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Highlights: • This study proposes the practical utility of an immersive Virtual Reality (VR) experience for the dissemination and study of Palaeolithic Rock Art. • Thanks to a series of multidisciplinary studies, a virtual reconstruction of the archaeological context of an area with rock art has been achieved. • The Palaeolithic lighting systems documented in Atxurra cave have been virtually recreated, allowing real-time interaction through VR. Abstract: The Upper Palaeolithic period (ca. 45000 - 12000 BP) was the time when figurative art chiefly produced by Homo sapiens emerged and developed. The Upper Palaeolithic rock art entails a multisensory experience that goes beyond depicted images observation: it includes aspects related to the cognitive development of human mind, the spatial dimensions, the type of rock surface, artificial lighting, and challenges of navigating the underground environment. Traditionally, the study of Palaeolithic art in caves has focused on paintings and illustrated subjects' graphic analysis. However, a recent shift in methodological focus has favoured a comprehensive and interdisciplinary study of rock art. This new perspective has allowed the investigation of surrounding elements that significantly influence the art and its interpretation. Combining this with new digital technologies, it is now possible to reconstruct Palaeolithic artistic creation and contemplation environments with precision, offering researchers an immersive and interactive experience through virtual reality (VR). The two documented Palaeolithic lighting systems in the sector J “Ledge of the Horses” have been virtually recreated. The lighting simulation parameters are based on those obtained from an anthracological study of the charcoal remains found in the cave and the subsequent experimental program. The study included analysing both three-dimensional (3D) models of the cave, obtained through photogrammetry and laser scanning, and the lighting systems in the graphics engine ©Unreal Engine 5; this allowed the researchers to create an interactive VR environment that faithfully reflects the current state of scientific knowledge about the cavity. Using VR is a substantial methodological advancement, regarding both knowledge transmission and the creation of more robust and coherent archaeological interpretations through sensory perception and historical empathy. This approach has been applied to the main decorated sector of the Atxurra Cave (Basque Country, Spain), a space containing dozens of engraved and painted representations, and surface archaeological material, subjected to a comprehensive multidisciplinary study.

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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.)

Megalithism in Sardinia (Italy) had its highest expression during the Bronze Age with the creation of monumental complexes known as Nuraghes. These unique monuments have recently been the subject of in-depth investigations for their potential to be recognized as World Heritage Sites (by UNESCO). The main purpose of our research was to make a contribution to obtain a more in-depth characterization of these monuments by testing a 3D model of a complex Nuraghe, integrated with an analysis of the geolithological context. This work first focused on the geological and typological investigation of the materials used in its construction, which was then compared with the geolithological characteristics of the region. A survey of the outcropping remains was carried out by means of Structure-from-Motion Multi-View Stereo (SfM-MVS) photogrammetry with UAV ground and aerial acquisition using APS-C photo sensors, georeferenced with an RTK-GNSS ground survey. The level of accuracy of our digital models shows the potential of the proposed method, giving accurate and geometrically consistent 3D reconstructions in terms of georeferencing error, shape and surface. The survey method allows for the virtualization of the current state of conservation of the Nuraghe, giving a solid basis to set up further (future) archaeological excavations and to contribute to knowledge on the architecture of the structures. This study also provides useful information on the nature and origin of the construction materials and proposes a hypothesis on the original dimensions of the monument, which is often a topic of debate in the world of archaeology. [ABSTRACT FROM AUTHOR]

This paper deals with the study of construction and geometry, as well as with the analysis of deformations and active degradations of the natatio belonging to the Western Baths in La Alcudia archaeological site. Its location in Elche-Alicante, Spain (Colonia Iulia Ilici Augusta), is widely known for the discovery of The Lady of Elche in 1897. The dimensions of this natatio in the frigidarium are 6.60 x 9.30 m (22 x 31 Roman feet) and 1.50 m deep, making it one of the largest Roman swimming pools documented to date on the Iberian Peninsula. The natatio has several cracks sealed with materials used in earlier interventions at the end of the third century. Its comparison with the hypothetical original form allowed the researchers to quantify the current deformations. A damage evolution study has been made comparing the 2016 point cloud with the 2022 cloud, both obtained by light detection and ranging (LIDAR). There is evidence that an active process of degradation and deformation is gradually increasing damage to the pool. By studying the geometry and constructive systems of the natatio, relevant data to understand the historical evolution of the Western Baths have been provided. A results analysis conclusion is that the pool was built in two different stages. The eastern half corresponds to the original natatio, while the western half was extended or rebuilt after having collapsed. The early abandonment of the use of the natatio was most likely due to deformations caused by differential settlement; this occurred when the western half was cemented on landfill between the ancient wall and that of the last third of the 1st century AD.

The paper discusses using three-dimensional (3D) models in archaeological research and their combination for four-dimensional (4D) visualisation. The acquisition of 3D models during an archaeological excavation provides high-accuracy records of sites, entire find situations, and individual archaeological features or finds, allowing for their further exploration, study, and analysis at any time. When combined with GIS, 3D models can allow spatial and volumetric analyses, revealing site formation processes. With time as an additional dimension, their combination can also allow site reconstruction and spatio-temporal analysis, providing a perspective on the diachronic evolution of the site. Such use, in the sense of 4D visualisation, can markedly enhance the interpretation of archaeological data. The case study focuses on the multi-layered Upper Paleolithic site of Milovice IV in the Pavlov Hills region of South Moravia, Czech Republic, where 3D data recording was incorporated into the excavation processes. The paper evaluates the effectiveness of 4D mosaics delivered by merging separate 3D models. It turns out that 4D site-scale mosaics, obtained by merging separate models, encounter certain obstacles and are unsuitable for detailed visualisation and interpretation. Conversely, small-(excavation squares)-scale 4D mosaics can more vividly demonstrate the diachronic development of a site, the spatio-temporal relationships between artefacts, and the fieldwork workflow. It is also apparent that the 2D presentation of 4D models has limitations, and thus, other forms of presentation, kept within the virtual space, could better utilise all the benefits of spatiotemporal visualisations. [ABSTRACT FROM AUTHOR]

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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.)

The cist tombs necropolis at Castillejos de Luna, in Sierra de Gibralmora-Sierra del Hacho (Pizarra, Málaga, Spain) was known from the graphic documentation and the grave goods of two tombs. New studies have documented nine burials. The aim of this article is to present the new virtualisation work that has been carried out in the necropolis, to generate a new three-dimensional (3D) documentation of the currently known records, which are in acceptable visibility conditions. Using tools to document tombs in 3D offers us great advances in data acquisition and editing, with great precision and realism, thanks to the 3D models generated through techniques such as photogrammetry or laser scanning. Thanks to these tools, it is possible to carry out studies on digital twins and use them as informative material for society. The study this paper describes has generated high quality products for dissemination and future analysis. The results shown here are of metric character, with orientation and geographical location of the structures. In addition, in one of the tombs the authors show the combination of photogrammetric techniques with laser scanners to obtain a single high-resolution 3D model; subsequently a retopology process is carried out to achieve a "light" model with a photorealistic appearance that is both easily manipulated on mobile devices for its dissemination and a guarantee that the general public can enjoy this necropolis in a different way. The preliminary results are published in the web repository of 3D models Sketchfab, where the users can see a preview of one of the tombs before and after being optimised with retopology through Blender. The authors provide a socio-historical analysis of Bronze Age necropolises in central Andalusia, within the framework of a debate on the western expansion of the El Argar Culture.

The poliorcetic of the twentieth century was characterized by the use of ephemeral trenches. The transformations caused by agricultural use or urbanization erased the evidence and structures of the combat zones. In the case of the conflict landscapes of the Spanish Civil War, it must be added that the disinterest of the administrations increased the degradation of the archaeological sites. The interest of citizens in the battlefields of the 20th century has increased, and the demand for products and content has led to an increase in academic production and in the interest in cultural industries and tourism. The interpretation of the combat spaces requires the design of elements of didactic intermediation that make accessible to users the knowledge available about said spaces. In this context, virtual archaeology becomes a powerful instrument to recreate and make visible places and situations of conflict. But the didactic virtual recreation of a battlefield requires numerous prerequisites: keeping in mind the archaeological record, the historical documentation, the testimonies of the population, and direct fieldwork in conflict areas. The present work focuses on the virtual 3D reconstruction of the Fatarella Ridge battlefield (14–15 November 1938), where one of the toughest battles of the Battle of the Ebro took place.

Copyright of Archaeologies is the property of Springer Nature 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.)

Highlights: • The combination of biomechanical analysis and open-access Kinovea software enables the study of musculoskeletal and articular wear of experimentally reproduced tasks. • The repeated use of the right arm during indirect percussion and abrasion in lithic production could increase the changes in bone robusticity of specific muscle attachments observed in the osteoarchaeological record. • Motion ranges and postural angles analysis can generate more accurate representations of "virtual humans" in their archaeological context. Abstract: Understanding the physical impact of ancient labours has become an important experimental bioarchaeology area. Complex motion capture systems and digital tools have been used in biomechanical analysis during the reproduction of manual tasks. However, these systems are costly, so the researchers have explored alternative digital solutions. Therefore, the open-access Kinovea software was checked to confirm its reliability in characterizing the physical loads associated with particular works of ancient times. In this case study, the authors have analyzed the central postural angles and muscle chains involved in the indigenous manufacturing process of rotary stone mills, in the high mountains of Tenerife. The study included a virtual motion capture analysis carried out during the different phases of the experimental reproduction of this process; it was defined from the archaeological record of the quarries-workshops of Las Cañadas del Teide National Park (Canary Islands, Spain) volcanic millstones. The results of this study have demonstrated the software's effectiveness to virtually analyze the significant differences in posture between work techniques, observing a predominance of the use of m. biceps brachii, the m. brachioradialis, and the elbow joint during the manufacture of stone mills. On the other hand, Kinovea also has excellent potential in virtual archaeology, giving users tools to generate the average postural angles. As a result, building "virtual skeletons" in more precise work postures has been possible. This may serve as the base element to create complete body representations in virtual environments.

Three-dimensional digital acquisition techniques can be useful in archaeology because they make a further technological contribution to the visualization of finds and structures. The possibility of integrating three-dimensional models from different acquisition systems (laser scanner, UAV, reflex and Georadar) is even more exciting. One of the peculiarities of these integration techniques is the possibility of promoting the dissemination of knowledge through virtual reality, augmented reality and mixed reality, given the widespread use of mobile devices. This does not mean, of course, that with the mere creation of a 3D model (and allowing it to be viewed in 3D), the public automatically obtains more information about heritage. In fact, visiting a cultural heritage site in person allows one to receive much more information on finds and structures. However, if this is not possible, technologies that use 3D Virtual Reality help to provide a small knowledge base to those who cannot use the museum. We underline the importance of an integrated visualization from an archaeological and architectural perspective to obtain understanding of the structure with the integration of the two models with different data. The work that we present is part of a multidisciplinary project to recover and disseminate information about the Reggio Calabria’s (southern Italy) artistic, archaeological and cultural heritage. This work’s goal is the realization of a unique 3D model of the church “Madonna dei Poveri” (3D model of a buried part with 3D model of visible parts) by combining different geomatics techniques to show and investigate the interior and exterior parts (3D model obtained by laser scanner and photogrammetry), and the underground crypts (3D model obtained by Georadar), which are lying below the present surface and are no longer accessible due to coverage by post-depositional processes (Georadar). Finally, an app (using augmented reality and virtual reality) and a first experimentation of Mixed Reality is developed for the dissemination of the archaeological and cultural heritage information on the area of interest.

Copyright of Journal for Protection of Monuments / Varstvo Spomenikov is the property of Institute for the Protection of Cultural Heritage of Slovenia 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 Thiasos is the property of Edizioni Quasar di Severino Tognon s.r.l. 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.)

El Fuerte de la Trinitat, construido a mediados del siglo XVI, es un extraordinario ejemplo de arquitectura militar europea de mediados del siglo XVI, concebido como una máquina de artillería, y con la misión de proteger el puerto natural de Roses (Girona, España). La fortificación tuvo dilatado historial bélico que terminó durante la Guerra de la Independencia (1808-1814), convirtiéndose en un montón de ruinas. En 2002, el ayuntamiento de Roses planificó una ambiciosa intervención arquitectónica para recuperar la fortificación. Las obras restauraron la volumetría exterior en su conjunto, con materiales de construcción actuales. Los grandes espacios interiores resultantes de la intervención tenían poco en común con las estructuras originales. A partir de 2016, se inició el proyecto de museografía con el objetivo de abrir el fuerte al público. La estrategia se centró en la realización de un 3D, utilizado para planificar propuestas las museográficas y hacer comprensible un espacio interior, que presentaba un aspecto muy distante al de la construcción original. Se procedió a la realización de un laborioso trabajo de campo, analizando las fuentes y los restos estructurales que se conservaban, y aventurando las posibles soluciones arquitectónicas que en su día tuvo la fortaleza. A partir de las evidencias y las hipótesis se procedió a realizar una reconstrucción de arqueología virtual y se desarrolló una iconografía didáctica para explicar el fuerte a un público visitante de amplio espectro, y a estudiantes de enseñanza reglada. La museografía comenzó a implementarse entre los años 2019 y 2021. Teniendo en cuenta variables y necesidades comprensivas de los usuarios y visitantes la propuesta de arqueología virtual se planteó a partir de criterios realistas, basándose en el 3D, en las texturas y en los colores. El factor humano y mueble se incorpora a partir de técnicas matte painting con el apoyo de grupos de recreación histórica.

Three-dimensional digital acquisition techniques can be useful in archaeology because they make a further technological contribution to the visualization of finds and structures. The possibility of integrating three-dimensional models from different acquisition systems (laser scanner, UAV, reflex and Georadar) is even more exciting. One of the peculiarities of these integration techniques is the possibility of promoting the dissemination of knowledge through virtual reality, augmented reality and mixed reality, given the widespread use of mobile devices. This does not mean, of course, that with the mere creation of a 3D model (and allowing it to be viewed in 3D), the public automatically obtains more information about heritage. In fact, visiting a cultural heritage site in person allows one to receive much more information on finds and structures. However, if this is not possible, technologies that use 3D Virtual Reality help to provide a small knowledge base to those who cannot use the museum. We underline the importance of an integrated visualization from an archaeological and architectural perspective to obtain understanding of the structure with the integration of the two models with different data. The work that we present is part of a multidisciplinary project to recover and disseminate information about the Reggio Calabria's (southern Italy) artistic, archaeological and cultural heritage. This work's goal is the realization of a unique 3D model of the church "Madonna dei Poveri" (3D model of a buried part with 3D model of visible parts) by combining different geomatics techniques to show and investigate the interior and exterior parts (3D model obtained by laser scanner and photogrammetry), and the underground crypts (3D model obtained by Georadar), which are lying below the present surface and are no longer accessible due to coverage by post-depositional processes (Georadar). Finally, an app (using augmented reality and virtual reality) and a first experimentation of Mixed Reality is developed for the dissemination of the archaeological and cultural heritage information on the area of interest. [ABSTRACT FROM AUTHOR]

The accurate graphic survey of an archaeological site is fundamental for its analysis and research. Furthermore, if this site is to be covered by a building and will not be accessible or visible, its documentation is essential, not only to continue with the research, but also to disseminate and enhance the discoveries. An example of this is the "Hoya de los Molinos" archaeological site in Caravaca de la Cruz (Region of Murcia, Spain). This is where the first mark of the wheel of a Roman vertical watermill in the Iberian Peninsula has been found. This fact is crucial because remains of Roman vertical-wheeled watermills have been found across the Mediterranean but not in the Iberian Peninsula. Moreover, the fact that this watermill still has all its structural elements makes this archaeological site in Caravaca de la Cruz very interesting. Due to these facts, it is essential to disseminate this discovery, so that it can be recognized and considered as archaeological and cultural heritage. To that end, the researchers have carried out a three-dimensional (3D) reconstruction of the most characteristic elements, such as the vertical wheel, the gears that allowed grinding the grain, and the building protecting them. A virtual recreation was carried out, based on the historical and building research, which is displayed in an explanatory video. Furthermore, two reproductions were created: one made to scale of the archaeological site with a 3D printer and another one of the hypothetical structure of the Roman watermill. To achieve this result, historians, archaeologists and engineers have collaborated, thus enabling not only its adequate dissemination, but also its accurate documentation, in an inclusive manner. Thanks to all the work that this paper describes, the Roman watermill found in Caravaca de la Cruz can be known, studied and assessed. Highlights: • The first Roman watermill in the Iberian Peninsula has been found with all its structural elements, from the imprints left in the stone by the wheel. • Virtual reconstruction of the first vertical wheel watermill discovered in Hispania has been made. • An animated video of the hydraulic watermill gears performance has been created for documentation and dissemination.

The development of digital technologies and the use of advanced photogrammetry programs for modeling archaeological excavations and sites have opened new possibilities for spatial analysis in archaeology and the reconstruction of archaeological contexts. In addition, these tools allow us to visually preserve the features of archaeological sites for future use and facilitate the dissemination of archaeological heritage to local communities and the general public. This paper summarizes 3D photographic visualization of three cave art sites (Los Cayucos and Cueva No. 1 in Punta del Este, Cuba, and José María Cave in the Dominican Republic) and two burial spaces (Canímar Abajo and Playa del Mango, Cuba) using photogrammetry software. The application of these novel methods at the cave art sites allowed us to visualize faint pictographs that were invisible to the naked eye, to better define the shapes of petroglyphs and to reconstruct the position of lost/removed panels. At the burial sites, 3D modeling allowed us to register the archaeological context with greater precision. The use of 3D modeling will improve spatial analysis and data safeguarding in Cuban archaeology. Moreover, 3D movies are an effective way to disseminate knowledge and connect local communities with their cultural heritage, while reducing the impact of public visits to remote or endangered sites.

The e-Archeo project, commissioned from ALES S.p.A.by the Ministry of Culture (MIC), aims to valorise the multimedia experience of eight Italian archaeological sites. This paper discusses the University of Verona’s contribution to this project, which focuses on the virtual reconstruction of two Roman villas located in Sirmione and Desenzano (Lombardy). This paper outlines the 3D survey methodologies and scientific back-end approach using Extended Matrix. The architectural and decorative reconstruction process for each site is elucidated, providing a comprehensive understanding of the process followed. Furthermore, the University developed a narrative to accompany virtual visits. One of the main project outputs was e-Archeo 3d, a virtual reality web app that allows remote and on-site use.

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.)

Thanks to recent technological developments in 3D surveys, computer graphics and virtual reality, new scenarios have been opened for the documentation and enhancement of ancient sculptures. When not totally preserved, sculptures can be digitally reproduced, modified and visualized to simulate their physical or virtual reconstruction in a non-invasive way for specialists or for dissemination aims. The virtual sculptural reconstruction process starts usually from the 3D survey of real fragments, and then continues by integrating missing parts with 3D modelling techniques by means of source evaluation. Along with primary data sources (reality-based model), secondary data sources (photos, drawings and 3D models of similar sculptures) can be directly used in the reconstruction process. This approach has a double advantage of making the reconstruction activities easier and less arbitrary, contributing to a decrease in the degree of uncertainty for the sculptural reconstruction work, also thanks to many iconographic comparisons to ancient copies. Moreover, virtual reconstruction can be easily visualized alongside a scalable rendering system using open-source Web3D apps and platforms, accessing information, 3D models and descriptions in order to enhance the experience of artworks. Inspecting theoretical and technical approaches, this work aims at establishing how primary and secondary data sources can be effectively used in sculptural reconstruction workflows, and how 3D outputs can be applied to implement digital sculptural heritage exploitation for museums and cultural institutions. The statues of Aesculapius and Hygeia from the sanctuary of Isis in Lilybaeum (Marsala, Italy) were chosen as a case study. [ABSTRACT FROM AUTHOR]

Rising sea levels, along with other biological and human factors, have increased erosion rates at a number of important sites located along the Atlantic coastline. Project GaltFish implemented a series of contingency measures to record some of these sites before they degraded further or totally disappeared. This process involved detailed photogrammetric recording of some of the sites under threat over a set period of time. One of the sites selected for this project was Sobreira (Vigo, Galicia): a Roman fish-salting factory which was partially destroyed by building activity in the 1980s and the remains of which are under threat from marine erosion and human action. In order to study the site, two photogrammetric models were created to examine the effect of erosive processes across the course of one year. The results illustrate that photogrammetry is an efficient tool for recording and analysing the issue of erosion. The data compiled helped in designing additional action in the factory, which was subject to a rescue excavation to record and help protect the site from further damage. This paper presents the results of this project, as well as the methodology used to produce the models, the data generated and their analysis. It is argued that the methodology can be used to collect and analyse data from other sites, and that this data could inform the political/administrative decision-making processes which concern the future management and preservation of archaeological sites under threat. [ABSTRACT FROM AUTHOR]

Copyright of Archeologia Medievale: Cultura Materiale, Insediamenti, Territorio is the property of All'Insegna del Giglio s.a.s. 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.)

The Portes Mordelaises, remnants of the medieval city walls of Rennes, France, has been the subject of several archaeological excavations until 2017. From these excavations, we created a three-dimensional (3D) model of the site reconstructed as it would have appeared during the 15th century, including the surrounding plus the interiors of its famed towers. Once our efforts and results were officially recognised as being of national interest by the French Ministry of Culture and Communication, Department of Heritage and the National Museum Service of France, we presented our virtual model reconstruction in an exhibition curated by the Museum of Bretagne, entitled "Rennes, les vies d'une ville" (Rennes, the Lives of a City). This approach to 3D reconstruction of the site served to further study Rennes’ origins, its construction, organisation, as well as its historic relationship to surrounding territories. The main objective of this work was to investigate, using of a significant and complex archaeological site as proof of concept, how the digitalisation of an existing structure, the modelling of its hypothetical structures, and the interactions with its virtual spaces enabled the general public to provide critical feedback, and enhance archaeological knowledge and evaluation of such sites. This reconstruction was carried out under a West Digital Conservatory of Archaeological Heritage project, whose mission is to support and advise archaeologists in the production and exploration of 3D archaeological datasets using the latest digitisation, modelling, and virtual reality (VR) techniques. Through a complex but repeatable process, using the valuable data provided by various excavations, in addition to new information provided by the 3D digitalisation itself, we produced a 3D model, fully satisfactory to rigorous scientific standards, which was then incorporated into a VR space ready for diffusion to the general public. Furthermore, the fact that 45850 visitors were welcome to experience our 3D model at an exhibition in a city the size of Rennes proved to be a significant success.

Cultural and built heritage is nowadays recognized as a value not only in the socio-cultural field but also as an important economic driver. However, this non-renewable resource is more and more threatened by both external and internal factors and only by raising awareness on the vulnerability of cultural heritage we can lead to a real involvement of citizen to heritage site protection. In this sense, Virtual Museums (VMs), and more in general virtual technologies, can have a primary role to attract tourists and citizens. Indeed, VMs by presenting cultural concepts by using amusing and engaging techniques may reach younger generations in an easier way. In this paper, the specific case of the San Clemente archaeological site (Albenga, Italy) is addressed. Being the site in the riverbed of the Centa, it undergoes frequent flooding events causing continuously new damages to the archaeological site. The development of a virtual logbook of the site is presented along with the pre-processing steps that are necessary for the preparation of the published material. The logbook is addressed on one side to professionals (i.e. archaeologists and practitioners in cultural heritage) with the main aim of providing a tool for quick damage assessment. On the other side, a mobile app is on development for tourists and citizens allowing virtual exportation of the site and providing informative contents about it. Highlights: • Virtual museums and virtual environments are fundamental tools to raise awareness about the vulnerability of archaeological sites. • This paper presents the development of a virtual logbook, that can be used by experts and tourists, for the archaeological site of San Clemente (Albenga). • Integration of data coming from different sources is rendered into a web environment that can be easily accessed from both desktop and mobile devices.

This paper describes developments in virtual archaeology that started in a research project about the possible astronomical entrance orientation of Neolithic circular ditch systems (German Kreisgrabenanlagen, KGA) of Lower Austria. Starting from data analysis in a Geographical Information System (GIS), we will cover a simple way of modelling, and discuss three ways of visualisation for the combination of landscape and human-made buildings together with celestial objects. The first way involves extensions to the modelling program SketchUp to bring in just enough astronomical data for scientific evaluation. The second introduces a set of extensions to the open-source desktop planetarium program Stellarium, which can meanwhile be used to load a standard 3D model format to allow detailed research in astronomical orientation patterns, and light-and-shadow interaction over many millennia, even for researchers less familiar with astronomical programming. The third presents a “serious gaming” approach, which can provide the most natural view of the landscape, but requires at least some, if not deep, familiarity with astronomical and 3D computer graphics programming and, therefore, due to this considerably larger effort, appears to be mostly useful for outreach of high-profile results to the public. The entrances to the KGA of Lower Austria turned out to be mostly oriented following a purely terrestrial pattern of up- and downward sloping terrain, but with one noteworthy exception. Highlights: • Virtual archaeology can help to better understand archaeological remains embedded in the landscape. Occasionally, the “landscape” concept must be extended to include the celestial landscape. • Open-source development allowed the combination of a desktop planetarium with 3D landscape and architecture visualisation. Also, datable changes in the landscape can meanwhile be simulated. • Astronomical elements added to a game engine can also be used to faithfully provide important insights while providing the most appealing visualisation environments so far, but with considerably more effort.

Umm ar-Rasas is a Jordan archaeological site, located 30 km southeast of the city of Madaba, in the northern part of Wadi Mujib. It preserves findings dating back the period from the end of 3rd to the 9th century AD and, since 2004, it belongs to the world heritage list of UNESCO. In 2015 a multidisciplinary work was undertaken over the archaeological site, mainly focusing on the Church of Saint Stephen, with the main purpose of enhancing the knowledge and documenting the conservation state of the polychrome mosaic floor, which covers the entire surface of the hall and presbytery. A huge amount of data has been collected, coming from archaeological and historical investigations, geophysics and geodetic inspections and geomatics surveying, which produced also a true orthophoto of the mosaic floor. Data has been organized in a geo-database, facilitating the exchange of information between different actors. Moreover, the management of data within a dedicated Geographic Information System (GIS), has allowed in-depth analysis for understanding the evolution of the iconographic repertoire that, over the centuries, has undergone several disfigurements due to the iconoclastic age. The knowledge of the mosaic has also been vital for the implementation of multimedia applications and for the creation of virtual experiences, in which the information can be conveyed and visualized directly on the virtual reconstruction of the whole archaeological site. The innovation of the proposed work, is therefore in the management of a data flow that can be exploited by different actors through different platforms: experts, thanks to the use of GIS, and visitors with the use of multimedia applications (such as Augmented Reality (AR) or highresolution web visualization) for dissemination purposes, in order to preserve this priceless mankind heritage. Highlights: • Definition of a complete pipeline ranging from data acquisition to visualization in multi-channel multimedia applications. • Management of heterogeneous data in Geographic Information Systems (GIS) and their exploitation in Augmented and Virtual Reality (AR/VR). • GIS applied to the archaeological domain for expert and non-expert users.

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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.)

The goal of this project was to scan and reverse engineer one of three bronze cannons (41MG86 - 11900-1) recovered from the La Belle excavation, which is currently on exhibit at the Bullock Texas State History Museum in Austin, Texas. A freeform computer aided design (CAD) model was generated based upon the topology of the three-dimensional (3-D) mesh in Geomagic Design X with a desired maximum deviation of 0.1 mm between the model and the mesh. Deviations were calculated in Geomagic Control X using the surface model as the reference data, and the mesh as the measured data. A custom patch network was subsequently designed using a series of iterative revisions until the whole of the surface model met with the specified tolerance. The 3-D surface model of the cannon will be replicated in a variety of media at variable scales for use in exhibits and for educational and promotional material for the Texas Historical Commission, the Republic of France, and their partner museums. [ABSTRACT FROM AUTHOR]

This article is framed into the theoretical and methodological background of virtual archaeology. The advantages of virtual archaeology and its weak points have long been discussed in academia, formulating theoretical foundations and principles to be followed in order to guarantee scientific results, where data are traceable, transparent and verifiable. Gathering the inheritance of the last 30 years of debates and research, this work proposes implementing these principles through the formulation of a methodological approach, to virtual reconstruction of archaeological contexts, consisting of an application protocol articulated in five steps. In particular, the proposed methodology is grounded in the Extended Matrix (EM), a formal language and tools entirely developed and tested by the Virtual Heritage lab of the CNR ISPC. The EM takes its cue from the Matrix of Harris and adapts its system to the specific needs arising in the fields of virtual reconstruction and scientific visualisation. This protocol, which ranges from fieldwork to the publication of scientific data, has been tested and systematised in over ten years of activity on various complex and significant archaeological contexts. In the article, each methodological step is supported by case studies described in detail and accompanied by a graphic apparatus that clearly illustrates the results obtained. These case studies led to the definition of version 1.2 of the EM as described in the methods section. [ABSTRACT FROM AUTHOR]