The Development of Virtual Museums - Case Study Example

The Relevance of 3D Techniques in the Creation of Interactive Virtual Museums Name: Institution: The Relevance of 3D Techniques in the Creation of Interactive Virtual Museums Introduction Multimedia products and information such as 3D models are stored in different databases have been considered as crucial in the preservation of different forms of information that is relevant to the society in terms of their historical relevance and the creative designs that characterize different works of art (Aitken et al, 2005). The development of a 3D virtual environment is therefore an essential approach through which the society can provides some of m of sustainable mechanism of providing the relevant context to isolated pieces of information. The role of museum is currently shifting from an institution that is responsible for the collection and storage of historical data to a place where guest can experience their heritage and those of other in a more engaging environment (Tolva, 2006). The main objective of this report is to provide an in-depth analysis of the ways through which 3D can be used in enhancing the operations of museums in the 21st century. The role of media technologies in enhancing the development of virtual museums Technological developments in different discipline related to the media have the responsibility of improving on the means through which human beings can interact with different elements in the society. Technology is therefore a medium through which the representation of heritage can be extended to all aspects of digital technology in the museums (Aitken et al, 2005). These technologies such as the creation of 3D virtual environments possess the potential of providing a better way of understating different aspects related to history and heritage. This is because 3D technology provides a technique of contextualizing artifacts in museum in relation to the time and space in ways that embrace other forms of media elements (Tolva, 2006). For example, while using 3D approach to the development of a virtual environment in the museums, it is possible to reconstruct photographs and other artistic aspects in ways that are aligned to the situation when the perceived event or person existed (Aitken et al, 2005). This means that the use of 3D technology in the creation of virtual environment in the context of museums generates more relevance to the visitors considering that it has the capacity of providing a semi-realistic representation of d dimensional objects. This makes 3D technology a suitable mechanism in providing the most relevant context to isolated pieces of information or objects when they are displayed in their respective cabinets (Tolva, 2006). From this perspective it is possible to argue that 3D technology is a form of revolution to the museums industry. This is because it has the ability of providing visitors with the most accurate and relevant creation of a historical happening irrespective of the period it happened or how fragile the elements may be in relation to the historical context (Tolva, 2006). In addition, the creation of a virtual museum facilitates the development of larger facilities that possess more resources for the digitalization process (Aitken et al, 2005). This is because 3D technology provides a platform for different historical artifacts to be traced and understood in relation to the expectation of the visitors and the ability of the designers to embrace accuracy in terms of the dates of any historical event (Tolva, 2006). The process of developing 3D virtual museums requires the incorporation of additional media and technological elements. In terms of computer graphics, it will is often necessary to embrace aspects such as photogrammetry, modeling, visualization, run-time engines, scanning, user interface and other forms of technology that must be equally embraced to ensure the development of an all-inclusive 3D virtual environment (Tolva, 2006). In addition, the data exchange format is also important since it is a way of ensuring that that the digital sources are adequately integrated in ways that generate an expected final experience (Aitken et al, 2005). For this experience to be realized it is often important to involve the different aspects of technological and media production expertise which emphasizes on efficiency and high levels of transparency to facilitate the development of a process aimed at the creation of an engaging technique of presenting historical information (Ch’ng et al, 2004). It is therefore important for media production to embrace state of the art technological approach in the creation of 3D virtual museums. This will include the use of a computer controlled step-by-step technique to ensure that the lighting aspect, the use of relevant images and high levels of expertise are directed towards the generation of the expected images. This will be made possible by embracing different camera angles and lighting approaches in the production process (Ch’ng et al, 2004). Literature review The digitalization of museums There are different aspects that comprise museum artifacts. They may include books, statues, paintings, different art works and documents among other artifacts. These artifacts are made of different materials in different forms, sizes and shapes (Calori et al, 2003). The process of developing a 3D virtual environment requires the consideration of different 3D elements that define cultural heritage such as the terrain, the architectural design, plants and animals, virtual avatars, sound and videos (Ch’ng et al, 2004). The consideration of these elements is essential to ensure that the historical context of the object is portrayed with the possibility of high levels of accuracy. In addition, for effective and more accurate production process to be realized it will be important to adopt different techniques that can be used in capturing objects in a museum. These techniques include 3D laser scanning, photogrammetry and modeling (Calori et al, 2003). Photogrammetry The main objective of photogrammetry is to ensure that the process of reconstructing any 3D object follow a sequence characterized by geometry and color calibration of images. this is inclusive of shaping different elements in the form of silhouettes, according to Hernandez- Esteban and Schmitt (2003) photogrammetry is only possible in situations where different aspects related to the process of photography and geometry are embraced to produce a images that are reflective of the artifact from a 3 dimensional perspective. While agreeing with these sentiments, Martines et al (2000) asserts that the accuracy of photogrammetry can only be realized when the process is supported by an accurate turntable, a digital camera, a professional lighting systems and an efficient personal computer which will be used in synchronizing and editing the acquired images in accordance with the requirements of the artifact. The role of the computer is also to ensure a step by step control of the turntable as it rotates (Berndt et al, 2005a). This will ensure that all the dimensions of the image are captured in accordance with the requirements. The lighting system is essential in the production of the image since it provides different shades of light to facilitate the digital camera with varieties of angles to capture the image (Calori et al, 2003). The sequences adopted in the production of a 3 dimensional image are dependent on the complicity of the object. A color chart image is often introduced to ensure that the image acquired is in accordance with the colors of the actual image (Berndt et al, 2005b). One way through which an accurate extraction of an object can be realized is through the use of silhouettes. This is often relatively complex considering that it is only possible when the process of calibrating the image allows the acquisition of a high resolution image characterized by a highly controlled geometric approach (Berndt et al, 2005a). One the most appropriate image has been acquired through the calibration process; it is them possible to begin the process of reconstructing a 3D model of the object in relation to the color and the texture of the actual object (Ch’ng et al, 2004). 3D laser scanning This is often considered as a relatively expensive approach of digitizing an object. This is because it involves a plethora of camera shots on the target object while altering resolutions of the camera and adjusting other elements such as the turntable to meet the demand of the image (Tolva, 2006). The process of reconstruction often requires the incorporation of software’s such as Mesh Lab, which is a system used in editing, cleaning, rendering and covering unstructured 3D triangular meshes (Berndt et al, 2005a). One unique aspect concerning the use of 3D laser technology is in its ability to examine the resulting image in terms of its roughness, shape and surface. The outcome is a high resolution image that is considered as a replica of the actual object. One of the shortcomings of this approach to the development of a 3D virtual environment is that it cannot capture detail of the paint in terms of the strokes of brush especially in old paintings (Calori et al, 2003). . Modeling This approach to the creation of a virtual world involves the use of 3D polygonal representations of the objects. These polygonal representations can be constructed by hand or through an algorithmic approach, which is inclusive of the generation of a procedural approach to modeling. Modeling is an artistic approach that is often used in situations where different media enlists is not effective in the production of the perceived image (Berndt et al, 2005b). Conducting research on 3D modeling of museum artifacts Martha, The Last Passenger Pigeon is one of the most treasured extinct birds at the Smithsonian Institution, Washington, DC. The bird which was one of the most abundant birds in North America became extinct due to human activities bad the changing environmental conditions. The making of this Last Passenger Pigeon would be an instrumental to the museum and to those interested in the conservation of iconic but extinct bird species. Photogrammetry would be the best approach to use in the development of the 3D due to less sophistication involved in the geometry and photographic activities that characterize this approach to the making of 3D objects. It would be possible to evaluate the authenticity of a 3D image of the last pigeon in relation to its relevance in communicating the necessary information. This would also be proved through the development of structured questions which would be asked to the visitors on matters related to their experiences and interactions with the 3D version of the Last Pigeon. Their ability to interact and connect to the object will be important in determining the role of historical artifacts in communicating the expected information in relation to history. The questions asked to the visitors on their experiences will also be essential in determining the ability of the audience to connect with the artifact and the messages that they derived form their interactions. The thought of their experiences will also provide information concerning the areas of improvement that can be made to ensure that the objects severs its intended purpose and satisfies the desires of the visitors. For adequate observation of the visitor’s reactions to the 3D objects it will also be important to engage cameras within the museum in recording details concerning the comments of the visitors and their non-verbal expressions. These comments are considered genuine since they are not answers to the questions that are to be asked to the visitors. In addition, the recoding of customers will minimize the possibility of bias especially when the visitors are engaged in discussions on matters related to the object. In addition, through the camera recordings, non-verbal communication such as facial expression and body language would be essential in facilitating the process of understanding the reactions of the visitors. These reactions can be used in helping the study in understanding the ability of the visitors to perceive the object in reality. Their reactions will also be determining the possibility of embracing advance methodologies of presentation. The main aim of using a 3D image of the Last pigeon will be to assess the validity of this form of presentation in ensuring that information is readily available to the interested parties. In addition, through this study it will be relatively easier to assess the reactions of the visitors to determine the best approach and techniques that can be used in the development of different 3D objects in galleries in ways that may be appealing to the interest of parties. Data collected for this process would then be analyzed and interested in accordance to the objectives of the research. Through such an analysis it will be easier to assess areas of improvement and the best possible approach that can be used in ensuring effective use of 3D objects. The results of this study will be applicable in different techniques considering that the interests of visitors in different cultures vary. Conclusion The domain of cultural heritage is characterized by limited access to the artifacts and this makes the creation of digital representations relatively precarious. It is however important that the content that already exists should be intergrate into an effective means of presentation to minimize the possibility of additional loss of essential artifacts. Through tis repost information and communication technology was highlighted as a more effective media approach in the representation of heritage. References Aitken, G., Lahanier, C., Pillay, R., and Pitzalis, D. (2005). Eros: An open source database for museum conservation restoration. In 14Th Triennial Meeting ICOMCC, The Hague, Netherlands. Berndt, R., Fellner, D., and Havemann, S. (2005a). Generative 3d models: a key to more information within less bandwidth at higher quality. In Web3D. Berndt, R., Gerth, B., Havemann, S., and Fellner, D. (2005b). 3d modeling for non-expert users with the castle construction kit. In 6th International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Pisa, Italy. Ch’ng, E., Stone, R. J., and Arvanitis, T. N. (2004). The shotton river and mesolithic dwellings: Recreating the past from geo-seismic data sources. In 5th International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Brussels, Belgium. Hernandez-Esteban, C. and Schmitt, F. (2003). Silhouette and stereo fusion for a 3d object modelling. In 4th International Conference on 3D Digital Imaging and Modelling, Banff, Canada. Martinez, K., Cupitt, J., and Perry, S. (2000). Object browsing using the internet imaging protocol. In Computer Networks and ISDN Systems. Tolva, J. (2006). Towards a participatory cultural environment: The evolution of virtual representation in the humanities. In 7th International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Nicosia, Cyprus. Read More