in J. Bonetto, D. Francisi, S. Mazzocchin (eds.), Gortina IX.2 Il teatro del Pythion. Scavi e ricerche 2001-2013, Monografie della Scuola Archeologica di Atene e delle Missioni Italiane in Oriente, XXVIII, 2019
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paper presents a new methodology that helps to produce more accurate architectural reconstructions of
monuments. The virtual acoustics analysis of the Roman theatre of Gortyna, at Kazinedes, highlighted that the
test of the acoustics’ quality is essential to validate hypothetical reconstructions. Therefore, it can be helpful to
correctly interpret the architectural structure of buildings where acoustics is a fundamental aspect.
Resumen: La correcta interpretación de los monumentos perdidos es algo realmente anhelado desde un punto de vista arqueológico, pero difícil de obtener en la mayoría de los casos. Desde hace unos años la Arqueología Virtual y el modelado 3D se consideran instrumentos válidos para facilitar la comprensión de los escenarios antiguos, permitiendo investigar aspectos diferentes del pasado. En este artículo se presenta una nueva metodología para conseguir una elevada fiabilidad en la reconstrucción de los elementos arquitectónicos del gran teatro Romano de Gortina, en Creta, por medio del análisis de la visibilidad en 3D. Palabras clave: análisis de visibilidad en 3D, modelado 3D, Arqueología virtual, teatro Romano, Gortina, Creta.
significance of the ancient city of Gortyn, capital of the Roman
province of Crete since 67 AD till the end of the supremacy of the
Roman Empire, around the VII century. Still a number of
monumental buildings, of which archaeological remains are less
majestic, have to be well studied and understood. Among others,
it is the large Roman theatre built on the South-East slope of
the acropolis. The area is currently inspected through
archaeological excavations, under the Ephorate of Prehistoric
and Classical Antiquities of the Municipality of Herakleion. The
visible remains of the theatre are still quite few but information
about it is available thanks to many different sources: plans,
descriptions and geophysical surveys. A careful analysis of these
documents allow us to make various hypotheses about the
original structure of the theatre that will be shown through the
3D reconstruction of the monument. With the help of the
visualization tool it will be possible to identify which hypothesis
represents better the original aspect of the theatre . The aim of
this paper is to manifest the way that meaningful results can be
drawn through the combination of traditional instruments with
new technologies and methods, and to underline the power of
visualization for the comprehension of archaeological context.
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The topics addressed in the document are meant to help to ensure the development of standardized good practices relating to the production, the handling, the long-term conservation and the reuse of 3D objects. Therefore, even if the focus is put on technical questions (formats, processing, and annotation), the White Paper also identifies the need to clarify the legal status of 3D objects, in order to facilitate their reuse(s) in non-research contexts, in particular in Museums
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There are three research questions. The first one is: what do we know about the architecture of the Roman theatres of Crete? All the available documents (ancient plans, descriptions, archaeological reports, aerial pictures, geophysical anomalies) related to the twelve Roman theatres of Crete have been examined. It has been discovered that there are several lacunae about these monuments, above all due to their bad state of preservation, and that an overall study about the Roman theatres of Crete is missing. So, the second question has arisen: In which way we can obtain information about the architecture of monuments that are scarcely preserved? A new methodology has been developed consisting in the use of 3D models of the hypothetical reconstructions of the original aspect of the theatres, 3D visibility analysis and virtual acoustics analysis. It has been demonstrated as 3D models are useful to carry out analyses and then to obtain additional info, and that the 3D visibility analysis and the virtual acoustics analysis can produce interesting results useful to formulate or to verify hypothesis about the architecture of the theatres. The interpretation of the results obtained from the afore mentioned methodology, applied to seven of the Roman theatres of Crete (Aptera, Hersonissos, Gortyna acropolis, Gortyna Pythion, Gortyna Kazinedes, Koufonissi and Lissos), has brought to new conclusions: the Roman theatres of Crete seem to have preserved some characteristics belonging to the architecture of the Greek theatre. Then, a new question has been formulated: How to spread the information obtained through the accurate examination of the monuments and how to valorize the Roman theatres of Crete? Two different solutions has been thought, one dedicated in particular to the specialists and another one addressed to the general public. The first solution is a web database containing all the information about the Roman theatres of Crete, including the acoustics values of the parameters examined; it is possible to filter the results according to the name of the theatres, to the name of the scholars who documented it, and according to the architectural data. The second solution is a VR application for head-mounted display, where the user is virtually transported inside each theatre; he/she can choose a seat and listen to the auralised files as if he is attending an ancient performance, and he can interact with several icons in order to have information about the theatres. These two solutions intend to facilitate and improve the study of the Roman theatres, and to bring the general public closer to Cultural Heritage.
paper presents a new methodology that helps to produce more accurate architectural reconstructions of
monuments. The virtual acoustics analysis of the Roman theatre of Gortyna, at Kazinedes, highlighted that the
test of the acoustics’ quality is essential to validate hypothetical reconstructions. Therefore, it can be helpful to
correctly interpret the architectural structure of buildings where acoustics is a fundamental aspect.
Resumen: La correcta interpretación de los monumentos perdidos es algo realmente anhelado desde un punto de vista arqueológico, pero difícil de obtener en la mayoría de los casos. Desde hace unos años la Arqueología Virtual y el modelado 3D se consideran instrumentos válidos para facilitar la comprensión de los escenarios antiguos, permitiendo investigar aspectos diferentes del pasado. En este artículo se presenta una nueva metodología para conseguir una elevada fiabilidad en la reconstrucción de los elementos arquitectónicos del gran teatro Romano de Gortina, en Creta, por medio del análisis de la visibilidad en 3D. Palabras clave: análisis de visibilidad en 3D, modelado 3D, Arqueología virtual, teatro Romano, Gortina, Creta.
significance of the ancient city of Gortyn, capital of the Roman
province of Crete since 67 AD till the end of the supremacy of the
Roman Empire, around the VII century. Still a number of
monumental buildings, of which archaeological remains are less
majestic, have to be well studied and understood. Among others,
it is the large Roman theatre built on the South-East slope of
the acropolis. The area is currently inspected through
archaeological excavations, under the Ephorate of Prehistoric
and Classical Antiquities of the Municipality of Herakleion. The
visible remains of the theatre are still quite few but information
about it is available thanks to many different sources: plans,
descriptions and geophysical surveys. A careful analysis of these
documents allow us to make various hypotheses about the
original structure of the theatre that will be shown through the
3D reconstruction of the monument. With the help of the
visualization tool it will be possible to identify which hypothesis
represents better the original aspect of the theatre . The aim of
this paper is to manifest the way that meaningful results can be
drawn through the combination of traditional instruments with
new technologies and methods, and to underline the power of
visualization for the comprehension of archaeological context.
The topics addressed in the document are meant to help to ensure the development of standardized good practices relating to the production, the handling, the long-term conservation and the reuse of 3D objects. Therefore, even if the focus is put on technical questions (formats, processing, and annotation), the White Paper also identifies the need to clarify the legal status of 3D objects, in order to facilitate their reuse(s) in non-research contexts, in particular in Museums
There are three research questions. The first one is: what do we know about the architecture of the Roman theatres of Crete? All the available documents (ancient plans, descriptions, archaeological reports, aerial pictures, geophysical anomalies) related to the twelve Roman theatres of Crete have been examined. It has been discovered that there are several lacunae about these monuments, above all due to their bad state of preservation, and that an overall study about the Roman theatres of Crete is missing. So, the second question has arisen: In which way we can obtain information about the architecture of monuments that are scarcely preserved? A new methodology has been developed consisting in the use of 3D models of the hypothetical reconstructions of the original aspect of the theatres, 3D visibility analysis and virtual acoustics analysis. It has been demonstrated as 3D models are useful to carry out analyses and then to obtain additional info, and that the 3D visibility analysis and the virtual acoustics analysis can produce interesting results useful to formulate or to verify hypothesis about the architecture of the theatres. The interpretation of the results obtained from the afore mentioned methodology, applied to seven of the Roman theatres of Crete (Aptera, Hersonissos, Gortyna acropolis, Gortyna Pythion, Gortyna Kazinedes, Koufonissi and Lissos), has brought to new conclusions: the Roman theatres of Crete seem to have preserved some characteristics belonging to the architecture of the Greek theatre. Then, a new question has been formulated: How to spread the information obtained through the accurate examination of the monuments and how to valorize the Roman theatres of Crete? Two different solutions has been thought, one dedicated in particular to the specialists and another one addressed to the general public. The first solution is a web database containing all the information about the Roman theatres of Crete, including the acoustics values of the parameters examined; it is possible to filter the results according to the name of the theatres, to the name of the scholars who documented it, and according to the architectural data. The second solution is a VR application for head-mounted display, where the user is virtually transported inside each theatre; he/she can choose a seat and listen to the auralised files as if he is attending an ancient performance, and he can interact with several icons in order to have information about the theatres. These two solutions intend to facilitate and improve the study of the Roman theatres, and to bring the general public closer to Cultural Heritage.
25th February, 2021
Organiser Angela Bellia
Moderator Alfonsina Pagano
How might using computational methods for processing the 3D models allow for a more accurate analysis of surfaces, volumes, internal structures, and density of materials of ancient instruments? How might these methods enable a non-invasive study of the instruments’ measurements and morphology, overcoming the limitations posed by their fragility?
These are the topics of the webinar From the Digitalisation to the Virtual Reconstruction and Sound Simulation of Ancient Musical Instruments: Methods, Results, Perspectives, which will take place on Thursday, 25th February. This webinar aims to discuss how digital technologies based on 3D modelling and sound simulation can expand our knowledge of ancient musical instruments. As it has emerged from the STESICHOROS project – which has been funded by the European Commission’s Marie Skłodowska-Curie Actions programme –, studies on 3D virtual reconstructions and sound simulations can help us in defining novel approaches and methodologies not only for the “active preservation” of musical instruments, but also in enriching our understanding of ancient music and musical cultural heritage.
Although reconstructions cannot tell us unequivocally how ancient users and audiences perceived the sounds of these instruments, they offer the chance to break through the time barrier by reviving sound emissions. By combining optical metrology with computational analysis, some of the subjective observations on ancient instruments can be substituted by measurable parameters, opening up new perspectives for the study of sounds and the artisan production process of ancient instruments.
Moreover, the webinar aims to explore the ancient sonic interactions and the spatial configuration of sanctuaries and theatres in their respective landscapes and environment in order to investigate the use of auralisation technology in the archaeological field, as well as experimental interpretative 3D reconstruction integrating acoustic models.
These topics will be addressed through the contributions of scholars working in various fields, including: archaeology, archaeomusicology, information engineering, interactive museums, musical heritage, physics, and virtual heritage.
STESICHOROS project: https://cordis.europa.eu/project/id/792058/it
Marie Skłodowska-Curie Actions: https://ec.europa.eu/research/mariecurieactions/node_en