Please reference as: [Author(s)-of-paper] (2015) [Title-of-paper] in Maragiannis, A. (Eds.) Final Paper /Proceedings of the Digital Research in the Humanities and Arts Conference, DRHA2014, London. DRHA2014 Conference Digital Research in the Humanities and Arts Theme: Communication Futures: Connecting interdisciplinary design practices in arts/culture, academia and the creative industries Hosted at: 31 August – 3 September 2014 www.drha2014.co.uk Proceedings/ Full Papers of DRHA2014 ISBN: 978-1-326-38858-4 Edited by: Anastasios Maragiannis Copyright © 2015 Author All rights reserved. Book designed by Say-Yes-Studio.com All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, including photocopying, recording or other electronic or mechanical methods, without the prior written permission of the author/s, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law. For permission requests, write to the editor, information on the website [www.drha2014.co.uk]. Disclaimer: The views expressed in this publication are of the author(s) and do not necessarily reflect the views of the DRHA Organisation or University of Greenwich, except where explicitly stated as such. Copyright of the publication stays with the editor(s) and copyright of individual papers stays with the author(s). The editor(s) have used their best efforts in preparing this publication. However, the editor(s) make no representation or warranty with respect to the accuracy, or completeness of the contents of this publication and specifically disclaim any implied warranties or fitness for a particular use. All of the information supplied on this publication is published without warranty and the reader must satisfy themselves to it's suitability for use. ISBN: 978-1-326-38858-4 Printed in Europe 3 Theme Communication Futures: Connecting interdisciplinary design practices in arts/culture, academia and the creative industries Human beings, as users, have always been obsessed with finding new ways of communicating through various techniques and technologies. The rapid technological changes that have occurred during the last two decades have allowed us – the users – to communicate through various social media platforms, providing us with more easily, faster and more frequently ways of communicating. However, there are always concerns about other impacts those technologies might have on the communication processes. The aim of the conference is to facilitate conversations on Design and collaborations between - Digital Arts and Humanities, - Creative Industries, -Digital Libraries and Archives, with an emphasis on communication futures and there impact to historical, theoretical, knowledge-transfer research processes. For the first time the DRHA conference would like to support and bring together the Academic environment with that of the Creative industries under a conference that will affect the current interdisciplinary creative practices. About DRHA For over 11 years DRHA: Digital Research in the Humanities and Arts (Previously named: Digital Resources in Humanities and the Arts) continues to be a key gathering for all those are influenced by the digitization of cultural activity, recourses and heritage in the UK. A series of annual conferences whose goal is to bring together the creators, users, distributors, and custodians of digital research and resources in the arts, design and humanities to explore the capture, archiving and communication of complex and creative research processes. This includes: Scholars, teachers, artists, publishers, librarians, curators or archivists who all wish to extend and develop access and preservation regarding digitized information rendered from contemporary culture and scholarship; the information scientist seeking to apply new scientific and technical developments to the creation, exploitation and management of digital resources. DRHA provides intellectual and physical space for cross-disciplinary discussion and the generation of new ideas, resulting in many new networks and productive research relationships. The DRHA conference started at Dartington, and it was a development from the DRH conference series, which began at Oxford in 1997. Every year the conference is moving to a different Academic Institution, which supports and successfully run the conference. This book contains DRHA2014 selected peer reviewed proceedings / full papers. Anastasios Maragiannis Convenor and Programme Chair DRHA 2014 University of Greenwich, London, UK The DRHA2014 conference London UK, gratefully acknowledges: - The Department of Creative Professions and Digital Arts, University of Greenwich, for hosting the conference in the historical centre of Maritime Greenwich and in the Old Royal Naval College. Also all members of Admin staff, technician and students for their dedicated support, especially Lauren Tubridy, Ilaria Longo, Moronke Bali and Stacey Pitsilides, Lecturer in Design, Co-programme Chair. - DRHA organisation Chair: Professor Susan Broadhurst Anastasios Maragiannis, University of Greenwich, Deputy Chair DRHA Organisation - The DRHA Standing Committee: Dr Olu Taiwo, University of Winchester, Deputy Chair of DRHA Organisation Christopher Pressler, Dublin City University, Deputy Chair, Libraries and Cultural Heritage Dr Maria Chatzichristodoulou, University of Hull, Secretary of DRHA Organisation Ghislaine Boddington Body, Data, Space Organisation Dr Hugh Denard Trinity College Dublin Prof Steve Dixon LASALLE College of the Arts, Singapore David McCormick University of Winchester Dr Daniel Ploeger Central School of Speech and Drama Dr Franziska Schroeder Queen’s University Belfast - DRHA2014 Local Committee - Convenor- Programme Chair: Anastasios Maragiannis, Academic Portfolio Leader, Senior Lecturer in Design - Assistant Convenor: Stacey Pitsillides, Lecturer in Design - Executive Conference Administrators: Lauren Tubridy - Members: Prof of Digital Creativity, Gregory Sporton, HoD Creative Professions & Digital Arts David Waterworth, Senior Lecturer, Curator of University of Greenwich Galleries James Hobbs, Senior Lecturer, Artist in Residence Emmanouil Kanellos, Senior Lecturer in Design Dr Chris Brown, Senior Lecturer in Film Dr Gauti Sigthorsson, Senior Lecturer in Media Studies Nickie Hirst, Senior Lead in Creative Enterprise and Design Dr Alev Adil, Principle Lecturer, Artist in Residence 5 Index 1. Potential uses of NFC enabled mobile apps within UK tourist attractions pg. 9 2. Computational methods for matching records pg. 17 3. “Cut me to pieces” Shakespeare, fandom, and the fractured narrative pg. 25 4.Spatially-Organised Virtual Narratives of Contested Urban Space: Methods of mapping the Spatial Experience of Shared Heritage pg. 33 5. Com-Note: Designing a composer’s notebook for collaborative music composition pg. 41 6. Lighting the Lit luminosity as protagonist in mediated performance pg. 49 7. TuneGraph, an online visual tool for exploring melodic similarity pg. 55 8. Locast as a Tool in Education: Mapping Moby-Dick in a Literature Class pg. 67 9. Explicit and Implicit Narratives in the Co-Design of VideogamesMapping Moby-Dick in a Literature Class pg. 73 10. Networks of care, or how in the future museums will no longer be the sole caretakers of art pg. 81 11. Visualizing Texts A design practice approach to humanities data pg. 87 12. Communication Design in the Information Age An Algorithmic Approach pg. 95 13. Structuring online learning collectivities pg. 103 14. Spatial Humanities Moving Beyond the Dot on a Map pg. 111 15. Collaborative Research through Design A Case Study in Mobile Augmented Reality pg. 119 16. Case Notes: Turning crowdsourced information into evidence trails for collection metadata pg. 125 17. Engaging Museum Audiences in a Performance Way pg. 131 18. Use of creative tools, technologies, processes and practices in the sectors of Art, Media, and Architecture: State-of-the-Art and desired future scenarios pg. 137 19. Technological cognitive embodiment and the digital ‘other’ pg. 145 20. A Sonic Art Book Little Red Riding Hood’ pg. 153 22. Subjective Epistemologies: Inconsistent Artefacts in the Redesign of Medical Devices pg. 159 23. Body-movement-interaction: perception in interactive audio-visual installations pg. 165 7 Spatially-Organized Virtual Narratives of Contested Urban Space: Methods of Mapping the Spatial Experience of Shared Heritage Dr Georgios Artopoulos Dr Nikolas Bakirtzis The Cyprus Institute 20 Konstantinou Kavafi Str. Aglantzia Nicosia, 2121 Cyprus The Cyprus Institute 20 Konstantinou Kavafi Str. Aglantzia Nicosia, 2121 Cyprus g.artopoulos@cyi.ac.cy n.bakirtzis@cyi.ac.cy Dr Sorin Hermon The Cyprus Institute 20 Konstantinou Kavafi Str. Aglantzia Nicosia, 2121 Cyprus s.hermon@cyi.ac.cy Abstract— The paper presents theoretical considerations and practical knowledge of the development of hybrid digital environments that stage urban narratives to facilitate the study of the role of cultural heritage monuments in the daily experience of historic cities. The proposed research framework is implemented in the on-going study of the Green Line of Nicosia in Cyprus that still divides the city, and contributes to the analysis of the use of public spaces in contested urban environments. Keywords— Storytelling and design of digital cultural heritage; Architectural History; Virtual and Physical Spaces; Collaborative environments; Divided Cities; Contested Spaces. I. INTRODUCTION The daily experience of historic urban environments remains an ideal context to probe questions of urban identity. The broader Eastern Mediterranean basin preserves significant examples of cities whose continuous history and inhabitation can be traced all the way back to Antiquity. Specifically, the capital city of Cyprus Nicosia is considered amongst the most contested urban environments in the globe featuring a rich stratigraphy of past historical layers and perplexing present-day realities [1]. This paper offers a methodology for the crossdisciplinary study of complex urban realities with the use of advanced technologies that can support the formulation of realtime virtual environments that spatially document user behaviour in and around monuments of cultural heritage. The presented methodology focuses on knowledge sharing and communicating experience. They are based on interdisciplinary collaborations between heritage, archaeology, architecture, urban studies and simulated environments. The paper suggests a new experience-centred method of siteexplorations that facilitates data collection of mis-appropriated territories and challenged historical sites. II. REAL AND VIRTUAL NARRATIVES OF CONTESTED URBAN SPACE The past decades have witnessed a continuously increasing trans-regional movement from the countryside to urban centers. This development is expected to further fragment large metropolitan areas with contemporary or historic territorial, social and cultural divisions, thus resulting to further gentrification and decomposition of their territorial cohesion [2]. In this context, historic cities at the crossroads of cultural activity or at national borders, like Jerusalem, Mostar, Berlin, Belfast and Nicosia, which operate as interface areas, demonstrate important transformations of public space [3]. This dynamic character of these territories offers a particularly intriguing framework to analyze and map the relation between identity, collective memory and spatial experience. Although this relation has been addressed extensively in scholarship in the past, advanced technologies can offer vast new possibilities for interdisciplinary research. Monuments of cultural heritage can be a catalyst in redefining the spatial experience of historic cities for citizens and outsiders alike, cf. [4]. The case of historic Nicosia [5], which is the primary example for this research, provides an urban reality that is not only physically divided between Greek and Turkish Cypriots (Fig. 1), but also fragmented in its preservation and development [6]. Different from studies that focus on the politics of division, this research starts with the impact this enforced separation of the urban terrain has had on the experience and understanding of the city. Shared space and resources in multicultural environments are considered as some of the most dynamic constituting elements of the spatial experience of the contemporary city. In these complex urban realities monuments can play the role of “cultural lighthouses” – that is condensers that punctuate flows of movement and trigger social interaction and engagement with history. Chapters in the long, layered history of these monuments can be used as stages of the ever-transforming urban terrain that transformations of the built environment provoke changes in the perception of social and cultural identity. Distinct from the socio-political discussion of the destruction of landmarks and monuments for retaliation and erasure of the “other’s” presence from a place, this research focuses on the everyday use and spatial recognition of heritage by citizens and visitors alike. In this context, choosing, or learning to ignore, particular sites, is a political act that forms a selective understanding of shared histories. Fig. 1. Aerial view of the historic centre of Nicosia and its medieval fortifications (the location of the Paphos gate is highlighted in red). unhide critical moments in the palimpsest of the city’s history, cf. [7]. The presented research focuses not on the contested borderline separating the city but on the relationship that citizens and visitors establish with it. The city’s division can also be invisible, expressed in the way different communities occupy the public space, incorporeal language barriers, political or religious identities, etc. It is thus clear that although the topography of a borderline (i.e., its physical presence) can be ephemeral, the topology of separation (i.e., spatial configuration and the apparent relations between distributed enclaves of occupation) can last longer and may be permanent. The theoretical aspirations of the presented research focus on how users understand their physical body location in relation to the border and what does the border mean to them in terms of their everyday use of public space. Historical actions like accumulative building of auxiliary structures, change of use, transformation enforced by cultural, political or religious reasons, rehabilitation, or partial demolition of cultural monuments and parts of a historic city, produce a different, unplanned image of space. These The case of Nicosia, whose historic core remains enclosed behind the iconic 16th century Venetian fortifications, offers an instructive example of this selective process. Following the 1960’s hostilities between Greek and Turkish Cypriots and the consolidation of the physical division of the city after 1974, heritage sites like churches, monasteries, mosques, public fountains, Medieval and Ottoman houses and mansions were respectively abandoned and forgotten along the two sides of the division line [8]; [9]. The historic city’s center became a contested borderline and as a result its topography and organization reflected the polarized experience of the two separated communities. Responding to this problem, bicommunal initiatives like the Nicosia Master Plan and trustbuilding efforts sponsored by the international community, invested in the restoration and preservation of shared heritage [10]; [11]; [12]. However, most restored buildings remain in an awkward historical limbo. Although being sporadically used for cultural events they have in effect lost their role and position in Nicosia’s traumatized civic identity [13]. Studying how and what users of Nicosia choose to neglect will enable our research methodology to develop and test spatial strategies that can contribute to the re-association of these historic sites with the city’s everyday experience. An intriguing context to probe these questions is offered by the historical transformations of the structure of the Paphos gate [14]; [15]. As part of the city’s medieval fortifications, which for centuries defined the experience of Nicosia’s urban space, the Paphos gate was one of the city’s ‘thresholds,’ separating urban from rural, outside from inside, safe from hostile, known from unknown and so on [16]. Since 1974 and the physical separation of Nicosia, the Paphos gate has become an iconic symbol of division, as it is virtually located in the infamous ‘Green Line’ that divides the city (Fig. 2). The virtual re-staging of the spatial experience of the different historical phases of selected parts of Nicosia’s public spaces, due to their association with important monuments, can help to unlock their condensed meaning in collective memory and thus utilize this knowledge to mend Nicosia’s threatened cultural cohesion. Challenges comparable to the condition of the Cypriot capital are presented in other cities of the island where rapid touristic growth has literally swallowed the cultural landscape of the ancient settlements and towns of the island. Their physical absence is in stark contrast to their cultural importance and their presence in communal and civic memory. Fig. 2. In the beginning of the 20th century part of the walls adjacent to the gate was demolished to effectively free the city and allow its development beyond its fortified limits. Since 1974 and the physical separation of the Nicosia, the Paphos gate has become an iconic symbol of division as it is virtually located on the infamous ‘Green Line’ that divides the city. III. METHODOLOGY AND TOOLS Contemporary methods of 3D documentation of heritage assets have demonstrated their potential as an ideal method for • Future spatial interventions on the urban fabric. This methodology enables researchers to form detailed research inquiries about the symbiotic, and complementary, participation of old and new interventions in the development of a city. “Wandering through a city a spatial text is written which, if read, emanates with chance and memory” [18]. Fig. 3. The excavation site of the moat outside the Paphos gate. Archaeological research unearthed multiple structures and finds related to the long utilitarian history of the gate, all of which have been documented and reconstructed in 3D. accurately capturing the details of shape and colours of cultural monuments and sites. Such data can be used in a variety of modes, among them, simulation of phases of past built environments and their related social activities. These are virtual environments where hypotheses regarding past human behaviour can be tested and scientifically analyzed through various methods (crowd behaviour, agent based modelling, etc. [17]), in diachronic and chronologic frameworks. This part of the paper discusses the methodology and related applicative pipeline for a comprehensive 3D workflow for the interdisciplinary study of heritage assets. In the Nicosia case study, the reconstruction of the various historic phases of the Paphos gate will be spatially contextualized with the digitization of the moat and the Venetian fortifications of the city – and this constitutes the first stage of the presented research (Fig. 4); (Fig. 6). This contextualization demonstrates how the presented research can contribute to the analysis of the physical space of the city via the use of a simulated interactive environment - as the moat is currently an empty, open-air zone around both parts of the divided capital and thus could be used creatively for the development of the city’s contemporary identity (Fig. 1); (Fig. 3). This research framework, implemented in the on-going study of the infamous Green Line that still divides the city, contributes to the development of innovative methods of capturing, analyzing, archiving and visualizing information about the use of spaces such as: • Cultural heritage sites, e.g., pilgrimage sites and sacred spaces; • Architectural monuments and sites of cultural heritage that have vanished or, were never completed due to historical events such as war, natural disasters, political interests and economic difficulties; and, The concept behind the data acquisition tools that complement this new methodology relies on the association of bodily movement with spatially distributed presentation of historical and future narratives. The real-time exploration of a projected space extends the participants’ experience of street walking into a journey of exploration, discovery and understanding spatial relations. Through exploration, the users engage with a narrative, and with this strategy the presented research aims to place them inside digital and physical spaces. Digital methods of urban analysis have been criticized for not integrating notions of bodily movement into space, since computational environments are often considered to be scaleless and body-less [19]. Introducing exploration incentives and narrative inquiries in virtual spaces adds a new level of engagement with the tools of spatial analysis and will hopefully contribute to the long standing discussion about new technologies of representation and their role in understanding and constructing built environments [20]. The digital techniques used to stage these simulated environments enable us to understand how the position, scale, organization, form, proportions of openings and other experiential aspects of the simulated space, impact the bodily movement of users with regards to their walking pace, direction, points of stasis, points of interest, gaze, etc. In the second step of the first stage of this research, the user-base of the simulated environment will be extended to include also non-expert users (e.g., citizens, tourists). This interactive environment will not only host reconstructions of historic buildings, but, in its second stage, will also present future interventions that are at the phase of procurement, or under public discussion (like Nicosia SOPAZ Educational Campus Strategy, Cyprus 2013, cf. [21]). It is expected that this stage of the research will provide insights for the degree of integration that the planned works may have with the rest of the existing urban space – as well as information regarding their acceptance by the locals. The presented methodology facilitates the emergence of a new narrative flow between the new (that is, future Fig. 4. Photographs of the four indicative historical phases of the Paphos gate with diagrams of the respective circulation in and around modelled in the presented 3D interactive environment. This co-existence of parallel ‘dimensions’ of alternative realities (e.g., a construction complete as it used to be, or as it is planned to become) allows professionals to experiment, test and explore hidden conditions of the built environment and also invite visitors (inhabitants and tourists) to learn from past stories, imagine their place in the new conditions presented for the city and immerse themselves in staged places. interventions in the urban-scape), the old and the absent (that is, unbuilt, demolished or transformed buildings and monuments). This co-existence of parallel ‘dimensions’ of alternative realities (for example, a construction complete as it used to be, or as it is planned to become) allows professionals to experiment, test and explore hidden conditions of the built environment and also invites visitors (inhabitants and tourists) to learn from past stories, imagine their place in the new conditions presented for the city and immerse themselves in staged places. The purpose of this journey is two-fold: while users educate themselves about the history of a monument, operators of the simulated environment are able to collect data of the visitors’ spatial behaviour. Through the analysis of these data, the proposed platform will enable researchers and scholars involved to further understand the capacity of the simulated common ground in staging the public life of different communities, but also to value the role of the monument studied in the lived experience of the particular area of the Nicosia. Previous experience of digital, and hybrid, environments underlined the importance of embedding in the virtual space practical activities that will motivate individuals and communities to share the spatially-organized resources of the simulated space [22]; [23]. The combination of dedicated interaction hardware and advanced computer simulations brings particular interest to the field of digital cultural heritage, especially when this system of hardware and software enables the expressive potential of bodily movement. Relying on the stereoscopic vision of the Oculus RiftTM goggles and the Virtuix Omni walking device for interaction in the real-time virtual environment of the Paphos gate (Fig. 5), allows the collection of metadata of bodily movement in the simulated terrain of Nicosia that are more descriptive of the users’ spatial behaviour than data collected through typical input devices in digital worlds (like keyboard, mouse, joystick, SpacePilotTM, handgestures). Producing metadata of virtual visits by users of different age, education, cultural background and ethnic origin, can offer a broader spectrum of responses which can further the understanding of the qualitative variances of their city-walking experience. This interaction method aims at helping users to understand the remaining traces of the Paphos gate’s building phases in their urban context, a process of unfolding the palimpsest of Nicosia’s history (Fig. 7); (Fig. 8). This prototypical interface enables the staging of a responsive narrative experience and, in doing so, provides a method of investigating human actions in knowledge-based environments Fig. 5 Setting up and testing the 1st generation of interaction hardware at the Visualization Lab (Cyprus Institute). [24]. IV. MAPPING THE SPATIAL EXPERIENCE OF SHARED HERITAGE “Presence in the world is such that we find ourselves in an inside, whose threshold we have never crossed, an inside that has no outside. This is why inside is defined by continuity, by the impossibility of reaching, starting from within, any sort of limit at all” [25]. The synergy of virtual environments techniques with urban studies and architectural history can contribute to the development of cross-disciplinary projects that will enable holistic studies of contested urban space. Distinct from practices that work at a 'bird’s eye view' of urban dynamics [26], the methodology presented focuses on the micro-scale of the moving body on the performative stage of the public realm. The real-time exploration of this staged space extends the participants’ experience of street walking into a journey of exploration, discovery and understanding spatial relations. Through exploration the users engage with a narrative, and with this strategy the methodology presented aims to place them inside projected spaces. In the physical space of a city, when its users walk around, mental maps and places anchored to the built environment are produced like knots - connection points - in a distributed network, cf. M. Foucault’s concept of heterotopias and their formation [27]. Consequently, a real-time 3D virtual environment will never compete, or surpass, the stimuli, complexity and richness of experiencing the physical space of a historic city. Therefore a question arises: what can interactive digital environments do different (or better) than the physical space? 1) This simulated space can offer a neutral virtual canvas upon which researchers can engage urban planners and policymakers for experimentation and remote collaboration; 2) Typical methods of research often lack the kinaesthetic and situated identity that characterize the historical performance of the studied artefacts, and therefore omit the embodied knowledge that could lead to new, informed understanding of the cultural context of found objects; 3) This simulated environment would enable the exploration of archaeological hypotheses; of unrealized conditions (e.g., planned but never materialized transformations of the urban environment or a building) and unresolved situations - for re-visiting historical narratives; 4) Also, it can offer in depth exploration of important characteristics and parameters of the studied site, or artefact, that would otherwise remain hidden. Some examples of techniques and media taxonomies employed by the research presented to support this exploration include: digital simulations, Reflectance Transformation imaging, hi-fidelity animations of construction details, of construction process, and the history of materials used, the evolution of the monument's design, etc.; and lastly, 5) It could function as a didactic platform addressed to the public that would make complex, otherwise unattainable, knowledge accessible by opening up the educational process to communities of the city that may be excluded. [8] ACKNOWLEDGMENT [9] This paper represents research conducted at the Cyprus Institute (Cyprus) in collaboration with the National Center for Supercomputing Applications at the University of Illinois at Urbana-Champaign (US), the Cyprus Department of Antiquities and the Municipality of Nicosia. [10] [11] [12] REFERENCES [1] [2] [3] [4] [5] [6] [7] A. 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Batty, The New Science of Cities, Cambridge, MA: MIT Press, 2013. [21] Online http://www.urbansilenceltd.com/land%20dev%20picture%20gall.htm [accessed 20 February 2014]. [22] G. Artopoulos, “Prototype Spatial Models of Interaction,” International Journal Of Visual Design, CG Publishers, Vol. 6 (3), 2012, pp. 39-56. [23] G. Artopoulos and E. Condorcet, “House of Affects,” 14th International Symposium on Electronic Art, ed. by Ingrid Maria Hoofd, Margaret Tan and Katharine Ho Kit Ying, Singapore: ISEA, 2008, pp. 37-39. [24] G. Artopoulos and E. Condorcet, “House of Affects – Time, immersion and play in digital design for spatially experienced interactive narrative,” Digital Creativity Journal, 17, 4, 2006, pp. 213-20. [25] R. Brague, “Aristote et la Question du Monde,” in Paul Ricoeur, Oneself as Another, Chicago: University of Chicago Press, 1992, p. 314. [26] DepthmapX < http://varoudis.github.io/depthmapX/> [accessed 12 May 2014]. [27] M. Foucault, “Of Other Spaces” (1967), in Heterotopias in Architecture / Mouvement / Continuité, Jay Miskowiec (trans), 1984. Fig. 7 The façade (top) of the Paphos gate area and plan view (bottom) of the excavation area of the moat by the gate (screengrab of the raw pointcloud 3D model produced by the laser scanning of the monument). Fig. 8 Applying textures on the tesselated model (which was generated by the raw 3D pointcloud) of the Paphos gate. The textures were applied by means of photogrametric techniques. View publication stats