davide borra president of mimos principal of noreal.it

Davide BorraPresident of MIMOS Principal of NoReal.it

thanks to

Brisbane, 16-20 September 2013

The Italian Perspective On Virtual Cultural Heritage

with the support of

Rome, 9-11 October 2012from left: Marco Biagini, Paolo Proietti, Alisha Fisher, Davide Borra

Davide BorraPresident of MIMOS

Principal of NoReal.it

Virtual CulturalHeritage

Paradigms and Technologies

The ItalianPerspectiveBest italian works

MIMOSCrossing Boundaries

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NoReal.itShort Presentation

a 3D CONTENTS production companyby fifteen years NoReal create 3D contents for industrial simulation systems,

3D realtime engines, virtual cultural heritage applications, virtual worlds,from any data to any device.



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3D contents for industrial simulators and immersive training systems



3D contents for health on-line solutions



3D contents for Virtual Worlds



3D contents and applications for Augmented Reality applications



CG & 3D video for product presentation



Realtime 3D puppet animation with a cybernetic suite



3D stereo animation for eduteinment



CG, 2D and 3D video and immersive environments for Virtual Cultural Heritage exhibits



Virtual Cultural Heritage

Main works about 3D contents in Virtual Cultural Exhibitions and Museums

1996 > Virtual tour in Hierapolis (Pamukkale-Turkey)1997 > DVD about the Estense's Castle (Ferrara, Italy)1999 > CG video about the Mediolanum Anphiteater (Milan, Italy)1999 > CG video about the "El Oral" archaeological site (Alicante, Spain)2000 > CG video about the “Augusta Bagiennorum” site (Bene Vagienna, Italy)2002 > 3D interactive contents about the Giotto's Scrovegni Chapel (Padua, Italy)2003 > interactive online app about the Imperial Villae in Pompei (Pompei, Italy)2005 > 3D video about the "C" temple in Selinunte (Sicily, Italy)2006 > CG&3D video about the Temples Valley in Agrigento (Agrigento, Italy)2007 > CG video about the Livia's Villae in Rome (Rome, Italy)2008 > CG video about the Tower of Vendicari (Noto, Sicily, Italy)2008 > Multimedial interactive app. Giunone's temple in Agrigento (Agrigento, Italy)2010 > CG video about the Sindone Chapel (Turin, Italy)2011 > Augmented reality app for the Etruschi virtual exhibition in Trento (Trento, Italy)2012 > CG video about the Trajano's Emperor Villae in Arcinazzo Romano (Rome, Italy)2013 > AR Application about the Virtual Capsella di Samagher (Venice, Italy)2013 > CG video about the Julia Augusta Taurinorum (Turin, Italy)2013 > Mixed environment “the Mosque of Rome in VR+AR” (Rome, Italy)



MIMOSModelling & Simulation Italian Movement



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MIMOS, Modelling & Simulation Italian Movement,

is an italian cultural association grouping companies, professionals, universities, and research institutions working in the field of modeling, simulation, virtual reality and 3D graphic,

with the mission of

enhancing the culture of virtuality in Italy,in every application area, crossing boundaries.

Every day our website www.mimos.it post news from the national and international simulation world.

Each month the newsletter reminds national and international appointments.

Every year several "MIMOS Workshops" are organisd in order to meet and discuss simulation topics around Italy.

Every two years the "MIMOS Award" is organised for the best student thesis and research.

Occasionally, MIMOS co-organize and partecipates at PHD and specialization courses proposed by the italian universities.



March 2001The first MIMOS board

From left: Marco Fabbri, Paolo Savio, Giuseppe Varalda, Pierluigi Duranti,

Daniela Giachino, Davide Borra, Fulvia Quagliotti, Aldo Zini, Paolo Proietti,

Agostino Bruzzone

from September 2008:

President: Borra Davide [No Real.it - Torino]

Vice President: Proietti Paolo [Selex Sistemi Integrati spa - Roma]

Segretary: Fabbri Marco [Alenia Aermacchi spa - Torino]

Board: (in alphabetic order): Avizzano Carlo Alberto [S.Sup. Sant'Anna di Pisa - lab. PERCRO] Bruzzone Agostino [University of Genova - DIPtem] Giachino Daniela [Alenia Aermacchi spa - Torino] Varalda Giuseppe [FIAT Reseach Center] Zini Aldo [CETENA Research Center]

Auditors: Massei Marina, Mursia Agatino, Savio Paolo

Administrative office: Francone Roberta, Rainieri Claudia



Our organization:2 headquarters : Torino e Roma57 Corporates Member + 36 Partners

International affiliations:INTUITION, Liophant Simulation Club, ISCS, ETSA, SIAA, AFCEA, SIGGRAPH, SIG-CHI, INCOSE, Simulation Australia.

Activities:> Free public dissemination trough our website: news, events, corporate news, etc..;> Organization of several “MIMOS workshop days”, each year, focused on specific thematics (e.g. Naval simulation, Virtual Cultural Heritage, Virtual Surgery, etc..);> MIMOS Prize organization (every two years) for better university research work;> PHD and Master courses co-organizated with with italian universities;> Partecipation to commercial events and exhibits with rapresentative chain of MIMOS companies;> Digital and traditional technical publications (contributes, proceedings, etc..)> Social activity trough Facebook, LinkedIn, Youtube, etc..





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Il DECENNALE MIMOS (Ten years of activity)Rome, 9-11 October 2012

CONFERENCESThree-day conference organised for specific topics, with the support of stakeholders, researchers and professionals for the dissemination of the latest innovations on Modelling & Simulation. Three panel discussions will conclude the works, having the session's chairmen and special guests, on the future of virtuality applied to industry, the earth and life. The proceedings will be published.

MIMOS AWARDThe ceremony of the fourth edition of "MIMOS Award for the best thesis and research" has no better place than during the celebration of ten years. The young talents will be listened and appreciated during the short briefing of their work.

BUSINESS PRESENTATIONFor each company is possible Ito make business presentations of products and services, booking 30 minutes slots.

POSTERSA gallery of contributions in 70x100 format, with the results of research and industrial and professional applications in the fields of Modelling & Simulation. The session is open to all levels of academic works and to the works selected for the MIMOS Award.

B2B MEETINGSBilateral tables no longer than 30 minutes to propose and meet potential customers and partners, according to a electronically pre-organized agenda. The event is aimed at companies, government agencies, universities and research centers interested in sharing capability, technology and skill.

SPONSORSHIP & EXHIBITIONSThe ten-year MIMOS can only succeed with the support of sponsors that will link its corporate brand to the largest Italian event on applied virtuality. 3x2m spaces (and multiples) are avalable in order to show the technologies, systems and business applications for the visitors of the event of the decennial. Four levels of contribution and some specific events will be provided for sponsorship. All informations are available in the registration form and on the web page of the event.





APPLICATION TO DEFENCE

CUSTOMER SUPPORT

CULTURAL HERITAGE

MEDICINE & SURGERY

SYSTEMS ENGINEERING

COMPLEX SYSTEMS DESIGN

LANDSCAPE SECURITY

MIMOS AWARD

VIRTUALEARTH

VIRTUALLIFE

VIRTUALINDUSTRY



ERGONOMY

BUSINESSES

SKILLS

TECHNOLOGIES

PROCEDURES

INTEGRATION

CULTURAL PARADIGMS

APPLICATIONS

VIRTUALEARTH

VIRTUALLIFE

VIRTUALINDUSTRY



ERGONOMY

BUSINESSES

SKILLS

TECHNOLOGIES

PROCEDURES

INTEGRATION

CULTURAL PARADIGMS

APPLICATIONS

CULTURE

of VIRTUALITY

Note: The links are arbitrary



VIRTUAL HERITAGE TRANINGAVIATION3D

Sca

nn

ing

AR

...

the “3D COMPANY” networka MIMOS companies chain3D services, from site to museum:

> 3D laser scanning> 3D contents production> 3D, VR&AR solutions> 3D mobile> 3D printing> 3D serious games+> 3D immersive systems> projection solutions> realtime engines



Virtual Cultural Heritageparadigms and possibilities

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Virtual Cultural HeritageVirtual heritage or cultural heritage and technologyis the body of works dealing with information and communication technologies (ICT) and their application to cultural heritage, such as virtual archaeology.

Virtual heritage and cultural heritage have independent meanings: cultural heritage refers to sites, monuments, buildings and objects "with historical, aesthetic, archaeological, scientific, ethnological or anthropological value", whereas virtual heritage refers to instances of these within a technological domain, usually involving computer visualization of artefacts or Virtual Reality environments.

One technology that is frequently employed in virtual heritage applications is Augmented Reality, which is used to provide on-site reconstructions of archaeological sites or artefacts.

Many virtual heritage projects focus on the tangible aspects of cultural heritage, for example 3D modelling, graphics and animation. In doing so they often overlook the intangible aspects of cultural heritage associated with objects and sites, such as stories, performances and dances. The tangible aspects of cultural heritage are not inseparable from the intangible and one method for combining them is the use of virtual heritage serious games, such as the 'Digital Songlines' game for experiencing the cultural heritage of Australian Aborigines. (Andrew Brown. "Digital Songlines". Australasian CRC for Interaction Design (ACID). Retr. 29/05/12)

The first use of Virtual Heritage as a museum exhibit, and the derivation of the name Virtual Tour, was in 1994 as a museum visitor interpretation, providing a 'walk-through' of a 3D reconstruction of Dudley Castle in England as it was in 1550

Wikipedia, 9 Sept 2013



USER PROFILING

BUSINESSES

PHISICAL and COGNITIVEERGONOMY

TECHNOLOGIES andAPPLICATIONS

REAL and VIRTUALCOLLECTIONS-MUSEUMS

HYSTORICAL RESEARCH

CULTURAL PARADIGMS

DATABASES



USER PROFILING

BUSINESSES

PHISICAL and COGNITIVEERGONOMY

TECHNOLOGIES andAPPLICATIONS

REAL and VIRTUALCOLLECTIONS-MUSEUMS

INFORMATIONSand

EMOTIONS

CULTURAL PARADIGMS(locals and globals)

DATABASESHUMAN(in the loop)

Note: The links are arbitrary

Communication is a trasmission actfrom an issuer to a receiver, through a vector.

From the Latin : “cum+munis” and “actio”, sharing and acting.

may be intentional or not, verbal or gesturalconveyed by graphics, sounds, tactile experiences.

can be mono-tasking o multi-tasking, with or without medium,“one-to-one” or “mass-mediatic”.

It may be clear or noisy, understandable or not.can give happiness or discomfort.

It may be true, partially true, ambiguous or false.can you describe or evoke

DATAReal (actualized)

Virtual (potentially)

Pierre Levy, 2005

MEDIUMIndicesSignalsIcons

SymbolsSigns

ACTIONInformationEvocation

CHANNELNaturalArtificialDigital

The Virtual Cultural Heritage is a communication factor

What distinguishes the culture communication from other types of communication?

The main factor is the accuracy of the data, which is manifested in the set of characteristic elements of the subject, in its temporal, spatial, functional and social contextualization, the completeness and informative depth, overall implications who suffered and implies.

The whole set of information related to the subject needs to be declared in its genesis and then in a rigourous research approach, benchmarking equivalent hypotesis, etc.. (e.g. bibliographic references, metadata, paradata, etc..)

It's the same problem described in the Restoration Charts about the recovery and the integrations in the real monuments. (Athen Charter 1931, Italian Chart 1932, Venice Charter 1964, Italian Charter 1972, Amsterdam Chart 1975, Florence Charter 1981, Washington 1987, Cracovia 2000)

This need becomes even greater value in the current information age where everything is replicated digitally and the final result reaches levels of realism never before.



The London Charter

The London Charter seeks to establish principles for the use of computer-based visualisation methods and outcomes in the research and communication of cultural heritage in order to:

Provide a benchmark having widespread recognition among stakeholders.

Promote intellectual and technical rigour in such uses.

Ensure that computer-based visualisation processes and outcomes can be properly understood and evaluated by users.

Enable computer-based visualisation authoritatively to contribute to the study, interpretation and management of cultural heritage assets.

Ensure access and sustainability strategies are determined and applied.

Offer a robust foundation upon which communities of practice can build detailed ”London Charter Implementation Guidelines”.

www.londoncharter.org



The London Charter

Principle 1- ImplementationThe principles of the London Charter are valid wherever computer-based visualisation is applied to the research or dissemination of cultural heritage.

Principle 2 - Aims and MethodsA computer-based visualisation method should normally be used only when it is the most appropriate available method for that purpose.

Principle 3 - Research SourcesIn order to ensure the intellectual integrity of computer-based visualisation methods and outcomes, relevant research sources should be identified and evaluated in a structured and documented way.

Principle 4 - DocumentationSufficient information should be documented and disseminated to allow computer-based visualisation methods and outcomes to be understood and evaluated in relation to the contexts and purposes for which they are deployed.

Principle 5 - SustainabilityStrategies should be planned and implemented to ensure the long-term sustainability of cultural heritage-related computer-based visualisation outcomes and documentation, in order to avoid loss of this growing part of human intellectual, social, economic and cultural heritage.

Principle 6 - AccessThe creation and dissemination of computer-based visualisation should be planned in such a way as to ensure that maximum possible benefits are achieved for the study, understanding, interpretation, preservation and management of cultural heritage.

www.londoncharter.org



The Sevilla Principles

OBJECTIVES

Generate easily understandable and applicable criteria for the whole community of experts, including indistinctly computer experts, archaeologists, architects, engineers, general managers or specialists in the field.

Establish guidelines aimed at giving the public a greater understanding and better appreciation of the ongoing work of archaeology.

Establish principles and criteria for measuring the quality of projects carried out in the field of virtual archaeology.

Promote the responsible use of new technologies for the comprehensive management of archaeological heritage.

Improve current archaeological heritage research, conservation and dissemination processes using new technologies.

Open new doors for the application of digital methods and techniques in archaeological research, conservation and dissemination.

Raise awareness of the international scientific community of the prevailing need to make concerted efforts worldwide in the growing field of virtual archaeology.

www.arqueologiavirtual.com



The Sevilla Principles

PRINCIPLES

Principle 1:Interdisciplinarity

Principle 2:Purpose

Principle 3:Complementarity

Principle 4:Authenticity

Principle 5:Historical rigour

Principle 6:Efficiency

Principle 7:Scientific transparency

Principle 8:Training and evaluation

www.arqueologiavirtual.com



Technologies for VCH



NATURAL INTERACTION(traking)

WEB & SOCIAL

RESPONSIVE ENVIRONMENTS

2D and 3D VIDEOS

VIRTUAL WORLDS

VIRTUAL & AUGMENTEDREALITY

MULTIMEDIA TOTEMS

TACTILE SURFACES

REALMUSEUM

MIXEDMUSEUM

VIRTUALMUSEUM

Technology Mediums



The Italian PerspectiveBest italian works

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Davide BorraPresident of MIMOS Principal of NoReal.it

[email protected]

Brisbane, 16-20 September 2013

Thanks for your attention.

davide borra president of mimos principal of noreal.it

Documents

italy2013 cg video

years noreal

italy2008 cg video

italy1999 cg video

d interactive contents

spain2000 cg video

italy2012 cg video

italy2007 cg video