In the last decades the success of entertainment video game industry has given birth to new types of outputs in the field of cultural heritage, including serious games and some virtual museum applications (based on mixed reality, virtual reality, virtual worlds, etc.) that share the same infrastructure and core games technologies and use virtual reconstruction and engagement mechanism for edutainment and educational purposes.
Virtual reconstruction is a great didactic tool as it improves cognitive processes making the historical and archaeological data easily comprehensible to anyone; within a video game this potential is reinforced by the dynamics of storytelling, and learning-by-doing. However, the virtual reconstruction of the past imposes many limitations and great effort to ensure the consistency and reliability of the reconstructive hypothesis: historical accuracy and validation are the keywords that portray the virtual backgrounds made for applied VR games. Indeed, producing such products requires a tailored workflow and large effort in terms of time and professionals involved to guarantee such faithfulness.

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The definition of the authenticity of artworks has undergone a slow process of development: with time, connoisseurship — the traditional practice of attributing detailed artistic identities to works of art on the basis of a comparative analysis of stylistic and formal components — has lost its position of technical leadership. In fact, currently, trust in the expert eye is increasingly subjected to the “objective” outcomes ensured by new and more rigorous techniques of scientific analysis of materials. However, this approach risks being somewhat reductive and incomplete.

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Reversal film is a type of film that produces a positive image on a transparent celluloid base. Given its low processing cost, during the last four decades of the 20th century, reversal films have been very popular in many parts of the world, being used for both educational and recreative purposes. The Romanian Animafilm studios published throughout the decades an impressive collection of such films on various subjects, mostly animated stories, but also with historical or educational topics, and many of them are archived in many educational and cultural institutions. They are today a part of the 20th century legacy, in the same time containing images of sights, monuments, panoramas that can no longer be seen in the real world, and their reversal film images are sometimes the only thing preserving their heritage.

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Peru has a significant number of constructions of high historical and cultural value distributed along the country. Among these archaeological remains of great significance, there are multiple ‘Huacas’, which are pyramidal earthen constructions often built for sacred or religious purposes. Some of the many existing huacas have been damaged due to exposure to severe natural and anthropogenic hazards.
The selection of the best preservation or intervention strategies of these archaeological earthen constructions is a very challenging process that is often hampered due to the difficulty to define in-situ conditions.

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Art objects conservation or historical analysis necessitates a thorough knowledge of the materials used by the artist and during the subsequent changes, their chemical composition and determination of their preservation state. In the case of paintings this requires the ability to correctly identify the pigments that were used for creation or later restoration of the artwork. This is a challenging problem, as the applied method should be non-contact, robust for the wide variety of chemical substances used and straightforward in the interpretation. Recently, the hyperspectral imaging has emerged as a promising measuring methodology for this kind of the artwork analysis; the combination of acquiring spectral information and planar (photography-like) pixel arrangement provides a lot of potential for material characterization. While initial studies of hyperspectral imaging application to art objects analysis are encouraging, the difficulties of working with its multidimensional data are acknowledged; in many cases complex algorithms are required to fully utilize its potential.

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