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Highlights: • La combinación de diversos métodos digitales para la reconstrucción virtual es una poderosa herramienta para la difusión y la investigación del patrimonio arqueológico. • El trabajo con cientos de fragmentos hallados en la tumba de Henenu ha permitido la reconstrucción virtual de cuatro estelas funerarias, con especial detalle en el caso de la estela A. • Las hipótesis, cálculos e interpretaciones derivadas de estas reconstrucciones virtuales han contribuido a identificar la posición inicial de estas estelas en el monumento. Resumen: Este trabajo pretende demostrar cómo la combinación de métodos digitales para la reconstrucción virtual en arqueología es mucho más que una simple herramienta para la difusión del patrimonio. A través del estudio de la tumba de Henenu (TT 313: Deir el-Bahari, Luxor), este artículo demuestra que los métodos de reconstrucción virtual constituyen una herramienta eficaz para examinar diversas hipótesis. Cientos de fragmentos de estelas fueron encontrados por la expedición del Museo Metropolitano (Nueva York) en 1922-1923. Tras este descubrimiento, los arqueólogos reconstruyeron cuatro estelas, destacando la estela A. Una vez recuperados los datos arqueológicos y arquitectónicos, los especialistas del MKTP procedieron a reconstruir las posibles dimensiones de estas estelas mediante técnicas digitales. Además, se examinó si las estelas encajaban en los nichos originales construidos para este propósito. En este artículo se plantea el flujo de trabajo empleado desde el escaneado láser hasta el modelado de las estelas, usando un escáner láser para documentar la tumba. Los datos fueron procesados con Leica Cyclone para obtener una malla, aunque la malla presentaba algo de “ruido”, anomalía que debió ser corregida con otro software. El resultado fue entonces exportado a Blender. De este modo se consiguió la reconstrucción virtual de la estela A de Henenu, que recibió texturas y otros rasgos con Substance Painter y Photoshop. El tema principal de la estela es la provisión de ofrendas y la garantía de beneficios para el difunto, lo que explicaría que el nicho de erección de la estela estuviera a la entrada de la tumba. Como se describe en las conclusiones, gracias a la aplicación de las técnicas de reconstrucción virtual y a los cálculos derivados de la misma, se ha podido elegir una de las hipótesis de reconstrucción y localización de las estelas, ofreciendo una respuesta a la pregunta inicial que se planteaba sobre el caso de la estela A.

Lo más importante: • Se muestra el flujo metodológico para un análisis integral de Arqueología Industrial, incluyendo la aplicación de tecnologías de modelado 3D. • Se analiza la materialidad de una de las primeras serrerías hidráulicas industriales de mármol de España, reconstruyendo su estructura y funcionamiento a mediados del siglo XIX. • Se profundiza en el potencial de las herramientas digitales como elementos para la experimentación arqueológica, con interesantes aplicaciones a elementos del patrimonio industrial. Resumen: El presente trabajo se enmarca en los procesos históricos de industrialización producidos en el valle del Almanzora (Almería, España) a lo largo del siglo XIX y principios del XX. En esta comarca con larga tradición en la explotación del mármol surgieron, en la primera mitad del siglo XIX, las serrerías hidráulicas. Estos complejos productivos basaban su funcionamiento en un sistema mecanizado denominado como “arte” o “telar”. La introducción de este mecanismo de corte permitió acelerar considerablemente el procesado. Esta progresiva mecanización de la industria del mármol asentó las bases de un próspero sector económico. Los restos de esta fábrica han sido analizados a través de dos líneas teóricas crecientes y con una gran heterogeneidad metodológica: la Arqueología Industrial y la Arqueología Virtual. El presente estudio aporta un flujo metodológico multidisciplinar para la investigación de este patrimonio, aplicado al caso concreto de la fábrica de Nicoli (Macael, Almería), construida en el siglo XIX. Así, se ha combinado el estudio de fuentes históricas, la prospección arqueológica y análisis paramental de los restos de la fábrica de Nicoli, que han sido documentados a través de fotogrametría ‘Structure from Motion’ con el apoyo de un vehículo aéreo no tripulado (VANT). Con todos estos datos, se ha procedido a su análisis digital y a la reconstrucción virtual de cómo sería esta fábrica en los inicios de su producción. El objetivo es emplear el modelado para testar distintas hipótesis constructivas y de organización del trabajo industrial de forma rápida, efectiva, de bajo coste y sin ningún tipo de afección al patrimonio material. Este enfoque interdisciplinar surge para demostrar que el pasado industrial puede abordarse, no solo desde disciplinas más técnicas, como la Arquitectura o la Ingeniería, sino también desde el propio seno de la Arqueología.

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A finales de la Edad Media en la península ibérica la historia fue impulsora de una arquitectura en evolución hacia soluciones más racionales y eficientes. Entre los agentes promotores de este cambio, destacaron las órdenes militares que consiguieron solucionar un problema durante siglos imposible solventar: que las amplias llanuras de la meseta de la península habían resultado inconquistables para los cristianos hasta ese momento. Entre todas estas órdenes, la Orden de Santiago destacó porque en un territorio amplio consiguió configurar unos modelos arquitectónicos bastante homogéneos. La orden suministró muchos textos con información contenidos en los libros de visita; estos permiten un estudio que va desde lo general, como es la organización territorial, hasta lo particular que resulta la arquitectura construida en él a partir de descripciones de construcciones, usos, distribuciones, estructuras e incluso materiales. Este estudio no ha proporcionado toda la utilidad esperada sobre todo en cuanto a facilitar un análisis gráfico; se ha priorizado otros intereses, que sí han sido cubiertos con creces por la investigación. Los textos contenidos en los libros de visita resultan ser fuentes para el estudio histórico, proporcionando información más allá de lo supuesto; son fuentes para hipotetizar dibujos de construcciones, por su riqueza descriptiva, así como para su análisis, porque incluyen diversas descripciones; además, son fuentes para enriquecer el léxico histórico y arquitectónico. La integración de las tecnologías digitales al entorno arquitectónico permite extender el conocimiento del mismo mediante su incorporación a un registro que enumera construcciones, pero también a un análisis más amplio que profundiza en plantas y volumetrías, completando así un renovado catálogo arquitectónico que favorece el interés por el conocimiento de un legado que hasta hace unos años estaba destinado a perderse. Lo más destacado: • El artículo contribuye al conocimiento del patrimonio arquitectónico de la Orden de Santiago profundamente degradado y mayormente desaparecido. • Promueve una metodología científica pero también una difusión universal como recurso para la proyección cultural y educativa del patrimonio medieval. • Introduce nuevas tecnologías permitiendo la proyección que influye en la llegada de recursos para laconservacióny restauración del patrimonio.

Copyright of O Ideário Patrimonial is the property of Centro Transdisciplinar das Arqueologias do Instituto Politecnico de Tomar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La terra sigillata es, sin duda alguna, uno de los tipos cerámicos más importantes y conocidos de un incipiente imperio romano. Este tipo de producciones cerámicas están caracterizadas por la presencia habitual de lo que se conoce como sigillum, una suerte de marca que identificaba al alfar u officina donde eran producidas. A diferencia de la propia cerámica, un objeto muy habitual en el contexto arqueológico, los instrumentos con los que se solían marcar dichas producciones resultan muy complicados de localizar, convirtiéndose en elementos muy poco frecuentes en las excavaciones arqueológicas o en los fondos de museos. Un claro ejemplo de esta dinámica es el barrio alfarero de Isturgi (Los Villares de Andújar, Jaén, España), donde tras numerosas campañas de excavación aún no se ha recuperado ningún punzón original. A este respecto, el fuerte desarrollo de las herramientas de digitalización, análisis, reconstrucción virtual y los nuevos dispositivos de impresión ha supuesto importantes beneficios para al estudio del patrimonio arqueológico en general. Con el objetivo de aprovechar al máximo su potencial, estas técnicas se suelen combinar en flujos metodológicos sinérgicos que podemos materializar a partir del uso conjunto de varios softwares informáticos. Gracias a ello, podemos recrear de forma efectiva elementos y objetos que, por su valor o naturaleza, no suelen aparecer de forma habitual en el registro arqueológico. En el presente trabajo se propone, por tanto, un nuevo flujo metodológico que combina herramientas ya asentadas como la fotogrametría Structure from Motion, los métodos de fotografía computacional como la Reflectance Transformation Imaging virtual (V-RTI), el modelado 3D o la impresión 3D. Todo ello, con un claro objetivo en mente, recrear los punzones y marcas de entalle empleados para rubricar la vajilla fina de mesa procedente del yacimiento romano de Los Villares de Andújar (Jaén).

This article presents the virtualization project of the Motilla del Azuer archaeological site in Daimiel (Ciudad Real, Spain). This project is using new and unique tools for the research, documentation, interpretation and dissemination of this important prehistoric site. The incorporation of advanced technological tools in the field of archaeological and cultural heritage, such as digital documentation and virtual reality (VR), are creating new avenues for managing cultural legacies. Modern advances in 3D digitization and VR allow the application of these techniques on a wide range of cultural assets with different characteristics and chronologies, opening a broad spectrum of new possibilities in research, education, and public outreach. This is an expanding area of heritage management as it creates a positive impact on the economic, cultural and social activities of local communities and regions. Because of these positive impacts, more and more stakeholders such as institutions, administrations, and heritage organisations are taking an active interest in this sector of technological development. In the case of the Motilla del Azuer archaeological site, the digitization and virtualization work undertaken, along with other dissemination activities, have provided critical products for the presentation, interpretation, and promotion of this monument. La Motilla del Azuer is one of the most unique archaeological sites in Spain. Dating from the Bronze Age, it is a fortification with a central plan, formed by three lines of concentric walls distributed around a central tower (Fig. 2). Inside, the labyrinthine shape of the access systems is remarkable, made up of narrow corridors, stairs, ramps... This defensive enclosure allowed the protection and control of essential products for the people of the Bronze Age. Its true uniqueness is that it encloses monumental water well more than 15 m deep. La Motilla del Azuer is open to the public and receives thousands of visitors each year. But for conservation reasons, the number of people who can access the site is highly controlled. Likewise, due to its defensive nature and its age, it is a space through which it is difficult to circulate, which makes it impossible for people with reduced mobility to visit. For these and other reasons, the Daimiel City Council in collaboration with the US non-profit entity Global Digital Heritage and the Spanish company Myou Software, has developed a project to digitize the archaeological site and make it accessible through an installed VR system, located permanently in the Daimiel Museum, the interpretation centre for the site (Fig. 10). This facility is designed to be used both by people in wheelchairs or with reduced mobility, as well as all visitors to the museum, and provides a realistic virtual tour of the site. To achieve this level of realism, a detailed 3D digitization of the site using photogrammetry, laser scanning, and 3D spherical photography was undertaken, and a VR installation based on the use of an HTC Vive Pro device that has motion controllers for hands (HTC Vive controllers) and feet (HTC Vive Trackers) was developed. The primary software is called Myou Engine, an open-source 3D engine compatible with XR, developed by the Myou Software company. In order to increase the immersiveness as much as possible, the Myou Software company has also developed a control system called Natural Locomotion that works by moving the arms and legs (Fig. 11). The final result of the project has allowed the implementation of an innovative VR space that increases accessibility to the archaeological site, represents a new tourist attraction for the town, and promotes new ways of managing and enjoying archaeological heritage.

El Museo Canario stores a large collection of aboriginal skulls that have been essential to the study of the origin and chronology of the population of the Canary archipelago since the 19th century. Regrettably, research has been dominated by biased and racial interpretations of both bioarchaeological and cultural evidence. When scientific racism and craniometric studies were rejected, studies of the Canarian indigenous skulls variability was also abandoned without replies. However, digital technologies and virtual sciences allow us to improve research and re-evaluate old paradigms. In this work, we present a digitalisation project aiming to construct a virtual database of the indigenous Canarian skulls, using a simple method of digitalisation that is very suitable to deal with large collections- The procedure, involving a portable 3D structured light scanner has allowed us to digitally reproduce more than 400 skulls stored at Museo Canario. This work offers a wide variety of possibilities for archaeology and anthropology. The versatility of 3D digital models enables the generation of interactive documentation, educational material for digital conservation and dissemination purposes. Indeed, 3D models are easily shared and can be displayed over diverse web-based repositories and online platforms and so, creating virtual online museums. We have created a profile in Sketchfab (https://sketchfab.com/craniacanaria2.0) where we intend to upload gradually the complete virtual collection of skulls we have realised. Moreover, digital skulls can serve as research objects. We discuss the advantages of studying 3D objects in a computerised environment, which includes traditional anthropometric studies (linear measurements and angles) but also 3D geometric morphometric approaches. In fact, in future studies, we will apply 3D geometric morphometrics for reassessing skull variation of ancient Canarians going beyond old paradigms and taking into account the latest advances in archaeology, anthropology and genetics in Canarian research. Highlights: - El Museo Canario stores an exceptional human skull collection that has served as the basis for numerous studies seeking to reveal the origin and chronology of the indigenous population. - This study presents an easy methodology for obtaining digital imagery using a 3D surface scanner, which allows constructing a virtual skull collection comprising more than 400 individuals. - Virtual 3D models have numerous advantages and applications in anthropology and archaeology, not only improving research but also permitting the re-evaluation of old paradigms.

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The virtual reconstruction of a site is the mirror in which the archaeological research process is reflected, with all its uncertainties and certainties, generating a space for reflection on the lost materiality while the vestige itself is reconfigured into a didactic and social resource. Here we present the result of the three-dimensional (3D) reconstruction of the archaeological structures preserved in the Peñón de Raíces, in Castrillón (Asturias), which correspond to the ruins of the castle of Gauzón, a famous fortification of the Asturian kings in which La Cruz de la Victoria was made in 908. The article begins with an introduction and a first part (Section 2) dedicated to the explanation of the site itself from an archaeological and historical point of view. We believe that this analysis should be the basis of any scientific virtual reconstruction. The virtual reconstruction presented here is dated to the 9-10th centuries and corresponds to the fortification built in the time of the Asturian kings. We offer a detailed analysis of the morphological and architectural components that have been documented in this defensive settlement in the light of archaeological research, and that provide the main foundations for the infographic reconstruction. In the second part of the article (Section 3), we analyse the specific sources of historical and archaeological information that support the reconstruction and serve as a reference for it. The historical-archaeological sources used for the representation, for example, of the walls and the palaeoenvironmental environment, are detailed. Likewise, we comment on the process of discussion of the different hypotheses that, finally, lead to the presented result. It is important to note that without this discussion process it is not possible to produce a sound and solid proposal over time. In the third part (Section 4), we show the result of the virtual reconstruction with a series of images. To obtain the virtual reconstruction presented in this article, the Blender Geographic Information System (GIS) addon has been used, which allows us to have a digital terrain model (DTM) on our 3D desktop easily so that we can begin to carry out the work from it. The archaeological planimetries were arranged on it and, based on all this information, the modelling process began. In the first place, basic modelling of volumes was carried out that served to raise the first sketches and, on them, to continue discussing the reconstructive hypotheses. Little by little the geometry of the virtual reconstruction was detailed and the castle took shape. The next step was to carry out texturing in a photorealistic way, for which it was decided to use Substance Painter software. We continued with the texturing and addition of details of the surrounding terrain using particle systems, which has been one of the most complex phases to carry out given the level of realism that we set ourselves as a goal. Later, other types of minor details were added: objects, characters and animals, which help to better understand the context. Finally, the final renderings are carried out and their post-processing is developed in Adobe Photoshop, for which matte painting techniques were used that merge 3D images with photographs and digital drawing. Our interest was to carry out scientific graphic work, for which we have emphasized the importance of using the scale depicting historical/archaeological evidence for virtual reconstructions, a tool that allows us to ensure the principles of authenticity and scientific transparency of any virtual reconstruction (Aparicio et al., 2016). In this case, thanks to this tool, it is clear that the highest level of evidence is found in the castle itself excavated in the acropolis, while the town and the surrounding palisade clearly show a lower level of evidence. We hope that subsequent excavations in this area will allow us to review the reconstruction and thus also reflect a higher level of evidence in this area. We believe that the work presented here constitutes a good example of the use of virtual scientific reconstruction for the development and consolidation of new hypotheses not only reconstructive but also interpretive of an archaeological site. Furthermore, the result presented here demonstrates the power of this graphic resource for the dissemination of historical-archaeological knowledge, a fundamental objective when carrying out any scientific work. Highlights: • Reconstrucción infográfica de una de las principales fortificaciones del reino de Asturias (s. VIII-X), a partir de la evidencia material documentada en las campañas de excavación arqueológica realizadas en el yacimiento. • Desarrollo de hipótesis reconstructivas de arquitectura militar altomedieval arruinada mediante la interpretación de vestigios arqueológicos aplicando un enfoque multidisciplinar. • Ejemplo de uso de la escala de evidencia histórico-arqueológica y de las unidades reconstructivas (UR) como instrumentos que permiten garantizar los principios de autenticidad y transparencia científica.

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Complutum is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Las excavaciones arqueológicas que, desde 2014, se realizan en el yacimiento de Valeria (Cuenca, España) han exhumado los restos de un edificio termal edificado a comienzos del siglo I d. C. El estado de conservación es excepcionalmente bueno, contando con un alzado murario que llega a superar los 3 m. Esta circunstancia se debe a que el área en el que se encuentra ubicado el edificio fue abandonada a finales del siglo III d. C. y sus estructuras arquitectónicas no fueron objeto de un expolio de los materiales constructivos. Las intervenciones han documentado dos ambientes diferentes: un ambiente occidental, el frigidarium o sala fría, y un ambiente oriental pavimentado con mosaico geométrico polícromo. El frigidarium, excavado prácticamente e su totalidad, cuenta, en el lado occidental, con una natatio o piscina cubierta con una serie de escalones o asientos adosados en los flancos septentrional y meridional. La excavación de esta estancia ha proporcionado cerca de un millar de piezas marmóreas de distintas tipologías y procedencias que formaban parte tanto del enlosado como de los revestimientos parietales, así como abundantes restos de mosaicos y pinturas murales que ponen de manifiesto la riqueza decorativa de este ambiente. La presencia de vanos acristalados también se ha podido comprobar debido a la recuperación de numerosos fragmentos de cristal, algunos de ellos todavía emplomados. Gracias a estos resultados, se propone una reconstrucción virtual del frigidarium, contando como datos de base con las conclusiones derivadas del estudio de los elementos conservados in situ y de aquellos otros recuperados en un contexto arqueológico controlado. Para la realización de la recreación se han utilizado texturas, tonalidades y motivos decorativos tomados de los restos arqueológicos. Highlights: • Desde 2014, las campañas de excavación arqueológica han sacado a la luz los restos de un complejo termal de carácter público y con una arquitectura monumental. • El estado de conservación de las estructuras arquitectónicas y de los elementos decorativos es excelente, al no haber sufrido acciones de expolio significativas en épocas posteriores a su abandono. • Hasta el momento se han excavado, en un 80%, dos de sus ambientes fríos, constatándose la conservación de buena parte de sus pavimentos originales y recuperándose una gran cantidad de elementos decorativos

There have been very few studies explaining the theoretica l basis on the importance of visible cultural heritage. This study provides the philosophical background of this topic based on a phenomenological point of view andexplains the significant impact on social members’ cognition. The case of Ru, one of the traditional Korean building types, is introduced as a representative example; how its concept has been defined, changed, and forgotten in Korean culture. The importance of having a correct understanding of how cognition is composed of different types of experiences of cultural heritage is further explained. In this context, the importance of semantic mode and pictorial mode classified by Husserl is argued as the most powerful medium in human cognition based on phenomenological analysis. In this respect, the important role of Virtual Reality (VR) was highlighted. Considering the pace of recent technology and researches, breaking the barrier between experiencing the physical object and the VR may be a matter of time. Phenomenological classification of cultural heritage, which was designed for explaining all the types of cultural heritage, is introduced. The importance of developing a valid VR model and its role in cultural studies is emphasized via the phenomenological classification of cultural heritage. Finally, the balance of the inductive and deductive approach in a cultural study is suggested for more prolific and balanced achievements. Highlights: • This article provides the philosophical background of the importance of visible cultural heritage based on the phenomenological point of view. • Significant impact on social members’ cognition of the visible cultural heritage is discussed in the case of the traditional Korean building. • In this respect, the important role of Virtual Reality technology is highlighted.

En los últimos años, la fotogrametría se ha ido incorporando en el trabajo arqueológico no sólo por sus ventajas técnicas, sino también para reemplazar métodos mucho más costosos. El objetivo del presente trabajo es demostrar la utilidad de los modelos 3D realizados a partir de la fotogrametría digital como material de referencia para análisis arqueofaunísticos. Particularmente, realizamos modelos 3D de cuatro elementos de un camélido (Lama glama) con el propósito de presentar las ventajas de los modelos 3D en contraposición a las guías osteológicas (2D) usualmente utilizadas para la determinación anatómica y sistemática de los especímenes. En este trabajo se generaron los modelos virtuales 3D a partir de la solución fotogramétrica y de visión por computador structure from motion multi-view stereo (SfM-MVS), la cual permite establecer la ubicación espacial (X,Y,Z) de puntos registrados en las imágenes. Un avance significativo en la técnica fue el uso de algoritmos que permiten un flujo de trabajo semiautomático para la producción del modelo 3D. Por otra parte, se seleccionaron a modo de ejemplo cinco especímenes arqueológicos fragmentarios de camélidos para comparar los modelos 3D realizados con los atlas 2D de camélidos usualmente utilizados. Los resultados 3D obtenidos han demostrado ser más eficientes que los métodos de documentación tradicional 2D. La incorporación de la nueva tecnología SfM-MVS puede aportar mejores resultados en la medida que produce información integral del elemento óseo con gran precisión geométrica y detalle, y no solo fotografías o dibujos desde diferentes ángulos. La posibilidad de contar con diversas vistas en el modelo 3D nos facilitó la determinación de los especímenes arqueológicos. Lo más destacado: • Se presenta una evaluación de la utilidad de modelos fotogramétricos de elementos óseos como material de referencia para el análisis arqueofaunístico. • La técnica fotogramétrica SfM permite obtener una adecuada reproducción de la geometría y morfología de los elementos óseos. • Los modelos 3D presentan una amplia ventaja en contraposición a las guías osteológicas (2D) tradicionalmente utilizadas para la determinación anatómica y sistemática de los especímenes.

Extended Abstract: The objective of this paper is to show the virtual archaeology as one of the methodologies applicated in the research line “Archaeology of the military orders” developed for some years by the University of Castilla-La Mancha in collaboration with the Fundación Castillo de la Estrella. The military orders are very important institutions for the study of the Middle Ages in the Iberian Peninsula. Because of that, there is a rich literature which approaches many aspects of these institutions: their origins and evolution; organisation; economic dimension; social reality... In contrast, the studies which have focused on the heritage linked to these orders have not had the same degree of development. This lack has motivated the creation of this important research line, where several specialists from different disciplines such as history, archaeology, architecture or restoration try to focus on the research of the military orders heritage, mainly in the region of Castilla-La Mancha. Thus, our research line is based on an interdisciplinary methodology, combining traditional practice with new technologies, like the virtual archaeology, which is described as the “using computer-based visualisation for the comprehensive management of archaeological heritage” (Principios de Sevilla, 2012). Virtual archaeology as a research methodology There are several applications for the virtual archaeology, but we could summarize them in three: research, conservation and restoration, and communication. In this paper, we focused on the first of them. We have worked with virtual archaeology in several cases such as the Castle of La Estrella (Montiel, Ciudad Real), the fortress and priory of Uclés (Uclés, Cuenca) or the hospital of Santiago of Alarcón (Alarcón, Cuenca), and we can say that this methodology has contributed to progress in the knowledge of all the elements which have been recreated. In the creation process of a virtual model, it is necessary to collect all information and data as are possible of the element on which we work. In this process, a lot of questions about several aspects appears, and we must try to find responses. In this way, we discover things which probably never would have been approached without this process. Furthermore, the virtual archaeology is an excellent method to sketch and discuss different hypothesis. It is a visual language with whom the specialists could show their ideas as support of the traditional text formats or other graphics sources as photos or plans. Workflow Our workflow is similar toot her projects of virtual archaeology. Before to start to work, is important to think about the objective of the model. For example, there are a lot of differences between a simple model to sketch the possible spatial disposition of a building in the research discussion, and a recreation to show to the public. Then, we can start to work in a process which can be summarized in these steps: • Compilation of all the documents, information and data as are possible about the element to recreate. • Discussion about several aspects of the model as the plan, materials, constructive technics, decoration, landscape, etc. Is interesting to use sketches or drawings before starting to work in the 3D model. • Design of the 3D model starting with the general aspects as the spatial disposition of the different elements, its size or the main details, and after that, work with the specific elements, decorations or contextual items (in recreations). • Texturize the different objects of the model. It is important to work with the correct materials. In this way, we try to use the real textures of the archaeological elements when we have them. • Integrate the model in a correct context: topography, landscape, people and animals, furniture, etc. These aspects will be present with a different degree of detail depending on the objective of the virtual model. • The last step is the creation of various sources as images, videos, interactive application, etc • To preserve the scientific transparency is important to show the degree of evidence of the different elements of the model. An option is to use a colour scale like the one which has been developed by Aparicio & Figueiredo (2016) which reflects the origin of the data and the degree of historical and archaeological evidence that we have. It is important to point out that the discussion between the specialists must be present in all these steps. Conclusions The virtual archaeology is a growing methodology in the heritage management sphere. As a communication tool, it is an excellent language to show ideas to the general and the specialised public. But this has many possibilities in other fields such as conservation and restoration, and research. As with any other methodology, it is necessary to create scientific criteria and rules for it use, a process which has already started with the creation of the Seville Principles. Now, is the turn of the researches and heritage specialists to do a correct use of this tool and develop its multiple possibilities.

We present three case studies illustrating the virtual reproduction of caves that belong to the most important artistic ensemble of the Paleolithic from Bizkaia (Spain): Benta Laperra, Askondo and Lumentxa. The complex morphology of the cavities, the fineness of their engravings and the poor definition of their paintings imply technical difficulties to achieve faithful reproduction of their geometry and appearance. The methodology applied in these caves, based on a combination of photogrammetric and surveying techniques, allows the creation of a complete virtual replica, without shadow zones and a detailed reproduction of their engravings and paintings. At the same time, this replica has given rise to a type of technical documentation that very faithfully and objectively facilitates the analysis and interpretation of the cave. On the one hand, series of longitudinal and transverse sections have been generated, extracting information of the cut profile and the projection of the surfaces through orthoimages of elevation-section with a level of resolution of 2 mm per pixel, equivalent to a scale of representation 1/10. In addition, the georeferencing of the caves has allowed the research team to generate cartography of elevations of floor and ceiling by means of contour lines and to overlap the cartography of the National Geographic Institute (IGN) to measure the distance that separates the ceiling of the cave from the external surface. It can be used to detect critical points that must be taken into account in case of possible actions in forestry or infrastructure projects. Finally, these virtual replicas allow the dissemination of a wealth in detail, through new interactive methods of visualization and virtual reality. In conclusion, the presented methodology means an advance with respect to the existing techniques thus providing solutions for both technical and informative applications.

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3D virtual reconstruction of cultural heritage is a useful tool to reach many goals: the accurate documentation of our tangible cultural legacy, the determination of mechanical alteration on the assets, or the mere shape acquisition prior to restoration and/or reconstruction works, etc. Among these goals, when planning and managing tourism enhancement of heritage sites, it demands setting up specific instruments and tools to guarantee both, the site conservation and the visitors’ satisfaction. Archaeological sites are physical witnesses of the past and an open window to research works and scientific discoveries, but usually, the major structures do no exist nowadays, and the general public takes long time and many efforts to elaborate a mental reconstruction of the volumetry and appearance from these remains. This mental reconstruction is essential to build up a storyline that communicates efficiently the archaeological and historic knowledge and awares the public about its conservation. To develop this process of awareness about conservation, heritage interpretation starts with the mental inmersion of the visitors in the archaeological site, what 3D reconstruction definitely helps to achieve. Different technologies exist nowadays for the3D reconstruction of assets, but when dealing with archaeological sites, the data acquisition requires alternative approaches to be used, as most part of the assets do not exist nowadays. In this work, we will deal with the virtual reconstruction and visualisation of the archaeological site Castellet de Bernabé by following a mixed approach (surveying techniques and archaeological research). We further give a methodology to process and merge the real and virtual data in order to create augmented views of the site.

La reconstrucción virtual de la torre almenara de San García se enmarca dentro de las actuaciones para crear en Gibraltar el Centro de Interpretación de la Re- serva de la Biosfera Intercontinental del Mediterráneo “Estrecho de Gibraltar”, un proyecto llevado a cabo por la empresa Geasense. Actualmente sólo se conserva parte de la cimentación de esta torre defensiva por lo que la reconstrucción vir- tual de la misma tuvo que ser realizada en base a paralelos bien documentados a lo largo de la costa sur de nuestra Península. Este proyecto ha permitido mostrar cómo pudo ser en el pasado la torre, cuál fue su función y su valor patrimonial para las gentes de la Bahía de Algeciras.

En la actualidad la Arqueología Virtual se está constituyendo como disciplina pro- pia, como una parte de la arqueología que reclama identidad dado su potencial e importancia. Para ello, resulta fundamental establecer mecanismos de estandari- zación metodológica que permitan a los investigadores y profesionales aplicar el método científico-social y permitir, de este modo, el avance de esta disciplina. La escala de evidencia histórico-arqueológica para las reconstrucciones virtuales se desvela como una de estas herramientas, con gran potencialidad en el ámbito de la investigación en arqueología virtual pero, también, en el ámbito de la difusión del patrimonio.

Desde que, en el año 2011, el proyecto Forvm MMX comenzase a desarrollar su trabajo en el yacimiento ibero-romano de Cástulo, (Linares, Jaén), siempre ha apostado por el uso y aplicación de nuevas tecnologías, empleando un innovador sistema de registro telemático (Imilké) al que se añade el desarrollo de las aplica- ciones posibilitadas por el modelado 3D durante las fases sucesivas del proceso de excavación y el estudio de materiales. Este último conforma el objetivo princi- pal del presente artículo. Mediante las técnicas de fotogrametría, el desarrollo de modelos tridimensio- nales de cada estrato queda integrado en el sistema permitiendo su acceso de forma virtual, gracias al uso de un SIG. Mientras, las piezas tienen un recorrido por las diferentes etapas que componen el proyecto: conservación, catalogación, modelado, difusión pública y usos didácticos. En el texto desarrollamos este tra- bajo mediante dos ejemplos concretos, ambos de época romana, seleccionados a partir de las necesidades y aplicaciones empleadas durante la conservación y catalogación. Se crea así un equipo interdisciplinar que, desde diferentes ámbitos, ofrece re- sultados abiertos de modo virtual a otros investigadores y/o docentes interesados en el análisis global de toda la documentación generada durante la excavación arqueológica.

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)