architecture and rich content. As such, it is envisioned that much effort will be devoted in the V-Must project in order to understand which types of thesauri are most suited for virtual museums, which are the metadata schemas that best describe CH assets to be used in virtual museums, and which types of repositories serve best virtual museums. Finally, a great effort should be invested in creating the right interfaces for accessing this data, for a rich inter-operation of user / information, in a sustainable environment.

Grant Agreement 270404 KCL Public 19 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

2011 Conclusions

At the conclusion of the research at the basis of this Deliverable is possible to say that how the mode in which, both inside Europe and outside Europe, are presented and disseminated VM collects forms of communication technologies very different.

The identified "categories" and the "definitions" are the basis to carry on further researches and collect data about VMs in the world. There are still several points to discuss: 1. The link between the VM and the real museum. The decision to think or not on a virtual collection only “inside” the physical space in a museum could be critical for the further studies, and totally changes the manner of use and the relationship with the public. The issue has already been partially developed in the previous deliverable, but it certainly deserves further attention. A key point given since the basis of the definition of museum, virtual or not, it is the assumption that there are visitors; 2. The “consistency” for a definition of VMs that gather together the categories already found: this issue is also very important for the selection of the VMs; 3. The lack of an objective definition of VM accepted in Europe and outside Europe makes it very difficult to identify the VMs in world. The map shows with immediacy as in Europe there is a large number of VMs compared to the rest of the world. We have to emphasize that this fact is not absolutely objective. The phenomenon is caused by the fact that in Europe, in comparison to the other countries in the world, we generally define VM any website that proposes to the public a digitalized collection. The continuation of the work in defining what is a VM is therefore essential to expand the research and reach objective res - ults. 4. The elaboration of scenarios is a precondition for continuing the investigation of VMs existing also internet. For arrive at a definition of VM is in fact necessary to continue the survey work on all typologies of VM extending the analysis to other case studies continuing with the methods proposed above by the scenarios.

What “innovation” means in VMs? 2 case studies

Case study 1 “Meeting at the Ancient Agora” Exhibition combining different types of exhibits, both high, low and non-tech, which allow different kinds of exploration and degrees of collaborative interaction:  The application (content), the first one designed for the Tholos system, presents a reconstruction of the Ancient Agora of Athens in three different historical periods. Tholos, (VR application), is a virtual reality theatre consisting of a semi-spherical screen and The peculiarity of the "Tholos" is its ability to project onto the projection surface, with an inclination of 23 degrees, fully interactive content. The content that is projected is not "taped. The basic advantage of this method is the ability to "create" a photorealistic reconstruction of sites in real time. Interaction The interaction with the Tholos system takes the form of a spatial navigation and is led by a museum educator with the help of a wand, while another educator provides the archaeological content.

Grant Agreement 270404 KCL Public 20 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 The exhibition, which complements the Tholos’ content, entitled “Meeting at the Ancient Agora”, provides information about the evolution of the ancient site, its historical meaning and institutions, and how these have been transmitted until today.  Parallel exhibit: There is also a slightly varying version of the program, entitled “The Goddess Athena in the Agora” which makes use of the aforementioned cultural and historical VR setting, and which offers a populated version and some storytelling elements. It presents the Panathenaic athletic events and the Panathenaic ritual procession. The visitors are invited to interact also in the form of question-answer with a ballot (ostracism) taking place in the ancient Agora, and to actively participate in the construction of a building, through game-like manipulation of architectural elements.

Innovation and added value of the exhibition Technologically As a result, infinite alternative scenarios are created, within the same virtual model, which are being developed during the show and the visitor has the opportunity to navigate in real time.

Pedagogically and museologically Enhancement of experiential learning through the combination of:  VR’s specific capacity to provide a quick idea about a place at a particular time and about spatial information in general, thanks to its visual and experiential character. In parallel specifically in the case of historical development and processes, the visual information is supported by a verbal discourse or other means of representing human action by the presence of human mediators.  And of the complementary exhibition’s ability to offer a multi-sensorial, interactive and self-controlled exploration aimed at obtaining knowledge about the social and political meaning of the agora

Case study 2 Virtual reality exhibit Pella The virtual reconstruction of the “House of Dionysos” in Pella created by the Foundation of the Hellenic World and presented at the Louvre Museum as part of the exhibition "In the kingdom of Alexander the Great - An- cient Macedonia''. Innovation and added value of the exhibition

Technologically At the virtual reconstruction were used the most advanced techniques of Virtual Reality for the precise output of textures, colors and shading. Also, completely incorporated and situated in their natural space were findings of excavations, inside two banquet rooms (andrones), which were reconstructed in all details. The beds, the tables, the silver and clay vessels that are decorating the rooms are based on findings in Pella itself, Vergina, Derveni and other Macedonian sites and many of them are also presented as physical objects in the exhibition’s catalogue. Finally, and for the first time, largely destroyed parts of the peripheral ornamentation of the exceptional mosaic called “Lion Hunting” are being digitally reconstructed. Scientifically An unprecedented amount of detail has been studied and several key-decisions for the final appearance of the model were taken in collaboration with the excavator, the exhibition curator, the architect and the expert on archaeological VR. These choices include methodological as well as strictly archaeological and historical interpreta-

Grant Agreement 270404 KCL Public 21 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

tion matters (management of uncertainty, comparative hypothesis and degree of verisimilitude) and allow the final result a very high degree of accuracy and reliability despite the poor state of the ruins visible in situ. Museologically For the first time a digital exhibit is being added on an equal basis to the museum objects in a temporary exhibi - tion of the Louvre museum and is also included in the exhibition’s catalogue.

New researches required in 2011 The search for VMs has been made mostly online and it excludes almost completely VMs inside traditional museums. There are indeed more and more museums that use technological devices to enhance their communication system. Two cases of initial studies in this subject could be the Museum of the Imperial Fora in Rome and the Allard Pier- son Museum in Amsterdam. The research and analysis in this particular area of VMs is essential for the progress of the internal work in WP2 and in order to provide additional material to WP3. But how can we deal with this research? There were in fact identified some guidelines concerning the role of multimedia devices inside traditional museums and thematic areas to start their qualitative analysis. At this regard it was proposed to:  To start from the Cultural Heritage community and find a way communicate its contents, always keeping a strong connection with the heritage itself;  To provide users the tools to evaluate the product, independently from the museum or from the environment where the installation is set;  To achieve a balance between visual quality and scientific method in order to offer products of real excellence. To establish a quality factor it will be necessary;  To manage the uncertainty: we can assure the quality only through transparency. How can we communicate to the public our choices and the motivations on which they are based? We must distin- guish probability from reliability.

Grant Agreement 270404 KCL Public 22 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

6. 2012 “EXPERT” SURVEY in 2012

Goal and methodology As starting point of this research, a series of virtual museums have been examined in Europe and outside Europe, in order to update and enlarge the “State of Art” list of VM made in 2011. Furthermore, in the light of new reflections and observations that make more deep in this theme, we want to get a better overview to revise and refine the scenarios. The methodology and criteria used in the analysis are as follows. Besides research on-line and a survey carried out within the V-Must consortium between the partners and associated members, the analysis has been integrated using a systematic and organized process of evaluation carried out, above all, during “Archeovirtual 2012”, an international exposition of virtual archaeology and digital art, as part of the Mediterranean Expo of Archaeological Tourism. A selection of the best projects, resulting from a “Call for participation”, was presented at this event. Furthermore during this exhibition, visitors were tested by interviewing and questioning them on matters regarding the application such as the effectiveness of use and contents. This allowed cognitive and perceptive aspects to be evaluated (see Del. Number 2.7). Evaluation and on-line surveying, is, in fact, a very important aspect of research in the field of Cultural Heritage. This evaluation at the above mentioned event was carried out by CNR-ITABC, Italy, The Allard Pierson Museum, Amsterdam, Holland and the Department of International Design, Lund, Sweden. Furthermore the “Call for participation” allowed a deepened analysis of virtual museums, that have attended the exhibition, to be performed. All information regarding the virtual museums analysed, has been organized in a synthetically analytical form reported in a list in the appendix. According to the Deliverable 2.1, the form contains information relative to: 1. Name of the museum 2. Institution: developers and owner 3. Web Link: website, video, or on-line application 4. Content: archaeology, architecture, art, etc. 5. Description: short description of the contents 6. Interaction: interactive or non-interactive and technological information (interaction device, visualization device and technology used) 7. Duration: temporary, periodic or permanent 8. Communication: descriptive or narrative 9. Level of immersion: non/low/medium/high immersive according to the tech. used 10. Distribution: on-line, on-site or mobile 11. Scope: educational, edutainment, entertainment, research, promotion or enhancement of the visitor experience 12. Sustainability: reusable or non-reusable asset, tools and software. Maintenance of the museum

Grant Agreement 270404 KCL Public 23 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

The methodology applied in the research analysis of the virtual museums carried out in 2012 has now been applied also to those taken into consideration in 2011 because much information was missing. Moreover this operation allowed us to check if the museum surveyed in 2011 were still working or not. This analytical form applied to all museum survey, allowed essential information to be gained in order to classify the museums and obtain quantitative and statistic information useful for the analysis. A list of the summaries and charts of the virtual museums analysed is attached to the present document.

Results

The experience acquired and the survey carried out during the second year of analysis on “state of art” of VM, improved our awareness about the role and aims of virtual museums, and their subdivision in scenarios. This is what came to light: Unlike a real museum, which is focused both on conservation (collection of objects from various cultural sectors) and communicative purposes, the main feature of a virtual museum created up to nowadays is manly oriented on communication and particularly on the relationship it establishes with the user which should be structured in such a way which links communication and fruition. By communication we mean the ability of the VM to disseminate culture and turn “raw” data into information, regardless of who the final user is. By fruition we mean the way in which the user visualizes and interacts with the contents presented. The system of communication/fruition in fact, will not work unless the “raw” data comes across clearly to the user. This is achieved using a system of diffusion made up of, on the one hand, an interface, behaviour and devices (technology), and on the other hand by a narrative and communicative scheme (contents). The virtual museum, focuses attention on the user, rather than on the object, and functions only if it conveys a message that the user can exploit. According to the analysis and taking in consideration all that has been mentioned above, the virtual museums have been classified in new 6 Scenarios. The previous categorization (2011) seems nowadays inappropriate because it does not describe completely the state of art of virtual museum. Virtual museum in fact is a sum of stylistic solutions/contents and technological solutions. The previous categorization, was based only on distribution and technological criteria and doesn’t take in consideration another fundamental element that characterizes the VM, the “communication”, that define the experience of the user. Furthermore the type of communication, implies different levels of user cognitive involvement and fruition: only information (descriptive) or information and the chronology of events (narrative) and consequently the level of user participation (active or passive). In conclusion, the new proposal is to add type of communication as discriminating factor to classify the VM in scenarios that are organized as follows:  narrative on-line.  narrative on-site.  narrative mobile.  descriptive on-line.  descriptive onsite.

Grant Agreement 270404 KCL Public 24 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 descriptive mobile.

In Annex 1 and 3, all the surveyed Virtual Museums are organized into those six scenario that represent the evolving state of the art of this sector. However, in order to provide some example cases that best represent those scenarios, approximately 25, outstanding virtual museums have been evaluated. These museums have been chosen not following scientific constraints (the information level about the museum is not uniform) but according to a guideline that took into consideration autopsic experience (museums we have accessed or physically visited), the “Archeovirtual 2011-2012” participating museums and the “Archeovirtual 2012” expo on-site evaluation (see Del. 2.7)1. Out of these 25 museums, seven have been chosen as representative cases: one or two for each scenario (described in the next paragraph). These museums have been chosen according to quality criteria, established in the deliverable 2.1, that concern mainly the innovation and the pedagogical approach of the museum installations. This is a summary of the criteria used in this kind of evaluation: 1. Pedagogical quality 1.1. Establishment of concrete pedagogical objectives in each case 1.2. Control of compliance with targeted pedagogical objectives 1.3. Establishment of precise evaluation process 1.4. Clarity of the conceptualization 1.5. Balance between knowledge affordance and entertainment attraction 2. Technical quality 2.1. Technical viability 2.2. Interactivity 2.3. Usability 2.4. Safety 2.5. Immersion 2.6. Migration, transfer and re-adaptation of the data 2.7. Adequacy of the employed techniques for the achievement of the goals (educational, aesthetic) 2.8. Easiness of corrections and additions 3. Visualization and metadata quality 3.1. Visual and aesthetic appeal 3.2. Visual intelligibility 3.3. Metadata completeness and transparency 4. Museological quality 4.1. Interactivity 4.2. Emotional engagement of the visitors 4.3. Facilitation of visitors flow

1 We have received digital assets (software and media) from all the museum that took part in the “Archeovirtual”. Grant Agreement 270404 KCL Public 25 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

4.4. Peripheral support (textual, multimedia, human agent) 4.5. Coordination between assistant human agent and VM exhibit 4.6. Sustainability

Representative cases evaluated:

Communication/User experience Descriptive Narrative e n y i l g - Locus Imaginis Paris3D o n l O o n h c e e T / t “Views Of Ghent” Multimedia, STAM Etruscanning i n s - o Museum The Mycenaean Acropolis Of Thebes And The Digit- i n t u O al Cultural Encyclopaedia Of Boeotia b i r t s i e l D i

b Bravo, Brain Computer Interface Matera, tales of city o M

Grant Agreement 270404 KCL Public 26 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

In conclusion of the 2012 expert survey we created a structured spread-sheet that contains all the quantitative data on the 150 Virtual Museums surveyed in order to obtain statistical information about the categories that show how the Virtual Museums, developed in the last ten years, communicate and disseminate cultural heritage in terms of technologies, distribution and contents. According to the results of the analysis, follows the statistical information:

Virtual Museums  39%: descriptive on-line  10%: narrative on-line Level of immersion:  12%: descriptive on-site  61%: non-immersive  24%: narrative on-site  20%: low-immersive  6%: descriptive mobile  5 %: medium-immersive  9%: narrative mobile  14%: high-immersive Content: Distribution:  43%: archaeology  50%: on-line  33%: architecture  36%: on-site  11%: art  14%: mobile  9%: history Scope:  4%: others  32%: educational Interaction:  29%: edutainment  92%: interactive  18%: enhancement of the  8%: non-Interactive visitor experience Duration:  10%: research  93%: Permanent  5%: entertainment  6%: temporary  6%: promotion  1%: periodic Sustainability: Communication  59%: non-reusable  62%: descriptive  33%: reusable  38%: narrative  8%: partially reusable

The pie-charts attached in the annex 4 show the statistical information about the museums.

Grant Agreement 270404 KCL Public 27 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Representative cases evaluated

LOCUS IMAGINIS

 Category: Descriptive on-line  Link: http://vinci.gamsau.archi.fr/htdocs_locus2/index2.php  Institution: UMR-Map Marseille  Content: Architecture, Art  Description: LOCUS Imaginis is an interactive and collaborative platform that provides access to cultural information about monuments through personal photographs. This platform enables to collect photographs taken by visitors. First of all, pictures taken by visitors are added into the database. Then, they are positioned in the 3D scene on the digital model of the monument and they are semantically annotated. As a consequence, this tool provides access to textual and graphic information describing the photographed site (semantic, spatial, historical entries, etc.). When visitors con- sult the database and select 2D images, these are superimposed onto a three-dimensional scene. Subsequently, visitors can interact both with images and the 3D-model to highlight building parts by color and to display textual information. Accessible on-site, LOCUS IMAGINIS is a support proposing an innovative approach in the case of educational work- shops. Available on-line, visitors can extend their visit by recreating their journey through their own photographs and enrich information so available in the database. The web-application is based on the dialogue among several elements: o A database containing the iconographic sources inserted by the institutions, the photographs inserted by the general public, and the 3D representations of the building related to several temporal states resulted from 3D scanning and photogrammetry acquisition. o An interface for the consultation of the database (by themes, attributes, types) and for the administration of the insertion and referencing of iconographic sources (historical photos, posters, postcards, drawings, prints, paintings, etc.) by taking into account different types of projections (perspective, axonometry, plans, elevations, sections, etc.). o A 3D real-time browser interface for the visual retrieval of iconographic sources according to spatial and temporal criteria.  Technical quality and innovation: The technical quality of this project regards, above all the easiness of correction, additions of the data thanks to a collaborative system and , how the scientific semantic database is associated with 3D models and images (Fig. 8). In this project, 3D-models annotated semantically at the level of the building morphology are used as medium to assign semantic information to images. The relation between 3D-models and 2D images is cre - ated by means of procedures for the spatial referencing of images (Fig. 9). By aligning images to the 3D-model, the 3D- model contour is projected on the 2D image with the goal of superposing a semantic layer on the original image. This layer is produced by projecting the spatial extension of the 3D-model which is associated to morphological entities of semantic description. Each projection (computed through a vector rendering technique) is processed as a 2D polygon associated with the identifier of the related 3D entity. Concerning the technical development, the system of semantic projection is based on the communication between the MySQL database and the 3D modeling software Maya. This communication permits to collect the necessary information from the database and to generate the geometric models of the cameras associated with the aligned images in Maya (which the polygonal representation of the 3D scene is loaded in). In order to create a vector image of the 3D scene, a library of rendering functions called MayaVector has been used. The developed MEL procedure launches an automatic rendering of the 3D scene starting from each reconstructed virtual camera (related to the viewpoints of spatially referenced images). This library enables to easily project

Grant Agreement 270404 KCL Public 28 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

the 3D element silhouette on the entire image and to store it in the database. This produces a vector image in SVG format, whose viewpoint corresponds to that of the original image. The rendering procedure is programmed so to calculate only the contours of the external edges of the object in the scene (including the edges of intersection among the various objects) and to ignore other polygonal edges.  Visualization and Metadata quality and innovation: The interface is structured to visualize iconic information in consistent way and permits: o referencing iconography in space and in time. This is based on the knowledge of the geometric models of the cameras, and on the association of temporal attributes depending on the period of the sources. o structuring the 3D-model according to spatial and temporal criteria. This is possible by assigning attributes, and is based on tools developed to assist the user in the structuring task. o annotating iconography from a semantic point of view. This is possible by means of a semantically structured 3D-model and the projective relations existing between the 3D-model and the 2D sources. Finally for what concern the transparency issue, the adopted principle stands on the choice of a wireframe/coded col - our 3D model on which high resolution photographs are aligned: on one side the 3D model constitutes the way for users to understand the historic site and temporal stratifications, and on the other one, oriented images constitutes the favored support for a detailed reading of temporal stratifications and for the visual appearance of the site.  Pedagogical quality: The pedagogical quality is in the compliance with pedagogical objectives. The project Locus Imaginis has been integrated into the partnership agreement between the CNM and the Jules Fil high school of Carcas- sonne (pilot school for new technologies), as innovative educational program for the cultural heritage approach tested by students that can explore new modalities for understanding the morphology and its relation with the history of a monument.  Museological quality: The museological quality regards the sustainability and the involvement of the users in the content updating: the project is easily maintained as all data (2D and 3D) is stored in a web database for an on-line application. Users can daily upload and spatialize images, and query the system by their own and in a free way. Con- cerning reuse, 3D models produced on the site are structured in architectural features so they can easily be reused for other applications. Similarly, spatialized images are stored in the database with orientation and position coordinates, so they can be reused for other applications about Carcassonne Castle. Moreover, the projective relation between 3D representations and the spatialized iconographic sources provides automatic procedures for adding and updating semantic annotations: o In the case of addition or change of the 3D morphological description, the new structuring description is re-projected on images. o In the case of spatial referencing of a new image, the building morphological description will be automatically projected on images. Keeping this project alive constitutes the basis for implementing the collection of iconographic sources on the site of Carcassonne. The dataset can easily be implemented by different kinds of users that can that can take advantage from an online and free consultation of a set of images related to the 3D model. Interactive: yes  interaction device: mouse and keyboard  visualisation device: monitor  technology: VirTools – 3dVia Duration: permanent Communication: descriptive

Grant Agreement 270404 KCL Public 29 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Level of immersion: not-immersive Distribution: on-line Scope: edutainment, educational Sustainability: see above

Grant Agreement 270404 KCL Public 30 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

PARIS 3D

 Category: Narrative On-Line  Link: http://paris.3ds.com/en-index.html#Heritage  Institution: Dassault Systemes.  Content: Archaeology, Architectures  Description: Immersive online 3D application on Paris. A time-travel through more than 2000 years of history: discover Paris’ most famous monuments, with 3D reconstructions carried out with historians, and HD clips of the documentary series « Paris, the great saga » (The documentary was a coproduction with Planète+ and ran on French TV. The film tells its story of Paris. It’s a story device perfectly aligned to take advantage of the aerial flights of fancy that Dassault’s 3D virtual camera allows). From the origins of Lutetia to the construction of the Eiffel Tower for the 1889 World Fair in Paris, witness different steps like the Gallo-Roman Forum, the evolutions of the Louvre or the last hours of the Bastille, and navigate in the rich history of the French capital (Fig. 10). Using 3D technology, Dassault Systèmes created an interactive 3D experience that could be accessed across multiple devices and platforms, including, a website, an iPad application, 3D-powered films, 3D educational documentaries, and 3D ‘touch’ terminals used by museums as well as educational and cultural institutions. Dassault Systemes 3D experts worked with Didier Busson, Paris historian and archaeologist, as well as with a team of additional historians and archaeologists specializing in Paris historical eras to develop the most scientific replica of the city’s history across several key eras (Fig. 12). The most emblematic monuments, such as Notre Dame and the Eiffel Tower, have been carefully recreated into 3D, interactive environments. Research helped spur the re-creation of Paris across several eras in time. The goal was to produce virtual models for historians and teachers while making them spectacular enough to appeal to the general public. The Paris 3D experience is available online (www.3ds.com/paris3d).  Technological quality and innovation: The quality of this application regards interactivity, usability and immersivity. the technology used, come from the video games world and it is applied for scientific purposes and research. A Huge number of 3D models are available on-line for real time exploration. Moreover the application allow 3D vision (active, passive or anaglyph) to be used for a better feeling of immersion in the virtual reality. The graphics are not photo realistic, as obvious for game and real time application, but the stunning models and the 3D view fooled the brain into making it feel quite realistic. The application provide an edutainment mode to discover the city composed by a guided tour and an interactive 3D real-time exploration of the monuments (Fig. 11). The guided tour with comment- ary by Didier Busson, archaeologist in the department of architecture and archaeology history in Paris, provides a detailed one-by-one account of each building and its neighbourhood. In the interactive tour the visitors can start browsing by themselves, enjoying the sites and discovering many secret places of interest concealed within the 3D world. The interactive features allow a more in-depth look at a favourite era or monument to be obtained, enabling the user to continue their education beyond what was discussed in the documentary introductions.  Museological quality: The project presents innovativeness and museological quality in terms of interactivity, emotional engagement of the visitors. Using virtual reality, visitors engage in an interactive 3D journey through time. The users can follow a bird’s eye guided tour, combined with a narrating voice, choosing his point of view by moving the mouse, and, at any time, they can stop it and navigate freely in real time. The journey is not only intellectually stimulat- ing but also appealing to the emotions and senses. More over the project was made with scientific accuracy using any available source of information such as plans and elevations, pictures, text, archaeological discoveries and buildings became essential when no primary source of research was available. Historical advisors checked and approved each piece of information throughout all modeling stages. The goal was to focus on scientific and architectural accuracy while displaying the information in an aesthetically pleasing manner, so virtual visitors could enjoy fun and interactive tours of the virtual world. Each “plateau” (i.e., a monument in a given period, with the surrounding neighbourhood or even the

Grant Agreement 270404 KCL Public 31 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

entire city) required several months of work. Finally the project is available, not online only, but also on mobile devices. Dassault’s also offers a 3D immersion room (cave) which allows clients to experience the 3D model in a full-immersive way (Fig. 13).  Interactive: yes  interaction device: mouse and keyboard smartphone and tablets,  visualisation device: monitor, 3D monitor + glasses, smartphone and tablets  technology: 3D Via (Virtools)  Duration: permanent  Communication: Narrative  Level of immersion: from low to high immersive  Distribution: on-line (but there is also a Mobile and a on-site version)  Scope: educational, edutainment entertainment.  Sustainability: Dassault’s 3D Paris is an asset that continues to grow in size and detail. Dassault is in talks with other European cities to do similar projects using the same format.

Grant Agreement 270404 KCL Public 32 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ETRUSCANNING

 Category: Narrative on-site  Institution: CNR-ITABC, Allard Pierson Museum  Content: Archaeology  Description: Etruscanning is an European project in the Culture 2007 framework, that involves a consortium of museums and research organizations from 3 European countries for the purpose of exploring the possibilities of new digit - ization and visualization techniques, in order to re-create and restore the original context of the Etruscan graves, while also giving new perspectives on the ancient European culture of the Etruscans. The project has been developing through a complex methodological approach; from the collection of existing data, to new topographical digital acquisition. Several ontologies of data have been acquired and elaborated, according to the typology and topology of the artefacts, including point clouds from laser scanner, photogrammetric data (dense stereo matching), and computer graphics. The Etruscan tomb have reconstructed in 3D and implemented in a Virtual Reality environment using natural interaction interfaces.  Museological quality and innovation: the main museological quality of this application regards the interactive approach and the emotional engagement of the visitors. The public has the possibility to explore the virtual tomb in real time, to get near the artefacts, to listen to narrative contents from the voices of the prestigious Etruscan personages buried inside to which such precious objects were dedicated. The princess and the warrior speak not from the past but from today, knowing our world, but nevertheless seen from their point of view as Etruscans. So they still speak as rulers of an Etruscan city-state, with aristocratic authority, but open and welcoming the people at the exhibition, just as they have welcomed so many people in their lifetime. Their point of view is that they indeed enjoy the afterlife; they keep on living so many years later, through the scientific research, the publications, the museums and exhibitions. They look upon us and how we deal with their culture, not giving away the secrets that we still haven’t unravelled. The underlying message is the role of heritage and how much this Etruscan heritage has contributed to our society of today (alphabet, holy water, afterlife, symbolism …). The storytelling is used in non-linear way, for an interactive experience. The user can explore the virtual space using the arms. Entering in “selection mode” he/she can select an object, go close to it, make the object animate and listen to the voices of the two characters buried inside commenting its meaning and value.  Technical quality and innovation: The most innovative element of the VR application developed for the tomb is the immersivity, usability and the paradigm of interaction based on the use of natural interfaces. This means that the user moves inside the 3D space through just his body movements alone (Fig. 14). The public has the possibility to explore the virtual tomb, to get near the artifacts, and to listen to the narrative contents directly from the voices of the prestigi - ous Etruscan personages buried inside; the princess and the warrior, to which the precious objects were dedicated. All this is possible moving in the space in front of the projection, in the simplest and natural way, without mouse, key - board, joystick or console (Fig. 15). The application is built in Unity 3D and uses the Kinect sensor for motion capture (owned by Microsoft). The system has been derived from the new generation of games, but it is still unusual in the domain of CH. The project needs cheap and standard hardware, it is simple to move in different contexts.  Pedagogical quality: for this application a precise and accurate evaluation processes has been established. Up to now, 3 sessions of evaluation have been carried out: in the first session (17-20 Nov. 2012) observation, interview and written survey was used as evaluation methods. In the second and in the third sessions (16 Oct. 2011-15 Mar. 2012 and 15-18 Nov. 2012) the evaluation methods were implemented with questionnaires. it will be very useful for us to compare the previous version with this one, in terms of public reaction and evaluation. The user-tests helped the authors in the definition of a new version with improved graphics, new objects contextualized in the tomb and a com - pletely new interaction interfaces (always based on human gestures).

Grant Agreement 270404 KCL Public 33 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 Duration: Permanent  Communication: Narrative – Storytelling  Level of immersion: full immersive  Distribution: on-site (Allard Pierson Museum, Holland, Vatican Museum, Italy)  Scope: edutainment, educational, research enhancement of visitor experience  Sustainability: easy to maintain and partially reusable. The models, in fact, are shared among the V-Must partners and could be reused in further project according to specific agreements to be planned.

Grant Agreement 270404 KCL Public 34 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

THE MYCENAEAN ACROPOLIS OF THEBES (TWIN APPLICATION WITH THE “DESCENT OT THETRO- PHONIO CAVE”) AND THE DIGITAL CULTURAL ENCYCLOPAEDIA OF BOEOTIA

 Category: Narrative On-site  Link: http://www.fhw.gr/projects/boeotia/thebes/  Institution: Foundation of the Hellenic World  Content: Archaeology, history, intangible heritage.  Description: A complex of a twin virtual reality museum application and an on line web cultural and historical encyclopaedia has been installed in the area of Boeotia in Greece, completed after 4 years of scientific and technological research, design and implementation. The Mycenaean Palace in Thebes, which dates from the Late Helladic III Period (14th-13th century BC). It is one of the most important Mycenaean administrative centres (palaces) of mainland Greece and was located approximately at the centre of the Cadmea acropolis. Its various parts and offices covered a large part of the natural hill of Thiva. Parts of the palace, which were decorated with wall paintings, were discovered by A. Ker - amopoullos between 1906 and 1929 and later again between 1963 and 1995 by archaeologists from the 9th Ephorate of Prehistoric and Classical Antiquities. Particular important are the archives of the clay tablets of Linear B, the inscribed stirrup jars, which seem to have arrived with products from Crete, the so-called "Treasure Room" and the "Arms De- pot". The ancient Oracle of Trophonius in Levadeia, is located on the foot of the hill with the medieval castle. There are a few ruins there today, which are believed to represent what is left from the oracle of Trophonius, at the sacred grove on the left bank of the river (Fig. 16). However, the real cave of Trophonius has not been located yet, although both the springs of Hercyna and the presence of the ruins of a temple nearby are consistent with the descriptions of the ancient writers. Essentially it is a 3D visualization of the texts of Plutarch/Pausanias regarding the visit of a pilgrim to the mystical oracle of Trophonius, presenting to the viewers the collective imaginary of the ancient Greeks regarding the oracles. This educational application shows the importance of these oracles, how they reflected on the local communities and the city-states. The relevant applications, developed in the framework of the project through the use of Virtual Reality, will allow the public to visit the two places not in their present day form, but in their original one and to learn about it in a friendly and interesting way. The scenarios of the applications which are developed in the frame - work of the project allows the use of the application as a visual media support of the educational process, but also as an interesting tourist choice for the visitors of the prefecture.  Technological and scientific quality and innovation: The applications are based in the last version of real time 3d projection software of FHW, allowing high quality graphics projection in real time, including characters, animals and natural environment. The application deals with a prehistoric monument (in the case of Thebes), of high international value, because of the linking with Classic literature and Mythology, providing to the reconstruction a high scientific and social importance for the modern world. The monuments are actually buried under the modern city of Thebes, making impossible large scale excavations. Regarding the Trophonio, the project reconstructs in 3D the procedure of consulting the Oracle of Trophonius, based not on existing findings or monuments or excavations because there are very little physical evidences, but rather on the saved written account of a visitor of the oracle of Trophonius, named Timarchus. Essentially it is a 3D visualization of the texts of Plutarch/Pausanias regarding the visit of a pilgrim to the mystical oracle of Trophonius, presenting to the viewers the collective imaginary of the ancient Greeks regarding the oracles.  Museological quality: The new applications are installed in the cultural centre of Thebes and the Historical and Folk- lore Museum of Livadia . The centre is located next to the Museum of Thebes, which disposes very important findings of the Mycenaean period of Thebes. The exhibition place of the virtual reality exhibit is situated just above ancient findings laying under the ground of the cultural center, and visible to the visitors. The Virtual reality exhibit is effectively comple- mented two major web elements:

Grant Agreement 270404 KCL Public 35 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

o the Boeotia cultural encyclopaedia, with 130 entries available in Greek and English, covering all aspects of the cultural background of the region of Boeotia and Thebes from the antiquity till our days, based on relevant scientific articles and documentation (http://boeotia.ehw.gr) o A specific website where the visitors and researchers can find all scientific documentation , upon which the reconstruction of the Mycenaean Acropolis of Thebes is based (http://www.fhw.gr/projects/boeotia/thebes)

The visitors can have local access on the web resources through interactive screens locate just above the ruins of ancient Thebes, at the exit or before their entrance in the virtual reality exhibit, allowing their complete immersion to the historical and archaeological resources. The virtual reality exhibit museologically operates like a knowledge multiplier deepening the effect of the immersive experience. Educational state-of-the-art: The availability of the web resources covering documentation of VR exhibit as well as the history and culture of the region, provides a solid background for the development of integrated educational programs not only by the cultural centre but by the visitors organizers themselves within their own educa - tional objectives (schools, researchers groups, tour operators). These programs can combine all the available resources: real objects in the Thebes museum, intangible heritage and scientific information in the Boeotia Encyclopaedia on the web, archaeological documentation and uncertainty elements of the reconstruction on the web. They can also be linked to additional activities of the cultural centre such as conferences e.t.c.

Operational state-of the-art/sustainability: State-of-the art elements can be identified in both the implementation structure of the project as well as in the operation mode selected:

 Implementation state-of-the-art the project has been designed and implemented within the framework of a consortium including a national research organization who is also a VR museum with similar large scale installations and encyclo- paedias by itself (FHW) transferring technology and know-how, to the local authorities, setting their own objectives and priorities and the regional government.  Being a twin project with the reconstruction of the oracle of Trophonios (http://www.fhw.gr/projects/boeotia/tophonio) (completed on May 2007) in the neighbour and competitive city of Leivadia the project has transformed the antagonism between the two cities in complementarily: both are linked in the same general concept of the cultural resources of Boeotia and both applications are available in the 2 cities. That way a higher multiplier effect is assured, and transferability of content is effectively proved. The same content will also be available in Tholos (http://tholos254.gr) the large VR museum of FHW in Athens, receiving each year around 150.000 visitors, promoting and informing of the existence of the local installations and the respective content.  Interactive: yes  interaction device: mouse and keyboard  visualisation device: monitor, 3D monitor + glasses  technology: 3D Powerwall VR systems  Duration: permanent  Communication: Narrative  Level of immersion: from medium to high immersive  Distribution: on-site  Scope: educational, edutainment entertainment.

Grant Agreement 270404 KCL Public 36 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 Sustainability: The innovative approach of the sustainability is based upon 3 main axes, mentioned in the previous characteristics of the VR applications: o Combination of implementation resources o Combination of operational resources within a network of museums and web applications offering cultural information o Combination of VR installations with existing museums (the Ethnologic Museum in Leivadeia and the Cultural Center of the Municipality in Thebes) reducing autonomous operational costs (Fig. 17, Fig. 18). o The 3 main axes are also directly or indirectly combined with a number of secondary sustainability issues such as: o Transferability of content. The technological base can receive all the productions of FHW and possible integrate additional productions. o Combination with real sites and objects o Local society direct involvement o Flexible operational requirements: Production of alternate fully immersive versions of the content in order to be able to propose pre-rendered scenario based mode and real time interactive mode of each VR application. o Light maintenance and operational cost (the local IT support is provided with training allowing them to operate and maintain the systems) o Web base and extendibility of the Encyclopaedia: the encyclopaedia is integrated in FHW encyclopaedia and is maintained and updated within the same context and technical base.

Grant Agreement 270404 KCL Public 37 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

BRAVO - BRAIN VIRTUAL OPERATOR FOR E-LEARNING

 Category: Descriptive Mobile  Institution: University of Bologna, DEIS Department of Electronics, Computer Science and Systems  Content: e-learning management system  Description: BRAVO (BRAin Virtual Operator) is a tool for reading customizable e-learning courses and multimedia contents using a Brain-Computer Interface that acquires information about the attention and the relaxation levels. User's brain activity can change the whole experience, simplify a lesson, go deeper visiting a virtual monument, establish interactions between different users that can help each other to improve their learning process. BRAVO is designed to allow a very easy user experience through a quick setup and portable devices (Fig. 20).  Technical quality and innovation: BRAVO is a tool that applies Brain-Computer Interfaces to a e-learning platform improving the experiences thanks to interactive 3d models and customizable contents downloadable directly from the web. BRAVO currently works on iPad and it is based on Moodle e-learning platform (Fig. 21). The content fruition is influenced by the information acquired each second by a Mindwave device by Neurosky. 3d models of monuments and sites are handled using Ogre3d graphics engine. BRAVO also allows to analyze 3d models of monuments or archeological sites and decompose them in their constituent parts. In particular, high levels of attention by the user are rewarded with the possibility of going further inside a monument or an artwork, thus getting more information and explanations. This solution looks also applicable to any cultural heritage exposition, whereas an interactive customizable experience is expected for the visitors.  Museological quality and innovation: The innovation regards the interactivity, the support and the facilitation of the visitors flow. BRAVO represents a user-centered and portable solution that applies BCIs to e-learning. In particular, BCIs (Brain computer interfaces) are used to detect significant elements of the users brain activity in order to understand which part of the lectures are most difficult, so as to propose them with different timing and graphic form and adapt them to the users' preferences, making them easier to learn (Fig. 19). Thus a BCI acquires ElectroEncephalography brain activity and it works out attention and meditation levels, that can be used to customize the learning experience. For this reason a Computerized Adaptive Testing (CAT) algorithm has been implemented to intelligently modify the difficulty level of new items on the way. For example, a detected low attention level during lesson suggests that the upcoming assignments will be more difficult for the student, because he probably missed some content or did not really understand them. Thus, the theoretical part could be repeated or an easier set of exercises will be proposed to start with. As an example of possible application, a selection of lectures of Art History have been realized in the form briefly outlined above. BRAVO is also a collaborative solution, in that students can work in group and the brain activity of each one of them can be posted to the others tablets, so as to facilitate collaboration through the mutual comprehension of the difficulties of the other members of the group. Once a user knows his own brain activity, he is encouraged to get new levels of attention and meditation that will be then screened (following a loop called neurofeedback).  Interactive: yes o interaction device: portable devices (iPad)/ Bluetooth Headset to inspect brain activities and send information to the software. o visualisation device: Monitor (iPad) o technology : Ogre3D  Duration: permanent

Grant Agreement 270404 KCL Public 38 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 Communication: descriptive  Level of immersion: not immersive  Distribution: not distributed  Scope: educational, research, enhance of visitor experience  Sustainability: BRAVO is a client of Moodle, an open source e-learning platform and 3D models are based on Ogre3D, an open source 3D graphics engine, reusable software and digital asset

Grant Agreement 270404 KCL Public 39 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

MATERA CITTA’ NARRATA (MATERA TALES OF A CITY)

 Category: Narrative Mobile  Institution: CNR ITABC, EVOCA, Net Agency, Imagimotion, HSH Informatica e Cultura, Dinamo Italia, CNR ITD, support of CNR IBAM di Matera, APT Basilicata.  Content: Virtual Heritage, intangible heritage  Description: Matera città narrata is a project aimed at the creation of a digital platform able to support the public be - fore and during the visit of Matera (World Heritage since 1993), providing cultural contents by multiple communicative formats and access possibilities. The main components of the project are: 1) the multimedia web site, adapted also for smartphone, 2) cultural contents and applications for mobile devices (smartphone, iPad, old style mobile phone) with different operative systems. Every user can choose the communicative format he prefers which will be supported by the technology he owns. The access to cultural contents is totally free for public. Great contents consist in the 3D models of Matera and its landscape in eight chronological phases. Matera has a very original urban history, not comparable with the ones of other urban realities. One of the main feature of the town has been its capacity to change and to rebuilt itself over the time, which is a rarity in the occidental cities. It is characterized by urban growth features that make it a carved and modeled rather than a built town. So, the project focused on the idea of morphing: Matera is made by a material, first sculpted by nature and then moulded by man, constantly evolving itself. The main purpose of these reconstructions is to show the general transformation and the growth of the whole shape of the city rather than focusing on specific buildings. The application is subdivided in 4 main sections: o Guide: It is not a traditional guide. On the contrary it tells the stories that took place in those ancient sites, real fragments of life, myths, events, characters, memories. The guide can be accessed in two modes: single sites or itineraries. o Fly on the territory: his section aims at the real time 3D exploration of the territory all around Matera. It is an “holistic” vision of the context where the user has the possibility to visualize and locate the main typologies of cultural heritage distributed all over the Rupestrian Church Park, including thousands of prehistorical, neo- lithic, medieval sites. Moving and tapping the iPad the user can guide a Lesser Kestrel (a typical little hawk living of Basilicata) flying all over the territory (Fig. 22). o Virtual Exploration through the Ages: The 3D reconstructions of 9 chronological phases, from 2 million years ago until today, have been realized in order to implement both movies and an interactive “augmented” experience. In this second case the user can explore some views on the urban and/or natural urban landscape and observe them in their process of historical evolution and transformation. In each of them the actual image and the 3D reconstructions of the past ages are perfectly overlapping and it is possible to perceive and understand the whole chronological progression. A cursor allows to modify the transparency of the active level in order to have more possibilities of comparisons with the actual landscape. o Personal stories: A lot of people have helped with this project: they have narrated the places of the city and of the territory on the basis of their own memories and encounters, their own visions, discoveries and life experiences.  Museological quality: The project introduces a new approach in the re-qualification and valorisation of the cultural landscape of Matera (archaeological, historical, artistic, natural contexts, intangible heritage), focusing not only on the most important sites but on the diffused cultural heritage and in the preservation of historical memory. It consists in an integrated, multidisciplinary and multidimensional network of “virtual heritage”, connecting places, ages, authors, contents, users, real world and virtual dimensions. The project has been concluded from a technical point of view and the applications are already available in the web. Another quality of the project regards the sustainability and especially the design of the applications, its robustness and possibilities to be maintained by the local administrations and the choice

Grant Agreement 270404 KCL Public 40 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

of the cultural contents and of the proper communicative formats. This is the right approach to let such a project survive, to make it accessible and usable for more than a brief initial promotional launching. Finally, the project has produced a lot of contents that could be reused for further uses. Photos, Movies, Audio contents, narratives, 3d models for off line rendering.  Technological quality: the technological quality regards the inclusivity and usability, in fact the user can reach cultural contents in a simple way, choosing the communicative format he prefers. The contents, organized in an online database, are accessible from a variety of mobile technologies. One of the keyword of the project is “inclusivity”; this means that all kinds of visitors can enjoy in some way of the available cultural contents, using the more or less advanced tech - nology they own. Contents, in fact, have been adapted to different formats that can be accessed as multimedia contents on a website (declined for both desktop systems and smartphone) or as standalone applications to be down- loaded on smartphone and tablet (iOS, Android, Java). One of the most innovative output of the project is the iPad ap - plication including all the contents developed in the project (1GB). The digital contents are subdivided in about one hundred small contexts, called "scenes" in the Unity 3D framework in order to manage the huge quantity of data (real time 3D, video clips, GUI, slide-shows, sounds and so on)..  Visualization and metadata quality: The application was designed with a stunning interface based on a customized GUI rather than standard iOS one, in order to obtain a more artistic impact. From the point of view of contents the reconstruction of Matera's history in its most relevant pre-historical an historical phases led the authors to face many complex issues. Matera instead is made by urban areas continuously changing and growing along both a vertical and a horizontal direction, following an idea of urban transformation involving all the city itself for each historical stage. It is easy to understand as the historical and research issues as well as the source investigations are very difficult and hard in this case. Moreover, a serious and scientific work in medieval archaeology about the city (and about its defence wall, for example ) has just begun. So it has been necessary to trust often to typological consideration or, in some cases, to trust to ideas of historical coherence and plausibility. This condition led the authors toward a system of scientific in - formation about model validation, based not only on the specific bibliography referred to Matera, but also on generic studies about urban and architectural issues in Southern Italy. All these subjects about the prehistorical and historical phases are explained in the movie so the methodological approach and the sources used are completely declared.  Pedagogical quality: The project was done to encourage tourists to spend a longer time in the town and its territory and improve cultural offer integrating multidisciplinary and multidimensional network of “cultural heritage, connecting places, ages, authors, contents, users, real world and virtual dimension.  Interactive: yes o interaction device: iPad, iPhone o visualisation device: iPad, iPhone (Fig. 23) o technology : Unity 3D Duration: permanent Communication: Narrative Level of immersion: not immersive Distribution: Mobile (iTunes-Appstore for free) Scope: edutainment and enhancement of visitor experience Sustainability: easy to maintain; reusable software / reusability of the digital assets depend on the kind of use and purposes (to be discusses from time to time) VIEWS OF GHENT MULTIMEDIA within “The story of Ghent”, Stam Museum

Grant Agreement 270404 KCL Public 41 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 Category: Descriptive On-Site  Link:http://www.stamgent.be/en/visit/permanent-exhibition/multimedia/views-of-ghent  Institution: STAM Museum  Content: Cultural heritage and Art  Description: “The Story of Ghent”, is a permanent exhibition within the STAM Museum, the museum of the city located on the historic Bijloke site, that combines technology and history harmonically. The exhibition compre- hends a circuit of 6 rooms, each of which encapsulates a period in the city’s history, that follows a clear chronolo - gical trail: earliest development (…-1200); metropolis (1200-1600); a quiet period (1600-1800); industrial city (1800-1950); expanding city (1950-today); the city of tomorrow. A circular ambulatory links the six rooms creating a time-line. More than 300 awesome collection pieces illustrate this story, while multimedia applications provide more in-depth information in both narrative and descriptive way. Here we keep in consideration only “Views of Ghent” multimedia as example of descriptive on-site application (Fig. 24). “View of Ghent” multimedia is placed in the introductory room. It is the starting point for the chronological trail. The visitor can form a picture of present-day Ghent from an aerial photo, printed on the floor and a model of the city centre and can get information using interactive touch-screen that show four view of the city. 1: The Panoramic View of Ghent dates from1534 and is the oldest painted picture of the city. This masterpiece is part of STAM's own collection; 2) The second map dates from 1641. It was made by Henricus Hondius and is normally kept in the university library; 3) The 1912 Ground Plan of Ghent derives from the archives of the Department of Roads, Bridges and Waterways; 4) The fourth 'map' is an aerial photograph of modern-day Ghent. These view enable the visitor to travel through time and the evolving city. Ingenious multimedia techniques plunge you into history and whisk you off on an exciting journey packed with images and information.  Technological quality and innovation: The quality of the “view of Ghent” consists in the relation between the “immersive” room (picture, video and model) and the interactive application (Fig. 25). When visitor who enter in the room, remains astonished and feels himself immersed in the city thanks to the bird’s eye vision that the on- floor printed aerial picture offers. Than the visitor can explore the city using the touch-screen. With the mouse he can open an information screen. A short text and a time-line with lots of pictures show how streets and buildings have changed in appearance and function over the centuries. Considerable attention is paid to the way the people of Ghent lived and worked through the ages. Apart from this application all other rooms of the museum are provided with innovative and useful technology connected with the art masterpieces for user’s facilitation such as multi-touch table, holographic projection onto glasses and immersive cinema (Fig. 27).  Museological quality. A lot of great resources and interactive technology is offered to the visitor and helps him to be part of the museum. The presentation of the contents is very clear and show in many languages (English, French and German): every street, square, monument and building on the application is accompanied by a wealth of digital information in text and above all image: paintings, watercolours, plans, drawings, etchings, miniatures, posters, etc. and lots and lots of photographs. Finally the technology used is user-friendly and very intuitive and don’t require computer experience.  Visualisation quality: The application use a stunning easy-to use interface that is specifically designed for non- technical user that enable visitors to view images and get information in a natural and intuitive manner (Fig. 26).  Interactive: yes o interaction device: - interactive multimedia map, multi touch-table o visualisation device: - monitors, projected holograms, touch-screen o technology: -

Grant Agreement 270404 KCL Public 42 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 Duration: permanent  Communication: Descriptive  Level of immersion: low immersive  Distribution: on-site  Scope: edutainment - cultural/tourist introduction  Sustainability: non-reusable

Grant Agreement 270404 KCL Public 43 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

7. 2013 “EXPERT” SURVEY in 2013

Goal and methodology During 2013 another survey has been carried out: several Virtual Museums were examined in order to update the “State of Art” list of VM made in 2011 and 2012. The methodology and criteria used in this analysis are the followings: The selection of 2013 Virtual Museum analysed has been mainly based on a systematic and organized process of evaluation, carried out during “DigitalHeritage2013 Expo” (DH2013 Expo), the exhibition of the world wide event DigitalHeritage2013 International Congress (see: http://www.digitalheritage2013.org/). DH2013 Expo, hosted at Villa Mediterranée in Marseille from the 28th of October until the 1st of November 2013, has been the largest exhibition on Digital Heritage ever organised in the domain of digital heritage and virtual heritage (see more: http://www.digitalheritage2013.org/expo/). The exhibition was divided in six categories: Immersive Environments, DigitalHeritage@Work, Virtual Museums, Edutainment, Art and Creativity, Multivision. More than 60 projects and applications have been submitted through the Call for Application of this Expo. Best projects have been selected by a Scientific Committee composed of Arts, Heritage and Information and Communication Technologies experts, was presented at this event not only to the hundreds of participants of the DigitalHeritage2013 International Congress, but also to the thousands of visitors that the new Villa Mediterranée has been attracted to its exhibits. DigitalHeritage2013 Expo has had more than 5.000 visitors.

Furthermore, since the Expo has been organized by CNRS Map, France and CNR-ITABC, Italy, it has been possible to follow the “Call for participation” and access projects information; moreover it has been possible to accomplish a further critical discussion with all the authors of selected virtual museums that have attended the exhibition and deepen some topics regarding workflows, contents and technologies used in the projects. This has allowed a deepened analysis and knowledge of the virtual museum selected to be performed.

Since evaluation is a very important aspect of research in designing the future Virtual Museums and improving their effectiveness, during the DH2013 Expo, visitors were asked to answer to questions about usability, contents and aesthetic appearance of the virtual museums. In addition, the interconnection, which occurs between the cognitive mechanisms involved during the interaction and the technical qualities of the system employed, was investigated deeply using questionnaire and scenario-drive interview. This evaluation at the above mentioned event was

Grant Agreement 270404 KCL Public 44 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

carried out by CNR-ITABC, Italy and the results are still being processed (the evaluation is described in Deliverable 7.2).

Furthermore, besides research and evaluation carried out during “DigitalHeritage2013 Expo”, V-MUST has carried out also a further on-line survey and evaluation. We would like in fact to widen the previous survey and include in the analysis also Virtual Museums outside the heritage domain. In particular we focused on immaterial or intangible heritage, medical science and museum collections. Nevertheless, only relevant virtual museums have been taken in consideration, with specification in line with Deliverable 2.1.

The list of the virtual museums analysed in 2013 survey is available in annex 8.5 and annex 8.7. The Virtual Museums has been classified in 6 scenarios, as follows, as decided in 2012 survey (distribution and communication criteria) (see par. 6.2):

1. narrative on-line. 2. narrative on-site. 3. narrative mobile. 4. descriptive on-line. 5. descriptive onsite. 6. descriptive mobile.

Grant Agreement 270404 KCL Public 45 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

8 ANNEXES

8.1 ANNEX 1: LIST OF SURVEYED EXAMPLES (survey 2011)

Descriptive Narrative

e 1. Arqua 1. Environment Museum Of Stymphalia n i l 2. Cathedral Of Santiago De Compostela 2. Narrative Virtual Museum Of Appia Archaeological Park -

n 3. Ducati History Virtual Museum 3. Theatron 3 O 4. F-Mu.S.Eu.M, “Virtual Museum Of The European Roots” 4. Virtual Museum Of Bosnia And Herzegovina 5. Jerusalem Archaeological Park 5. Virtual Museum Of Daily Life 6. Museo Virtuale Degli Strumenti Musicali Italiani 6. Virtual Museum Of Iraq 7. Museum Of The Imperial Fora 7. Sarajevo Survival Tools 8. Muva Museo Virtuale Di Architettura 8. Virtual Reconstruction Of Isa-Bey Tekija, 9. Virtual Museum Of The City Of San Francisco 10. Digital Dead Sea Scrolls 11. Digital Catalog Of Steć aks 12. Discover Baroque Art 13. Discover Islamic Art 14. Maritime Archaeology Virtual Museum 15. Don Quixote Virtual Museum 16. Ostia Antica - Virtual Museum 17. Rome Reborn 18. The National Archive 19. Van Gogh's Van Goghs 20. Virtual Church Of The Holy Trinity, Muzej Hercegovine, Mostar Bh 21. Virtual Museum Of Canada 22. Virtual Museum Of Surveying 23. Virtual Collection Of Masterpieces 24. Virtual Museum Of Bh Traditional Objects, 25. Virtual Rome 26. Virtual Museum: Classics And Archaeology 27. Virtual Museum Vallée 28. Virtual Shaftesbury Abbey 29. Virtual Museum Of Erotic Art 30. Cenobium - Medieval Sculpture 31. Art Project 32. Certosa Virtual Museum 33. The Virtual Museum Of Bacteria

Grant Agreement 270404 KCL Public 46 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

1. Apa At Genius Bononiae

e 1. Colonia 3D t

i 2. Daily Life In Middle Ages s

- 2. Troia Vr Presentation System 3. I Colori Di Giotto - Sala Interattiva n

O 3. Villa Domitian Reconstruction 4. Museo Archeologico Virtuale - Mav Ercolano 4. The Cathedral Of Santiago De Compostela 5. Scrovegni Chapel. The Multimedia Room Project. 6. Virtual Arrigo The 7th 7. Virtual Museum Of Ancient Flaminia 8. Battle Of Thermopilae 9. Ancient Agora Of Athens 10. A Walk Through Ancient Olympia 11. Athena In The Ancient Agora 12. Teramo Virtual City 13. The Workshop Of Fidia In Olimpia e

l 1. Internationalem Augmented-Reality-Wettbewerb auf Platz1

i 1. Medieval Dublin

b 2. iTacitus o 3. Archeoguide 2. Teramo Lite M 4. Darsein Ar Travel for I-Phone 3. The Westwood Experience

Map: http://g.co/maps/84t3u

Grant Agreement 270404 KCL Public 47 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON LINE-DESCRIPTIVE

ARQUA Link http://museoarqua.mcu.es/web/visita/ (accessed 2012) Institution: Museo National de Arqueologia Subacuatica Description: on-line interactive virtual tour Content: Archaeology Interactive: yes  interaction device: mouse, keyboard  visualisation device: Monitor  technology: unity Duration: Permanent Communication: descriptive Level of immersion: non immersive Distribution: on-line Scope: edutainment, Sustainability: -

CATHEDRAL OF SANTIAGO DE COMPOSTELA Link: http://etc.ucla.edu/research/projects/compostela/ (accessed 2012) Institution: UCLA ETC experiential Technologies center, University of Pittsburgh, Xunta de Galicia Description: Video and online virtual tour of the Chatedral of Santiago de Compostela. Restoration of the architecture of the cathedral and its placement within an urban simulation of the town. The project also offers a reconstruction of the songs and sounds typically heard in the building in the thirteenth century. Content: Architecture Interactive: yes  interaction device: mouse, keyboard  visualisation device: Monitor  technology: - Duration: Permanent Communication: descriptive Level of immersion: non immersive Distribution: on-line Scope: edutainment, enhancement of visitor experience Sustainability: -

DUCATI HISTORY VIRTUAL MUSEUM Link: http://www.ducati.com/museo/virtual_tour/flash_GB/home.html (accessed 2012)

Grant Agreement 270404 KCL Public 48 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Institution: Ducati Description: interactive on-line virtual tour of Ducati museum Content: history Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: edutainment, promotion Sustainability: not reusable

F-MU.S.EU.M, “VIRTUAL MUSEUM OF THE EUROPEAN ROOTS” Link: http://www.europeanvirtualmuseum.net/index.asp http://www.europeanvirtualmuseum.net/virtual_museum/virtual_museum.asp?lingua=en&tab=0 Institution: Leonardo Da Vinci Programme framework Description: portal where the visitor can explore the most remarkable items of several European museums together with selected thematic routes, that will guide visitors to the discovery of the European prehistoric culture and heritage. Content: Archaeology, art, architectures, routes, landscape Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: permanent Communication: descriptive, expositive Level of immersion: non-immersive Distribution: on-line Scope: educational, edutainment, entertainment Sustainability: -

JERUSALEM ARCHAEOLOGICAL PARK link: http://www.archpark.org.il/index.asp (accessed 2012) Institution: Israel Antiquities Authority, EagleShade Interactive Production House, IAA publications department

Grant Agreement 270404 KCL Public 49 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: The site presents a survey of the history and archaeology of Jerusalem throughout the Early Bronze Age until the Ottoman period. Its pivot is a dynamic time line, enhancing focal periods and events in the city's history. Internal links lead to complementary information, e.g., historical sources. A bibliography, arranged by periods and themes, is also available. The site holds a detailed description of a 3D virtual model of the Temple Mount. Content: Archaeology Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: edutainment, entertainment Sustainability: -

MUSEUM OF THE IMPERIAL FORA http://tourvirtuale.mercatiditraiano.it/indexEng.html (accessed 2012) Institution: Mercati di Traiano, Museo dei Fori Imperiali Description: Virtual photographic tour of the “Mercati e foro di Traiano”. Content: Archaeology Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, promotion. Sustainability: -

MUSEO VIRTUALE DEGLI STRUMENTI MUSICALI ITALIANI link: http://www.bdp.it/musiknet/ accessed (2012) Institution: (Florence) Galleria dell’Accademia, Museo Bardini, Basilica S.S. Annunziata, Collezione Vettori, (Rome) Basilica di S. Giovanni in Laterano Description: Virtual Museum of musical instruments (piper organs and music-chords instruments) Content: Musical heritage Interactive: yes

Grant Agreement 270404 KCL Public 50 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: edutainment, educational Sustainability: -

MUVA MUSEO VIRTUALE DI ARCHITETTURA http://www.muva.it/ (accessed 2012) Institution: Ermes multimedia srl Napoli, with the support of CNAPPC, Regione Campania Comune di Napoli, University of Napoli – Faculty of Architecture, Bagnoli Futura spa, Inarch campania, Istituto Banco di napoli Fondazione. Description: multi-media virtual museum on-line of architecture, visual art, archives and desing that use text, graphics, and sounds. Content: Architecture and art Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: Flash Duration: Permanent Communication: Expositive, descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, promotional Sustainability: -

ODYSSESY’S VIRTUAL MUSEUM Link: http://odysseysvirtualmuseum.com Institution: Odyssey Marine Exploration, Inc. Content: Art Description: interactive collection of artefacts recovered during Odyssesy Marine Exploration’s exiting shipwreck expeditions. Contents; text and images Interactive: yes  interaction device: mouse  visualisation device: monitor  technology: - Duration: permanent

Grant Agreement 270404 KCL Public 51 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: educational Sustainability:-

VIRTUAL MUSEUM OF THE CITY OF SAN FRANCISCO link: http://sfmuseum.org/ (accessed 2012) Institution: San Francisco Museum Description: General multi-media virtual museum on-line that use text, graphics, and sounds. It is primarily a research and educational site for scholars, young and old. The site features the interesting, the amusing, and the unusual in San Francisco's history. Content: History Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Expositive Level of immersion: non-immersive Distribution: on-line Scope: educational, research Sustainability: -

DIGITAL CATALOG OF STEĆ AKS link: http://h.etf.unsa.ba/dig-katalog-stecaka/stecaks.htm (accessed 2012) Institution: Faculty Of Electrical Engineering Sarajevo, National Museum Of Bosnia And Herzegovina Content: Archaeology Description: The best known, and certainly the most valuable monuments of medieval art in Bosnia and Herzegovina are the Steć aks. Ste ć aks are monumental gravestones, usually stone monoliths of varying shapes and sizes. There are about 60.000 tombstones organized in large necropolis all over Bosnia and Herzegovina. The Steć ak necropolises are a mysterious aspect of Bosnian and Herzegovinian history. The most intriguing are their origins, whom they belonged, who was buried under them, as well as engraved symbols, and mystic messages on them. These engravings inform us of social differences of those that were buried under them, but also of religious differences. Digital Catalogue of Stecaks is an interactive digital catalog in the form of schematic description of the exhibitions. By clicking on the specific object visitor is provided with its website, which contains historical data and 3D model that can be explored in 3D space by using the adequate player Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: 3Ds max, Cortona 3D

Grant Agreement 270404 KCL Public 52 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, research Sustainability: reusable model for other distribution: the Interactive catalog, in fact, will be delivered in the DVD form, which may be distributed to the visitors of the Museum as the souvenir. Moreover this application will be putted on touch screen panels in the Museum.

DIGITAL DEAD SEA SCROLLS link: http://dss.collections.imj.org.il/ (accessed 2012) Institution: Israel Museum Content: Manuscripts Description: The Dead Sea Scrolls Project with the Israel Museum was developed to enrich and preserve an important part of world heritage, the manuscripts from Second Temple Period, by making it accessible to all on the internet. All the manuscript was digitized and implemented in an on-line viewer. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, research Sustainability:

DISCOVER BAROQUE ART link: http://www.museumwnf.org/baroqueart/pc_home.php (accessed 2012) Institution: Museum With No Frontiers (VMNF) Content: Museum Collection Description: database on-line of Permanent Collection of several European Museum. The website provide information and picture of the selected museum Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive

Grant Agreement 270404 KCL Public 53 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Level of immersion: non-immersive Distribution: on-line Scope: promotion Sustainability: -

DISCOVER ISLAMIC ART link: http://www.discoverislamicart.org/exhibitions/ISL/ (accessed 2012) Institution: Museum With No Frontiers (VMNF) Content: Art and Museum Collection Description: database on-line of Permanent Collection of Islamic Museum and Art in the Mediterranean. The website provide information and picture of the selected museum Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, research, preservation Sustainability: -

DON QUIXOTE VIRTUAL MUSEUM link: http://www.donquijote.org/vmuseum/ (accessed 2012) Institution: don Quijote Salamanca S.L. Content: Art Description: database on-line of Don Quixote artworks. The website provide information and picture of the selected artwork Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, promotion Sustainability: -

Grant Agreement 270404 KCL Public 54 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

MARITIME ARCHAEOLOGY VIRTUAL MUSEUM link: http://www.abc.se/~pa/uwa/hot.htm (accessed 2012) Institution: Nordic Underwater Archaeology Content: archaeology Description: website a Virtual museum section that explain with text and images the maritime archaeology worldwide from a north European perspective. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, research Sustainability: -

OSTIA ANTICA - VIRTUAL MUSEUM link: http://www.ostia-antica.org/vmuseum/vmuseum.htm (accessed 2012) Institution: Ostia Museum Content: archaeology Description: virtual museum that contains photographs of many objects that were found in Ostia and Portus. It is a digital replica of the real museum, the user have to select a floor for a specific kind of object. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, research Sustainability: -

ROME REBORN link: http://www.romereborn.virginia.edu/gallery-current.php (accessed 2012) Institution: University of Virginia Content: Archaeology

Grant Agreement 270404 KCL Public 55 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). The primary purpose of of the project was to spatialize and present information and theories about how the city looked at this moment in time, which was more or less the height of its development as the capital of the Roman Empire. A secondary, but important, goal was to create the cyberinfrastructure whereby the model could be updated, corrected, and augmented. Spatialization and presentation involve two related forms of communication. The model of Rome is visible on Google heart downloading a specific plug-in. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: Google-Heart plug-in Duration: Permanent Communication: Descriptive Level of immersion: low-immersive Distribution: on-line Scope: educational, research, edutainment. Sustainability: the assets has been reused in the “Romanova Game Project” (see the 2012 list of Virtual Museum)

THE NATIONAL ARCHIVE link: http://www.nationalarchives.gov.uk/museum/ (accessed 2012) Institution: UK government’s official archive Content: Cultural heritage (National Treasure) Description: Digital version of the Treasures from The National Archives Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, research Sustainability: -

VAN GOGH'S VAN GOGHS link: http://www.nga.gov/exhibitions/vgwel.htm (accessed 2012) Institution: National Gallery of art, USA Content: Art

Grant Agreement 270404 KCL Public 56 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: virtual exhibition of Van Gogh’s masterpieces. Thevirtual tour allows the user to navigate through panoramas of the exhibition galleries. The user can select specific paintings for larger image views, close-up details, and more information. The virtual exhibition is connected to real exhibition that was on view at the Gallery October 4, 1998 - January 3, 1999. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: quick time VR Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, promotion Sustainability: -

VIRTUAL CHURCH OF THE HOLY TRINITY, MUZEJ HERCEGOVINE, MOSTAR BH link: http://www.crkva-sv-trojice.ba/ (accessed 2012) Institution: BScEE, CPhD Content: architecture Description: Virtual reconstruction of Church of The Holy Trinity and web implementation. Images, text and 3D exploration of the exteriors of the church are allowed to the users. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: flash Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: -

VIRTUAL COLLECTION OF MASTERPIECES link: http://masterpieces.asemus.museum/Default.aspx (accessed 2012) Institution: ASEMUS - the Asia Europe Museum Network. Content: artworks Description: The project uses the Internet and masterpieces in the collections of contributing museums to promote mutual understanding and appreciation between the peoples of Asia and Europe. Descriptive texts and high quality images are allowed to the user. Interactive: yes

Grant Agreement 270404 KCL Public 57 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device: mouse  visualisation device: desktop  technology: flash Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: promotion Sustainability: -

VIRTUAL MUSEUM OF BH TRADITIONAL OBJECTS link: http://www.muzejsarajeva.ba/btp/ (accessed 2012) Institution: Museum of Sarajevo, Faculty of Electrical Engineering Sarajevo, Computer Science Department Content: artworks Description: The project “Virtual Museum of Bosnian Traditional Objects” was created as an attempt to digitize and present in multimedia form a part of the exhibits in the Museum of Sarajevo through the coursework of the 3rd year students at the Faculty of Electrical Engineering Sarajevo, Computer Science Department, in the Computer Graphics course. Descriptive explorable 3D models, texts and images are allowed to the user. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: Cortona 3D, VRML Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, promotion Sustainability: -

VIRTUAL MUSEUM OF CANADA link: http://www.museevirtuel-virtualmuseum.ca/index-eng.jsp (accessed 2012) Institution: ASEMUS - the Asia Europe Museum Network. Content: artworks Description: virtualmuseum.ca is a online resource for Canada's museums and their collections. It's a unique space featuring over 600 virtual exhibits, nearly 1 million images, and multimedia contents. It’s contents regard arts, science, and history. Interactive: yes  interaction device: mouse  visualisation device: desktop Grant Agreement 270404 KCL Public 58 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: promotion, educational Sustainability: -

VIRTUAL MUSEUM OF SURVEYING link: http://www.surveyhistory.org (accessed 2012) Institution: SurveyHistory Content: History Description: consists of exhibits which cover a variety of topics related to surveying history. Images, sheets and texts describe tools and object used to survey. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: the Virtual Museum of Surveying is expected by the authors to constantly grow and change

VIRTUAL MUSEUM VALLÉE link: http://www.vmv.it/ (accessed 2012) Institution: VVM, Regione Valle d’Aosta Content: history, culture Description: VVM is a Cultural Centre which is gathering an iconographic heritage dispersed in various local places. It is a collective space open to all those who want to form a community to debate and make the identity of the Valley of Aosta known VMV is, at the moment, offering two museums: MAO – Aosta Museum and MUMU – Cow Museum Interactive: yes  interaction device: mouse  visualisation device: desktop  technology:- Duration: Permanent Communication: Descriptive

Grant Agreement 270404 KCL Public 59 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Level of immersion: non-immersive Distribution: on-line Scope: promotion Sustainability: -

VIRTUAL MUSEUM: CLASSICS AND ARCHAEOLOGY link: http://vm.arts.unimelb.edu.au/ (accessed 2012) Institution: University of Melbourne Content: archaeology The Classics and Archaeology Virtual Museum documents the Classics and Archaeology Collection of the University of Melbourne, which is located at the Ian Potter Museum of Art. The Virtual Museum is a collaborative project of the Centre for Classics & Archaeology, the Ian Potter Museum of Art and ArtsIT Interactive: yes  interaction device: mouse  visualisation device: desktop  technology:- Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: research Sustainability: - .

VIRTUAL ROME link: http://3d.cineca.it/storage/demo_vrome/htdocs/ (accessed 2012) Institution: CNR-ITABC Content: Archaeology Description: Virtual Rome is an Open Source web VR project, based on geospecific data, 3d models and multimedia contents, with front-end (VR webGIS) and back-end (VR webLAB) on line solutions, for the interpretation, reconstruction and 3d exploration of the archaeological and potential landscape of ancient Rome. The purpose is the creation of a three-dimensional on line 3d environment, embedded into a web-browser. In VR the user can: 1) Explore in 3d the archaeological and reconstructed landscape of ancient Rome, flying on the territory or walking inside its monuments; 2) Interact, through different tools, with the cyberspace, have different point of views, change perspective, for a better knowledge of the territory; 3) Modify the cyberspace, through a sort of 3d CMS (Content Management System), developed as to involve different professionals in the complex, open and neverending activity of landscape reconstruction. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: 3Ds Max, OSG4Web

Grant Agreement 270404 KCL Public 60 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: research Sustainability: preserved VM. The project is currently not maintained.

VIRTUAL SHAFTESBURY ABBEY link: http://www.virtualexperience.co.uk/?page=projects&sub=shaftesbury (accessed 2012) Institution: Virtual Experience Company Content: architecture Description: Shaftesbury Abbey Museum and Garden is set on the site of Saxon England’s foremost Benedictine nunnery founded by King Alfred in 888AD. Sadly, all that remains today are the excavated foundations and fragments from the once- splendid Abbey. The Virtual Experience Company painstakingly constructed this virtual model, enabling visitors to explore the fine details of the Abbey. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology:- Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational, promotion Sustainability: -

WIRTUALNE MUZEUM SZTUKI EROTYCZNEJ - VIRTUAL MUSEUM OF EROTIC ART link: http://muzeumerotyzmu.pl/ (accessed 2012) Institution: Virtual Experience Company Content: art Description: Virtual museum of erotic art. Information (Images and texts) are subdivided in categories and provided to the user through an interactive interface that simulates a “neural network” Interactive: yes  interaction device: mouse  visualisation device: desktop  technology:- Duration: Permanent Communication: Descriptive

Grant Agreement 270404 KCL Public 61 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: -

ART PROJECT link: http://www.googleartproject.com/ (accessed 2012) Institution: Google Content: art Description: Virtual collection of Art masterpieces. The user can select artists or artworks and explore high quality images and gain textual information. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology:- Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: private

CENOBIUM - MEDIEVAL SCULPTURE Link: http://cenobium.isti.cnr.it/index.php (accessed 2012) Institution: CNR ISTI and ITABC, Soprintendenza per I beni ambientali, architettonici storici Pisa Livorno Lucca Massa Carrara, Kunsthistorisches Institut in Florenz, Town of Aosta, Chatedral of Cefalù Description: CENOBIUM (Cultural Electronic Network Online: Binding up Interoperably Usable Multimedia) is a Web application for the study and the presentation of the Romanesque cloister capitals from the Mediterranean region. Images, texts and 3D models regarding several cloisters can be explored and compared in an innovative, integrated, manner. This project is sponsored by the Kunsthistorische Institut in Florence. Developed by ISTI-CNR and Kunsthistorische Institut in Florence. Content: Architecture, Art Interactive: yes  interaction device: mouse, keyboard  visualisation device: Monitor  technology: - Duration: Permanent Communication: Descriptive

Grant Agreement 270404 KCL Public 62 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Level of immersion: non-immersive Distribution: on-line Scope: research Sustainability: re-reusable

CERTOSA VIRTUAL MUSEUM Link: http://cenobium.isti.cnr.it/index.php (accessed 2012) Institution: CINECA Description: The Certosa Virtual Museum enables users to explore in 3d and on line virtual reconstructions of Piazza Maggiore, the central square of the city of Bologna and of three historical and artistic monument located inside the Certosa, the city historical cemetery: the Cloister 3rd, the Partisans Ossuary and the Sacred Monument of the Great War. Italian Un percorso 3D che permette di navigare on line nelle ricostruzioni virtuali di Piazza Maggiore e di tre monumenti storico-artistici situati nella Certosa di Bologna: il Chiostro III, l'Ossario dei partigiani e il Sacrario della Grande Guerra. Developed by Comune di Bologna and CINECA. Content: Architecture, Art Interactive: yes  interaction device: mouse, keyboard  visualisation device: Monitor  technology: exhibit3D Duration: Permanent Communication: Descriptive Level of immersion: non-immersive Distribution: on-line Scope: enhancement of visitor experience Sustainability: re-usable

THE VIRTUAL MUSEUM OF BACTERIA link: http://bacteriamuseum.org/cms/ (accessed 2012) Institution: Foundation for Bacteriology Content: Medicine Description: This site brings together many links on bacteria, bacteriology, and related topics available on the web. It also provides crystal-clear information about many aspects of bacteria. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology:- Duration: Permanent Communication: Descriptive Level of immersion: non-immersive

Grant Agreement 270404 KCL Public 63 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Distribution: on-line Scope: educational, research Sustainability: The contents of the exhibits can be freely copied and used for teaching purposes

Grant Agreement 270404 KCL Public 64 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-LINE NARRATIVE

ENVIRONMENT MUSEUM OF STYMPHALIA Link: http://www.makebelieve.gr/mb/www/en/portfolio/museums-culture/53-environment-museum-stymphalia.html Institution: Makebelieve Description: four digital installation are fully integrated in the museum, forming the main support tools to the content but also becoming, as installations, the exhibited objects themselves. The installation deal 3D digital reconstructions, with animations, of homes, temples and public buildings of the ancient city of Stymphalos and of the Cistercian abbey of Zaraka Content: Archaeology Interactive: non-interactive Duration: permanent Communication: narrative Level of immersion: non-immersive Distribution: on-line Scope: educational, edutainment, entertainment Sustainability: -

NARRATIVE VIRTUAL MUSEUM OF APPIA ARCHAEOLOGICAL PARK Link: http://www.vhlab.itabc.cnr.it/Projects_appia.htm http://www.youtube.com/watch?v=JmEnvhTtHsM Institution: CNR-ITABC Content: Archaeology Description: interactive application on the Appia Archaeological park that allow 3D model of the landscape and monuments to be explored. 3D reconstruction are integrated with the complex informative system, composed by metadata associated. The user can explore in 3° person the site, visit monuments and gain information from fantastic characters ( talking trees, ghosts) that narrate stories. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: 3Ds max, OSG4Web Duration: permanent (currently the virtual tour doesn’t work. The web plugin needs to be updated) Communication: narrative Level of immersion: non-immersive Distribution: on-line Scope: educational, entertainment Sustainability: model can be reused, The project will be soon updated with a new version of the plugin.

THEATRON 3 Link: http://cms.cch.kcl.ac.uk/theatron/ Institution: King’s Visualization Lab (King’s College)

Grant Agreement 270404 KCL Public 65 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: Theatron 3 consists of 25 historic European performance places, ranging from 5th century B.C.E. to the twentieth century, built in the Virtual World 'Second LifeTM, together with virtual guides and a host of interactive tools, scenarios and tutorials, customisable actors, props, sound effects, lighting and scenic technologies, streaming video and a 'Director' tool to enable users to create live performances. Content: Archaeology Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: Second Life Duration: permanent Communication: narrative Level of immersion: non-immersive Distribution: on-line Scope: educational, research, entertainment Sustainability: -

VIRTUAL MUSEUM OF BOSNIA AND HERZEGOVINA link: http://projects.etf.unsa.ba/~vmuzej/ (accessed 2012) Institution: Virtual BH Museum, Faculty of Electrical Engineering, University of Sarajevo- Sarajevo / Bosnia and Herzegovina. Content: history Description: Virtual BH National Museum is an attempt to apply and explore this knowledge in presenting the cultural heritage of Bosnia and Herzegovina. National Museum of Bosnia and Herzegovina, Sarajevo, BH. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: Quicktime, Cortona Duration: Permanent Communication: Narrative Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: reusable assets

VIRTUAL MUSEUM OF DAILY LIFE link: http://muvi.cineca.it/ (accessed 2012) Institution: CINECA, Museo Civico del Risorgimento di Bologna Content: history

Grant Agreement 270404 KCL Public 66 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: This virtual museum, through the 3D reconstruction of interiors related to different historical periods and different social classes, show objects and historical sources linked to life every day. Nutrition, familial aggregation, the everyday objects tell stories and experiences. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: HTML, Jave™ platform Duration: Permanent Communication: Narrative Level of immersion: non-immersive Distribution: on-line Scope: educational, edutainment Sustainability: -

VIRTUAL MUSEUM OF IRAQ link: http://www.virtualmuseumiraq.cnr.it/ (accessed 2012) Institution: CNR with support from the Ministry of Foreign Affairs. Presented in Italian, English and Arabic Content: Archaeology Description: The virtual museum features 70 of the antiquities on display at the Iraq National Museum in Baghdad. It contains images, movies, maps and timelines in seven different halls designed to be explored. The Virtual Museum does not aim to reproduce the original structure and set up of the real museum, it is a communication project built to know the principal stages of historical and cultural development of Mesopotamia through archaeological artefacts and sites. Interactive functions and various user format are combined into a user-friendly interface in order to make the Virtual Museum of Iraq an instrument to explore, to know and to preserve Iraq cultural heritage despite of war and violence. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: - Duration: Permanent Communication: Narrative Level of immersion: non-immersive Distribution: on-line Scope: educational, edutainment Sustainability: Re-usable VM tools

SARAJEVO SURVIVAL TOOLS link: http://h.etf.unsa.ba/srp/project.htm (accessed 2012) Institution: Faculty of Electrical Engineering, Computer Science Department Content: history

Grant Agreement 270404 KCL Public 67 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: The project presents a story and a virtual presentation of the exhibition “Sarajevo under the siege” by the Historical Museum, which contains the objects created and used by the citizens of Sarajevo during the 3,5 years period when the city was under the siege (1992-1996). Each object is presented by the basic information, photo gallery, movie about its creation and purpose and the interactive 3D model. This project enables the Internet users to learn about the life in Sarajevo under the siege and an extraordinary creativity of its citizens, who succeeded to survive and defend their town in terrible conditions with lack of food, water, electricity and heating, under the permanent life danger. Particularly interesting are the movies, which, apart from the details about the objects, present each student's personal perception of the war period that they survived as children. A part from the Internet presentation, the created digital content will be displayed in the Museum using an interactive display. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: Cortona, VRML Duration: Permanent Communication: Narrative Level of immersion: non-immersive Distribution: on-line Scope: educational, edutainment Sustainability: reusable VM tools

VIRTUAL RECONSTRUCTION OF ISA-BEY TEKIJA link: http://www.muzejsarajeva.ba/tekija/ (accessed 2012) Institution: Faculty of Electrical Engineering, University of Sarajevo, and the Museum of Sarajevo. Content: architecture, virtual miths Description: Isa-bey’s tekija (Dervish House, tekke) was definitely a building of great historical significance; however, the object does not exist any longer. There is only a panel remaining, notifying the citizens of Sarajevo that exactly there, under their feet, lays the greatest gift to the Sarajevo city. The goal of this project is to create a virtual reconstruction of the object and to present it using computer graphics and multimedia techniques. The goal of this first phase of the project is the virtual reconstruction and visualization of the Tekija, creating an interactive 3D model using computer graphics technologies. The creation of the 3D model can be done with different techniques of modelling. The project should demonstrate how a high quality 3D model of a non- existing object can be created within the background that in reality does not reflect real original and to show how that model becomes interactive trough export to VRML. As a continuation of the project this model would be applied at a web page, offline DVD presentation, info kiosk and 3D printout. Interactive: yes  interaction device: mouse  visualisation device: desktop  technology: Cortona, VRML Duration: Permanent Communication: Narrative Level of immersion: non-immersive Distribution: on-line

Grant Agreement 270404 KCL Public 68 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Scope: enhancement of the user experience Sustainability: re-usable

Grant Agreement 270404 KCL Public 69 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON SITE - DESCRIPTIVE

COLONIA 3D Link: http://colonia3d.de/ (accessed 2012) Institution: Archaologisches Institut - Univesitat Koln, Koln international School of Design, Hasso-Plattner Institut - Univeritat Postdam, Romisch-Germanisches Museum Koln. Description: 3D reconstruction and interactive visualization project of Roman Colonia Content: Archaeology, Architecture Interactive: yes  interaction device: touch screen  visualisation device: Monitor  technology: - Duration: Permanent Communication: descriptive Level of immersion: non immersive Distribution: on-site Scope: educational, edutainment, training to the visit, research Sustainability: -

TROIA VR PRESENTATION SYSTEM Link: http://www.uni-tuebingen.de/troia/vr/index_en.html (accessed 2012) Institution: Universitat Tubingen, Bundesministerium fur Bildung und forshung, ART+COM AG Description: The TroiaVR Presentation System is an installation for lectures, exhibitions, and museums. On two screens reconstructions of Troy and the surrounding landscape at different points in time are shown. This is supplemented by additional information (plans, time line, texts, images). Completely free movement in real time through this virtual reality scenery is possible. Hypothetical reconstructions of buildings that have not been excavated can be switched off; only their footprints will remain visible. Thus time-traveling to Troy becomes possible for groups up to a hundred persons, depending only on the size of the available showroom and screens. At present the system contains complete reconstructions of Troy II, VI, VIII, and a model of the present-day landscape - three important stages in the history of Troy, at regular intervals of approximately one thousand years. Content: Archaeology, Architecture Interactive: yes  interaction device: the configuration of the system consists of a personal computer, a laptop, a space mouse for navigation, and two data projector.  visualisation device: Monitor and projector  technology: - Duration: Permanent Communication: descriptive Level of immersion: low immersive

Grant Agreement 270404 KCL Public 70 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Distribution: on-site Scope: educational, edutainment, enhance of visitor experience Sustainability: -

VILLA DOMITIAN RECONSTRUCTION Link: http://vis.uni-koeln.de/villadomitian.html?&L=1 (accessed 2012) Institution: University of Cologne, Faculty of Mathematics and Natural Sciences Description: 3D reconstruction and visualization project of Villa Domitiana in Italy. Based on the reconstruction work and archaeological expertise of Prof. von Hesberg, the models were reconstructed to visualize them on a “power-wall” (a large high- resolution display wall used for projecting large computer generated images) with the software COVISE (Collaborative Visualiza- tion and Simulation Environment) Content: Archaeology, Architecture Interactive: yes  interaction device: -  visualisation device: Power-wall  technology: -3Dsmax, COVISE (Collaborative Visualization and Simulation Environment). Duration: - Communication: descriptive Level of immersion: low- immersive Distribution: on-site Scope: educational, edutainment, research. Sustainability: -

THE CATHEDRAL OF SANTIAGO DE COMPOSTELA Link: http://videalab.udc.es/en/3dv_cathedral (accessed 2012) Institution: VideaLab, Universidade da Coruña Description: This application is intended to perform the spatial, volumetric and sectional analysis of the Cathedral of Santiago de Compostela by means of a natural interaction scheme implemented on a multitouch device that makes use of common gestures to interactively manipulate, examine and cross-section the model. This cathedral puts together several masterpieces of architectural design from different ages and styles, and it is commonly used as a paradigm both of the Romanesque and the Baroque styles. The construction of the current building began in the 12th century, following the spatial and constructive guidelines that define the Romanesque style in its most pure form. This can be easily appreciated using the interactive cross section capabilities of the application. On the other side, the formal complexity and the profusion of stylistic elements present in the Baroque façade, that dates from the 18th century can be examined in detail using the interactive zoom, rotate and pan capabilities of the application. The real building can also be seen in the application by means of gigapixel spherical panoramas that can be launched by the user in special interest areas. Technically, the main challenge of this project was double. It was necessary to generate a 3D model efficient enough to be rendered in real time displaying such a geometrical complexity that constitutes one of its signs of identity, with the level of detail required, while, at the same time, adding the visual quality of global illumination to show simultaneously the effect of very different illumination ranges from the exterior and the interior and the diffuse interaction of light in the shadow and non-lit areas. Interactive: yes

Grant Agreement 270404 KCL Public 71 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device: multi-touchscreen  visualisation device: multi-touchscreen  technology: OSG Duration: - Communication: descriptive Level of immersion: low- immersive Distribution: on-site Scope: educational, edutainment Sustainability: -

Grant Agreement 270404 KCL Public 72 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON SITE - NARRATIVE

APA AT GENIUS BONONIAE Link: http://www.genusbononiae.it/ (accessed 2012) http://www.cineca.it/project/nuovo-museo-della-citta-di-bologna (accessed 2012) Institution: CINECA Description: One of the first 3D stereo HD movie created for a museum. The goal is to tell the story of Bologna with a cartoon, historically validated. Not just a movie but 3D short film in which viewers can enjoy a journey through 2700 years of Bolognese history. The two years’ work has been created by a team of 20 people, including director Giosuè Boetto, the art director Enrico Valenza, the character designer Stefano Meazza, the animation director Giampaolo Fragale, IT people at CINECA, among which the project supervisors Antonella Guidazzoli and Silvano Imboden, and several scholars in charge for the scientific accuracy of the virtual reconstruction of 6 different historical sets. The film brings the visitor through the Etruscan, then Roman, Medieval, Renaissance Bologna until the eighteenth and nineteenth century final walk. The "guide" is a funny character found on a bronze vase at the Archaeological and Historical Museum of Bologna. He is a small man with a big belly, short legs and a hat such as "Speedy Gonzales’. The designers have given to this character (Apa, “father” in Etruscan) an interpretation in accordance with his nature, while the voice is that of the famous singer, Lucio Dalla. Content: Archaeology, Architecture, History, Art Interactive: no  interaction device: -  visualisation device: 3D projector and monitor  technology: CityEngine, Blender, SVN, Grass, Visual Nature. Duration: Permanent Communication: Narrative Level of immersion: high-immersive Distribution: on-site distributed Scope: edutainment, enhancement of visitor experience. Sustainability: all assets are reusable

DAILY LIFE IN MIDDLE AGES link: http://www.cineca.it/en/progetti/daily-life-middle-ages-parma-cathedral-age Institution: CINECA, Studio Azzurro, Parma city Council, Superintendence for Historical, Artistic and Demoetnoantropologic,Patrimony of Parma and Piacenza. Description: Installation dedicated to Parma Medieval Times, created for the exhibit “Vivere il Medioevo. Parma al tempo della Cattedrale”, Parma, IT.DAY. The reconstruction was used as virtual set in the exhibition “Daily life in the middle age” to enable a first-hand experience with an imaginary journey through time. Content: Architecture Interactive: yes Duration: Temporary

Grant Agreement 270404 KCL Public 73 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Communication: narrative Level of immersion: low-immersive Distribution: on-site Scope: enhancement of the visitor experience Sustainability: re-usable

I COLORI DI GIOTTO - Sala interattiva Link: http://www.icoloridigiotto.it/sala_interattiva.html (expired) http://www.vhlab.itabc.cnr.it/archeovirtual/2010/giotto.htm (accessed 2012) Institution: CNR-ITABC Description: From the analysis of Giotto's prospective setting a three-dimensional model of the scene was derived, that can be explored in real time using the latest technologies of natural interaction. Content: Art Interactive: yes  interaction device: Kinect  visualisation device: projected cloth  technology: unity 3D, 3Ds Max Duration: temporary Communication: Narrative Level of immersion: high-immersive Distribution: on-site Scope: edutainment, entertainment, enhance of visitor experience Sustainability: asset non-reusable

MUSEO ARCHEOLOGICO VIRTUALE - MAV ERCOLANO Link: http://www.museomav.it/ Institution: MAV Ercolano Description: Through a multisensory experience and with more than seventy multimedia installation, visitors take a dive into history in order to learn and explore the historical realities of Herculaneum and Pompeii in detail prior to the eruption of Vesuvius in 79 AD. Content: Archaeology Interactive: yes (interactive and not interactive application (Video, device based and natural interaction systems)  interaction device: Visitor Tracking, Interactive interfaces, multimedia tables, touch screen, virtual books  visualisation device: - 3D reconstructions, multisensory effects, localized audio, holograms, reproductions of findings, cave immersive, environmental effects, fog screen, synchronized multi- projections, hypersonic sound, hologram mirage 3D  technology: -

Grant Agreement 270404 KCL Public 74 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Duration: permanent Communication: Narrative and Descriptive Level of immersion: full immersive Distribution: on-site Scope: edutainment, entertainment, enhance of visitor experience, entertainment Sustainability: asset non-reusable

SCROVEGNI CHAPEL. THE MULTIMEDIA ROOM PROJECT. link: http://www.vhlab.itabc.cnr.it/giotto/ (accessed 2012) Institution: Fondazione E. L. Wiegand, Comune di Padova - Settore Attività Culturali, CNR-ITABC, Archè, Arcadia. Description: Virtual museum subdivided in several stations such as the interactive application (2 workstation) that allow the user to explore virtually the Scrovegni Chapel, enlarge the frescos, get information and see videos that narrate the symbols content in the paintings and the Virtual Room on which a introductive video is projected. Each station has its own territory, its own specific cognitive and emotional time, interacting dynamically with other moments of knowledge, represented by the other stations. Content: Architecture and Art Interactive : yes  interaction device: mouse, keyboard  visualisation device: Monitor  technology: 3ds Max, Virtool Duration: Permanent Communication: narrative Level of immersion: low-immersive Distribution: on-site Scope: edutainment, entertainment Sustainability: not reusable assets.

VIRTUAL ARRIGO THE 7TH link: http://www.youtube.com/watch?v=kUhm-DKR2JE http://vcg.isti.cnr.it/publications/papers/arrigo_final.pdf (accessed 2012) Institution: VIHAP 3D, CNR-ISTI Description: reconstruction of a monument disassembled and dispersed: the mausoleum of the emperor Arrigo VII,. Using 3D graphics for the acquisition of accurate digital models of all the elements of the funerary complex, hypothesis on its original architecture was carried out and finally presented to public in a multimedia kiosk installed in the Museo dell’Opera del Duomo. The Kiosk uses “Virtual Inspector”, a visualization system that allows naive users to inspect a large complex 3D model at interactive frame rates on standard PC’s. Virtual Inspector is mainly oriented to the visualization of single works of art and adopts a very intuitive approach to guide the virtual manipulation and inspection of the digital replica. Content: Architecture and Artworks Interactive: interactive  interaction device: mouse, keyboard

Grant Agreement 270404 KCL Public 75 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 visualisation device: Monitor  technology: HTML, “Virtual Inspector” Duration: Permanent Communication: narrative Level of immersion: low-immersive Distribution: on-site Scope: edutainment, entertainment, enhancement of the visitor experience Sustainability: The authors planned (2004) further utilizations of the raw digital material produced in this project. A first possibility was to produce physical replicas from the digital statues.

VIRTUAL MUSEUM OF ANCIENT FLAMINIA link: http://www.vhlab.itabc.cnr.it/flaminia/ (accessed 2012) Institution: CNR-ITABC. Description: Multi-user VR stereo installation dedicated to the exploration of the ancient Roman road, via Flaminia, and its main archaeological sites, such as the Villa of Livia at Prima Porta. The "Virtual Museum of the ancient via Flaminia" and particularly the reconstruction of the Villa of Livia is the first archaeological project developed through several media and technologies at the same time. Content: Archaeology Interactive: yes  interaction device: joystick  visualisation device: Monitor, 3D projector/3d glasses  technology: 3ds Max, Virtool Duration: Permanent Communication: narrative Level of immersion: low-immersive Distribution: on-site. Accessible at the Roman National Museum - Dioclethian Thermal Baths, Rome Scope: edutainment, entertainment Sustainability: Re-usable VM tools. The authors are developing a new single-user version of the application based on natural interaction devices to simplify the usability and to get a better immersivity level.

BATTLE OF THERMOPILAE link: http://www.tholos254.gr/en/index.html (accessed 2012) Institution: Developed by: Foundation of the Hellenic World (FHW), Athens, GR. Description: The Battle of Thermopylae in 480 B.C. was fought between an alliance of Greek city-states led by Sparta, and the Persian Empire of Xerxes I, over the course of three days, during the second Persian invasion of Greece. This project was designed as an educational game which aims to deliver the historical context and importance of the battle, the art of warfare of the two civilizations, their cultural differences and how the Greeks were so successful defending Thermopylae for 3 days before they were betrayed. Due to the flexibility they provide, virtual environments can compensate for the shortcomings of traditional

Grant Agreement 270404 KCL Public 76 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013 instructional strategies, satisfying the needs of different cognitive styles and contribute to the understanding of abstract ideas making them visually concrete. Thus the goal, besides investigating the educational potential, is to be accessible, letting the visitor experience the story in an extraordinary new way, from unique points of view and motivate them to go deeper. Content: Archaeology Interactive: yes  interaction device: -  visualisation device: -  technology: - Duration: Permanent Communication: narrative Level of immersion: high-immersive Distribution: on-site. Accessible at: Tholos of Foundation of the Hellenic World (FHW), Athens, GR. Scope: edutainment, entertainment Sustainability: Re-usable VM tools.

A WALK THROUGH ANCIENT OLYMPIA link: http://www.tholos254.gr/projects/miletus/index-en.html (accessed 2012) Institution: Foundation of Hellenic World (FHW) Athens, GR. Description: The Virtual Museum let visitors to experience the history of Olympia, participating in the events and the rituals that took place during the ancient Olympic Games. We are at the end of the 2nd century BC. The day breaks and in front of us appears the majestic sanctuary of Zeus in ancient Olympia. In antiquity the Olympic Games took place here, while today it hosts the lighting of the Olympic flame. So, walk around this sacred site and learn about it! Visit virtually its buildings and learn their history and what was their function: the Heraion, the oldest monumental building of the sanctuary, dedicated to the goddess Hera, the temple of Zeus, a model of a Doric peripteral temple with magnificent sculpted decoration, the Gymnasium, which was used for the training of javelin throwers, discus throwers and runners, the Palaestra, where the wrestlers, jumpers and boxers trained, the Leonidaion, which was where the official guests stayed, the Bouleuterion, where athletes, relatives and judges took a vow that they would upheld the rules of the Games, the Stadium, where most of the events took place, the Treasuries of various cities, where they kept valuable offerings, the Philippeion, which was dedicated by Philip II, king of Macedonia, after his victory in the battle of Chaeronea in 338 BC. Content: Archaeology Interactive: yes  interaction device: -  visualisation device: -  technology: - Duration: Permanent Communication: narrative Level of immersion: low-immersive Distribution: on-site. Accessible at Tholos Foundation of Hellenic World (Athens) GR. Scope: edutainment, entertainment

Grant Agreement 270404 KCL Public 77 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Sustainability: non re-usable VM tools.

ANCIENT AGORA OF ATHENS link: http://project.athens-agora.gr/index.php?lang_id=en (accessed 2012) Institution: Foundation of Hellenic World (FHW) Athens, GR. Description: The Ancient Agora of Athens was an area of political gatherings and commercial transactions, the locus of the administration and justice, a religious and intellectual centre. FHW's scientists worked for its implementation. In order to reconstruct the Ancient Agora in a complete and scientifically documented way, the subject was developed through three different tours: “Interactive tour in the Ancient Agora of Athens”, “Happening in the Ancient Agora” and “Athena in the Ancient Agora”. During the “interactive tour”, visitors explore the Agora and, under the guidance of a special Museum Educator, have the opportunity to choose a personal course. The Agora can be visited, through jumps in time, in three different important moments: Classical Agora (approx. 400 BC), Hellenistic Period (approx. 150 BC) and Roman Agora (approx. 150 AD). Visitor seats of our VR theaters in Athens enable people to be brought at certain moments and interact by pushing a button. “Happening in the Ancient Agora” is a complex theatrical happening, where VR presentation is combined with actors. “Athena in the Ancient Agora” allow visitors through the existence of a dramatized script to participate in the presentation and to assume roles. To further disseminate the program we created an online digital collection of the topography of the Agora, accessible through GoogleEarth. Content: Archaeology Interactive: yes  interaction device: -  visualisation device: -  technology: - Duration: Permanent Communication: narrative Level of immersion: High-immersive Distribution: on-site. Accessible at: Tholos of Foundation of the Hellenic World (FHW), Athens, GR. Scope: edutainment, entertainment Sustainability: non re-usable VM tools.

ATHENA IN THE ANCIENT AGORA link: http://www.fhw.gr/vr/en/docs/in_projects.html (accessed 2012) Institution: Foundation of Hellenic World (FHW) Athens, GR. Description: Athena in the Ancient Agorà enables users to start a journey in the Agorà of Athens. The journey starts from the Archaic Period, from the Agora of Athens destroyed by the Persian Wars. With the help of the goddess Athena, which rises from a rock, the spectators are transported into the Classical Period and see the buildings that have been erected in the Agora. Using the remote control, with which every seat is equipped, the spectators participate in the creation of the Poikile Stoa. Then, they follow the Panathenaea procession and take part in the vote of ostracism of 416 BC. In the Hellenistic Period they watch the construction of the Attalos Stoa, while the Monopteros (one aisled) temple is the starting point for reaching the Roman Period. Through the amphora, which was from the beginning the means for this time travel, the spectators return to the present day, to the diachronic values and the ideals that were born in the Ancient Agora and are part of world heritage.

Grant Agreement 270404 KCL Public 78 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Content: Archaeology Interactive: yes  interaction device: -  visualisation device: -  technology: - Duration: Permanent Communication: narrative Level of immersion: high-immersive Distribution: on-site. Accessible at: Tholos of Foundation of the Hellenic World (FHW), Athens, GR. Scope: edutainment, entertainment Sustainability: re-usable VM tools.

THE WORKSHOP OF FIDIA IN OLIMPIA link: http://www.fhw.gr/vr/en/docs/in_projects.html (accessed 2012) Institution: Foundation of Hellenic World (FHW) Athens, GR. Description: This interactive virtual experience transports us to the workshop of the sculptor Phidias in ancient Olympia. The workshop includes –in an accurate reconstruction– the famous statue of Zeus and the sculptor's tools, materials and molds used to construct it. Young visitors become the sculptor's helpers and actively participate in the creation of the huge statue, by using virtual tools to apply the necessary material onto the statue and add the finishing touches. Through this exciting activity a lot can be learnt about the tools, the material, the procedures and the creative process involved in the creation of one of the Seven Wonders of the ancient world, but also about ancient Olympia and the Olympic Games. Content: Archaeology Interactive: yes  interaction device: -  visualisation device: -  technology: - Duration: Permanent Communication: narrative Level of immersion: LOW-immersive Distribution: on-site. Scope: edutainment, entertainment Sustainability: non re-usable VM tools.

TERAMO VIRTUAL CITY link: http://www.vhlab.itabc.cnr.it/Projects_teramo.htm Institution: CNR-ITABC, Description: In May 2010 a project called "Teramo: a city virtually dressed” was opened to public, it was realized by the ITABC- CNR, in collaboration with the Municipality of Teramo (a town located in Abruzzo region, in the middle Italy) and the California University of Merced, with the financial support of Arcus S.p.a. The project aims to the documentation, valorization, fruition of

Grant Agreement 270404 KCL Public 79 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013 historical and archaeological sites, urban paths, museum artifacts, immaterial culture, through the use of multimedia and virtual reality technologies, in order to support the cultural experience of people visiting the town. Teramo is candidate to become the first town in Europe dedicated to “Virtual Heritage” through a project of integrated communication, connecting ontologies disseminated and fragmented in several places but belonging to similar contexts. Different interactive and not interactive installations are available in Teramo Archaeological Museum and in the site of Sant’Anna. An I-POD guide of the city is also available. Developed by: CNR ITABC, for Teramo city museum, ARCUS SpA. Content: Archaeology Interactive: yes  interaction device: I-POD, Joypad, touchscreen,  visualisation device: I-POD, Monitor, touchscreen,  technology: 3ds max, Unity 3D, Flash Duration: Permanent Communication: narrative Level of immersion: high-immersive Distribution: on-site. Accessible at: Museo Civico Archeologico "F. Savini", Teramo, IT, via Melchiorre Delfico 30, Teramo. Scope: edutainment, entertainment Sustainability: re-usable VM tools.

Grant Agreement 270404 KCL Public 80 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

MOBILE NARRATIVE

MEDIEVAL DUBLIN link: http://www.medievaldublin.ie/ Institution: NOHO Description: interactive mobile application or DVD box set, that illustrates life in Dublin between 800 and 1540 AD though 3D graphics and animations. Content: History Interactive: yes  interaction device: mouse or touch devices  visualisation device: Desktop or smartphone and tablet  technology: - Duration: permanent Communication: narrative Level of immersion: low-immersive Distribution: mobile and off-line distributed (DVDRom) Scope: edutainment, entertainment, enhance of visitor experience Sustainability: asset non-reusable

TERAMO lite link: http://www.vhlab.itabc.cnr.it/Img/Projects/Teramo/Prologo-desktop.m4v Institution: Museo Francesco Savini Teramo, CNR-ITABC, Soft Logic Description: interactive mobile application that re-contextualize the archaeological landscape through urban networks and routes virtual reality to be enjoyed indoors, in the Archaeological Museum, with some of the most important sites and walking the streets of the city. Moreover the application allow the user to visit the 3D reconstruction of the medieval Basilica and interact with several characters that narrate the history of Teramo. Content: History and Archaeology Interactive: yes  interaction device: iPad or iPhone  visualisation device: iPad or iPhone  technology: Unity 3D Duration: permanent Communication: narrative Level of immersion: low-immersive Distribution: Mobile (http://www.iphoneitalia.com/teramo-lite-la-citta-vestita-di-virtuale-111100.html) Scope: edutainment, entertainment, enhance of visitor experience Sustainability: reusable asset.

Grant Agreement 270404 KCL Public 81 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

THE WESTWOOD EXPERIENCE link: http://www.ronaldazuma.com/westwood.html Institution: Nokia Research Center Hollywood Description: The Westwood Experience was a location-based experience (research experiment) created and operated by Nokia Research Center Hollywood for several performances on December 2009 and January 2010. The Westwood Experience experimented with making an experience on a mobile device more compelling by tying a story to unique and real locations. The developers enabled such connections between a narrative and the real world around the participants through various Mixed Reality effects and other techniques. Content: - Interactive: yes  interaction device: mobile devices  visualisation device: mobile devices  technology: mixed reality Duration: temporary Communication: narrative Level of immersion: non-immersive Distribution: Mobile Scope: research, entertainment Sustainability: non-reusable

Grant Agreement 270404 KCL Public 82 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

MOBILE DESCRIPTIVE iTACITUS link:http://www.igd.fraunhofer.de/en/Institut/Abteilungen/Virtuelle-und-Erweiterte-Realit%C3%A4t/Projekte/iTACITUS Institution: Fraunhofer Institute for computer graphic research IGD http://www.itacitus.org/news Description: iTACITUS is a sixth framework programme project and aims to provide a mobile cultural heritage information system for the individual. By combining itinerary planning, navigation and rich content on-site information, based upon a dispersed repository of historical and cultural resources it enables a complete information system and media experience for historical interested travellers. IGD's part is the development of a “Mobile Augmented Reality (AR) Guide Framework” for Cultural Heritage (CH) sites. The framework delivers advanced markerless tracking on mobile computers as well as new interaction paradigms in AR featuring touch and motion capabilities. The Palace of Venaria near Turin, Italy, and Winchester Castle in the United Kingdom have already benefited from the technology Content: Cultural heritage Interactive: yes  interaction device: Mobile devices  visualisation device: Mobile devices  technology: Fraunhofer created technologies for Mixed-Reality systems (instanReality framework) and develop advanced Computer Vision tracking technologies. The prototyping architecture instantVision is a tool for Augmented Reality and vision-based research. It is a flexible and scalable tool that runs on desktop and mobile systems alike. Duration: permanent Communication: descriptive Level of immersion: low-immersive Distribution: mobile Scope: enhance of visitor experience Sustainability: reusable tool

ARCHEOGUIDE link:http://www.igd.fraunhofer.de/en/Institut/Abteilungen/Virtuelle-und-Erweiterte-Realit%C3%A4t/Projekte/iTACITUS Institution: INTRACOM Description: The ARCHEOGUIDE project intends to provide new approaches for accessing information at cultural heritage sites in a compelling, user-friendly way through the development of a system based on advanced IT including augmented reality, 3D- visualization, mobile computing, and multi-modal interaction techniques. The system will be tried out in one major European cultural heritage site. In this site particular emphasis will be given to virtual reconstruction of the remains. Content: Cultural heritage Interactive: yes  interaction device: Mobile devices

Grant Agreement 270404 KCL Public 83 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 visualisation device: Mobile devices  technology: The ARCHEOGUIDE system consists of a site information server and a set of mobile units that are carried by visitors. The mobile units comprise a Head Mounted Display (HMD), a camera, microphone, earphone and a lightweight portable computer with a simple input device. Duration: - Communication: descriptive Level of immersion: high-immersive Distribution: mobile Scope: enhance of visitor experience Sustainability: not-reusable

DARSEIN - AUGMENTED REALITY TIME TRAVEL FOR IPHONE link: http://www.igd.fraunhofer.de/en/Institut/Abteilungen/Virtuelle-und-Erweiterte-Realit%C3%A4t/Projekte/dARsein-Augmented-Reality- Time-Trave Institution: Fraunhofer Institute for computer graphic research IGD http://www.itacitus.org/news Description: Augmented reality application for iPhone that illustrates architecural history at the Olbrich House - the former residence of famous architect Josef Maria Olbrich. The Austrian architect was an important representative of Art Nouveau and founder of Darmstadt’s artists’ colony. Content: Architecture Interactive: yes  interaction device: iPhone  visualisation device: iPhone  technology: The tracking technology was developed by researchers of Fraunhofer IGD during this project. It will identify position and view of photos taken on site and select the matching historic material in real time. “The application dARsein processes natural image features and thus recognizes three-dimensional objects, such as buildings. Duration: permanent Communication: descriptive Level of immersion: low-immersive Distribution: mobile Scope: enhance of visitor experience Sustainability: reusable tools

Grant Agreement 270404 KCL Public 84 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

8.2 ANNEX 2: CHART AND IMAGES (survey 2011)

Chart 1: Contents

Chart 2: Interaction

Grant Agreement 270404 CNR Public 85 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 3: Duration

Chart 4: Communication

Grant Agreement 270404 CNR Public 86 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 5: Level of Immersion

Chart 6: Distribution

Grant Agreement 270404 CNR Public 87 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 7: Scope

Chart 8: Sustainability

Grant Agreement 270404 CNR Public 88 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 1: iTacitus system

Fig. 2: WoodestExperience system

Fig. 3: Snapshot form AR application for Smartphone

Grant Agreement 270404 CNR Public 89 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 4: Museum of Ancient Via Flaminia

Fig. 5: Meeting at the ancient Agora

Grant Agreement 270404 CNR Public 90 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 6: Interactive Timeline

Fig. 7: Reformation “Hotspot”.

Grant Agreement 270404 CNR Public 91 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

8.3 ANNEX 3: LIST OF SURVEYED EXAMPLES (UPDATED VERSION 2012)

Descriptive Narrative

e 1. A Network Between Archaeological Sites Of Magna Graecia For Data 1. Rome 320 Ad n

i Management And Interchange l 2. Giza 3d. A Unique Journey To The Giza Plateau -

n 2. Livia’s Villa Mobile And Online Application 3. Paris 3d O 3. Villa Of Oplontis 4. Virtual Vitoria Gasteiz 4. Vitual Museum Of Bosniak Institute 5. Virtual Museum Of Japanese Arts 5. Museo Galileo 6. Aquae Patavinae Vr 6. Museo 3d 7. Inside Joycean Dublin 7. Saint-Trophime 3d Content 8. Historical Center Of Ascoli Piceno 9. Locus Imaginis 10. Maya 3d 11. Museo Virtual De Alcala De Henares 12. Muzzeum. Augmented Reality And Qr Codes Enabled Mobile 13. Petit Trianon, Versailles 14. T.Arc.H.N.A 15. The Search For Immortality. Tomb Treasure Of Han China 16. Virtual Daunia 17. Virtual Museum Of Ancient Artifacts 18. Valentino Virtual Museum 19. Virtual Museum Of The City Of San Francisco 20. Virtual Museum Of Prehistoric Art 21. Virtual Museum Of Pacific 22. Virtual Museum Of Inscriptions 23. Omnesviae: Roman Routplanner 24. Archeovision 25. Global Egyptian Museum 26. Ethernal Egypt 27. Behind Livia’s Villa e

t Timescope Of Ename Archaeological Site 1. Casal De’ Pazzi Video i 1. s - 2. Etruscanning

n 2. The Coin Collection Of The National Museum Of St. Matthew

O 3. Giza Reconstruction 3. A Virtual Museum For The Arsenale In Venice 4. Marcus Caelius – The Value Of Memory 4. Re-Discovering Vrouw Maria 5. Candidacy Of The Porticoes Of Bologna As A Unesco World Heritage Site 5. The Museum Of Pure Forms 6. Pleistostation 6. Satricum Ar 7. Virtual Planetarium 7. Roman Forum Ar 8. Virtual Reconstruction Of The Ancient Oracle Of Trophonios (Boeotia) 8. AR Etruschi 9. Virtual Reconstruction Of The Ancient Thebes 9. Sichuan Virtual Dig 10. Egypt Crowns Interactive Kiosk @ Word Expo

Grant Agreement 270404 KCL Public 92 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

10. Fair Frankfurt 11. La Valle Degli Imperatori. La Villa Di Traiano Ad Arcinazzo Romano 11. Plassac - La Ville Du II Siecle 12. 150 Years Of Italian Science History 13. Terracina: The Sanctuary Of Jupiter Anxur 12. Virtual Reconstruction Of Santimamiñe´S Cave 14. The Virtual Museum Of Western Han Dynasty 13. Mapping Chang’an 15. Discovering Sabinae 14. Mapping Modernism 16. In The Mirror Of The Wonder Of Luca Giordano 17. Last Supper Lsi 18. Romanova Game Play 19. The Egyptian Oracle Performance 20. Stam, Museum Of Gent 21. Virtual Museum Of San Caprasio 22. Virtual Miths 23. Vendicari's Tower 3D

e 1. Augmented Uppåkra l

i 1. Application For The Roman Civilization Museum

b 2. Matera Tale Of The City App o 3. Chess 2. Virtual Museum Of Cyprus M 4. Barbaricum: Augumented Reality And Story Telling 3. Bravo - Brain Virtual Operator For E-Learning 5. Espace 3d Chartreuse 4. iAventino 5. iTestaccio 6. Rome Mvr 7. AR Gladiator School Carnutum 8. Pugliareality App 9. Lombards on I-Pad 10. Ancient Egypt in 3D App

Map: https://maps.google.it/maps/ms?ie=UTF8&hl=en&oe=UTF8&msa=0&msid=215336152159990843872.0004d41ad5201758ecd6f

Grant Agreement 270404 KCL Public 93 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Grant Agreement 270404 KCL Public 94 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-LINE DESCRIPTIVE VM

A NETWORK BETWEEN ARCHAEOLOGICAL SITES OF MAGNA GRAECIA FOR DATA MANAGEMENT AND INTERCHANGE Institution: Davide Maurizio Chini Content: archaeology Description: Fully web site interaction for users, limited for guests. Interactive: Yes  interaction device: mouse and keyboard  visualisation device: Monitor  technology : MAMP and MySQL (RDBMS), Wordpress (CMS) Duration: Permanent Communication: Descriptive Level of immersion: not immersive Distribution: on-line (distributed) Scope: research, promotion Sustainability: easy to maintain, every software used is free or open source; reusable assets

LIVIA’S VILLA MOBILE AND ONLINE APPLICATION (On-going) Institution: Fraunhofer Institute /CNR-ITABC Content: archaeology Description: interactive mobile and on-line virtual museum Interactive: Yes  interaction device: iPad, touchscreen, mouse  visualisation device: iPad, touchscreen, desktop  technology : X3Dom Duration: Permanent Communication: Descriptive Level of immersion: not immersive Distribution: on-line Scope: edutainment, enhancement of visitors experience Sustainability: easy to maintain; all assets and contents are reusable; 3D models are available in several formats (.obj, .blend and .max)

VILLA OF OPLONTIS Institution: KING’S COLLEGE Content: Archaeology

Grant Agreement 270404 KCL Public 95 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: A real-time single user visualisation of the current state of the Villa with selected restoration work on significant frescoes and rooms. Objects and artefacts linked to an online database and research corpus. Interactive: Yes  interaction device: keyboard and mousse  visualisation device: Monitor (any video output device)  technology: Unity 3D Duration: permanent (born digital publication) Communication: descriptive Level of immersion: low immersive (window on the world) Distribution: on-line Scope: Scholarly research but potential to expand remit Sustainability: Grant dependent; asset and code segment reuse is high specific image content restricted by SANP

VITUAL MUSEUM OF BOSNIAK INSTITUTE Link: http://h.etf.unsa.ba/bosnjacki-institut/ Institution: Faculty of Elettrical Engeneering of Sarajevo Content: museum collection (Art, Library, Maps) Description: interactive Multimedia Interactive: Yes  interaction device: mouse  visualisation device: desktop Based  technology : Flash Duration: permanent Communication: descriptive Level of immersion: not immersive Distribution: on-line Scope: educational, edutainment, Sustainability: easy to maintain: digital exhibits are in VRML and can be reused

MUSEO GALILEO Link: Catalogue: http://catalogo.museogalileo.it/ Exhibition: http://www.museogalileo.it/esplora/mostre.html Virtual museum: http://www.museogalileo.it/istituto/ Institution: Museo Galileo Institute Content: art Description: interactive on-line museum and virtual exhibits Interactive: Yes

Grant Agreement 270404 KCL Public 96 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device: mouse  visualisation device: browser (monitor)  technology: Duration: Permanent Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: edutainment; not reusable

MUSEO 3D Link: www.museo3d.com ; http://www.museo3d.faico.org/Coleccion/IndexDetails Institution: FAICO Content: archaeology Description: virtual museum and digital 3D archive of archaeological collections. The 3D models area are connected to descriptive cards with item details, technical details, historical details and discovery details. Interactive: Yes  interaction device: mouse and keyboards  visualisation device: browser (monitor)  technology: Silverlight Duration: Permanent Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: Dissemination. Entertainment and also research thanks to an special user profile only available for researchers, where is available also to order a 3D printed copy. Sustainability: Full maintenance and updated; not reusable

SAINT-TROPHIME 3D CONTENT Link: http://archive.cyark.org/project-world (example: http://archive.cyark.org/saint-trophime-gallery-3d) Institution: CYARC Content: cultural heritage Description: interactive digital archive Interactive: Yes  interaction device: 3D viewer (point-cloud and mesh models  visualisation device: browser (Firefox Mozilla, Crome and Safari)

Grant Agreement 270404 KCL Public 97 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 technology :WebGL; Three.js library Duration: permanent Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: research, documentation, archiving and digital preservation of the world’s cultural heritage Sustainability: CyArc is a 501c3 nonprofit organization. The project is financed by sponsorships or helped, in its mission of digitally preserving cultural heritage, by a global network of partners; The reusability of the asset has to be discussed with the owner

HISTORICAL CENTER OF ASCOLI PICENO Link: http://www.isprs.org/proceedings/XXXVIII/5-W16/pdf/ippoliti_etal.pdf Institution: Department of History, Design and Restoration of Architectures, La Sapienza, University of Rome – School of Architecture and Design Edoardo Vittoria, University of Camerino, Ascoli, Italy – UMR 3495 CNRS/MMC MAP-Gamsau Marseille, France Content: Architecture Description: geographic information system oriented at the architecture of the closed area of cloisters and courtyards of Ascoli Piceno / Next step is online implementation through 3D Browser (on-going) Interactive: Yes  interaction device: -  visualisation device: Desktop  technology: Digital Drawing, NVIZ, Grass, ImageModeler, Qgis Duration: - Communication: Descriptive Level of immersion: not immersive Distribution: on-line Scope: research, edutainment Sustainability: -

LOCUS IMAGINIS Link: http://vinci.gamsau.archi.fr/htdocs_locus2/?r=1&Largeur=1440&Hauteur=900# On Line Application: http://vinci.gamsau.archi.fr/htdocs_locus2/index2.php Institution: UMR-Map Marseille Content: architecture, art, history Description: application real time VR (interactive 3d ) permanent inside the Chapel – mobile virtual museum Interactive: Yes  interaction device: mouse and keyboard  visualisation device: monitor

Grant Agreement 270404 KCL Public 98 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 technology: VirTools – 3dVia Duration: permanent Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: edutainment Sustainability: -

MAYA 3D Link: http://mayaarc h3d.unm.edu/mayaarch3dtool.php Institution: FBK (BRUNO KESSLER FOUNDATION) TRENTO Content: Archaeology Description: interactive online, searchable repository -called QueryArch3D- that can bring together GIS maps, 3D objects, and virtual environments for teaching and research on ancient architecture and landscapes Interactive: Yes  interaction device:  visualisation device:  technology: Duration: permanent Communication: descriptive Level of immersion: not - immersive Distribution: on-line Scope: research - educational Sustainability: not reusable

MUSEO VIRTUAL DE ALCALA DE HENARES Link: http://www.alcalavirtual.es/ Institution: Ayuntamiento de Alcalá de Henares Content: archaeology Description: interactive virtual museum (video, text, images) Interactive: Yes  interaction device: mouse  visualisation device: monitor  technology: - Duration: permanent Communication: descriptive Level of immersion: not immersive Distribution: on-line

Grant Agreement 270404 KCL Public 99 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Scope: edutainment Sustainability: -

MUZZEUM. AUGMENTED REALITY AND QR CODES ENABLED MOBILE Link: http://www.muzzeum.com/ Institution: National Museum of Serbia Content: Art Description: interactive VM Interactive: Yes  interaction device: smartphone and tablets  visualisation device: smartphone and tablets  technology: QR code / Augmented reality application Duration: permanent Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: enhancement of visitor experience Sustainability: -

PETIT TRIANON, VERSAILLES Link: http://www.map.archi.fr/3D-monuments/site_trianon/ Institution: UMR-Map Marseille Content: architecture, art, history Description: interactive virtual museum Interactive: Yes  interaction device: mouse  visualisation device: monitor  technology: VirTools – 3dVia Duration: permanent Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: edutainment Sustainability: -

T.ARC.H.N.A Link: http://tarchna.tarchna.it/totemonline/ Institution: Università degli Studi di Milano

Grant Agreement 270404 KCL Public 100 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Content: Archaeology Description: interactive online 2D digital museum (panoramic photos tools) Interactive: Yes  interaction device: mouse  visualisation device: monitor  technology: - Duration: permanent Communication: descriptive Level of immersion: not - immersive Distribution: on-line Scope: research - educational Sustainability: -

THE SEARCH FOR IMMORTALITY. TOMB TREASURE OF HAN CHINA Link: http://www.tombtreasuresofhanchina.org/the-exhibition/virtual-exhibition/ Institution: The Fitzwilliam Museum, Cambridge Content: Archaeology Description: interactive virtual museum exhibition on “The Search for Immortality”. It focuses on the spectacular treasures discovered in the Han royal tombs at the imperial family’s home town of Xuzhou (Jiangsu province). Interactive: Yes  interaction device: mouse  visualisation device: monitor  technology: - Duration: temporary Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: edutainment Sustainability: not reusable

VIRTUAL DAUNIA Link: www.italiavirtualtour.it Institution: COMUNICANDO LEADER Content: architecture, art, history Description: interactive 360° photographic panorama tours Interactive: Yes  interaction device: mouse and keyboard

Grant Agreement 270404 KCL Public 101 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 visualisation device: monitor  technology: QTVR Duration: permanent Communication: descriptive Level of immersion: not-immersive Distribution: on-line Scope: edutainment, educational Sustainability: -

VIRTUAL MUSEUM OF ANCIENT ARTIFACTS Link: http://www.uaeinteract.com/VIRTUAL_MUSEUM/museum_index.html Institution: UAE (united Arab Emirates) Interact Content: archaeology Description: Interactive online virtual museum of UAE archaeological heritage. The VM contains interactive 3D models of artifacts, images and text Interactive: Yes  interaction device: mouse and keyboard  visualisation device: monitor  technology : - Duration: Permanent Communication: Descriptive Level of immersion: not immersive Distribution: on-line Scope: entertainment, promotion, Sustainability:-

VALENTINO VIRTUAL MUSEUM Link: http://www.valentino-garavani-archives.org/ Institution: Association Valentino Garavani Archives 2 Content: Fashion design Description: interactive virtual museum in a real-time 3D environment Interactive: Yes  interaction device: mouse or trackpad  visualisation device: monitor  technology: QR code / Augmented reality application Duration: permanent Communication: descriptive Level of immersion: not-immersive

Grant Agreement 270404 KCL Public 102 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Distribution: on-line Scope: promotion Sustainability: not reusable

VIRTUAL MUSEUM OF THE CITY OF SAN FRANCISCO Link: www.sfmuseum.org Institution: Museum of the city of San Francisco Content: History Description: The VM of San Francisco is a multimedia website that uses text, graphics and sounds. The site features the San Francisco’s History Interactive: Yes  interaction device: Mouse and keyboard  visualisation device: monitor  technology: - Duration: Permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: research and educational Sustainability: -

VIRTUAL MUSEUM OF PREHISTORIC ART Link: vm.kemsu.ru Institution: Kemerovo State University, Chair of Archaeology (KemSu), SEPAR (Siberian Association of Art and Research), IFRAO (International Federation of Rock Art Organization) Content: History Description: Virtual museum online of prehistoric art, from Anthropogeny to Scyntians age Interactive: Yes  interaction device: Mouse and keyboard  visualisation device: monitor  technology: - Duration: Permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: research and educational Sustainability: supported by the “Open Society Institution”. The virtual exposition can be expanded unlimitedly

Grant Agreement 270404 KCL Public 103 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

VIRTUAL MUSEUM OF PACIFIC Link: http://www.youtube.com/watch?v=yx6dT7G8vTM Institution: the VM of the Pacific is part of an ARC Linkage project between Australian Museum and the University of Wollongong Content: Australian cultural heritage objects collection Description: interactive web-based access tool that enables the Australian Museum to unlock its world-renowned Pacific Collection to a global audience and engage with a range of stakeholders to interact with these collections. All the object presented are semantically related each other’s with relations. The user interface comes from years of study in design and visual communication. Interactive: Yes  interaction device: Mouse and keyboard  visualisation device: monitor  technology: - Duration: Permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: research and educational Sustainability: easy to maintain thanks to Australian museum

VIRTUAL MUSEUM OF INSCRIPTIONS Link: http://www.prehistory.it/sitoininglese/default.htm Institution: Global Prehistory Consortium at EURO INNOVANET Content: Archaeology, Prehistoric art Description: The Web site focus the characteristics of the script which developed in south-eastern Europe 7.000 years ago through images and texts. Interactive: Yes interaction device: Mouse and keyboard visualisation device: monitor technology: HTML Duration: Permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope:educational educational Sustainability:-

OMNESVIAE: ROMAN ROUTPLANNER Link: http://omnesviae.org/reconstruction/

Grant Agreement 270404 KCL Public 104 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Institution: Omnes Viae Content: Archaeology, history Description: OmnesViae.org presents a reconstruction of Tabula Peutingeriana that is a medieval copy of a roman road map. The online application allows users to find ancient paths across Europe and to discover roads and places on an interactive Google Map. OmnesViae.org updates the original contents of Tabula Peutingeriana with additional information coming from other resources on this topic: mountain passes, connections over water and current place names have been added to complete the Roman World Map and to help the user to understand the ancient map. Geolocation information have been linked to the most important part of the places from the Map. It is possible to calculate the route from a place to another using the simple Google Map Interface, receiving information about the path such as distances, ancient and current name of places, that are represented with red dot and symbols taken from Tabula Peutingeriana. OmnesViae is also an instrument to know informations about the lost western part of Tabula Peutingeriana, including Hispania and Britannia that have been reconstructed using other Roman Maps and documents such as Itinerarium Antonini: in this case, places are represented in grayscale to underline that they are not part of the original map. Interaction: yes interaction device: Mouse and keyboard visualisation device: monitor technology: Google Map Duration: Permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: non-reusable

ARCHEOVISION Link: http://archeovision.cnrs.fr/ Institution: CNRS, Aquitania Regional Council (Conseil Régional d’Aquitaine) and Michel de Montaigne University. Archeovision is sponsor by Très Grand Equipement ADONIS, CNRS. Developed by INRIA and AUSONIUS-CNRS. Content: archaeology Description: Archeovision is an on line archaeological resources management environment. 3DPDF allows to integrate 3d datasets into archaeological research procedure. It manages:  3d dataset production;  3d scanner laser volumetric dataset;  dynamic interface of manipulation and visualization for 3d dataset;  a canter dedicate to Virtual reality applied to Archaeology (Odéon);  dataset from several digital archives and devices (digital camera, scanner, server…). 3DPDF Platform allows to explore utilization capability of 3d models:  3D virtual reconstruction of no longer existing buildings and object;  dynamics links between 3d models and scientific dataset;

Grant Agreement 270404 KCL Public 105 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 use of innovative technologies such as photogrammetry and 3d scanner laser;  recovery of old 3D records, such as stereoscopy, printing, models;  real time selection between different visualization interfaces. 3DPDF technological platform wants to link with research institute and laboratories interested in integrate 3D dataset into their works providing:  analysis of 3d technologies required for each project;  help in finding the most appropriate technological solution for each case of study;  temporary license for software use;  use of 3d scanner laser for 3d data acquisition;  technological resources and competences. Interactive: yes 1. interaction device: Mouse and keyboard 2. visualisation device: monitor 3. technology: - Duration: Permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: research Sustainability: re-usable

GLOBAL EGYPTIAN MUSEUM Link: http://www.globalegyptianmuseum.org Institution: CULTNAT Content: archaeology Description: Global Egyptian Museum is an on line museum whose aim is to collect over 2 million objects. Those objects belonging to Egyptian culture are kept in about 850 public collections, dispersed over 69 countries around the world. This website aims to collect them into a global virtual museum, which can be visited at any time, from any place. The Global Egyptian Museum is a long-term project, carried out under the aegis of the International Committee for Egyptology (CIPEG).The Basic Mode, currently showcasing 1340 highlights, is geared to the interested public. A glossary of more than 400 items explains Egyptian terms and themes. Many objects are provided with audio comments and 3D-movies. The Advanced Mode, equipped with a powerful search and data entry engine, opens up the full database - presently 14975 objects - to professionals and amateurs. Interactive: yes  interaction device: mouse  visualisation device: Monitor  technology : -

Grant Agreement 270404 KCL Public 106 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Duration: permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: non-reusable

ETHERNAL EGYPT Link: http://www.eternalegypt.org Institution: CULTNAT Content: archaeology Description: Eternal Egypt brings to light over five thousand years of Egyptian civilization. Eternal Egypt is a living record of a land rich in art and history, people and places, myths and religions. The stories of Eternal Egypt are told using the latest interactive technologies, high-resolution imagery, animations, virtual environments, remote cameras, three-dimensional models and more. Interactive: yes  interaction device: mouse  visualisation device: Monitor  technology : - Duration: permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: educational Sustainability: non-reusable

BEHIND LIVIA’S VILLA Link: www.vhlab.itabc.cnr.it/flaminia http://www.vhlab.itabc.cnr.it/archeovirtual/livia.htm Institution: CNR-ITABC, Fraunhofer IGD, Lund University Dept. of Interaction Design, Sopr. Beni Archeologici di Roma Content: Archaeology Description: Since 2012 a renovation project of the “Virtual Museum of Ancient Via Flaminia” is on-going: "Flaminia Reloaded". It is a V-MUST.NET case study, aimed at developing a narrative version at the museum, based on natural interaction, and a descriptive version online, based on 3d interaction with models and metadata (“Behind Livia's Villa”). Behind Livia's Villa is a 3d online application, with full scientific metadata access and interactive exploration of 3d models of the archaeological site as it is today in its current condition and in its reconstructed version (10 AD) Interactive: yes  interaction device: mouse and keyboard  visualisation device: Monitor

Grant Agreement 270404 KCL Public 107 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 technology: Blender, WebGL/Html5, X3Dom Duration: permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-line Scope: edutainment, enhancement of visitor experience Sustainability: reusable asset and software

Grant Agreement 270404 KCL Public 108 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-LINE NARRATIVE VM

ROME 320 AD Institution: NOHO Content: archaeology and history Description: interactive DVD and iPhone/iPad Interactive: Yes  interaction device: portable touch devices (iPhone/iPad)  visualisation device: desktop and portable touch devices (iPhone/iPad)  technology : XML and Flash Duration: permanent Communication: narrative Level of immersion: not immersive Distribution: online and mobile Scope: educational, edutainment Sustainability: not-reusable asset and software

GIZA 3D. A UNIQUE JOURNEY TO THE GIZA PLATEAU Link: http://giza3d.3ds.com/#discover Institution: Dassault Systemes Content: Architecture Description: International project that uses the lastest real-time 3D technologies to display the Egyptian Pyramids and other monuments of the Giza plateau interactively, based on evidence from more than 100 years of archaeological excavation Interactive: yes  interaction device: mouse  visualisation device: monitor, 3D monitor and glasses  technology: 3D Via (Virtools) Duration: Permanent Communication: narrative Level of immersion:medium-immersive Distribution: on-line Scope: entertainment, educational Sustainability: non-reusable

PARIS 3D Link: http://paris.3ds.com/#Patrimoine

Grant Agreement 270404 KCL Public 109 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Institution: Dassault Systemes Content: Archaeology, Art, History Description: Immersive online 3D application on Paris. A time-travel through more than 2000 years of history: discover Paris’ most famous monuments, with 3D reconstructions carried out with historians, and HD clips of the documentary series « Paris, the great saga ». From the origins of Lutetia to the construction of the Eiffel Tower for the 1889 World Fair in Paris, witness different steps like the Gallo-Roman Forum, the evolutions of the Louvre or the last hours of the Bastille, and navigate in the rich history of the French capital. Interactive: yes  interaction device: mouse, smartphone and tablets  visualisation device: monitor, 3D monitor + glasses, smartphone and tablets  technology: 3D Via (Virtools) Duration: permanent Communication: Narrative Level of immersion: medium-immersive Distribution: on-line and Mobile Scope: educational, entertainment Sustainability: non-reusable

VIRTUAL VITORIA GASTEIZ Link: http://www.medievalvitoria-gasteiz.com/ Institution: TECNALIA Content: History Description: Interactive Augmented Reality Application Interactive: Yes  interaction device: Mouse and keyboard  visualisation device: monitor  technology: UNITY 3D, CityEngine, Unity player Duration: Permanent Communication: Narrative Level of immersion: low immersive Distribution: on-line Scope: entertainment, edutainment Sustainability: -

VIRTUAL MUSEUM OF JAPANESE ARTS Link: http://web-japan.org/museum/menu.html Institution: Ministry of Foreign Affairs of Japan Content: History

Grant Agreement 270404 KCL Public 110 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: Interactive Augmented Reality Application Interactive: Yes  interaction device: Mouse and keyboard  visualisation device: monitor  technology: - Duration: Permanent Communication: Narrative Level of immersion: low immersive Distribution: on-line Scope: entertainment, edutainment Sustainability: -

AQUAE PATAVINAE VR Link: http://www.aquaepatavinae.lettere.unipd.it/portale/?page_id=2174 http://www.youtube.com/watch?v=deH-1ZTL5cA Institution: CNR-ITABC, University of Padova - dept. archaeology, MIBAC, Veneto Region, Montegrotto City Council. Content: Archaeology Description: Aquae Patavinae VR is a project aimed at enabling on line users to interactively explore the archaeological landscape of Montegrotto (near Padova, Italy) and to discover its archaeological sites. The 3d exploration is based on a 2 steps experience. (1) First of all the visitors are requested to activate the reconstruction in transparency above the archaeological remains (thus enhancing the interpretation through the comparison with what is still visible or have been excavated) and then (2) to access directly and walk inside the monuments as they should probably have been in the past. More information on the general project at: Aquae Patavinae website. Virtual Archaeology is developed by CNR ITABC, VHLAB (http://www.vhlab.itabc.cnr.it). Interactive: Yes  interaction device: mouse  visualisation device: monitor, 3D monitor and glasses  technology: An on line desktop-based version is currently available, based on OSG4WEB plug-in (only WIN/FIREFOX and MAX/SAFARI-CHROME users), Blender, 3ds Max, Cityengine Duration: Permanent Communication: narrative Level of immersion: low-immersive Distribution: on-line Scope: entertainment, educational, enhancement of the visitor experience Sustainability: Re-usable asset. There is a second version under development focused on Touch-Screen interaction and Natural-Interaction

INSIDE JOYCEAN DUBLIN (on-going)

Grant Agreement 270404 KCL Public 111 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Link: http://vimeo.com/channels/insidejoyceandublin Institution: NOHO Content: history, art Description: online, immersive virtual archive based on the works of James Joyce. . It presents a 3D model of the city as an interface through which users can explore Joyce’s novels and stories by visiting the parts of the city in which they are located. In addition to reading or listening to Joyce’s text, users can trace the routes of major characters on appropriate maps, visit 3D reconstructions of relevant streets and landmarks, view movies, photographs, postcards, paintings and other materials, listen to audio recordings and access a range of supplementary documentary material. Interactive: Yes  interaction device: -  visualisation device: -  technology : - Duration: permanent Communication: narrative Level of immersion: immersive virtual archive Distribution: online Scope: : entertainment, edutainment, enhancement of visitor experience Sustainability: -

Grant Agreement 270404 KCL Public 112 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-SITE NARRATIVE VM

CASAL DE’ PAZZI VIDEO Institution: CNR-ITABC Content: archaeology Description: CG Video Interactive: no  interaction device: -  visualisation device: Projector  technology : 3Ds Max; Vue Duration: Permanent Communication: Narrative - Storytelling Level of immersion: low immersive Distribution: on-site Scope: edutainment, entertainment, enhancement of visitor experience Sustainability: easy to maintain, asset reusable

ETRUSCANNING Institution: Allard Pierson Museum / CNR-ITABC Content: archaeology Description: 3D interactive virtual reality application Interactive: Yes  interaction device: Kinect  visualisation device: projector - desktop  technology : Unity 3D, 3ds Max Duration: Permanent Communication: Narrative - Storytelling Level of immersion: immersive Distribution: on-site Scope: edutainment, enhancement of visitor experience Sustainability: easy to maintain, partially reusable

GIZA RECONSTRUCTION Institution: Virtualware Content: archaeological Description: real-time interactive virtual reality (interactive application + video) Interactive: Yes

Grant Agreement 270404 KCL Public 113 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device: touch-screens  visualisation device: touch-screens / 3D stereoscopic video captured from real time for large format 3D theatre  technology : Unity 3D Duration: permanent Communication: narrative Level of immersion: immersive Distribution: on-site ( Giza Historical site) Scope: entertainment, edutainment, enhancement of visitor experience; private application for commercial purposes (not reusable)

CANDIDACY OF THE PORTICOES OF BOLOGNA AS A UNESCO WORLD HERITAGE SITE Institution: Bologna City Council, University of Bologna - Department of Architecture and Cineca Content: Architecture Description: ICT project is based on the organisation and management of as many useful data about the porticoes as possible through portable devices Interactive: Yes  interaction device: Device base interaction  visualisation device: Tablet, smartphone  technology : 3Ds Max; Vue Duration: Permanent Communication: Dramatization, Exposition and narration Level of immersion: low immersive Distribution: on-site Scope: educational, edutainment, entertainment, enhancement of visitor experience, promotion, research Sustainability: easy to maintain, asset reusable

PLEISTOSTATION Institution: CNR-ITABC Content: archaeology Description: interactive 2D Multimedia Interactive: Yes  interaction device: Touchscreen  visualisation device: Touchscreen  technology : Flash Duration: permanent Communication: Narrative style Level of immersion: not immersive

Grant Agreement 270404 KCL Public 114 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Distribution: on-site Scope: educational, entertainment and enhancement of on-site visitor experience Sustainability: easy to maintain Reusability: reusable digital asset

MARCUS CAELIUS – THE VALUE OF MEMORY Institution: CINECA, The Civical Archaeological Museum of Bologna Content: archaeology and history Description: not interactive Movie Interactive: no  interaction device: no  visualisation device: no  technology : Blender Duration: permanent Communication: Narrative style Level of immersion: not immersive Distribution: non-distributed Scope: edutainment, entertainment and enhance visitor experience Sustainability: reusable

VIRTUAL PLANETARIUM Institution: CULTNAT Content: art, archaeology Description: Movie Interactive: no  interaction device: -  visualisation device: full dome  technology : - Duration: - Communication: narrative Level of immersion: immersive Distribution: on-site Scope: edutainment, entertainment, enhance visitor experience Sustainability: -

VIRTUAL RECONSTRUCTION OF THE ANCIENT ORACLE OF TROPHONIOS (BOEOTIA) Institution: Foundation of Hellenic World Content: archaeology, virtual heritage

Grant Agreement 270404 KCL Public 115 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: 3D interactive, real time virtual reality Interactive: Yes  interaction device:  visualisation device: 3D stereo-projectors  technology : - Duration: Permanent Communication: narrative Level of immersion: immersive Distribution: on-site (Leivadia, Greece) Scope: edutainment Sustainability: reusable digital asset

VIRTUAL RECONSTRUCTION OF THE ANCIENT THEBES (On-going) Institution: Foundation of Hellenic World Content: archaeology, virtual heritage Description: 3D interactive, real time virtual reality Interactive: Yes  interaction device: Gamepad for real time navigation in the real time version – no interactive device necessary in the predefined scenario version (Greek and English)  visualisation device: Two projectors, Two computers for rendering, Stereo or 5.1 sound system . Possibility to be projected as a simple 2D video lower level of immersion.  technology : Enhanced Visualization System (FHW's virtual reality engine), OpenSceneGraph, Cal3D Duration: Permanent in the real time version – about 20 min in the predefined scenario version Communication: narrative. Metadata and archaeological documentation published in the complementary web site. Level of immersion: full immersive Distribution: on-site (Thebes, Greece) Scope: edutainment Sustainability: will be installed and operational at the cultural/conference centre , operated by the municipality of Thebes and in Tholos of FHW, sustaining its operation cost; The real time version is adaptable to a wide variety of VR systems such as CAVE, DOME, Powerwall as well as the predefined scenario version (Greek and English)

150 YEARS OF ITALIAN SCIENCE HISTORY (On-going) Institution: CINECA, Rai, Fondazione del Monte, MIUS Content: science and technology history Description: interactive application multiplatform. The technique used is mixed (live action, cartoon, repertoire, 2 and 3D computer animation, stereoscopic, the latter used specifically for the display of the discoveries and inventions. Interactive: Yes

Grant Agreement 270404 KCL Public 116 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device: multiplatform –TV DVD  visualisation device:  technology : Duration: Permanent Communication: Narrative Level of immersion: no immersive Distribution: on-site Scope: edutainment Sustainability: partially re-usable

EGYPT CROWNS INTERACTIVE KIOSK @ WORD EXPO Link: http://www.facebook.com/Promise2theNile/photos_albums Institution: SMALLWORLD Content: archaeological Description: interactive kiosk. Interactive: Yes  interaction device: face tracking that gives the users the chance to put on Egyptian crowns in real time  visualisation device: Monitor  technology : face tracking technology Duration: permanent Communication: narrative -descriptive Level of immersion: immersive Distribution: on-site (not distributed yet) Scope: educational, edutainment, enhancement of visitor experience; easy to maintain; reusable assets for other solutions and applications

LA VALLE DEGLI IMPERATORI. LA VILLA DI TRAIANO AD ARCINAZZO ROMANO Institution: NOREAL Content: archaeological Description: not interactive –computer animation video Interactive: no  interaction device: -  visualisation device: Monitor  technology : 3ds max, Vue Duration: permanent Communication: narrative Level of immersion: not-immersive Distribution: on-site

Grant Agreement 270404 KCL Public 117 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Scope: entertainment, edutainment, enhancement of visitor experience; easy to maintain; for commercial purposes (reusability of the digital assed needs to be discussed with the owner)

TERRACINA: THE SANCTUARY OF JUPITER ANXUR Link: http://www.youtube.com/watch?v=AMmxj9PPBSw&feature=plcp Institution: CNR-IBAM Content: Archaeology Description: not-interactive Computer Animation video (virtual reconstruction) Interactive: no  interaction device: -  visualisation device: Monitor  technology: 3Ds Max, Vue Duration: Permanent Communication: narrative - emotional Level of immersion: not-immersive Distribution: on-site Scope: entertainment, edutainment, enhancement of visitor experience Sustainability: easy to maintain; reusable digital asset

THE VIRTUAL MUSEUM OF WESTERN HAN DYNASTY Link: http://vimeo.com/12700249 http://www.academia.edu/337216/The_virtual_museum_of_the_Western_Han_Dynasty_3D_documentation_and _interpretation._Forte_Maurizio_Nicolo_DellUnto_Paola_Di_Giuseppantonio_Di_Franco_Fabrizio_Galeazzi_Clau dia_Liuzza_Sofia_Pescarin_ http://www.academia.edu/786387/Rhizome_of_Western_Han_an_Omnispatial_Theatre_for_Archaeology Institution: University of California – Merced, Xi'an Jiaotong University and the Xi'an Municipal Cultural Relics Conservation and Archaeological Research Institute Content: History and Archaeology Description: This project, aimed to the digital documentation of archaeological sites, artifacts and cultural relics of the Western Han Dynasty, started in 2008. The final plan is to create at least two installations, one in Xi’an and one in California. At UCM, the Virtual Heritage Lab is working on the set up of two different virtual reality systems based on participatory learning: a stereo collaborative environment (virtual heritage room) and a simulation environment (Powerwall). The primary purpose is to visualize and display very high-resolution data from large scientificsimulations performed via high- resolution imaging applications. Interactive: Yes  interaction device: natural interfaces (AVIE)  visualisation device: 360-degree stereoscopic interactive virtual environment (cylindrical dome) in AVIE (Advanced Visualization and Interaction Environment)

Grant Agreement 270404 KCL Public 118 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 technology: iCinema SDK for the AVIE system (http://icinema.unsw.edu.au). The iCinema SDK is anextension of the Graphics Authoring System Virtools allowing the programmer to handlespecial types of hardware and visualizationsystems (projection cluster, cylindrical domes,caves and so forth). Duration: Permanent Communication: narrative and descriptive Level of immersion: high immersive Distribution: on-site Scope: educational, edutainment, enhancement of visitor experience Sustainability: -

DISCOVERING SABINAE (on-going) Institution: STEP srl Content: archaeology Description: video-projections on stenographic walls Interactive: no  interaction device: -  visualisation device: projected walls  technology : - Duration: Permanent Communication: Descriptive and narrative Level of immersion: low-immersive Distribution: on-site Scope: entertainment, promotion, educational, edutainment, enhance the visitor experience Sustainability: easy to maintain; software used is open source

IN THE MIRROR OF THE WONDER OF LUCA GIORDANO Link: http://www.youtube.com/watch?v=XdMuj2-NQUI Institution: Palazzo medici Riccardi Content: Art Description: Multisensory experience itinerary with impact assessment Interactive: Yes  interaction device: -  visualisation device: -  technology: - Duration: temporary Communication: narrative

Grant Agreement 270404 KCL Public 119 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Level of immersion: immersive Distribution: on-site Scope: enhancement of visitor experience Sustainability: -

LAST SUPPER LSI Institution: Franz Fishnaller and School of Computer Science and Electronic Engineering, University of Essex, UK Content: Art Description: Natural interaction – real time virtual interactive-stereo application based in Leonardo Da Vinci’s last Supper masterpiece Interactive: Yes  interaction device: kinect  visualisation device: Monitor/projection cloth  technology: Unity3D Duration: Permanent Communication: narrative - emotional Level of immersion: fully immersive Distribution: on-site Scope: entertainment, edutainment, enhancement of visitor experience Sustainability: not reusable

THE EGYPTIAN ORACLE PERFORMANCE Link: http://publicvr.org/html/pro_oracle.html http://publicvr.org/html/pro_gates.html Institution: Public VR Content: Archaeology Description: interactive live performance with 3D environment, body tracking/motion capture: The “Egyptian Oracle” performance is a live reenactment of an authentic public ceremony from ancient Egypt’s Late Period; “Gates of Horus" is an educational game based on the Virtual Egyptian Temple. During play, the user has a question-and-answer dialogue with a (virtual) Egyptian priest regarding the temple's major features and their meaning Interactive: Yes  interaction device: o BNAVE (Balance NAVE Automatic Virtual Environment) o Earth theatre o CaveUT  visualisation device: o MVRC (a virtual reality display room that is large enough for a person to stand in and interact with different virtual environments) o Panoramic Display o Stereographic display and real-time spatial tracking (ALTERNATE Project)

Grant Agreement 270404 KCL Public 120 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 technology: Unity 3D Duration: Permanent Communication: both narrative and descriptive Level of immersion: fully immersive Distribution: on-site Scope: edutainment, entertainment, educational Sustainability: -

ROMANOVA GAME PLAY Link: http://www.seriousgamesinstitute.co.uk/research.aspx?section=14&item=171 Institution: Serious Game Institute, UK Content: Archaeology, History Description: Interactive Serious Game that takes place in a replica of the antique city of Rome Interactive: Yes  interaction device: “Emokey” headset  visualisation device: Monitor  technology: The serious game is fully operational and it’s using a combination of Cognitive and Facial/Muscular functions. he Emotiv EmoEngine refers to the logical abstraction of the functionality that Emotiv provides (in edk.dll). The EmoEngine communicates with the Emotiv headset, receives preprocessed EEG and gyroscope data, manages user-specific or application-specific settings, performs post-processing, and translates the Emotiv detection results into an easy-to-use structure called an EmoState. An EmoState is an opaque data structure that contains the current state of the Emotiv detections, which, in turn, reflect the user’s facial, emotional and cognitive state. EmoState data is retrieved by Emotiv API functions. Duration: permanent Communication: narrative, simulation behaviors Level of immersion: brainware immersion Distribution: on-site Scope: entertainment, edutainment, research Sustainability: Technology can be easily exchanged and re-used. the 3D content of the game (the ancient Rome 3D models) belongs to the RomeReborn consortium.

STAM, MUSEUM OF GENT Link: http://www.youtube.com/watch?feature=endscreen&v=1awC9S5qiXE&NR=1 http://www.youtube.com/watch?v=jAa5t_JBpH0&feature=player_embedded http://www.stamgent.be/en/visit/permanent-exhibition/multimedia/views-of-ghent Institution: STAM heritage forum Content: Art Description: The story of Ghent: A chronological interactive trail makes Ghent legible by analyzing the different periods in history.

Grant Agreement 270404 KCL Public 121 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Interactive: Yes  interaction device: - interactive multimedia map; multi touch-table  visualisation device: - monitors, projected holograms, touch-screen  technology: - Duration: permanent Communication: narrative, sensorial experience Level of immersion:medium-immersive Distribution: on-site Scope: edutainment - cultural/tourist introduction Sustainability: -

VIRTUAL MUSEUM OF SAN CAPRASIO (Aulla, Italy) Institution: VHN Virtual heritage Network Italia, Museo di san Caprasio Content: Archaeology, Architecture and History Description: interactive virtual museum (touch application) to explore virtually the archaeological site of the medieval Abbey – Short Movie that narrates the story of San Caprasio and evolution of the Church and Abbey Interactive: yes  interaction device: touchscreen  visualisation device: Monitor  technology: Flash, 3DS Max, Autodesk 123D Catch Duration: Permanent Communication: both narrative (video) and descriptive (interactive application) Level of immersion: not immersive Distribution: on-site Scope: edutainment, enhancement of visitor experience, training to the visit Sustainability: easy to maintain and to improve contents; assets partially reusable

VIRTUAL MITHS Institution: CULTNAT Content: Archaeology, Mith Description: The project aims to identify some of the remarkable myths in the ancient Egyptian civilization and disseminate them to the public in an attractive and immersive way using advanced video and projection technology. The installation visible in Cairo is composed of a three flat screens that display a wide video (2400 x 600 pixels) using 3 projectors, but it's also a portable installation. The screens are arranged in a curved shape and seamless to enhance the feeling of immersion. The video is designed to give very attractive and analytical visual information about two of the most attractive old Egyptian myths, the Zodiac of Dendara and the Opet feast. Dendara was the capital of the 6th Upper Egyptian Nome and is one of the historically and religiously important sites. It is famous for its well preserved and magnificent Roman Ptolemaic Temple of Hathor, the cow goddess of motherhood, fertility, agriculture, joy, sky, underworld, love and music, whose main cult center was Dendara. The temple is also famous for its astronomical scenes. One of these scenes represents the Circular

Grant Agreement 270404 KCL Public 122 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Zodiac, which is considered the oldest complete sky representation in history. The video shows the content of this scene with explanations and comparisons with the recent sky map; an innovative part was created, by singing an opera work of the text surrounding the Zodiac in hieroglyphic with subtitles in English. The second episode displayed in the video regards the Opet festival, one of the most important festivals in ancient Egypt. Information about it comes from the reliefs of King Amenhotep III at Luxor Temple. The video includes also a comparison with the modern Moulid (Festival) of Sheikh Abu El Haggag which takes place now in Luxor. Interactive: no  interaction device: -  visualisation device: : three flat screens that display a wide video (2400 x 600 pixels) using 3 projectors  technology: - Duration: Periodic Communication: narrative Level of immersion: low-immersive Distribution: on-site. Accessible at: CULTNAT Scope: edutainment, research Sustainability: re-usable

VENDICARI'S TOWER 3D Link: http://www.noreal.it/site2011/index.php?option=com_content&view=article&id=162:vendicaris-tower- 3d&catid=48&Itemid=201&lang=en Institution: NoReal, Regione Siciliana, Assessorato dei beni Culturali e Ambientali e Pubblica istruzione, Dipartimento dei Beni Culturali e Ambientali, della Eduzione permanente e dell'Architettura e dell'Arte Contemporanea. Content: Archaeology Description: Computer graphic movie on the history and reconstruction of the Tower of Vendicari, a defense tower which is part of Vendicari's Wildlife Oasi, a few km far from Siracusa and Noto. Interactive: no  interaction device: -  visualisation device: monitor  technology: 3Ds Max Duration: permanent Communication: narrative Level of immersion: non-immersive Distribution: on-site Scope: edutainment, enhance of visitor experience Sustainability: non-reusable

Grant Agreement 270404 KCL Public 123 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Grant Agreement 270404 KCL Public 124 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-SITE DESCRIPTIVE VM

TIMESCOPE OF ENAME ARCHAEOLOGICAL SITE (On-going) Institution: Visual Dimension Content: archaeology and history Description: interactive story-telling system (Time-Frame with pre-rendered 4D visualization) Interactive: Yes  interaction device: mouse  visualisation device: Monitor  technology : ArchiCad/Blender/Vue Duration: permanent Communication: descriptive Level of immersion: not immersive Distribution: on-site Scope: educational, promotion, research, edutainment, Future proof London Charter compliant data Sustainability: open format and open source software; reusable digital asset and software. The data is future-proof and reusable by a combination of documentation and open standard (collada), the interactive storytelling system is open source (TimeFrame)

THE COIN COLLECTION OF THE NATIONAL MUSEUM OF ST. MATTHEW (PISA) Institution: CNR-ISTI Content: numismatics Description: interactive multimedia 2D and 3D Interactive: Yes  interaction device: both desktop-based and touch-screen  visualisation device: desktop  technology : JavaScript (general structure of the Kiosk, presentation MM data and user interaction); WebGL and SpiderGL (visualization in web browser). Duration: permanent Communication: Descriptive Level of immersion: not immersive Distribution: on-line and on-site virtual museum-Kiosk Scope: edutainment Sustainability: the software is implemented to allow an easy and simple customization for other project using a dynamic loading of the content; reusable software / The software uses open source tools and libraries

A VIRTUAL MUSEUM FOR THE ARSENALE IN VENICE Link: visualizingvenice.org

Grant Agreement 270404 KCL Public 125 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Institution: IUAV Content: history, architecture, Description: The contents of the Virtual Museum on the history of Venice Arsenal will include videos, maps and documents on the history of the transformation of the large complex. Interactive: yes · interaction device: mouse/ touchscreen, · visualisation device: monitor / touchscreen, · technology : ArcMap, FileMaker, 3ds max, cityengine Duration: permanent Communication: descriptive Level of immersion: low immersive Distribution: on-site/on-line Scope: educational research Sustainability: easy to maintain

RE-DISCOVERING VROUW MARIA Link: http://sysrep.aalto.fi/vrouwmaria/ Institution: Media Lab of the School of Arts, Design and Architecture at Aalto University, in collaboration with the National Board of Antiquities (NBA) Maritime Archaeology Content: naval archaeology Description: interactive, real-time, virtual reality simulation of the Vrouw Maria shipwreck (additional information provided: texts, images, sounds and videos) Interactive: Yes  interaction device: gesture-based device (Kinect)  visualisation device: monitor (http://mlab.taik.fi/~fsen/vm/vrouw%20maria_Final4.mov)  technology: Duration: permanent Communication: descriptive, explorative Level of immersion: immersive Distribution: on-site Scope: edutainment, enhancement of visitor experience Sustainability: easy to maintain; reusable software and digital assets

THE MUSEUM OF PURE FORMS Link: http://www.pureform.org/ Institution: Scuola superior Sant’Anna di studi universitari e perfezionamento, PRECRO Content: art

Grant Agreement 270404 KCL Public 126 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: the Museum of Pure Form is a Virtual Museum that aims to offer new possibilities for interaction with 3d models of cultural heritage object using the sense of touch and sight. The objective of the Pure Form project is to allow museums visitors, students, researchers, blind and visually impaired users interaction with 3D models of works of art through the innovative concept of haptic perception (from the Greek “haptesthai” meaning “to touch”), thus overcoming the traditional limit of the art fruition based on the mere observation by sight. Using 3d models, the Museum of Pure Forms is not linked to a specific physical site: it consists of a multiuser and immersive Virtual Environment where digital representations are displayed. Started in 2002, the Museum of Pure Form is currently on exhibit at the Museo dell’Opera del Duomo in Pisa, right next to the leaning tower interaction: yes  interaction devices: device-based interaction  visualisation device: monitor, glasses  technology: - Duration: temporary Communication: descriptive Level of immersion: high-immersive Distribution: on-site Scope: enhancement of visitor experience Sustainability: non-reusable

SATRICUM AR Link: http://allardpiersonmuseum.nl/ Institution: Allard Pierson Museum, Fraunhofer Institute Content: Archaeology Description: Augmented Reality application on Satricum Interactive: yes  interaction device: touch-screen  visualisation device: touch-screen  technology: Duration: temporary Communication: descriptive Level of immersion: low-immersive Distribution: on-site Scope: educational Sustainability: re-usable tools

ROMAN FORUM AR Link: http://allardpiersonmuseum.nl/ Institution: Allard Pierson Museum, Fraunhofer Institute Content: Archaeology

Grant Agreement 270404 KCL Public 127 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: Augmented Reality application on Roman Forum Interactive: yes  interaction device: touch-screen  visualisation device: touch-screen  technology: Duration: temporary Communication: descriptive Level of immersion: low-immersive Distribution: on-site Scope: educational Sustainability: re-usable tools

AR ETRUSCHI Link: http://www.noreal.it/site2011/index.php?option=com_content&view=article&id=118:ar-etruschi-realta-aumentata-a- trento&catid=42&Itemid=183&lang=it Institution: NoReal, CNR ISTI, 3DOM FBK, Historia Content: Archaeology Description: AR-Etruschi" is an interactive application in Augmented Reality shown in the "Etruscans in Europe" exhibition, which was opened from Sept. 10 to Jan. 9 2011 at the Science Museum in Trento. The exhibition, curated by Historia and with the support of Fondazione Bruno Kessler, has already had great success in Brussels exposing high resolution reconstructions of some Etruscan tombs. The application AR-Etruschi is an innovation and will allow visitors to interact with 3D models of 5 statues kept in the Museum of Chianciano Terme (SI), using a graphic marker or your phone. NoReal has developed with the CNR-ISTI AR-Nexus software, which displays, in augmented reality, high resolution models derived from 3D laser scans. Interactive: yes  interaction device: web-cam, touch-screen that displays the icons for the interface.  visualisation device: large monitor  technology: AR-Nexus Duration: temporary Communication: descriptive Level of immersion: low-immersive Distribution: on-site Scope: edutainment Sustainability: non-reusable tools

SICHUAN VIRTUAL DIG Link: http://www.hitl.washington.edu/research/sichuan/ Institution: : The Seattle Art Museum and the University of Washington Human Interface Technology Laboratory. Content: Archaeology

Grant Agreement 270404 KCL Public 128 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: The Virtual Dig was an exhibition that ran from May 10, 2001, to August 12, 2001 as part of the Sichuan China artifact exhibit. The Virtual Dig was an interactive learning experience, that combined HI-SPACE and ARToolKit technologies, to help visitors to understand where the artifacts exhibited came from. Interactive: yes  interaction device: 10 networked computers, 6 cameras, and 6 projectors  visualisation device: monitor and touchscreen  technology: HI-SPACE (http://www.hitl.washington.edu/projects/hispace/) and ARToolKit (http://www.hitl.washington.edu/projects/shared_space/) Duration: temporary Communication: descriptive Level of immersion: high-immersive Distribution: on-site Scope: edutainment, educational, enhancement of visitor experience Sustainability: non-reusable

FAIR FRANKFURT - ARCHITECTURAL DESIGN REVIEW IN VR Link: http://www.igd.fraunhofer.de/en/Institut/Abteilungen/Virtuelle-und-Erweiterte-Realit%C3%A4t/Projekte/Fair-Frankfurt-Architectural-Design- Institution: Fraunhofer Institute for Computer Graphics Research IGD Content: Architecture Description: The interactive application demonstrates a virtual walk through the Fair of Frankfurt’s new hall 11. It illustrates how to control the virtual camera in 3D space using multitouch technology. The main approach is to navigate on a building’s real blueprints or 2D schematics. Interactive: yes  interaction device: IGDs multitouch table.  visualisation device: large monitor  technology: AR-Nexus Duration: permanent Communication: descriptive Level of immersion: medium-immersive Distribution: on-site Scope: enhancement of visitor experience Sustainability: re-usable tools

PLASSAC - LA VILLE DU IIe SIECLE Link: http://www.vhlab.itabc.cnr.it/archeovirtual/2011/virtualplassac.htm Institution: ArchéoVision, ArchéoTransfert, Conseil Général de Gironde Content: Archaeology Description: Virtual tour inside the reconstructed 3D model of the roman Villa of Plassac Interactive: yes

Grant Agreement 270404 KCL Public 129 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device: mouse and keyboard  visualisation device: monitor  technology: - Duration: permanent Communication: descriptive Level of immersion: non-immersive Distribution: on-site Scope: enhancement of visitor experience Sustainability: non-reusable

MAPPING MODERNISM Link: http://www.vhlab.itabc.cnr.it/archeovirtual/2010/modernism.htm Institution: MediaLab, Aalto University, Helsinky Content: Art Description: Mapping Modernism is an interactive installation of Augmented Reality that provides museum visitors with an interesting way to explore the background information about the items in a museum collection. In this case, the sample used is from artefacts related to the Bauhaus section of the Modernism exhibition that was held at the Design Museum of Helsinki February 11 – May 3, 2010. Interactive: yes  interaction device: fiducial markers on a Reactivision table that tracks the user movements  visualisation device: monitor, projector  technology: augmented reality tech. Duration: temporary Communication: descriptive Level of immersion: low-immersive Distribution: on-site Scope: edutainment Sustainability: non-reusable

MAPPING CHANG’AN Link: http://www.vhlab.itabc.cnr.it/archeovirtual/2010/changan.htm Institution: DOW, Art Clay, CNR ITABC, University of Jaotong (Xian, China), University of California – Merced Content: Archaeology Description: With the help of a portable wearable computer (QBIC Belt Integrated Computer) and an electronic compass, this project offers the user to view panoramic or panorama like images. Thanks to a three-lateral archaeological mission (involving Italy, China and United States), images have been acquired from one of the most astonishing painted tomb in Xian (China), dating back to Western Han dynasty (1st BC-1st AD). The frescos representing daily life scenes tell the story of this important Chinese dynasty, representing an unique document for its memory. The tomb is unfortunately no more visible to anyone, and it will be probably soon destroyed. This project enables visitors still to visit it, feeling immersed in the

Grant Agreement 270404 KCL Public 130 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013 environment. The images can either be viewed by several people on a big screen, but only one controls them, or by one person wearing a Head Mounted Display. Interactive: yes  interaction device: -  visualisation device: monitor, Head Mounted Display.  technology: - Duration: permanent Communication: descriptive Level of immersion: High-immersive Distribution: on-site Scope: edutainment Sustainability: non-reusable

VIRTUAL RECONSTRUCTION OF SANTIMAMIÑE´S CAVE Link: http://www.vhlab.itabc.cnr.it/archeovirtual/2009/cave.htm Institution: VirtualWare, Biscay City Council Content: Archaeology Description: virtual replica of the cave of Santimamiñe (close to the public), that reproduce the five rooms of the cave, offering a sort of alternative visit to the public. The Virtual Reconstruction includes: the development, through 3D scanner and computer-graphics technologies, of the model of all 10 rooms of the cave (even those never opened to visit); multimedia boards which explain the different interest points, inside the cave (paintings, archaeological sites and the impressive geomorphology); surround audio system 5.1; VR interaction system to enable visitors to walk inside the the virtual environment. Interactive: yes  interaction device: 3D projector and interactive handled-device  visualisation device: 3D glasses  technology: VR interaction system Duration: permanent Communication: descriptive Level of immersion: high-immersive Distribution: on-site Scope: edutainment, enhancement of visitor experience Sustainability: non-reusable

Grant Agreement 270404 KCL Public 131 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

MOBILE DESCRIPTIVE VM

ESPACE 3D CHARTREUSE Link: http://www.chartreuse.org/16/337/espace-3d-chartreuse http://www.map.archi.fr/3D-monuments/projets/projet_eglise_presen-dispo.php http://www.map.archi.fr/3D-monuments/projets/projet_eglise_presen-video.php Institution: UMR-Map Marseille Content: architecture, art, history Description: application real time VR (interactive 3d ) permanent inside the Chapel – mobile virtual museum Interactive: Yes  interaction device: mouse and keyboard; IPad  visualisation device: monitor  technology: virtools Duration: permanent Communication: descriptive Level of immersion: not immersive Distribution: on-line / on-site Scope: educational, edutainment, enhance the visitor experience; The application on iPad is the proof of the possibility to maintain and reuse the 3D model of the project. Some objects have been remodeled and integrated into the virtual model, and also some paintings have been moved. Moreover, specific data on paintings have been added such as their description and their conservation place; reusable 3D models

BRAVO - BRAIN VIRTUAL OPERATOR FOR E-LEARNING Link: Institution: University of Bologna, DEIS Dept. of Electronics, Computer Science and Systems Content: e-learning managing system Description: interactive brain-computer interface and touch screen Interactive: Yes  interaction device: touch screen and portable devices  visualisation device: Monitor  technology : Ogre3D Duration: permanent Communication: descriptive Level of immersion: not immersive Distribution: not distributed Scope: educational, research, enhance of visitor experience

Grant Agreement 270404 KCL Public 132 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Sustainability: BRAVO is a client of Moodle, an open source e-learning platform and 3D models are based on Ogre3D, an open source 3D graphics engine, reusable software and digital asset

VIRTUAL MUSEUM OF CYPRUS (On-going) Institution: Fraunhofer Institute / Cyprus Institute Content: archaeology Description: interactive application for mobile Interactive: Yes  interaction device: Tablet  visualisation device: Tablet  technology : X3Dom Duration: permanent Communication: descriptive Level of immersion: not-immersive Distribution: Mobile Scope: edutainment, educational, enhancement user experience Sustainability: open-source and web-based; 3D models and metadata reusable separately

APPLICATION FOR THE ROMAN CIVILIZATION MUSEUM Institution: MEDIARC Content: Archaeology-History Description: Interactive navigation device and augmented reality (Mobile virtual museum) Interactive: Yes  interaction device: touch mobile devices  visualisation device: monitor  technology : - Duration: permanent Communication: Descriptive Level of immersion: not-immersive Distribution: Mobile Scope: edutainment, enhancement of visitor experience Sustainability: -

ROME MVR Link: http://www.altair4.com/videos/applicazione-iphone-roma-mvriphone-app-rome-mvr/ Institution: ALTAIR4 Content: Archaeology-History

Grant Agreement 270404 KCL Public 133 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: Rome MVR is an augmented reality application that allow the user to visit Rome across the ages and see what it looked like in the various periods. The application uses a Time Window system. Is is an MVR (Mixed Virtual Reality) system based on time windows opened by the application onto the main monument areas in town, which allows users to view the condition of an archaeological site, urban area or monument, in the various moments of its history, with an interactive overlap. Interactive: Yes  interaction device: iPhone  visualisation device: iPhone  technology: Time window system Duration: permanent Communication: Descriptive Level of immersion: not-immersive Distribution: Mobile Scope: edutainment, enhancement of visitor experience Sustainability: non-reusable iAVENTINO and iTESTACCIO Link: http://archeoroma.beniculturali.it/en/multimedia/aventine-and-testaccio-multimedia-applications Institution: Soprintendenza Speciale per i Beni Archeologici di Roma and Ugo Bordoni Foundation Content: Archaeology Description: iAventino and iTestaccio are two new mobile applications (available on iPhone, iPad, and Android platforms) developed by the Soprintendenza Speciale per i Beni Archeologici di Roma in cooperation with the Fondazione Bordoni. These apps showcase a collection of multimedia itineraries through major archaeological and socio-cultural sites in Rome’s historical district Aventine and Testaccio. Content is organized in a thematic menu by location, itinerary, or multimedia, and can also be accessed directly from a satellite/street map of the area. While scrolling through the photographic gallery, the user has the option of listening to a narrator or reading information in text form. Interactive: Yes  interaction device: tablet and smartphone  visualisation device: tablet and smartphone  technology: ios and android Duration: permanent Communication: Descriptive Level of immersion: non-immersive Distribution: Mobile Scope: edutainment, enhancement of visitor experience Sustainability: non-reusable.

AR GLADIATOR SCHOOL CARNUTUM Link: http://www.7reasons.at/en/?p=137

Grant Agreement 270404 KCL Public 134 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013 http://www.youtube.com/watch?v=c4-TkpAAuPk&feature=player_embedded Institution: 7reason, Ludwig Boltzmann Institute Content: Archaeology Description: Augmented reality application based on the scientific results of the Ludwig Boltzmann Institute for Archaeological Prospection and Virtual Archaeology. 7reasons company reconstructs a digital model of the gladiators school in Carnuntum and create the AR application for mobile devices. Interactive: Yes  interaction device: iPhone  visualisation device: iPhone  technology: Wikitude World Browser augmented reality software Duration: permanent Communication: Descriptive Level of immersion: not-immersive Distribution: Mobile Scope: edutainment, enhancement of visitor experience Sustainability: non-reusable

PUGLIAREALITY APP Link: http://www.pasthorizons.tv/puglia-in-augmented-reality-app/ Institution: PastHorizonsArchaeologyTV Content: Archaeology Description: AR application on archaeological sites of Puglia (Italy) Interactive: Yes  interaction device: iPhone  visualisation device: iPhone  technology: - Duration: permanent Communication: Descriptive Level of immersion: not-immersive Distribution: Mobile Scope: edutainment, enhancement of visitor experience Sustainability: non-reusable

LOMBARDS ON ìPAD Link: http://www.vhlab.itabc.cnr.it/archeovirtual/2011/young.htm http://www.youtube.com/watch?v=H1Q8bDC1fKY&feature=player_embedded Institution: ComPart Multimedia S.R.L., Museo Nazionale del Ducato di Spoleto

Grant Agreement 270404 KCL Public 135 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Content: Archaeology Description: “The Lombards on iPad” is an experimental museum visualization system based on tablet devices, enabling selective communication of historical and archaeological data on the iPad platform. This project aims at a user-friendly visualization for a wide range of users, from simple museum visitors to scholars or researchers (serious users). Interactive: Yes  interaction device: iPad  visualisation device: iPad  technology: ios Duration: permanent Communication: Descriptive Level of immersion: not-immersive Distribution: Mobile Scope: edutainment, enhancement of visitor experience Sustainability: non-reusable

ANCIENT EGYPT APP IN 3D Link: http://www.vhlab.itabc.cnr.it/archeovirtual/egypt-app.htm Institution: Altair 4 Content: Archaeology Description: Ancient Egypt in 3D APPlication for iPad allows to explore the major Egyptian archaeological sites, displaying the appearance they had in ancient times. The application presents a 3D virtual view of the past, and through a simple graphical menu the users can move around on a map of the Nile and see visit the main archaeological sites. When an area has been selected, the users can have access to its detailed description, supported by photos and videos, and interactive graphic reconstructions all around the monuments, to fly over the city and show its the evolution up to the present day, using a "time machine" solution. Interactive: Yes  interaction device: iPad  visualisation device: iPad  technology: ios Duration: permanent Communication: Descriptive Level of immersion: not-immersive Distribution: Mobile Scope: edutainment Sustainability: non-reusable

Grant Agreement 270404 KCL Public 136 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

MOBILE NARRATIVE VM

AUGMENTED UPPÅKRA (On-going) Institution: LUND UNIVERSITY Content: Archaeology Description: interactive mobile virtual museum about an iron age village, using Augmented Reality (AR). Interactive: Yes  interaction device: Smartphones or tablets  visualisation device: Built in display on smartphones or tablets  technology : AR-app that uses markers, which are to be placed on certain locations of the archaeological excavation. Duration: permanent Communication: narrative Level of immersion: low immersion, but maybe in the future one can use see-through glasses. Distribution: https://play.google.com/store/apps/details?id=se.apphaus.uppakra Appstore: http://itunes.apple.com/se/app/id439003670 Scope: educational Sustainability: 3D-models are reusable assets.

MATERA TALE OF THE CITY APP Institution: CNR-ITABC Content: archaeology, art and ethnology Description: interactive 3D and multimedia with videos Interactive: Yes  interaction device: I-Pad  visualisation device: I-Pad  technology : Unity 3D Duration: permanent Communication: Narrative style Level of immersion: not immersive Distribution: Mobile Scope: edutainment and enhancement of visitor experience Sustainability: easy to maintain; reusable software / reusability of the digital assets depend on the kind of use and purposes (to be discusses from time to time)

CHESS – Cultural Heritage Experiences through Socio-personal Interactions and Storytelling

Grant Agreement 270404 KCL Public 137 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Link: http://www.igd.fraunhofer.de/en/Institut/Abteilungen/Virtuelle-und-Erweiterte-Realit%C3%A4t/Projekte/CHESS Institution: Fraunhofer Institute for Computer Graphics Research IGD Content: e-learning managing system Description: CHESS integrates interdisciplinary research in mixed and augmented reality (AR) and interactive storytelling in order to enrich visitors, based on a sound theoretical basis in museological, cognitive, and learning sciences. Interactive: Yes  interaction device: tablet and smartphone  visualisation device: tablet and smartphone  technology : X3dom Duration: permanent Communication: narrative Level of immersion: non-immersive Distribution: mobile Scope: educational, research, enhance of visitor experience Sustainability: reusable tools and software

BARBARICUM: AUGUMENTED REALITY AND STORY TELLING Link: http://www.youtube.com/watch?v=jTODMgi5nfU Institution: LUND University Content: archaeology Description: Interactive Augmented reality application Interactive: Yes  interaction device: mobile devices  visualisation device: mobile devices  technology : - Duration: permanent Communication: narrative Level of immersion: non-immersive Distribution: mobile Scope: educational, research, enhance of visitor experience Sustainability: reusable tools and software

Grant Agreement 270404 KCL Public 138 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

8.4 ANNEX 4: CHARTS AND IMAGES (2011 and 2012 surveys)

Chart 9: Resulting percentage of the 150 Virtual Museums, surveyed in 2011 and 2012, classified into the six scenarios

Chart 10: Contents

Grant Agreement 270404 KCL Public 139 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 11: Interaction

Chart 12: Duration

Grant Agreement 270404 KCL Public 140 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 13: Communication

Chart 14: Level of immersion

Grant Agreement 270404 KCL Public 141 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 15: Distribution

Chart 16: Scope

Grant Agreement 270404 KCL Public 142 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 17: Scope

Chart 18: Sustainability

Grant Agreement 270404 KCL Public 143 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 19: Most used software (free, open-source and commercial)

Grant Agreement 270404 KCL Public 144 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 8: Lucus Imaginis. Scientific semantic database is associated with 3D.

Fig. 9: Locus Imaginis. Relation between 3D-models and 2D

Grant Agreement 270404 CNR Public 145 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 10: Paris 3D. Main page and historical building selection

Fig. 11: Paris 3D: Navigation and 3D reconstruction of the city

Grant Agreement 270404 CNR Public 146 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 12: Paris 3D. Virtual tour through the history

Fig. 13: Paris 3D: the Cave

Grant Agreement 270404 CNR Public 147 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 14: Etruscanning: Navigation system into the virtual tomb

Fig. 15: Etruscanning: Object selection

Grant Agreement 270404 CNR Public 148 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 16: Descent in the Cave of Trophonius. Screenshot from the application Fig. 17: The Ethnologic Museum in Leivadeia

Fig. 18: The Cultural Center of the Municipality in Thebes

Grant Agreement 270404 CNR Public 149 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 19: Bravo: example of operation

Fig. 20: Bravo. Headset and mobile device Fig. 21: Bravo. example of user interface

Grant Agreement 270404 CNR Public 150 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 22: Matera. Tales of a city. Example of navigation on iPad

Fig. 23: Matera. Tales of a city. User interfaces on iPhone

Grant Agreement 270404 KCL Public 151 / 192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 24: STAM museum. “View of Ghent” multimedia room

Fig. 25: STAM Musem. Interactive installation within “View of Ghent” multimedia room

Grant Agreement 270404 KCL Public 152 / 192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Fig. 26: STAM Musem. User interface of the Interactive installation

Fig. 27: STAM museum. Other installation in the museum: Holographic room.

Grant Agreement 270404 KCL Public 153 / 192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

8.5 ANNEX 5: LIST OF SURVEYED EXAMPLES (UPDATED VERSION 2013)

Descriptive Narrative

e 1. Time Maps 1. Apa Game n i

l 2. Medical School of Salerno Virtual Museum 2. Heritouch -

n 3. Virtual Museum on Tango 3. Latino Virtual Museum O

e 1. Book of Stamps 1. The Cubiculum Musicae t i

s 2. Drawing Code 2. Fort Ross Virtual Warehouse -

n 3. Excavate and learn 3. Giza 3D O 4. HEBO 4. Imago Bononiae 5. Interactive Spatial AR in the Allard Pierson Museum 5. Livia’s Villa Rebloaded 6. Nantes 1900 6. Raffaello Madonna of the Goldfinch 7. Smart Architectural Models 7. Nantes in the 18th Century 8. Afrikaans language museum 8. Pure Land 9. Museum on Canto a Tenore 9. Procedural City 10. Singapore Chinese opera museum 10. Reenchant Historical Heritage (Histomap) 11. Science Storm 12. Tangible Geographic Interface 13. Virtual Autopsy Table 14. VR in a Box 15. Chinese Calligraphy 16. Museo Internazionale delle marionette di Palermo 17. Museum on Mediterranean diet 18. The first museum on turkish coffee

e 1. Ename AR 1. Acropolis l i

b 2. The Stolac Cultural Route 2. Reenchant Historical Heritahe (Histopad) o 3. Techcooltour 3. Singosari, The origins of Majapahit M 4. Jumieges 3D 4. Virtual Aquileia

Grant Agreement 270404 KCL Public 154 / 192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-LINE DESCRIPTIVE VM

TIME MAPS Link: http://timemaps.net/ Institution: Romanian National Authority for Scientific Research, CNCS - UEFISCDI Content: Past art, science, technology and intangible Heritage Description: Through joining science and art, the TimeMaps project highlights certain lesser known archaeological sites, and offers new interpretations of other, better known, locations thus enhancing the observers’ perception of the Past. Sometimes, the clearer vision of the Past can be achieved through the recovery and sharing of some of the technologies of the time. Doing so, it contributes to the revitalisation of contemporary arts and crafts, and provides new options to communities interested in reviewing their economic development strategies. One such concrete example is that of the Vadastra site, in the Oltenia region of southern Romania. Interactive: yes • interaction device: mouse and keyboards • visualisation device: Monitor • technology: Unity player Duration: permanent Communication: descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: on-line Scope: educational Sustainability: reusable technology

MEDICAL SCHOOL OF SALERNO VIRTUAL MUSEUM Link: http://www.museovirtualescuolamedicasalernitana.beniculturali.it/uk/the_museum Institution: Scuola medica Salernitana, Mibac (Italy) Content: Medical science history Description: The Virtual Museum of the Medical School of Salerno is an online collection of studies and bibliographical and iconographical researches that brought back to Salerno images and documents found in libraries and archives all over the world. On the web-site it is also possible to make a virtual tour of the exhibition shown in the ancient San Gregorio church, restored by the Arts bureau in the old city centre Interactive: yes • interaction device: mouse and keyboards • visualisation device: Monitor

Grant Agreement 270404 KCL Public 155 / 192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

• technology: XHTML, CSS Duration: permanent Communication: descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: on-line Scope: educational Sustainability: reusable technology

VIRTUAL MUSEUM ON TANGO Link: http://www.buenosairestango.com/museo.htm Institution: Lidia Ferrari Content: Music, Tango (Intangible Heritage) Description: The Virtual Museum on Tango is a short collection of photos and illustrations on tango-dance of different times, places and characters, popular dances and noble. The collection is complete. The photos belong to the General Archives of the Nation and the private collection of Lidia Ferrari. The main objective of this VM is the dissemination and preservation of Tango culture, dancing/music Argentine tradition. Interactive: low interactive interaction device: mouse and keyboards • visualisation device: Monitor • technology: Duration: Temporary VM Communication: Descriptive Level of immersion: Non immersive Distribution: On Line Scope: Educational, Edutainment Sustainability: reusable

Grant Agreement 270404 KCL Public 156 / 192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-LINE NARRARIVE VM

APA GAME Link:- Institution: CINECA, CNR-ITABC, University of Ferrara (Italy), Fraunhofer Institute (Germany). Content: Urban History Description: The Apa game is a third-person quest for on-line PC platforms. It uses the open source Blender game engine to thrust players into the role of a merchant’s apprentice in 13th century Bologna. Guido, the main character, falls into a time vortex and finds himself in Roman Bologna, where, through the accomplishment of some quests and the solution of funny educational riddles, he must figure out a way to get back home, to the 13th century. The game will, actually, use several already available assets from the “Apa the Etruscan” movie; the production pipeline is grounded on a complete open-source one, using tools such as Blender for modelling, OwnCloud for storage and sharing, Blender Game Engine and Burster for on-line gaming. The assets are based on precise archaeological references and realised under scientific supervision. Interactive: yes • interaction device: Mouse and Keyboard • visualisation device: Monitor • technology: City, Engine, Blender, Buster, Owncloud Duration: Temporary Communication: Narrative Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: On-line Scope: Research Sustainability: reusable technology and assets

LATINO VIRTUAL MUSEUM Link: http://latino.si.edu/education/LVM_Main.htm Institution: The Smithsonian Latino Center Content: Latino Culture (Intangible Heritage) Latino-American history, Latino cultural identity Description: The Smithsonian Latino Virtual Museum (LVM) is a cross-platform immersive education initiative based on bilingual mixed media experiences created to enhance visitor's knowledge, understanding and appreciation of Latino Cultural Heritage through innovative and engaging online experiences. Interactive: yes  interaction device: Game, Spotlight Archive  visualisation device:  technology: Active/Passive stereo display Duration: Permanent

Grant Agreement 270404 CNR Public 157 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Communication: Narrative and descriptive Level of immersion:  Sensory involvement: high immersive  Sense of presence: high immersive Distribution: Online Scope: Edutainment, enhancement of visitor experience Sustainability: Reusable

HERITOUCH Link: http://branciforte.archeologiadigitale.it/ Institution: Università degli studi di Foggia - Laboratorio di Archeologia Digitale, Fondazione Sicilia, Palermo (Italy) Content: Museum collections Description: On 24 April 2012 the restoration of palazzo Branciforte in the historical center of Palermo has been completed and the building was opened to the public. The University of Foggia was the reference for the new arrangement of the collection, and the Digital Archaeology Lab was involved in the realization of the multimedia system. HeriTouch is the system developed for the fruition of the archaeological collection, aiming to harmonize multimedia technologies with the contents of the collection, thus enhancing the narrative potential of the objects. A network of 46 narrative episodes has been constructed. The episodes are related to different aspects of Greek life and culture, but always linked with the main theme of ancient pottery and material culture. Interactive: yes • interaction device: Touchscreen • visualisation device: Monitor • technology: Flash Duration: Permanent Communication: Narrative Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: On-line Scope: Edutainment Sustainability: not-reusable

ON-SITE DESCRIPTIVE VM

Grant Agreement 270404 CNR Public 158 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

BOOK OF STAMPS Link: - Institution: Media Lab, EPFL, DAW International, ArchiZoom Content: Art Description: The “Book of Stamps” is a travel guide between sonic landscapes from cities to urban cultures. The sheets of the book provide a recording surface and the ink stamps with their various patterns provide the ability to place sounds into the book. Together they act as an interactive tangible interface for a variety of time based musical tasks that form a collaborative composition by its users. There are two sets of ink stamps: The stamps that look like natural things like trees, bushes or stone paths belong to the “Country Sounds” category; Those that look like buildings belong to the “City Sounds” category. By stamping a book page with a combination from both categories, a soundscape is created that will either tend to sound like a city, a country or an urban sonic mix of both. In this manner, sonic spaces are created for each of the pages and when the user turns the pages to other already stamped pages, it lends him or her the impression that they are actually “traveling” between places sonically. Interactive: yes • interaction device: tangible interface • visualisation device: headphones • technology: - Duration: - Communication: Descriptive Level of immersion: • Sensory involvement: medium-immersive • Sense of presence: not-immersive Distribution: On-site Scope: Entertainment Sustainability: not-reusable

CHINESE CALLIGRAPHY Link: http://www.chinaonlinemuseum.com/calligraphy.php Institution: The content of this site is based on a number of online sources, including articles from the National Palace Museum in Taipei, Encyclopedia Britannica, and Wikipedia Content: Chinese Calligraphy (Intangible Heritage) Description: To meet the need for recording information and ideas, unique forms of calligraphy (the art of writing) originated and developed from China, specifically from the writing of Chinese characters using brush and ink. Calligraphy is widely practiced and revered in the East Asian civilizations that use or used Chinese characters. These include China, Japan, Korea, and to a lesser extent, Vietnam. Naturally finding applications in daily life, calligraphy still serves as a continuous link between the past and the present. Chinese calligraphy is considered supreme among the visual arts in China, and it also sets the standard by which Chinese painting is judged. In addition, calligraphy has also led to the development of many other forms of arts in East Asia, including seal carving, ornate paperweights, and ink stones. Interactive: low interactive

Grant Agreement 270404 CNR Public 159 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 interaction device:  visualisation device:  technology: Duration: Permanent Communication: Descriptive Level of immersion: not immersive Distribution: On-site Scope: Educational Sustainability: Reusable

DRAWING CODE Link: http://www.nativesystems.inf.ethz.ch/WebHomeProjectsMultimedia#Drawing_Spiders_Application Institution: F18 Art Group, Hamburg Computer Science Department, ETH Zurich, Migros Switzerland Content: Art Description: the project consists of creating a fascinating software application for a set of drawing spiders from Lars Vaupel of the robotics group “F18” in collaboration with the Computer Science Department of the ETH Zurich. Two robotic platforms equipped with felt pens are driving on paper and produce random drawings. Each platform has electro-mechanic sensors for edge and blocking detection. It is possible to choose the basic driving mode (straight ahead, curves, circles), and then the behaviour changes after every edge contact, so the result is unpredictable and every drawing is unique. The application basically instructs the spiders to draw “fantastic web” of high artistic quality based on Kandinsky’s theory put forth in his book from 1926 Point and Line To Plane using a real time interface concept that relies on easily editable command lines of code, which can also be used to demonstrate high level programming and system design effectively while having fun making line art. Interactive: yes • interaction device: keyboard (programming code) • visualisation device: • technology: robotic Duration: - Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: -Distribution: on-site portable VM Scope: Entertainment Sustainability: not-reusable

EXCAVATE AND LEARN Link:

Grant Agreement 270404 CNR Public 160 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Institution: ETT srl, University of Genoa, Municipality of Sestri Levante, Museum of Sestri Levante – Archeological Museum of the City, Masso Archeo-mineral site – Castiglione Chiavarese (Italy). Content: Archaeology. Description: In this project an innovative museum installation, that integrates different technologies (touch and NFC- Near Field Communication) and allow the visitor to simulate what happens in an excavation and learn both about part of the archaeologist’s work, was designed and experienced. In this kind of installation, museum visitors can choose copies of archaeological objects that are placed on mock-ups reproducing archaeological excavations (prehistoric and medieval, called respectively A and B in the following), pick them up and experience the traditional activities performed by the archaeologists, such as observation, analysis and deduction; by doing so, museum visitors can study the objects and try to understand their usage, their material, why they are located in that specific point, in which age they were used, etc. The work of the archaeologist is also simulated. By giving to the visitor, who therefore re-enact a research situation, a suitable equipment (bucket, brush, a feint trowel, etc.) he understands the activities of a real archaeological excavation. The simulation is aided and assisted by the touch application and by the multi-response questionnaire. At the end of the simulated excavation the "researcher"/visitor is able to understand that the archaeological evidence formed by the set of all records identified (the archaeological context) can be interpreted, for instance, as part of a hut, which was built of perishable material and was bounded by wooden poles fixtures in special holes. Interactive: yes • interaction device: reproduction of the archaeological equipment, touch screen • visualisation device: Monitor • technology: - Duration: Permanent Communication: Descriptive Level of immersion: • Sensory involvement: high immersive • Sense of presence: medium immersive Distribution: On-site Scope: Edutainment Sustainability: not-reusable

HEBO Link: http://he-bo.net/ Institution: ETH Zurich, SMS Lab Content: Robotic science Description: HEBO was invented 2008 by Johannes M. Hedinger and Frank Bodin. HEBO is a derivation of the two last names of the artists. (Hedinger/Bodin). HEBO is a series of humanoid robots and a kinetic sculptures. HEBO interpret scenes, allegories and stories from everyday life and the history of art. They are small world explanatory models, little machines with big emotions. The programmed movements are aesthetic and narrative part of the kinetic art work. The robot itself becomes the narrator and creator. HEBO features humanoid lines and qualities and acts humanly. Next to the technical aspect, the focus of HEBO is on the shown action, the philosophical references and the reaction and interaction with the audience. HEBO is a cooperation of the artist duo Johannes M. Hedinger and Frank Bodin with ETH Zurich (SMS Lab, Prof. Robert Riener).

Grant Agreement 270404 CNR Public 161 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Interactive: yes • interaction device: • visualisation device: • technology: robotic Duration: - Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: on-site portable VM Scope: Entertainment Sustainability: not-reusable

INTERACTIVE SPATIAL AUGMENTED REALITY IN THE ALLARD-PIERSON MUSEUM: EXPLORATION OF CULTURAL ARTIFACTS BY SIMPLE FINGER POINTING Link: https://www.youtube.com/watch?feature=player_embedded&v=tmM1MzVvMp0 Institution: The Allard Pierson Museum, Amsterdam, Netherlands; Inria Bordeaux Sud-Ouest, France; University Bordeaux, France Content: Art Description: Cultural heritage artifacts often suffer from aging effects that make important details disappear. These lost details may either concern geometric properties such as the wearing out of fine inscriptions, or they may concern appearance properties such as fading color. Most often, there are additional resources from the corpus that carry information about the lost detail. The separate exhibition of the real physical artifact and the additional information requires a cognitive overload to establish the link between both, and thus hinders the global understanding. This demonstration deals with a real artifact that is exposed in the Allard Pierson Museum in Amsterdam (Netherlands), a relief fragment from the wall of a Mastaba The color information is no more present on the artifact. spatial augmented reality was used to superimpose directly over the real artifact the missing color information by using a video projector. For an interactive experience, the color information can be explored by simple finger pointing. The finger tracking is done by infrared sensing with the LeapMotion device,and the accurate color information can be projected due to a prior 3D acquisition of the real artifact. The setup makes advanced 3D analysis accessible to the greater public with an everyday gesture, by naturally combining the inspection of the real object and the virtual object in a co-located interaction and visualization space. Interactive: yes • interaction device: LeapMotion device • visualisation device: Projector • technology: LeapMotion Duration: permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: -

Grant Agreement 270404 CNR Public 162 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

• Sense of presence: - Distribution: on-site portable VM Scope: Educational Sustainability: reusable technology

MUSEO INTERNAZIONALE DELLE MARIONETTE DI PALERMO Link: http://www.palermoweb.com/cittadelsole/usiecost/museomarionette.htm http://www.mancusopupi.it/ Institution: Associazione per la conservazione delle tradizioni popolari e Museo internazionale delle marionette Antonio Pasqualino Content: Sicilian traditional craftsmanship (Intangible Heritage) Description: Established in 1975 by the Association for the preservation of popular heritage, the Museo internazionale delle marionette “Antonio Pasqualino” has made continuous reference both to the principles of contemporary museology and to theatre work, and thus becoming one of the best examples of museographical research on the theatre. The museum collects over 3500 items from all over the world; the adjoined Giuseppe Leggio library contains about three-thousand volumes on marionettes and popular traditions. Among the museum’s various initiatives, particular attention is given to the theatrical project aimed both at the production of innovative shows and the preservation of the traditional “opera dei pupi”, the Sicilian puppet play, as well as to didactic activities: guided tours and the vision of videotapes are provided for schools, while theoretical and practical courses on various techniques of theatrical animation are organized for teachers and theatre operators. Interactive: low interactive • interaction device: • visualisation device: • technology: Duration: Permanent Communication: Descriptive Level of immersion: • Sensory involvement: low immersive • Sense of presence: not immersive Distribution: On-site Scope: Educational, Edutainment, enhancement of visitor experience Sustainability: Non-reusable

MUSEUM ON THE MEDITERRANEAN DIET Link: https://www.summerinitaly.com/guide/museum-of-the-mediterranean-diet Institution: Museum of the Mediterranean Diet Content: Life Style/ Mediterranean Diet (Intangible Heritage)

Grant Agreement 270404 CNR Public 163 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Description: The museum is housed in the 17th century Palazzo Vinciprova, right on the seafront, and pays homage not just a way of eating but a way of life. While it's focus is what has become popularized as the Mediterranean Diet, it also is a tribute to the man who made it an internationally famous nutritional style, Ancel Keys. The American physiologist was an eclectic man who studied political science and economics before turning his focus to biology, oceanography, and human physiology. He took particular interest in dietary and nutritional science, and while working with the US government, put the "K" in the famous military "K-Rations", the portable meals that GIs took with them to war. Keys and his wife moved to Pioppi to live among a healthy population that enjoyed longevity-and to research what effects nutrition and lifestyle played in their wellness and longevity. He discovered the contrast that the post-war American diet that was ever richer in fats and packaged foods was leading to increased heart disease, while the traditional diet here that was practically pure from those factors, led to longevity. He noted that healthy eating as practiced here, along with daily walking and physical activity (in the form of labour or exercise) was the key to a long and healthy life. He documented his findings that became a passion in his book, East Well, Stay Well -The Mediterranean Way. Keys himself was an avid practitioner and lived to 101 years old. The museum is a legacy to carry on the task of promoting a healthy lifestyle. It covers not just the gastronomic culture of the area, but also the economic, social, historical and geographic aspects of the 1000-year tradition that is based on fresh fish, locally grown vegetables and fruits, legumes, pasta, moderate wine, local cheese, olive oil, and a little meat. The museum focuses on the three aspects of Pleasure, Wellness and Culture. Interactive: No • interaction device: • visualisation device: • technology: Duration: Permanent Communication: Descriptive Level of immersion: not immersive • Sensory involvement: • Sense of presence: Distribution: On-site Scope: Edutainment, enhancement of visitor experience Sustainability: Non-reusable

NANTES 1900 Link: http://nantes1900.chateau-nantes.fr/ Institution: Musée d’Histoire de Nantes, Château des ducs de Bretagne, L'UNAM Université, Ecole Centrale de Nantes (France) Content: Architecture history Description: Nantes 1900 project, deals with a physical mock-up of Nantes, city built in 1899 and exposed in 1900 for the World Fair that took place in Paris. This heritage object is nowadays in the museum, but exposed as “a fish inside an aquarium”. Thanks to a virtual system coupling a tactile screen with semantic research modules, a 3D active screen and a light pointer, it is possible for the visitor to better understand the mock-up and emphasize important places of Nantes city life. Interactive: Yes • interaction device: touchscreen

Grant Agreement 270404 CNR Public 164 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

• visualisation device: plastic model/projectors and monitors • technology: semantic database Duration: permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: On-site Scope: Edutainment Sustainability: The whole project has not been thought as a “one-shot” project. All the technologies developed can be reused for other patrimonial objects. Every action done by visitors or historical experts are done dynamically and saved in a knowledge database so as to maintain the system during future several years.

NANTES IN THE 18TH CENTURY Link: http://amak.fr/en/projects/projects.php?projects_page=10 Institution: Studio Amak (France) Content: Architecture history Description: This interactive exhibit allows visitors to the Castle of the Dukes of Brittany to fly over the city of Nantes as it was in the eighteenth century and explore its chief places of interest. This real-time interactive exhibit created for the Castle of the Dukes of Brittany features stunning graphics, backgrounds and lighting. Its user-friendly joystick controls maximize comfort and entertainment value. Interactive: Yes • interaction device: Joystick • visualisation device: Monitor • technology: Ogre executable Duration: permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: on-site Scope: edutainment Sustainability: Re-usable

PURE LAND Link: http://alive.scm.cityu.edu.hk/projects/alive/pure-land-ii-2012/ Institution: CityU Hong Kong, Tat Chee Ave, Kowloon Tong, Dunhuang Academy China, University of Hong Kong (China)

Grant Agreement 270404 CNR Public 165 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Content: Art History Description: Pure Land - Augmented Reality Edition (Pure Land AR) uses mobile media technology to create an “augmented reality” rendition of Cave 220 from Dunhuang. Walking around inside the exhibition space with tablet screens in hand visitors are able to view the architecture of the cave and to explore its sculptures and wall paintings as they appear on viewers’ mobile “windows”—a kinaesthetic revealing of the painted architectonic space. This installation involves a wall structure with a printed “wireframe” graphic, 12 infrared cameras, 2 mobile tablet interfaces, three PCs and four speakers. There is an innovation in the use of AR to reproduce an exploration of the cave 3d model at 1:1 scale and of new modalities of experience for visitors in a seamless execution for a mass multicultural public. Initially premiered at the HK Art Fair 2012, this singular expression of an embodied interface was installed for a mass public at the Shanghai Biennale (October 2012-March 2013) in China. Interactive: yes • interaction device: Tablet • visualisation device: Tablet • technology: NaturalPoint® OptiTrackTM. This tracking system uses retro-reflective marker technology to track targets with the infrared light source that is built into individual cameras. Twelve infrared cameras mounted on the top edges of the installation’s three wall structure to provide a range of coverage of about 6 meters by 3 meters. The data is processed on a third computer. In order to track the tablets, at least three markers need to be attached to each of the targets. By analysing the images obtained by the cameras at different angles, the computer in the tracking system is able to recognize and calculate the 3D position and orientation of the tablets in real-time. Duration: Permanent Communication: Descriptive Level of immersion: • Sensory involvement: low immersive • Sense of presence: medium immersive Distribution: On-site Scope: Enhance of visitor experience Sustainability: reusable technology

PROCEDURAL CITY Link: http://vimeo.com/58424130 Institution: Procedural Inc., Ars Electronica Futurelab Content: Architecture Description: Procedural City project employs Procedural Inc’s CityEngine technology to create a personalised digital world of a fictive city. The digital world on view is a qualitative representation of geographical, statistical and topological data, such as terrain, population densities, and even street network. The representation can be combined with biometrical information from a visitor in order to create a unique, personal representation of a city to each visitor. Thanks to its generative nature, the project is extremely content rich, can be interactively explored and makes the invisible visible. Interactive: yes • interaction device: biometric fingerprint scanner • visualisation device: Monitor

Grant Agreement 270404 CNR Public 166 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

• technology: CityEngine Duration: Permanent exhibition Ars Electronica Center, 2009 – 2012 Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: On-site Scope: Entertainment Sustainability: not-reusable

REENCHANT HISTORICAL HERITAGE- See below the mobile section

SCIENCE STORM Link: http://www.msichicago.org/whats-here/exhibits/science-storms/ Institution: Museum of Science and Industry, Chicago, USA Content: Science natural Phenomena Description: Science Storms is a permanent exhibition within the Museum of Science + Industry of Chicago. It reveals the science behind seven natural phenomena—lightning, fire, tornados, avalanches, tsunamis, sunlight and atoms in motion thanks to interactive devices and simulators of natural phenomena that user can experiment itself. Interactive: Yes • interaction device: several devices, touchscreens and simulators • visualisation device: several devices, touchscreens and simulators • technology: Duration: permanent Communication: Descriptive Level of immersion: • Sensory involvement: high immersive • Sense of presence: medium-immersive Distribution: On-site Scope: Edutainment Sustainability: Non-reusable

TANGIBLE GEOGRAPHIC INTERFACE. Link: http://www.v-must.net/virtual-museums/vm/tangible-geographical-interface-0 Institution: Gagarin ehf (Iceland)

Grant Agreement 270404 CNR Public 167 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Content: natural history heritage Description: “Tangible Geographical Interface” is an application aimed at enabling groups of visitors to explore the Jostedal Glacier National Park in Norway and its surroundings together using a map with a large model of the landscape and two interactive consoles. The users can have information on geological wonders, the flora, fauna, the historical and archaeological sites or the “must-to-see” places, by choosing a tangible “information-pucks” and placing it on one of the console. When a “puck” is on a console, the map dynamically is altered and various location based information on a given subject, is projected in front of the users. By turning the “puck”, geographical changes are shown through time and/or users can browse through different information layers of a given subject. In this way the “story” is revealed in an interesting playful manner where visitors cooperate in disseminating the content. The experience is collective, since layers from different users can be active at the same time and visible, via opacity. Information in form of map data appears on the map surface and text and or photos/drawing and dynamic animations appear on the personal display area of the map. This application is accessible in the national park center of Breheimssenteret, Jostedalen, Norway. Interactive: Yes • interaction device: console • visualisation device: Wide monitor • technology: Duration: permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: On-site Scope: Educational Sustainability: Non-reusable

THE FIRST MUSEUM ON TURKISH COFFEE Link: http://www.hurriyetdailynews.com/turkish-coffee-has-first-only-museum-aspx?pageID=238&nid=13613&NewsCatID=385 Institution: Bilintur Culture Initiative (BKG) Content: Turkish Coffee (Intangible Heritage) Description: For a Turkish coffee is not only a favorite drink, but also a symbol. It materializes a certain feature of the Turkish culture, which welcomes "foreign" values, eventually absorbing them and comfortably passing them to other cultures. It is the symbol of the only way to universalism: An extrovert national culture. Mission of the museum is to protect Turkish coffee, which is a significant part of Turkey’s cultural heritage. “Here we will serve tourists traditional Turkish coffee. We will enable them to drink the ‘real’ Turkish coffee and experience the way it is cooked and served”. In the museum also an educational program is organize. Turkish coffee would have its real identity recognized, thanks to the certification program that will be given in the museum. In the education program, is explained how Turkish coffee first came to the Ottoman Empire, the opening of the first coffee house, and how it became popular in Europe. The unique ritual of cooking and serving Turkish coffee is also shown to the visitors. Interactive:yes  interaction device:

Grant Agreement 270404 CNR Public 168 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

 visualisation device:  technology: Duration: Permanent Communication: Descriptive Level of immersion:  Sensory involvement: high immersive  Sense of presence: not immersive Distribution: On-site Scope: Educational, Edutainment Sustainability: Non-reusable

VIRTUAL AUTOPSY TABLE Link: https://www.tii.se/projects/autopsy http://www.flickr.com/photos/interactiveinstitute/sets/72157631719181443/ Institution: C-Studio, Norrköping Visualization Center and Center for Medical Image Science and Visualization (CMIV), Linköping, Sweden Content: medicine Description: The Virtual Autopsy Table is a medical visualization interactive touch-table that allows people to explore the inside of a human body. It uses an intuitive gesture based interface. This Virtual Autopsy Table totally changes the way users interact with volumetric medical data. Multiple users can interact collaboratively and simultaneously, working with large and complex data to gain deeper understanding and insight into the functions and processes inside the body. Interactive: Yes • interaction device: touch table • visualisation device: touch table • technology: Duration: permanent Communication: Descriptive Level of immersion: • Sensory involvement: high immersive • Sense of presence: low-immersive Distribution: On-site, portable Scope: Educational, Research Sustainability: Non-reusable

VR IN A BOX: THE MOSQUE OF ROME IN 3D + AR Link: http://win.noreal.it/download/NoReal_A4_VR-in-a-box_lr.pdf

Grant Agreement 270404 CNR Public 169 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Institution: NoReal, Cadland, Kairos3D and G-Maps (Italy) Content: Built heritage Description: The Mosque of Rome in “3D+VR+AR+QR” is the first demo application developed for the system "VR in-a-box" a portable VR system (consisting of PC + projector + screen + 3D glasses + emitter), easy to transport, install and use. The application allows the user to explore interactively the space inside and outside the mosque, wearing the 3D glasses and acting on the joypad or, soon, through systems of gesture recognition. The exploration is considered a contemplative visit, the same experience that you can do in this building in reality. The software allows you to place, in the virtual environment, some multimedia totems able to deepen and extend the information related to the mosque activated by downloading the appropriate app (QR-Codes for the multimedia, AR-markers for interactive 3D models) or taking advantage of a virtual guide that inform you when he appear on the side of the totem. The external contributions can be triggered by other users, at the same time, with the personal smartphones + app. This system, therefore, proposes an integrated multi-user solution that satisfies both a contemplative exploration and a deeper information retrieval. An "all inclusive" system that allows 3D stereo projection system to be realised from large and small museums and immersive 3D environment to be configured without any difficulties. Interactive: Yes • interaction device: joypad • visualisation device: Projection screen or monitor and 3D glasses • technology: Active/Passive stereo display, QR codes, AR codes Duration: permanent Communication: Descriptive Level of immersion: • Sensory involvement: low immersive • Sense of presence: medium immersive Distribution: On-site Scope: Edutainment, enhancement of visitor experience Sustainability: Non-reusable

Grant Agreement 270404 CNR Public 170 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

ON-SITE NARRATIVE VM

AFRIKAANS LANGUAGE MUSEUM Link: http://www.southafrica.net/za/en/articles/entry/article-southafrica.net-afrikaans-language-museum Institution: Afrikaanse Taal Museum Content: Language (Intangible Heritage) Description: The emergence of new languages in modern times is unusual, but one that has come into being in recent history is Afrikaans, somewhat of a bridge between the European languages spoken by the early white settlers (Dutch, German, French and Portuguese) in South Africa, the Malay tongue of slaves brought here by the Dutch East India Company, and an array African languages, dating from the ancient San. One of the advantages of a new language is that the process of its formation can be documented. At the Afrikaans Language Museum in the Western Cape town of Paarl (or the Taal Museum to give it its Afrikaans name), the visitor can trace the shaping of the Afrikaans language. Interactive: no  interaction device:  visualisation device:  technology: Duration: Permanent Communication: Narrative Level of immersion:  Sensory involvement: high immersive  Sense of presence: high immersive Distribution: On-site Scope: Edutainment, enhancement of visitor experience Sustainability: Reusable

THE CUBICULUM MUSICAE: EXPERIMENTING THE RENAISSANCE Link: http://msh.univ-tours.fr/page/cumusi-cubiculum-musicae Institution: CESR - Centre d'Études Supérieures de la Renaissance (Tours) (France) Content: Music (Intangible heritage) Description: The Cubiculum musicae (« Musical room ») is an equipment devoted to the valorisation of the cultural heritage; it allows a sonorous and visual immersion inside semi-virtual historical environments. This closed and self-supported space can receive 8 persons. Its internal sides are used as projection screens; a multi-track sound system is disposed in the walls. With this device, some historical events and music are evoked or reconstituted through an audiovisual program achieved by the team according to scientific criteria: selection of historical sources related to the topic, adaptation of the music to historical circumstances, reconstitution of precise musical performances. The audience is surrounded with a 360 degrees projection. This projection is synchronized with an audio program played by a twelve-speakers circuit. Interactive: No • interaction device: -

Grant Agreement 270404 CNR Public 171 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

• visualisation device: • technology: Active/Passive stereo display Duration: permanent Communication: Narrative Level of immersion: • sensory involvement: high immersive • sense of presence: high immersive Distribution: On-site Scope: Edutainment, enhancement of visitor experience Sustainability: Non-reusable

FORT ROSS VIRTUAL WAREHOUSE Link:https://www.academia.edu/5554564/The_Fort_Ross_Virtual_Warehouse_Project_a_Serious_Game_for_Research_and_Ed ucation Institution: Duke University Art, Art History & Visual Studies Department, California State Parks, University of California Merced (USA) Content: History Description: Fort Ross Virtual Warehouse project is a cultural communication initiative which seeks to transfer to park visitors and young students the significance of Fort Ross heritage in relation to North Pacific exploration and California History. The project started in March 2011 thanks to an agreement between California State Parks and the University of California Merced with the purpose of exploring novel ways for archiving, disseminating, and teaching cultural information related to historic parks. This project entails a vast reflection on novel tools for cultural visualization and education and presents to the general public a 3D real-time application – the Fort Ross Virtual Warehouse serious game – to be exhibited in the Fort Ross State Historic Park’s visitor center and played by students in formal education contexts. Specifically, this multiplatform serious game is meant to generate cultural awareness on the colonization of California engaging park visitors and students in a virtual discovery of the rich cultural landscape of the Ross colony where Russians, Native Americans, Alaska Natives, and Creoles peacefully lived side-by-side. Interactive: yes • interaction device: mouse and keyboard • visualisation device: Monitor • technology: Unity 3D. Duration: Permanent Communication: Narrative Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: On-site Scope: Edutainment Sustainability: not-reusable

Grant Agreement 270404 CNR Public 172 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

GIZA 3D Link: http://www.3ds.com/giza3D Institution: Dassault Systemes (France) Content: Archaeology Description: More than a century ago, George Reisner, renowned Egyptologist and a founding father of modern scientific archaeology, directed the work of the Harvard University—Museum of Fine Arts, Boston Expedition at the Giza Plateau. Over the last ten years, the impressive collection of photos, diaries, drawings and documents from Giza have been meticulously digitized and made available online by the MFA at Giza Archives. With this information source, Dassault Systèmes reconstructed the Giza Necropolis in the most accurate way possible. This interactive 3D recreation of the world- f amous Giza plateau is available online, as well as on multiple devices, including 3D immersive environments and innovative displays for museums. Peter Der Manuelian, Harvard’s Philip J. King Professor of Egyptology since June 2010, also regularly uses 3D immersion in teaching his students. Dassault Systèmes has put its know-how and technology at the service of the prestigious university by making possible the showing of Giza 3D content there, enhancing Harvard Visualization Center’s equipment for digital 3D projection. In addition to a guided tour of selected monuments as a general introduction, the Giza 3D application allows users to roam at will throughout the Necropolis, visit carefully restored tombs, shafts, and connected burial chambers and enter four of the site’s ancient temples, including Khufu, Khefren and Menkaure’s pyramids. Users can browse contemporary and ancient pictures and view thirty objects meticulous l y reconstructed in 3D. The site can also access photos, field journals, maps and other items from the MFA’s Giza Archives Web site to support an extended learning experience. The freedom to navigate through the Giza necropolis in 3D offers also novel possibilities for archaeological research. Thanks to the information compiled by the Harvard University, the team was able to reconstitute the Necropolis at various periods in time. The mastabas and other monuments can thus be freely visited in 3D. Interactive: Yes • interaction device: Touchable table (Itekube), head-mounted display (on-site) / mouse (on-line) • visualisation device: Panoramic Screen, (on_site) / monitor (on-line) • technology: Active/Passive stereo display (on-site) / real-time 3D web technology: plugin 3DVia (on-line) Duration: permanent Communication: Narrative Level of immersion: • Sensory involvement: low immersive • Sense of presence: high immersive Distribution: On-site, On-line Scope: Edutainment, enhancement of visitor experience Sustainability: Non-reusable

IMAGO BONONIAE Link:http://www.youtube.com/watch?v=mm08iplSfLA Institution: CINECA, CNR ITABC, University of Bologna (Italy)

Grant Agreement 270404 CNR Public 173 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Content: Urban History Description: “Imago Bononiae” is a 3D real-time application focused on the interactive exploration of a large reconstruction of Bologna during the Roman age (1st century AD) where the user starts his journey. Using natural interaction devices, the visitor is immersed into a large and rich 3D environment populated by a virtual crowd: an artificial life layer that evolves within ancient roads and architectures, envisioning hypothetical paths, according to urban chronotopoi. The crowd and a few interactive elements scattered across this large reconstruction will visually guide the user through ancient roads, Roman theatres and Fora towards different visions of the future urban layer of Bologna, enabling spatial and volumetric comparisons and experiencing its urban evolution. Interactive: yes • interaction device: kynect • visualisation device: Monitor or projector screen • technology: City, Engine, Blender, OSG, Boost. Duration: Permanent Communication: Narrative Level of immersion: • Sensory involvement: medium immersive • Sense of presence: medium immersive Distribution: On-site Scope: Edutainment, research Sustainability: reusable technology and assets

LIVIA’S VILLA RELOADED Link: http://vimeo.com/80151975 Institution: CNR ITABC, EVOCA Content: Archaeology Description: The project was born re-using most part of the original contents developed for the “Virtual Museum of Ancient via Flaminia” (2008-2010, Roman National Museum of Diocleziano's Thermal Baths, Rome - http://www.vhlab.itabc.cnr.it/flaminia). Starting from reality-based acquisitions, the archaeological landscape and the site have been modelled in 3D and reconstructed how they might have been potentially during Roman times. After 2008, starting from the original dataset, three multi-platform applications have been developed, taking into consideration three main targets: (a) museum visitors, (b) content specialists and researchers and (c) tourists of the archaeological site. “Livia's Villa Natural Interaction” has been created for the first type of visitor. It is a VR application with gesture-based interaction. The gesture- based VR installation is a single-user application developed in Unity3D and using kinect sensor for motion capture. It is intended to be placed in the Roman National museum and it is aimed at involving visitors in a multisensorial and emotional experience where perceptive aspects and storytelling play a fundamental role. Natural interaction pushes visitors' active participation, especially young people, used to game experiences, but also elders as it does not require any technological skill. Interactive: yes • interaction device: kynect • visualisation device: Monitor or projector screen

Grant Agreement 270404 CNR Public 174 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

• technology: 3Dstudio Max, Unity 3D Duration: Permanent Communication: Narrative Level of immersion: • Sensory involvement: medium immersive • Sense of presence: medium immersive Distribution: On-site Scope: Edutainment Sustainability: reusable technology and assets

MUSEUM ON CANTO A TENORE Link: http://www.archeoetnos.com/musei/tenore.htm Institution: Museo della Civiltà contadina e pastorale and Amministrazione comunale di Bitti Content: Music, Canto a Tenore Sardo (Intangible Heritage) Description: The Multimedia Museum on Canto a Tenore thanks to the latest technology, helps the visitors to learn about a type of singing that is unique in the world. The museum consists of four rooms: the first with multimedia workstations equipped with screen and headphones, the second with "totem", four columns audio-visual placed in a circle as well as the four singers of the choir, the third with numerous CDs available that allow the visitor to hear the different modas (types/ way of music) comes from various areas of the island, and the fourth with eight video clips with sound and images that invite the user to discover the most popular bands. In the Museum, the technology allows the visitors to discover the mysterious and unique world of a tradition that is going to be lost. Interactive: yes  interaction device: audiovisual  visualisation device: video  technology: video clip Duration: Permanent Communication: Narrative Level of immersion:  Sensory involvement: low immersive  Sense of presence: high immersive Distribution: On-site Scope: Educational, Edutainment, enhancement of visitor experience Sustainability: reusable

RAFFAELLO MADONNA OF THE GOLDFINCH Link:- Institution: Studi Uniti ADI&IDEA Member (Italy).

Grant Agreement 270404 CNR Public 175 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Content: Art History Description: The Raffaello Madonna of the Goldfinch was painted around 1506 for the wedding of the wealthy Florentine merchant Lorenzo Nasi. This virtual museum consists in a “Camera di percezione”, a multiuser CAVE composed by 4 back- projected planes (on which 4 different HD movie are projected) and two mirrors placed on the ceiling and on the floor. The aim of the “Camera di percezione” is to amplify the perception of the work of art by triggering an experiential relationship. The high definition combined with the macro optics used in the filming make it possible to see the tiniest details from close-up while maintaining the definition. In this way the general public can admire the work from a vantage point that is normally the prerogative of the restorers. The sequence of planes accompanies the observer on a sort of journey into the work in which the extraordinary quality of the painting is a continual source of totally unexpected different images; at the end of the visual, auditory and emotional itinerary, the final impression of the work is of something much larger than its real geometrical dimensions. Equally important is the illustration of the documentary and procedural aspect of the restoration, conveyed to the observer not in a didactic manner but through a perceptive experience enhanced by the music specially composed in collaboration with the Fondazione Tempo Reale. Interactive: no • interaction device: - • visualisation device: CAVE • technology: - Duration: Permanent Communication: Narrative Level of immersion: • Sensory involvement: high immersive • Sense of presence: medium immersive Distribution: On-site Scope: Educational Sustainability: not-reusable

SINGAPORE CHINESE OPERA MUSEUM Link: http://www.singopera.com.sg/index.html Institution: The Singapore Chinese Opera Museum Content: Chinese Opera (Intangible Heritage) Description: The Chinese Opera is recognized as Intangible Cultural Heritage by UNESCO. The exhibits in the museum revolve around the development of Chinese operas in Singapore since the time Southern Chinese set foot on this island. The main goal of the museum is to preserve this treasure, in the following video you can see a virtual example of visit: http://vimeo.com/87850672 Interactive: not interactive interaction device: visualisation device: audiovisual technology: Duration: Permanent

Grant Agreement 270404 CNR Public 176 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Communication: Narrative Level of immersion:  Sensory involvement: low immersive  Sense of presence: low immersive Distribution: On-site Scope: Educational, Edutainment, enhancement of visitor experience Sustainability: reusable format

SMART ARCHITECTURAL MODELS Link: http://www.digitalheritage2013.org/smart-architectural-models/ Institution: School of Architecture and Design “E. Vittoria”, University of Camerino (Italy) Content: Architecture history Description: The project deals with some experimentations related to the use of digital video projections on architectural mock- up models, aimed at enhancing and promoting architectonic cultural heritage. A mock-up video projection enable to augment architectural trivial and non-trivial models, on various scales and for different purposes. These ways involve digital video projectors and architectural scaled models to create light exhibits without the use of mobile or through screen devices. The goal of the project ultimately is to test new communication styles, through the creation of interactive exhibits aimed at narrating the history of palaces and churches, located in the historical centre of Ascoli Piceno (Italy). The story is developed as a video and it is projected on mock-ups of the buildings. Interactive: yes • interaction device: - • visualisation device: architectural scaled models and projectors. • technology: - Duration: Permanent Communication: Narrative Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: On-site Scope: Edutainment Sustainability: Re-usable technology.

VIRTUAL MAUER Link: http://www.virtuelle-mauer-berlin.de/index.htm Institution: Berlin Senate Chancellary for Cultural Affairs, Hauptstadtkulturfonds (Capital City Cultural Fund of Berlin), Berlin Wall Documentation Center, Museum for Communication in Berlin, Federal Republic of Germany State Department (Germany), Goethe-Institut Boston, Harvard University Center for European Studies, Massachusetts (USA), Institute of Technology – Center

Grant Agreement 270404 CNR Public 177 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013 for Advanced Visual Studies, metroGap e.V. – Association for Urban Theory and Practice, Bitmanagement Systems and JSC Softline (Ukraine) Content: Urban History Description: For decades the Berlin Wall was a symbol of repression and of the division of Germany, Europe and indeed the entire world into two politically opposing systems. In the virtual reality artwork Virtuelle Mauer/ReConstructing the Wall the artist team T+T has rebuilt part of this historically significant structure in a virtual space, depicting its physical, political and social effects on life “in the shadow of the Wall. Virtual Mauer is an interactive 3D computer graphic installation that enables users to experience a section of the Berlin Wall in its former complexity. The VR artwork allows this now vanished structure to speak of the emotions and conflicts it engendered and represented in the past. As in a 3D computer game, users can wander along the Wall, not in the role of the omnipotent border guard, gun in hand, but in the role of a normal Berlin resident who must live day in and day out with the presence of the Wall. Archival sounds and images are woven into the virtual world, creating a dramatic encounter that involves the user as the protagonist in a surrealist dream. Going far beyond a documentary reconstruction, users’s actions determine the sequence of scenes they encounter. Interactive: yes • interaction device: Joystick • visualisation device: projection screen • technology: VRML, Cortona 3D Duration: Temporary Communication: Narrative (Drammatic) Level of immersion: • Sensory involvement: medium immersive • Sense of presence: medium immersive Distribution: On-site Scope: Edutainmnet, enhance of visitor experience Sustainability: not-reusable

MOBILE DESCRIPTIVE VM

ENAME AR Link: http://amak.fr/en/projects/projects.php?projects_page=10 Institution: Department of Culture of the province of East-Flanders, Visual Dimension bvba, PAM Ename, Heritage Centre Francia Media (Belgium), Fraunhofer IGD (Germany). Content: Architecture history Description: Augmented reality Application that shows the evolution of the archaeological sites of Ename (Belgium). The applications work on iPad and Android tablets and allows that specific visitors, such as children, use their tablet as a see- through device to discover additional information in site panels and museum displays, such as the 3D visualisation of the objects depicted together with a voice-over telling more about the object. The concept is that the images on the site panel or museum display are used as reference to visualise 3D objects in front of the images that can be visualised by the user from all sides by

Grant Agreement 270404 CNR Public 178 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013 moving the tablet around the imaginary object. The voice-over tells a specific story about the visualised object for the target audience. The visitor, curious to see the augmented view of each object or panel on display, will get guidance where to find the next augmented object and will do in fact a guided tour. In this way, existing museum exhibitions, monuments and sites can deliver appealing and innovative presentations of their content for specific audiences without changing their permanent exhibition or site layout. Interactive: Yes • interaction device: Tablets or smartphone • visualisation device: Tablets or smartphone • technology: InstantAR platform Duration: Permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: Mobile Scope: Edutainment Sustainability: Re-usable technology.

THE STOLAC -CULTURAL ROUTE Link: https://itunes.apple.com/it/app/stolac-online-cultural-route/id757894982?mt=8&ign-mpt=uo%3D2 Institution: Virtualware & Virtualware Labs (Spain) Content: City history Description: The Stolac – Cultural Route is a free smartphone or tablet application that enables you to view 3D models, historic photographs and descriptions about the town of Stolac - all superimposed upon reality. The application contains over 30 photographs, text, specific walking routes and 3D models that offer a unique interactive, multi-dimensional tour. Bthe users don ´t have to be in Stolac to use this application, it provides a preview if you are planning a visit or a special reminder if you have already been. Interactive: yes • interaction device: Tablet and smartphone • visualisation device: Tablet and smartphone • technology: - Duration: Permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: Mobile Scope: Enhancement of visitor experience

Grant Agreement 270404 CNR Public 179 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Sustainability: not-reusable

TECHCOOLTOUR Link: http://www.techcooltour.com/en/ Institution: Unioncamere del Veneto, Regione Veneto, AIC Forum, Fondazione Aquileia, Marco Polo System (Italy); LiveViewStudio (Serbia); Museums ans Galleries of Ljubljana, Slovenian Chambere of Commerce (Slovenia); Archaeological Museum of Istria, City of Rovinj, City of Rijeka (Croatia) Content: Cultural Heritage sites Description: Techcooltour is a crossmedia platform created within the “Tech Tour: Technology and Tourism: Augmented Reality for Roman and Byzantine itineraries” EU funded project, with the aim of offering innovative and engaging experiences at archaeological locations and cultural heritage sites. This EU project aims to promote two historical trans-national EU cultural routes exploiting developed ICT tools and exploring new media potential in presentation of historical heritage. Retracing the history of influences, objectives and developments of two great empires Roman and Byzantine, which shaped the cultural landscape of Europe, the project aims at defining a common thread that links places and regions and helps represent the richness and uniqueness of European cultural identity. Focusing particularly on remote locations or archaeological locations where little is visible, the aim is to present and communicate the advantages introduced by Augmented Reality and virtual archaeology in presentation and communication of findings. Within the project, it was developed a mobile application, “Techcooltour”, that enables the visitors to use mobile phones as pocket sized screens through which surrounding spaces become stages for extra information. Depending on their location, users may find information on 40 archaeological locations, spread over 4 countries layered over the camera live-view and access additional information such as images, stories and routes to the sites. The information on locations, available through Augmented Reality view, reinforces the idea of wider context within each of the sites should be understood, and thus appreciated. Interactive: yes • interaction device: Tablet and smartphone • visualisation device: Tablet and smartphone • technology: Twelve archaeological locations are marked with interactive info boards and act as markers for augmented reality content, such as 3d reconstructions, videos, virtual guides, 360 degree panoramas and so on. Duration: Permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: Mobile Scope: Edutainment, enhancement of visitor experience Sustainability: not-reusable

JUMIÈGES 3D Link: https://itunes.apple.com/fr/app/jumieges-3d/id556799877?mt=8

Grant Agreement 270404 CNR Public 180 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

http://www.youtube.com/watch?v=k7SgLVuUgYI Institution: Conseil Général de Seine Maritime, ArtGP (France). Content: Architecture history Description: The Conseil General de Seine Maritime, owner of the site, wanted to develop a new cutting edge device for presenting the Jumièges abbey to the public, using augmented reality and high value content. Jumieges 3D experience proposes to the public a new spectacular way of visiting the site: the opportunity to superimpose, through an iPad, the abbey as it was in 5 different periods of its construction, from the 9th to the 18th century, thanks to Mobile augmented reality. The main steps followed on this project have been: 1) historical research, through a scientific committee, to make sure that the reconstitution is exact 2) Five 3D virtual reconstitution. 3) Additional cultural content to explain the history to the public 4) Integration of the virtual and cultural content on a specific Mobile, markless Augmented Reality application 5) integration on iPads on site and submission to Apple store and Google Play for free of charge download. 6) Specific website. Interactive: yes • interaction device: Tablet and smartphone • visualisation device: Tablet and smartphone • technology: - Duration: Permanent Communication: Descriptive Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: Mobile Scope: Enhancement of visitor experience Sustainability: not-reusable

MOBILE NARRATIVE VM

ACROPOLIS (CHESS) Link: http://www.chessexperience.eu/ Institution: Fraunhofer IGD (Germany), The Acropolis Museum (Greece) Content: Museum collections Description: The application presents one of the results of the ongoing CHESS project. CHESS (Cultural Heritage Experiences through Socio-personal Interaction and Storytelling) is an EU funded project that aims at enriching the museum visit through personalized interactive storytelling experiences. The application presents an intermediate release of the adaptive mobile CHESS system, which currently includes three stories: depending on the users’ profile, either Theseus the mythical hero, a proud horse stuck in time, or the noble Athenian Melesso may guide visitors through the Archaic Gallery of the Acropolis Museum in Athens (Greece) and unravel information about the exhibits through games, videos, interactive images, and Augmented Reality activities – all of them perfectly integrated in different story plots that adapt dynamically to the visit conditions. The AR application, virtually restores the original archaic colours, or the location of the objects, and how AR,

Grant Agreement 270404 CNR Public 181 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013 playfully enhances objects with digital information displayed in an interactive, narration-oriented way. In order to do so, it is used computer vision based markerless 3D tracking on the historical objects. Interactive: yes • interaction device: Tablet and smartphone • visualisation device: Tablet and smartphone • technology: Instant AR platform Duration: Permanent Communication: Narrative Level of immersion: • Sensory involvement: not immersive • Sense of presence: low immersive Distribution: Mobile Scope: Edutainment, research Sustainability: reusable technology

REENCHANT HISTORICAL HERITAGE Link: http://www.chateau-guillaume-leconquerant.fr/ Institution: Normandy Productions, Château Guillaume-Le-Conquérant de Falaise (France) Content: Archaeology and History Description: . Renchant Historical heritage, a new interactive project implemented in the Falaise Castle in Normandy, is a unique mix of virtual walks with augmented reality, educational films and slides in relief. It changes the visit of a classic medieval museum in an attractive and fun space-time adventure. The visit tools called HistoPad (digital tablets to travel back in time) and Histocam (binoculars to see the past in Stereo3D) are totally part of the scenography. The aim of the use of augmented reality was therefore to revive the castle rooms, to develop a rich scenography despite the previous restoration and to satisfy a public. Every visitor is provided with a iPad (or HistoPad) included in the tour price. Through the device, visitors are invited to enter the castle through a so-called “time gate”. When they point the tablet towards the time gate, visitors discover the setting up of the origins, as it was when William the Conqueror was born in 1027. This reconstruction was performed with a large number of experts to ensure its authenticity. With the tablet, the visitor walks into a room and then in another and is able to find explanations, zooms and details. Whether it is the colors, the shapes, materials, furniture: everything has been scientifically validated. The public is in total immersion. People can scan ships, catapults, trebuchets, and bombards in all angles, and even actuate them. A treasure hunt is also available for children. For those who do not want tablets, original video projections of historical figures of spectacular size make it possible to obtain information; in the park, viewers can use 3D binoculars (or Histocam) to see the landscape they have in front of them like Interactive: yes (Histopad); no (Histocam) • interaction device: Tablet and smartphone (Histopad), • visualisation device: Tablet and smartphone (Histopad); 3D binoculars (Histocam) • technology: - Duration: Permanent Communication: Narrative(Histopad); descriptive (Histocam)

Grant Agreement 270404 CNR Public 182 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Level of immersion: • Sensory involvement: low immersive • Sense of presence: low immersive (Histopad) high immersive (Histocam) Distribution: Mobile/onsite Scope: Edutainment, entertainment Sustainability: not-reusable

SINGOSARI: THE ORIGINS OF MAJAPAHIT Link: http://muzar.org/singosari-app-available/ Institution: National Museum of Ethnology, Muzar (Netherland), Museum Nasional of Indonesia (Indonesia) Content: Museum collections Description: The National Museum of Ethnology of the Netherlands and Museum Nasional of Indonesia are involved in the development of a website and an app about the kingdom Singhasari-Majapahit. The kingdom plays a key-role in the perception of Indonesia’s cultural identity as one of the foundations of the Indonesian nation. The artistic legacy of this period, however, has reached far beyond the borders of Indonesia and its masterpieces, divided between Jakarta and Leiden, are now parts of a heritage shared by Indonesia and The Netherlands. With a website and an app for mobile phones, the two museums are working together to tell the whole story. Scientific research is carried out together, and in the website results are presented as an exciting story for the lays. Besides telling the stories (with text, images and video), augmented reality is used to show the original situation, with the statues “in situ”. Besides telling the stories (with text, images and video), augmented reality is used to show the original situation, with the statues “in situ”. This helps the visitors of the two museums to understand the historical and religious context of the statues, and it shows the visitors of the temple site which statues originally belonged in the temple. The most important part of the App is Augmented Reality. With AR and through image recognition a short movie starts with information about a statue. Images are shown in there original places in the temple. Interactive: yes • interaction device: Tablet and smartphone • visualisation device: Tablet and smartphone • technology: - Duration: Permanent Communication: Narrative Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: Mobile Scope: Edutainment Sustainability: not-reusable

VIRTUAL AQUILEIA Link: http://www.fondazioneaquileia.it/articolo-it-antica_aquileia_3d-209-0-1.html

Grant Agreement 270404 CNR Public 183 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Institution: Fondazione Aquileia, Ikon, Nudesign (Italy) Content: Archaology Description: Aquileia Virtuale is an Augmented Reality Real Time 3D app for Android and iOS tablets and smartphones, produced by Ikon and NuDesign for Fondazione Aquileia, institution in charge of most archaeological areas in the town of Aquileia. Aquileia was one of the largest and wealthiest cities of the Early Roman Empire until Attila destroyed it in the mid-5th century. Inscribed in UNESCO’s World Heritage List in 1998, it is currently a small town and the ancient Roman buildings, except for the majestic Basilica, are mostly unexcavated or buried under more recent buildings. The app Aquileia Virtuale, combining 3D images, videos and Real Time 3D models, allows visitors to tour Aquileia using their mobile device as a “time window” and as a multimedia videoguide. Walking around town, the visitor receives information on the ancient buildings nearby and, where there is a 3D model available, can virtually “enter” the building to explore it. The Real Time 3D models can be explored both on site (Augmented Reality) and off site (Virtual Tour): the visitor can move the mobile device around him to explore on site or use the virtual joypads on the side of the screen when off site. Interactive: yes • interaction device: Tablet and smartphone • visualisation device: Tablet and smartphone • technology: - Duration: Permanent Communication: Narrative Level of immersion: not-immersive • Sensory involvement: - • Sense of presence: - Distribution: Mobile Scope: Edutainment Sustainability: not-reusable

Grant Agreement 270404 CNR Public 184 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

8.6 ANNEX 6: CHARTS (2011, 2012 and 2013 surveys)

Chart 20: Resulting percentage of the Virtual Museums, surveyed in 2011, 2012 and 2013 classified into the six scenarios

Chart 21: Contents

Grant Agreement 270404 CNR Public 185 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 20: Interaction

Chart 23: Duration

Grant Agreement 270404 CNR Public 186 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 24: Communication

Chart 25: Level of immersion

Grant Agreement 270404 CNR Public 187 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 26: Distribution

Chart 27: Scope

Grant Agreement 270404 CNR Public 188 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Chart 21: Sustainability

Chart 22: Most used soft

Grant Agreement 270404 CNR Public 189 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

8.7 ANNEX 7: BIBLIOGRAPHY

Antinucci F., “The virtual museum”. In Virtual Museums and archaeology. The contribution of the Italian National Research Council, Ed. P. Moscati, Archeologia e Calcolatori, Suppl. 1, 2007: 79-86.

Antinucci F., Musei Virtuali - Come non fare innovazione tecnologica, Laterza, Bari 2007.

Djndjian F., “The virtual museum: an introduction”, in Virtual Museums and archaeology. The contribution of the Italian National Research Counci”l, Ed. P. Moscati, Archeologia e Calcolatori, Suppl. 1, 2007: 9-14.

Economou, M. & Pujol Tost, L. (2011) “Evaluating the use of virtual reality and multimedia applications for presenting the past” in Styliaras, G., Koukopoulos, D. And Lazarinis, F. (eds) Handbook of Research on Technologies and Cultural Heritage: Applications and Environments, IGI Global (in press).

Granelli A. e Traclò F., (a cura di), Innovazione e cultura – Come le tecnologie digitali potenzieranno la rendita del nostro patrimonio culturale, Milano, Il Sole 24 ORE S.p.A., 2006.

Hoellerer T., Feiner S., Terauchi T., Rashid G. and Hallaway D., Exploring mars: Developing indoor and outdoor user interfaces to a mobile augmented reality system. Computers and Graphics, 1999.

Milella M. e Ungaro L., Le Musée des Forums Imperiaux, in De l’art d’être conservateur, du site au musèe, la Préhistoire et l’Antiquité mises en espace, convegno, 6/8 dicembre 2001, Université de Perpignan – musée de Tautavel, Perpignan, 2005, pp. 145-155.

Roussou M. (2009), A VR Playground for Learning Abstract Mathematics Concepts, IEEE Computer Graphics and Applications 29: 1. 82-85.

Sartini M. e Vigliarolo P., Il futuro del Sistema di Comunicazione del Museo dei Fori Imperiali, in Mercati di Traiano. Didattica, divulgazione, tecnologie: le scelte sperimentali e la risposta del pubblico, Roma, Palombi Editori, 2010.

Sartini M., Acessibility considered as an innovative and technological way to enjoy archaeological sites. The experiences of the “Immaginare Roma Antica” Exhibition and the “Virtual Heritage Center” Project, in Innovative methodologies for information and public accessibility to archaeological sites, Perugia, INTERREG IIIB CADSES; 2005.

Schmalstieg D, and Wagner D., Experiences with handheld augmented reality. In Mixed and Augmented Reality, 2007. ISMAR 2007. 6th IEEE and ACM International Symposium on, pages 3 –18, nov. 2007.

Grant Agreement 270404 CNR Public 190 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Sideris A. (2008), “Re-contextualized Antiquity: Interpretative VR Visualization of Ancient Art and Architecture", presented in the FHW's Conference: "Storytelling in Archaeological Virtual Environments", November 25, 2008, Athens.

Sideris A., (2009), “Semantic Issues in Cultural Heritage: Archiving and Managing Digital Content in the Foundation of the Hellenic World”, Poster presentation in the 40th IASA Annual Concerence, Athens, 20-25 September 2009.

Ungaro L. (a cura di), con Milella M., Vigliarolo P., Sartini M., Del Mor M.P., Marotti S. e Trasatti A., Il “pubblico” ai Mercati di Traiano e dintorni, fra apprendimento, suggestione e comunicazione; in Nuzzaci 2008 (a cura di), Il museo come luogo di apprendimento, Lecce, Pensa MultiMedia Editore, 2008, pp. 185-213.

Ungaro L., “Esporre” i Fori Imperiali: ricostruzione, ricomposizione, integrazione, comunicazione nel sistema museale. Le ragioni della conservazione, le ragioni della fruizione, in “Palladio,” 36 (2005), Roma, 2006, pp. 69-86.

Ungaro L., Hermon S., Milella M. e Sartini M., How Shall We Go: IST Applications at the Museum of the Imperial Fora, Rome, in CAA 2007, Layer of Perception – Advanced technological means to illuminate our past, Berlin, Deutsches Archäologisches Institut, 2007.

Ungaro L., Il Museo dei Fori Imperiali nei Mercati di Traiano, in J.M. Iglesias Gil (a cura di), in Actas de Los XI Cursos Monográphicos sobre el Patrimonio Histórico, Reinosa 2000, Reinosa 2001, pp. 53-65.

Ungaro L., Sartini M. e Vigliarolo P., Il Sistema di Comunicazione Integrato del Museo dei Fori Imperiali, 2008, in TECHA 2008, Technologies Exploitation for the Cultural Heritage Advancement, Roma, Gangemi Editore, 2008, pp. 61-63.

Ungaro L., Sartini M. e Vigliarolo P., Ricostruire l'antico. Dal Museo della Civiltà Romana al Museo dei Fori Imperiali, atti del congresso Arqueológica 2.0 - International Meeting on Graphic Archaeology and Informatics, in International Jurnal Virtual Archeology Review, Siviglia, 2009.

Vlahakis V., Karigiannis J. and Ioannidis N., Augmented reality touring of archaeological sites with the archeoguide system. 2003.

Wither J., Allen R., Samanta V., Hemanus J., Tsai Y.-T., Azuma R., Carter W., Hinman R. and Korah T., The westwood experience: Connecting story to locations via mixed reality. In Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH), 2010 IEEE International Symposium On, pages 39 –46, oct. 2010.

Wither S. D., and Hllerer T., Using aerial photographs for improved mobile ar annotation. In International Symposium on Mixed and Augmented Reality, pages 159–162, 2006.

Zöllner M., Becker M. and Keil J., Snapshot augmented reality - augmented photography. 2010.

Grant Agreement 270404 CNR Public 191 /192 2 DELIVERABLE REPORT Doc. Identifier: D. 2.3

Date: 31-01-2013

Zöllner M., Stricker D., Bleser G. and Pastarmov Y., itacitus – novel interaction and tracking paradigms for mobile ar. In Proceedings of the 7th International Symposium on Virtual Reality, Archaeology and Cultural Heritage (VAST), VAST ’07, pages 110–117, 2007.

Grant Agreement 270404 CNR Public 192 /192