Visual Heritage: Digital Approaches in Heritage Science

Foreword
Contents
About the Editors
1 Introduction
	References
Part I Global Perspectives in Heritage Science and Technology
2 Open World, Open Minds: Keeping a Global Dialogue. Reflections on the ReACH Initiative
	2.1 Introduction
	2.2 A Brave New World? Digital ‘Disruption’ and the New Museum Landscape
	2.3 ReACH: A Collective and Global Re-think
	2.4 The Need to Keep a Global Dialogue and an Open World
	2.5 Conclusion
	References
3 Developing an Ethical Framework for the Digital Documentation of Heritage Sites
	3.1 Introduction
	3.2 Background
		3.2.1 Is Heritage Under Threat?
		3.2.2 Heritage Is a Value-Centred Activity
		3.2.3 ICOMOS Ethical Principles
	3.3 An Emerging Framework
		3.3.1 Related to Ethical Conduct
		3.3.2 Related to Best Practices
		3.3.3 Related to Cultural Heritage
		3.3.4 Related to the Public and Communities
		3.3.5 Related to Other Heritage Recording Specialists
		3.3.6 Related to Qualifications
	3.4 Discussion
	3.5 Professional Obligations to Meet an Ethical Commitment
		3.5.1 Obligation to Produce High-Quality Records
		3.5.2 Obligation to Raise Awareness with Digital Heritage Records: What About Conflict of Interest, Preventing Personal Gain, and Respecting Privacy?
		3.5.3 Obligation to Ensure Transmission of Information to Present and Future Generations
		3.5.4 Obligation to Ensure Procedural Transparency When Producing Records
		3.5.5 Obligation of Sharing Technology and Collaborating to Make It More Affordable
		3.5.6 Obligation to Commit to Provide Training and Capacity Building to Fellow and Emerging Experts
		3.5.7 Obligation to Participate in Professional Networks to Share Experiences and Further Development of Heritage Recording Practices
	3.6 Biohazards and Lockdown Affecting Access to Heritage Places: What Is the Potential Role of Digital Technologies?
	3.7 Conclusions
		3.7.1 Closing Remarks
		3.7.2 What’s Next
	References
4 Curious Travellers: Using Web-Scraped and Crowd-Sourced Imagery in Support of Heritage Under Threat
	4.1 Introduction
	4.2 Heritage and Societal Need
	4.3 Harnessing Public Interest
	4.4 Web-Scraped Imagery
	4.5 Mobile Mapping in Support of Web-Scraped Imagery
	4.6 Mapping Heritage at a Country Scale
	4.7 Conclusions
	References
Part II Modelling, Interpreting and Reconstructing the Past
5 Visualising Deep Time History in Context Using Accessible and Emergent Technologies: The GLAM Sector Experience
	5.1 Introduction
	5.2 Background/Literature Review
	5.3 Methodology
	5.4 Discussion
	5.5 Conclusion
	References
6 Applications of 3D Modelling of Rock Art Sites Using Ground-Based Photogrammetry: A Case Study from the Greater Red Lily Lagoon Area, Western Arnhem Land, Northern Australia
	6.1 Introduction
	6.2 Methods
	6.3 Data Hosting and Virtual Accessibility
	6.4 Discussion
	6.5 Conclusion
	References
7 3D Documentation of Stone Sites at Ilulissat, West Greenland
	7.1 Introduction
	7.2 Materials and Methods
		7.2.1 Graves
		7.2.2 Sketch Plans
		7.2.3 3D Models from SfM Photogrammetry
		7.2.4 Human Remains: Anthropological Analyses and CT Scanning
		7.2.5 Combination of the Digital Data
	7.3 Results
	7.4 Discussion
	7.5 Conclusion
	References
8 The Digital Restoration of an Ancient Skull’s Appearance for Palaeoanthropological Study
	8.1 Introduction
	8.2 Related Work
	8.3 Methodology
		8.3.1 Cranial Surface Data Modelling
		8.3.2 Craniofacial Morphology Analysis
		8.3.3 Craniofacial Reconstruction Based on Statistical Model
		8.3.4 Realism Treatment
	8.4 Case Study
		8.4.1 Restoration of the Face of Princess Li Chui from the Tang Dynasty
		8.4.2 Restoration of the Skull of Qihedong Ancient Human
		8.4.3 Restoration of the Appearance of a Qin Dynasty Maid
	8.5 Conclusion
	References
9 Resurrecting Hor: The Philosophical Application of the Digital Tradition
	9.1 Introduction
	9.2 Background: Heritage, History and Digital Divinity
	9.3 Methodology
	9.4 Discussion
		9.4.1 Reproduction
		9.4.2 Resurrection
		9.4.3 The Interface
		9.4.4 The Code
		9.4.5 Security and Maintenance
	9.5 Conclusion
	References
10 Visualising Animal Hard Tissues
	10.1 Introduction
	10.2 Background/Literature Review
	10.3 Materials and Methods
		10.3.1 Focus Stacking (Z-Stacking)
		10.3.2 Laser Scanning and Texture Photography
		10.3.3 Object Movies
		10.3.4 CT Scanning
	10.4 Results and Discussions
		10.4.1 Problems Encountered in Imaging and Ways Forward
		10.4.2 Development of the Web Resource
	10.5 Conclusions
	10.6 Tribute to Rachael Kershaw
	References
Part III Digital and Virtual Heritage Research and Applications
11 Exploring 222 years in Space and Time: The User Experience of the Virtual Sydney Rocks
	11.1 Introduction
	11.2 Background
	11.3 The Virtual Big Dig
	11.4 The Virtual Sydney Rocks
		11.4.1 Design Considerations
	11.5 Results
	11.6 Discussion
	11.7 Conclusion
	References
12 The Europe’s Lost Frontiers Augmented Reality Sandbox: Explaining a 2.5 Million Euro Project Using Play Sand
	12.1 Introduction
	12.2 Background
	12.3 Methodology
		12.3.1 Hardware
		12.3.2 Software
	12.4 Discussion
		12.4.1 Dissemination to Experts and the General Public. The Problem of Forcing 4D Data into a 2D Format
		12.4.2 Reception
	12.5 Conclusion
	References
13 Immersive Architectural Legacies: The Construction of Meaning in Virtual Realities
	13.1 Introduction
	13.2 Background
		13.2.1 Real Environment (RE)
		13.2.2 Augmented Reality (AR)
		13.2.3 Augmented Virtualities (AV)
		13.2.4 Virtual Environments (VE)
		13.2.5 Experiencing the Tangible and Intangible in Virtual Realities
	13.3 Case Study: The Gordon Wilson Flats
	13.4 Methodology
		13.4.1 Documentation
		13.4.2 Representation
		13.4.3 Dissemination
	13.5 Exhibiting Digital Heritage
	13.6 Discussion
	13.7 Conclusion
	References
14 Getting the Measure of Brochs: Using Survey Records Old and New to Investigate Shetland’s Iron Age Archaeology
	14.1 Background to Old Scatness
	14.2 Retrospective Photogrammetry and Chapter Intentions
	14.3 Retrospective Structure-From-Motion (SfM) Photogrammetry from Film Slides
	14.4 Retrospective SfM Photogrammetry from Old Digital Photos
		14.4.1 Digital Photos from 2003
		14.4.2 Digital Photos from 2015
	14.5 Control Experiment, Detecting Stone Displacement Through Mesh-to-Cloud Distance
	14.6 Case Study 1—the Blocked Inner Entrance to the Broch
	14.7 Case Study 2—the North Cell Staircase
	14.8 Case Study 3—the Exterior Entrance to the Broch and Outer Wall
	14.9 Conclusion
	References
15 Digital Refit Analysis of Anthropogenically Fragmented Equine Bone from the Schöningen 13 II-4 Deposits, Germany
	15.1 Introduction
	15.2 Site Description
	15.3 Taphonomy
	15.4 Methodology
	15.5 Sample Digitisation
	15.6 Refit Analysis
	15.7 Results and Discussions
	15.8 Conclusion
	References
16 Industrial Conservation: Digital Data Applications in Heritage Science and Engineering Contexts
	16.1 Introduction
	16.2 Background
	16.3 Inspection and Analysis
		16.3.1 The Wallace Monument Bronze Statue
		16.3.2 Grand Fountain, Paisley
	16.4 Reverse Engineering—Coalbrookdale Fountains, Lurgan and Wigan Case Study
	16.5 Physical Interventions—Linlathan Bridge
	16.6 Visualisation—The Ross Fountain
	16.7 Learning and Engagement—Go Forth!
	16.8 Conclusions
	References
17 Archival Photography, UAV Surveys and Structure-from-Motion Techniques for Local Heritage Management
	17.1 Introduction
	17.2 Background
		17.2.1 Summary of Aerial Imagery Technologies
		17.2.2 Aerial Surveys
	17.3 Methodology
		17.3.1 Study Site
		17.3.2 Case Study 1 Using Archival Imagery and SfM Technology to Develop DEMs
		17.3.3 Case Study 2 Modern UAV Surveys with SfM to Develop New Aerial Imagery Maps
	17.4 Discussion
	17.5 Conclusion
	References
18 A Rapid Approach to the Digital Documentation of Bradford’s Rich Industrial Heritage
	18.1 Introduction
	18.2 Background
	18.3 Method
	18.4 Results
	18.5 Discussion
	18.6 Conclusion
	References
Part IV Cultural Connections and Creative Industries
19 Manual/Digital Interactions in ‘Project code-named Humpty’
	19.1 Introduction
	19.2 Context
	19.3 Methodology
	19.4 Discussion
	19.5 Conclusions
	References
20 Error Bred in the Bone
	20.1 Introduction
	20.2 Methodology
	20.3 Methods
	20.4 Results & Discussion
	20.5 Conclusion
	References
21 Fad Touch: Creative Economy Engagement
	21.1 Introduction
	21.2 CEEF1: 3D Replicas within the UCM
	21.3 CEEF2: The Pop-Up Egyptian Coffins Project
	21.4 CEEF3:‘The Fitz, but in Bit’
	21.5 CEEF4: Box of Travelling Objects/Ideas
	21.6 Conclusion
	References
22 The Face of Stonehenge: 3D Surface Scanning, 3D Printing and Facial Reconstruction of the Winterbourne Stoke Cranium
	22.1 Introduction
	22.2 Background/Literature Review
	22.3 Methods
	22.4 Results and Discussion
		22.4.1 Creating a High-Fidelity Printable 3D Model
		22.4.2 Reconstructing the Face of Winterbourne Man
	22.5 Conclusions
	References
23 A Framework for Sharing Cultural Heritage Objects in Hybrid Virtual and Augmented Reality Environments
	23.1 Introduction
	23.2 Virtual Objects—Connecting the Virtual and the Real Environments
	23.3 Contextual Experience Cycle of Virtual Exhibitions
	23.4 Designing the HVAR Environments for Sharing Cultural Heritage Objects
	23.5 Evaluating the HVAR Environments for Sharing Cultural Heritage Objects
	23.6 Discussion
		23.6.1 Interactions with Objects
		23.6.2 Engagement and Communication Between Subjects
	23.7 Conclusion
	References
Part V Intangible and Hidden Narratives
24 ‘Britons: Your Crowdsourcing Commemorative Page Needs You’: Imaging and Re-imagining the Digital Memory of the First World War
	24.1 Introduction—The First World War and Popular Memory
	24.2 Crowdsourcing the Centenary
	24.3 Methods—Critical Code Studies and the Discourses of Crowdsourcing
	24.4 Results and Discussion—Creating Narratives of Memory and Engagement
	24.5 Conclusion
	References
25 Telling Difficult Stories: VR, Storytelling and Active Audience Engagement in Heritage Sites and Museums
	25.1 Introduction
	25.2 Background/Literature Review
	25.3 Methodology
	25.4 Case Study: ‘The Eye as Witness-Recording the Holocaust’ (National Holocaust Centre and Museum, Newark, UK), 2020
	25.5 Conclusions
	References
26 Virtual Environments as Memory Anchors
	26.1 Introduction
	26.2 Background
	26.3 Memory Anchors
		26.3.1 Virtual Environments as Memory Anchors
	26.4 How Can Immersive Virtual Environments Sustain Memory?
		26.4.1 Purpose and Responsibility
		26.4.2 Risks and Responsibility
	26.5 Conclusion
	References
27 Afterword
	References
Correction to: Applications of 3D Modelling of Rock Art Sites Using Ground-Based Photogrammetry: A Case Study from the Greater Red Lily Lagoon Area, Western Arnhem Land, Northern Australia
	Correction to:  Chapter 6 in: E. Ch’ng et al. (eds.), Visual Heritage: Digital Approaches in Heritage Science, Springer Series on Cultural Computing, https://doi.org/10.1007/978-3-030-77028-06