Virtual Hadrian’s Villa Launch at Harvard Center

Virtual Hadrian’s Villa Launch at Harvard Center

IDIA Lab has designed a virtual simulation of the villa of the Roman Emperor Hadrian, which is a UNESCO World Heritage site located outside of Rome in Tivoli, Italy. This project has been produced in collaboration with the Virtual World Heritage Laboratory (VWHL) at Indiana University (IU), directed by Dr. Bernard Frischer and funded by the National Science Foundation. This large-scale recreation virtually interprets the entire villa complex in consultation with the world’s foremost Villa scholars. The project has been authored in the game engine of Unity as a live virtual multi-user online learning environment that allows students and visitors to immerse themselves in all aspects of the simulated villa. The project launched at the Harvard Center for Hellenic Studies in Washington, DC on November 22, 2013. The webplayer versions of the Hadrian’s Villa project are funded through a grant from the Mellon Foundation.

The Launch of the Digital Hadrian’s Villa Project

The Center for Hellenic Studies, Ball State University, and Indiana University

Friday, November 22, 2013

Harvard Center for Hellenic Studies

Washington, DC

Speakers:
John Fillwalk, IDIA Lab, BSU
Bernard Frischer, VWHL, IU
Marina Sapelli Ragni

The presentations included previews of:
The Virtual World of Hadrian’s Villa
The Digital Hadrian’s Villa website

VirtualHadriansVilla_IDIALab_Login

The project not only recreates the villa buildings but also includes a complete Roman avatar system, non-player characters with artificial intelligence, furniture, appropriate vegetation, dynamic atmospheric system and sophisticated user interface. The interface provides learning, navigation, reporting and assessment opportunities and also allows users to change the position of the sun to any date in 130 AD using data from the Horizons database at JPL NASA – testing theses of astro-alignments of architectural features during solstices and equinoxes. Learning communities are briefed on the culture and history of the villa and learn the virtual environment prior to immersing themselves within it. The avatar system allows for visitors to enter the world selecting class and gender – already being aware of the customs and behavior of the Roman aristocracy, soldier, slave or politician.

Khan Academy Walkthrough of Virtual Hadrian’s Villa: http://youtu.be/Nu_6X04EGHk

Link to Virtual Hadrian’s Villa Walkthrough: http://youtu.be/tk7B012q7Eg

The Digital Hadrian’s Villa Project:

Virtual World Technology as an Aid to Finding Alignments between

Built and Celestial Features

Bernard Frischer1

John Fillwalk2

1Director, Virtual World Heritage Laboratory, University of Virginia

2Director, IDIA Lab, Ball State University

Hadrian’s Villa is the best known and best preserved of the imperial villas built in the hinterland of Rome by emperors such as Nero, Domitian, and Trajan during the first and second centuries CE. A World Heritage site, Hadrian’s Villa covers at least 120 hectares and consists of ca. 30 major building complexes. Hadrian built this government retreat about 20 miles east of Rome between 117, when he became emperor, and 138 CE, the year he died. The site has been explored since the 15th century and in recent decades has been the object of intense study, excavation, and conservation (for a survey of recent work, see Mari 2010).

From 2006 to 20011, with the generous support of the National Science Foundation[1]and a private sponsor, the Virtual World Heritage Laboratory created a 3D restoration model of the entire site authored in 3DS Max. From January to April 2012, Ball State University’s Institute for Digital Intermedia Arts (IDIA Lab) converted the 3D model to Unity 3D, a virtual world (VW) platform, so that it could be explored interactively, be populated by avatars of members of the imperial court, and could be published on the Internet along with a related 2D website that presents the documentation undergirding the 3D model.

The 3D restoration model and related VW were made in close collaboration with many of the scholars who have written the most recent studies on the villa.[2] Our goal was to ensure that all the main elements—from terrain, gardens, and buildings to furnishings and avatars—were evidence-based. Once finished, the was used in two research projects.

The first project was a NSF-sponsored study of the usefulness of VW technology in archaeological education and research. We used the virtual villa in undergraduate classes at Xavier University and the University of Virginia to investigate the thesis of two recent studies by project advisors Michael Ytterberg and Federica Chiappetta about how this enormous built space was used by six different groups of ancient Romans, ranging from the Emperor and Empress to normal citizens and slaves (Ytterberg 2005; Chiappetta 2008). Avatars representing these groups have been created and are being operated by undergraduate students as a Problem‐Based Learning (PBL) experience. They are observed by subject experts, who are using the data generated to test and, if necessary, refine the initial theses about how circulation through the villa was handled.  The results are still being evaluated. Preliminary indications are that the data show that the combination of VW used in a PBL educational context is very effective in taking advantage of the known connection between between the hippocampus and long-term learning, especially when the information to be mastered is spatial (Kandel 2007).

The second project involved use of the VW for some new archaeoastronomical studies. Most of our advisors’ publications, like the older work by archaeologists that preceded them, have concentrated on archaeological documentation, restoration, formal, and functional analysis. The latest research by advisor De Franceschini and her collaborator Veneziano (2011) combined formal and functional analysis: it considered the alignment of certain important parts of the villa in relation to the sun’s apparent path through the sky on significant dates such as the solstices. In their recent book they showed how two features of the villa are aligned with the solar solstices: the Temple of Apollo in the Accademia; and the Roccabruna. We used the VW to extend their research to other areas of the villa, taking advantage of 3D technology to restore the sun to the right place in the sky and also to restore the damage to the architecture of the villa, as De Franceschini and Veneziano had independently suggested be done before they learned about our digital model of the villa.

The work of De Franceschini and Veneziano is innovative. Archaeastronomy has become an accepted field of study in recent decades, and a considerable amount of work has been done in Old and New World archaeology. In Roman archaeology, however, this approach is still rarely encountered. Significantly, one of the few compelling studies concerns the most famous Hadrianic building: the Pantheon in Rome. Hannah and Magli 2009 and Hannah 2011 have shown a number of solar alignments in the building, of which the most notable are the sun’s illumination of the entrance doorway at noon on April 21; and the view of sunset silhouetting the statue of Hadrian as Sun god on a four-horse chariot atop the Mausoleum of Hadrian as viewed from the middle of the Pantheon’s plaza at sunset on the summer solstice. Like the summer solstice, April 21 is also a significant date: on it occurred the  annual festival in Rome known as the Parilia (re-named the Romaia by Hadrian),[3] which celebrated the founding of Rome.

De Franceschini and Veneziano pursued an observation of Mangurian and Ray (2008) to document an impressive example of solar alignment at Hadrian’s Villa involving the tower known as Roccabruna at the western end of the villa. Originally, a tower-like structure topped by a round temple, what remains today is the well-preserved, massive lower floor. The main entrance is located on the northwestern side to the right and gives access to a large circular hall covered by a dome. The dome is punctuated by an odd feature: five conduits that are wider on the outside than on the inside (figure 1).

What is the function of these unusual conduits? They have no known parallel in Roman architecture. After asking themselves this same question, on June 21st, 1988, the day of summer solstice, the American architects Robert Mangurian and Mary Ann Ray went to Roccabruna at sunset, and discovered the extraordinary light phenomena which occur there. At sunset the Sun enters through the main door illuminating the niche on the opposite side, something that happens during most of the summer days. But only in the days of the summer Solstice the Sun penetrates also into the conduit located above that door: its rays come out from the slot inside the dome projecting a rectangular light blade on the opposite side of the dome. In June 2009, De Franceschini verified the findings of Mangurian and Ray. However, they know that the apparent path of the Sun through the sky changes slightly each year, so that in the nearly 1880 years separating us from Hadrian, the precise effect of the alignment has been lost. As they noted, only a computer simulation can recreate the original experience of being in the lower sanctuary at Roccabruna at sunset on the summer solstice during the reign of Hadrian.

Once we had our 3D model of the site, we were able to obtain from NASA’s Horizons system[4] the correct azimuthal data for the year AD 130 and put the sun into the sky at sunset on the summer solstice. Following the lead of De Franceschini, who in the meantime had become a consultant to our project, we put into the niche one of the four statues of the Egyptian sky goddess Isis that were found at the Villa. De Franceschini chose Isis because first of all, there is no question there was a statue in this niche so we need to put something there; and the two flanking niches had candelabra, whose bases are preserved and are decorated with Isiac iconography. Moreover, Isis’ festival in Rome was on the summer solstice. So we scanned and digitally restored one of the several statues of Isis from the villa and put it into the central niche. Finally, for the dome, which we know from surviving paint was blue and therefore had the famous “dome of heaven” motif (Lehmann 1945), we followed De Franceschini in restoring a zodiac set up in such a way that the sign of Gemini is over the statue niche since the last day of Gemini is the summer solstice. Our zodiac is adapted from the great Sun God mosaic in the Rheinisches Landesmuseum in Bonn, which kindly gave us permission to use it.

As can be seen in figure 2, when we restored the sun in the right position in the sky dome for sunset on the summer solstice (June 21) of 130 CE in our 3DS Max model of Roccabruna, the sunlight coming through the main doorway illuminated the statue of Isis in the statue niche, and the light entering through the conduit lit up the sign of Gemini painted on the cupola. So we were able to confirm the Mangurian-Ray thesis.

The approach we have taken in our Roccabruna project is deductive: Mangurian and Ray noted the strange feature of the conduits punctuating the cupola of Roccabruna; they hypothesized a solar alignment. De Franceschini and Veneziano agreed and for various reasons we don’t need to go into today, they put a statue of Isis into the statue niche. We set up the conditions in which these hypotheses could be tested and were able to verify them.

But surely, if there is one such alignment at the villa of the same emperor who was responsible for the Pantheon, there may be others. But the villa is very big—covering over 100 hectares—and has 30 major building complexes, most larger than Roccabruna. Moreover, such alignments could just as easily involve astrological features such as the Moon and the planets. Faced with this level of complexity, the best methodological way forward in searching for new alignments is clearly inductive and empirical. This is one reason why we asked the Institute for Digital Intermedia Arts (IDIA Lab) of Ball State University to create a multi-user virtual world based in Unity 3D from our 3DS Max model.

The project of virtually interpreting a simulation on the scope and scale of Hadrian’s Villa was a daunting one – engaging layers of scholarly, technical and pedagogical challenges. The technical challenges were many – foremost to leverage the game engine of Unity 3D to become an effective multi-user avatar-based virtual world. An important factor was to create an environment that was straightforward and accessible via standard web browsers on both Mac and Windows and selected Unity 3D as the starting point for developing the platorm. We required specific back-end administration tools to handle the accounts and server side aspects of the project – for this we relied on Smart Fox Server as it manages Unity 3D quite well. Our team took an approach that bridged and integrated disparate technologies, creating a robust virtual world platform to immersively augment both instructional and PBL processes. VW features available to the learning community included text based communication, a live map showing current visitor positions, map based teleportation, managed voice channel, user selected avatar gestures, online users, paradata, photographs of the extant site, plan views, and integrated web links.

Key to the project was a varied system of avatars representing the imperial court, freemen, senators, scholars, soldiers, and slaves to the emperor. The avatar system provided several important functions testing recent scholarly interpretations of circulation throughout the villa and the use of various spaces for typical court activities – meals, imperial audiences, bathing, worship, etc. Upon entering the simulation, the choice of avatar would predicate how one’s social standing within the role-play of the world.

A gesture system was created via motion capture providing each user with a unique set of actions and gestural responses to engage social interactions – including greetings, bowing and gestures specific to rank and class. Communication was also a critical element in the modes of problem based learning engaged by the participants in the simulation. Specific technologies provided varied abilities such as public chat, private instant messaging and live multi-user voice channels.

A companion website was co-developed and integrated into the VW environment providing learners with visual assets such as photographs and panoramas of the current site, site plans, elevations, and video interviews with Villa scholars. We also developed three-dimensional turntables of the interpreted and reconstructed models, overview information on each of the major Villa features, bibliography and an expansive database of art attributed to the Villa site. This information can be directly accessed by learners directly from within the virtual world. The development team integrated the notion of paradata, introduced by the London Charter – making instantly transparent the scholarship and all underlying elements of the 3D model (from terrain to buildings, furnishing, costumes, and human behavior).

In support of new research theme on celestial alignments by consultants De Franceschini and Veneziano, a major goal for the project was to develop an accurate simulation for the position of the sun. The solar tracking, or virtual heliodon that we created as a response to this research, was envisioned as a simulation that would a bridge between the virtual environment and coordinates from an external database calculating solar positions. After investigating existing tools we decided to employ the Horizons database that was created by NASA’s Jet Propulsion Laboratory as an on-line solar system data computation service – tracking celestial bodies in ephemerides from 9999 BCE to 9999 CE. In implementing solar tracking for the Villa project in instances were we where we wanted to investigate potential significant solar alignments, we entered the latitude, longitude and altitudes of specific buildings from the Tivoli site to poll the Horizons data for the year 130 CE. The user was able to change the date, time of day, and quickly play the sun from specific moments via the user interface. The system was co-related to both the Julian and Gregorian calendars and contained presets for the vernal and autumnal equinoxes as well at the summer and winter solstices.

These tools allowed for the rapid discovery of potential alignment that might bear further investigation. The solar feature allows one to proceed empirically, in effect turning the clock back to 130 CE and running experiments in which the days and hours of the year are sped up by orders of magnitude so that one can in a very short time find candidate alignments not yet hypothesized by scholars working in the traditional way of Mangurian-Ray.

As developers, our goal was to create the solar tool and let students and scholars use it to undertake their own empirical research. Our team was not intending to engage in this research ourselves, yet in the process of working within the environment daily we quickly began to notice curious solar phenomena. In a bit of empirical study of the very first component of the site we installed in the simulation, the Antinoeion – or newly-discovered Temple of the Divine Antinous, we noticed an alignment of potential interest. The most likely alignment seemed at first glance to be along the main axis running from the entrance, through the obelisk in the central plaza to the statue niche at the end of the axis. We ran the days and hours of the year and found that the sun and shadow of the obelisk align at sunrise on July 20. We consulted with our expert on the Egyptian calendar in the Roman period, Professor Christian Leitz of the University of Tuebingen–and he confirmed that this date has religious significance. It is, in fact, the date of the Egyptian New Year, as the Romans of Hadrian’s age clearly knew (cf. the Roman writer Censorinus, who states that the Egyptian New Year’s Day fell on July 20 in the Julian Calendar in 139 CE, which was a heliacal rising of Sirius in Egypt).

In the process of developing and subsequently utilizing the simulation tools we created for astro-archeological research, our conclusions have been that virtual world technologies can indeed take the inquiry for significant built-celestial alignments to a new level of insight.

Bibliography

Chiappetta, F. 2008. I percorsi antichi di Villa Adriana (Rome).

De Franceschini, M. and G. Veneziano, 2011. Villa Adriana. Architettura celeste. Gli secreti degli solstizi (Rome).

Hannah, R. 2008. Time in Antiquity (London).

Hannah, R. 2011. “The Role of the Sun in the Pantheon’s Design and Meaning,”Numen 58: 486-513.

Kandel, E. 2007. In Search of Memory: The Emergency of a New Science of Mind(W. W. Norton, New York). Kindler edition.

Lehmann, K. “The Dome of Heaven,” Art Bulletin 27: 1-27.

Lugli, G. 1940. “La Roccabruna di Villa Adriana,” Palladio, 4: 257-274

Mangurian, R. and M.A. Ray. 2008. “Re-drawing Hadrian’s Villa,” Yale Architectural Journal, 113-116.

Mari, Z. 2010. “Villa Adriana. Recenti scoperte e stato della ricerca,” Ephemeris Napocensis 20: 7-37.

Ytterberg, M. 2005. “The Perambulations of Hadrian. A Walk through Hadrian’s Villa,” Ph.D. dissertation, University of Pennsylvania.

VBAM: VIRTUAL BROAD ART MUSEUM COMMISSION

Press Release

View the VBAM project

VBAM Introductory Lecture

John Fillwalk and the Institute for Digital Intermedia Arts (IDIA Lab) at Ball State University were commissioned to design and build a virtual museum artworks for the Eli and Edythe Broad Art Museum in East Lansing, MI. The physical Museum, was designed by architect Zaha Hadid and opened to the public in Fall 2012. Museum Director, Michael Rush commissioned Fillwalk and IDIA Lab to envision and create a dynamic program of artworks for the Virtual Broad Art Museum project (VBAM). Fillwalk and his collaborators created an immersive multi-user environment and four commissioned artworks using Unity 3D – experienced entirely within a web browser.

“Engaging visitors with innovators at the leading edge of art and technology, both here at MSU and around the globe, is key to the Broad Art Museum’s mission,” said founding director Michael Rush. “With the Virtual Broad Art Museum, we have an opportunity to embrace the tremendous creative and connective possibilities that exist in the digital world.”

The mixed world reception took place on Thursday, March 15th 2012 from 6:00 – 8:00 pm EST simultaneously on the campus of Michigan State University and in the VBAM virtual worlds.

Please visit the VBAM project links below.

http://idialabprojects.org/vbam/proxy.html

http://idialabprojects.org/vbam/flickrgettr.html

http://idialabprojects.org/vbam/survey.html

http://idialabprojects.org/vbam/confluence.html

VBAM Exhibitions by John Fillwalk

Participants in con|FLUENCE can create pathways based on reactions to both social and spatial relationships. There is a virtual response and persistence to interactions, as the routes are drawn and sculpted in the three-dimensional environment – forming nodes that are created via visitors’ proximity.

con|FLUENCE. John Fillwalk. 2012.

Survey for VBAM is an immersive landscape simulation using real time weather data from the location of the Broad Art Museum in East Lansing, Michigan. Representations of surveyor’s tape, flags, light, sky color, time of day, wind speed and even cloud density are driven by the actual physical weather forces – informing the virtual landscape.

Survey. John Fillwalk. 2012.

dis|PLACE is an interactive gesture-based performance that will be exhibited at the VBAM reception on the 15th of March. This installation links virtual space to physical reality in an exploration of agency and gesture. Employing a participant’s movement, the work can both navigate 3D space – as well as control direct interactions with the digital performers via a Microsoft Kinect™ sensor.

dis|PLACE. John Fillwalk. 2012.

Proxy is a performative, interactive and site-specific virtual installation where participants shape the evolution of a sculptural and sonic composition as a response to the Museum. Interactions are painted, sculpted and sonified within this collaborative and evolving environment. The work progresses to construct in itself relation to the Museum – eventually transforming as integrated structure – reflecting and becoming its environment.

Proxy. John Fillwalk. 2012.

Flickr™ Gettr for VBAM connects the social image web service of Flickr™ to the virtual Museum environment, allowing visitors to create a dynamic cloud of spatial imagery by entering a search term of their choice – providing tagged images from Flickr™ into the Museum environment. The search term is spoken by the software and tags from image cloud are revealed allowing for subsequent user transformations of the spatial imagery.

Flickr Gettr. John Fillwalk. 2012.

Credits

Proxy.
John Fillwalk with
Neil Zehr, Michael James Olson
2012

Survey for VBAM
John Fillwalk with
Neil Zehr, Keith Kothman, Charles Estell
2012

Flickr Gettr for VBAM
John Fillwalk with
Jesse Allison, Neil Zehr, Charles Estell
2012

con|FLUENCE
John Fillwalk with
Neil Zehr
2012

dis|PLACE (exhibited at the reception on the 15th of March as a live performance only)
John Fillwalk with
Neil Zehr, Jonathan Strong
2012

Michael Rush, Director of the Broad Museum of Art, MSU
Adam Brown, Professor Intermedia and Electronic Art, MSU
John Fillwalk, Director of the Institute for Digital Intermedia Arts [IDIA Lab], BSU
Neil Zehr, IDIA Lab, BSU
Charles Estell, IDIA Lab, BSU
Michael James Olson, IDIA Lab, BSU
Ina-Marie Henning, IDIA Lab, BSU
Jonathan Strong, IDIA Lab, BSU
Jesse Allison, LSU
Keith Kothman, BSU
Jonathan Ross, BSU
Blake Boucher, BSU
Michael Davidson, MSU
Jayne Goedekke, MSU
Kyle Gomboy, Reaction Grid
Chris Hart, Reaction Grid

Special thank you to Neil Zehr, IDIA Lab, BSU

Mellon Foundation Humanities Virtual World Consortium

Screen Shot 2013-04-23 at 4.22.14 PM

BSU’s IDIA Lab was contracted by the Mellon Foundation Humanities Virtual World Consortium to design and develop a major open source virtual world initiative for Digital Humanities and Cultural Heritage projects. The consortium – comprised of Kings College, London; UCLA; the University of Virginia and Trinity College, Dublin – turned to the expertise of BSU’s IDIA Lab to create this two-year innovative hybrid simulation platform that leverages new modes of teaching and learning in immersive environments.

http://virtualworlds.etc.ucla.edu

Concurrent with the development of the prototype infrastructure, members of the Consortium developed working relationships with Ball State University’s IDIA Lab, an internationally recognized academic leader in in the development of virtual worlds, human computer interaction, visualization and 3D simulation. Most important for the Consortium, the IDIA Lab is engaged in the development of scholarly, creative and pedagogical projects that explore the intersection between the arts, science and technology. The IDIA Lab is not merely a technical development team, but is also a interdisciplinary design studio that integrates art and emergent technologies into every phase of development. After inviting John Fillwalk, the lab’s director, to attend a series of conference calls with the consortium, a proposal for interface and in world design was solicited. John Fillwalk is an internationally recognized artist and developer of virtual and hybrid environments. He serves as the senior director of the Hybrid Design Technologies initiative [HDT], professor of Art and as the director of the Institute for Digital Intermedia Arts [IDIA Lab} at Ball State University. Over the past 25 years, his interactive and virtual artworks have been exhibited internationally in numerous festivals, galleries and museums including SIGGRAPH, CYNETart, Synthése, 404 Festival, Dutch Design Week, Boston Cyberarts, Virtual Broad Art Museum, ISEA, ASCI, VIdéoformes, Indian Institute of Technology and the Beijing Science and Technology Museum.

The Consortium elected to partner with the IDIA Lab, since it offers design as well as technological expertise and a common interest in the theoretical implications of Virtual World technologies on research and pedagogy.

Development will be split between the two independent teams, with the IDIA Lab, in general, centering its work on the development of the Unity based platform including avatar selection, navigation, network controller, user interface system, and back end network hosting, while Tipodean develops the HTML and KML system and works with members of the Consortium to integrate the four individual projects into the shared platform. The development will not occur in isolation from the rest of the Consortium.  The external development teams will offer scheduled monthly training sessions to the internal technical teams of the Consortium. We are employing a similar development model to that successfully used during the Planning Phase of the HVWC in which, through a collaborative effort of local staff and third-party developers, we implemented a prototype template and virtual world environment with a subset of features below enabled.  In addition, we plan to hire a graphic design independent contractor and a game design independent contractor to work with the PIs and our development teams on the look and feel of the Consortium’s web presence as well as the conceptualization of the interface design.

Our Mission

I. Project Summary

The 1990s saw the development of digital technologies supporting the 3D (three dimensional) modeling of cultural heritage objects and environments. For the first time, humanists could digitally model and reconstruct the damaged or vanished monuments of the past. The results were typically 2D renderings or videos (“animations”). The decade of the 2000s saw the enhancement of 3D environments with avatars making it possible for scholars to enter into the 3D world and to use the Internet to interact with the simulated environment while communicating with fellow humanists located anywhere on the planet. Such software platforms are called networked virtual worlds (NVWs). The Humanities Virtual World Consortium (HVWC) will explore how the unique characteristics of  networked virtual worlds can enable and advance humanistic research while working towards creating a sustainable base for mainstreaming the technology in humanities scholarship. Our initial work is based upon a series of related scholarly initiatives that draw upon virtual world technology and which are meant to: a) advance the current state of research on the phenomenology of space and place, b) design visual and aural conventions to evoke the sensorial experience lost to us due to technological and evidentiary constraints, c) test the current capabilities of virtual worlds to explore chronotopic problems, previously inaccessible due to the limitations of prior technology, d) guide future development of humanities-driven virtual worlds, and e) produce works of exemplary digital scholarship, disseminated in formal, peer-reviewed publications, that solve specific research problems in particular disciplines and area studies. Our overall intent is to demonstrate how networked virtual worlds can uniquely enable important kinds of research inquiry, and thus contribute to the transformation of scholarly communication in the relevant subject fields and to the field of digital humanities. With this in mind, our projects have been chosen so that they span multiple disciplines— including Archaeology, Art History, Architectural History, Buddhist Studies, Classics, History, Irish Studies, Literary Studies, Tibetan Studies—and periods from the ancient past to contemporary times. While the projects explore discipline-specific research questions, they share common goals concerning humanities research and scholarly communication in a networked virtual world environment.

II. Expected Outcomes and Benefits of the Project

Project Deliverables: At the conclusion of the project we will release a networked virtual world platform template to be used in the Unity game development engine, the Consortium web site with documentation, four virtual world projects released as Unity3D builds, four draft in-world “articles” embedded within the virtual world project, and four articles submitted for peer review in journals devoted to specific scholarly domains.

The main outcomes of the proposed project will be (i) the consolidation of the Humanities Virtual World Consortium as a robust, fully functional academic organization that can persist and expand in the future; (ii) the development of a shared virtual world platform that is adapted for maximum utility for scholarly projects; (iii) the publication of four significant scholarly projects in that platform that exemplify the way in which virtual worlds offer unique affordances for scholarly research inquiries; (iv) individual articles based on the virtual world content submitted journals in our traditionally-defined, domain-specific fields. At the conclusion of the grant, a) the organization will be published on the web with bylaws and an means for others to join,  b) the new collaboratively maintained virtual world research and publication environment will host four scholarly publications products, and c) the shared development template and accompanying documentation will be made available online to aid others in the development of Virtual World content. The primary benefit of this project is that it constitutes a valuable and necessary step towards establishing the organizational and technical basis for a sustainable scholarly exploration of the unique ways in which networked virtual worlds can enable and advance humanistic research. While valuable and compelling individual projects have emerged over the past years, interoperability between them has not been supported. The barriers remain extremely high for individual scholars who wish to use this medium for their own research without major funding. For these reasons, to date these projects have failed to attain a wide scholarly audience. We propose to establish an organization, technology, and specific scholarly publication apparatus that would address these deficiencies in the subsequent years and beyond.

The broader, long-term, and more far-reaching benefits are that the initiative will establish a basis for the scholarly community to engage in a serious attempt at creating a sustainable, shared environment for scholarly research and communication to be done in a networked virtual world environment. These publications will show the viability and importance of such research, raise its profile in the scholarly community, and demonstrate in a compelling, virtually tangible, and accessible way the benefits of using a shared platform. Such publications will, it is envisioned, lead to an expansion of the Consortium and finally the development of a robust platform in which scholars can easily participate without the need for major grants to support further development of one-off technologies. Scholarly projects from disparate disciplines and geographical regions would be interoperable, and scholarly use would be widespread due to the consistency of interface and technology.

Virtual Meridian of Augustus: Presentation at the Vatican’s Pontifical Academy of Archeology

IDIA Lab virtual celestial simulator and 3D interpretation of the Meridian of August in ancient Rome. Project commissioned by the Virtual World Heritage Laboratory at Indiana University, directed by Bernard Frischer.

Findings presented at the Vatican’s Pontifical Academy of Archeology in Rome

Thursday December 19th, 2013

A Digital Simulation of the Northern Campus Martius in the Age of Augustus. Preliminary Results of New Studies of the Relationship of the Obelisk, Meridian, and Ara Pacis of Augustus

 by

Bernard Frischer, Department of Informatics, Indiana University

John Fillwalk, Director, Institute for Digital Intermedia Arts, Ball State University

http://www.pont-ara.org/index.php?module=crpCalendar&func=display&eventid=54

Pontifical Academy of Archeology

http://en.wikipedia.org/wiki/Pontifical_Academy_of_Archaeology

Consultants:

Horology consultant: Paolo Alberi Auber, Italy
Archeoastronomy consultant: Prof. Robert Hannah, University of Walkato, New Zealand
Archeoastronomy consultant: David Dearborn, Lawrence Livermore National Laboratory, U

SA
Data courtesy of NASA Jet Propulsion Laboratory Solar Dynamics Group: Horizons System

A Digital Simulation of the Northern Campus Martius in the Age of Augustus. Preliminary Results of New Studies of the Relationship of the Obelisk, Meridian, and Ara Pacis of Augustus

Bernard Frischer, Department of Informatics, Indiana University

John Fillwalk, Director, Institute for Digital Intermedia Arts, Ball State University

  1. With generous support from the National Science Foundation (grant # IIS-1014956), we have recently been developing a digital simulation of the northern Campus Martius in the period 9 BCE to 40 CE. [1] Our motivation is to create a tool that makes it possible instantly to see the correct positions of the sun and its shadow at any time of day in this period of time so that the various controversies associated with the work of Edmund Buchner on the so-called “Horologium Augusti” can be approached in a new way. We have two main goals in creating the simulation. First, we want to see if Buchner’s and other scholars’ claims and interpretations about the relationship of the Augustan obelisk, the (hypothesized) horologium (which we now call the Meridian of Augustus, following the lead of Albèri Auber 2011-12), and the Ara Pacis can be verified or refuted. Secondly, we want to use the simulation as a support for an  empirical survey all over the area of interest to see if it might even be possible, by broadening the field of inquiry in terms of time and space, to arrive at any new insights and discoveries. We are grateful for the opportunity to report on our findings here, and we begin by noting that these are preliminary and can be expected to be revised as our simulation is subjected to further testing and refinement. We concentrate here on the first goal of verification and refutation, reserving a report on the second goal to future publications.
  1. We begin by observing that the use of digital simulations such as ours may still be novel in the field of Roman topography, but they have been used since the early 1950s in physics (Galison 1997:759) and then, increasingly, in other branches of physical and life science to model systems behavior, to speed up difficult computations, and reduce the opportunity for human error. The grounds for and limits of their validity have been usefully treated by Humphreys 2004; and their potential utility in archaeology was mooted by Frischer 2008. As Humphreys stated, “the enormous flexibility and precision of simulation methods provide an opportunity to implement Gedankenexperimente in contexts providing much greater precision than is possible with traditional mental implementations, and they are free from the psychological biases that can effect even simple thought experiments” (Humphreys 2004:115-116).
  1. Of course, precision and valid results always depend on the reliability of the data represented in a simulation. For the all-important apparent size[2] and position of the sun in the sky dome of the simulation, we have relied on NASA’s  Horizons System (http://science1.nasa.gov/planetary-science/planetary-science-data/horizons-system/). Among other things, this database takes into account the changes in the sun’s apparent course through the sky that arise from the earth’s wobble as it rotates, providing correct azimuthal information for any point on earth in any historical period, including the Augustan age.

We take as our point of departure the archaeological data and interpretation of the site given by Albèri Auber in this volume and in other publications, especially Albèri Auber 2011-12. We agree with him in the following essential points.

(a) The obelisk was used as the gnomon only for a meridian, not an horologium inscribed on a large pavement, for which no evidence has ever been found.  Its purpose was scientific: as Albèri Auber 2012: 484-489 shows, it helped insure that tracking of leap years was correctly done through the observatio umbrarum (Pliny NH 2.35)

(b) There is only one phase for the obelisk-meridian: the Augustan phase. Buchner’s Flavian phase is a phantom based first on his reliance on Guarducci’s dating of the letters of the inscriptions found at 48 via Campo di Marzio to the first century CE (Buchner 1980: 362), a dating later withdrawn without comment (Buchner 1983: 505); and then on the brief report in Rakob 1987: 693- 94 that La Torre dated the ceramic fragments found in Buchner’s excavation to the Flavian period. However, La Torre has never published the pottery, nor did Rakob ever publish the stratigraphy, quota levels, and a plan showing the exact find spots. Until this evidence is produced and interpreted, we must suspend judgment. Our consultant on Greek epigraphy, Mika Kajava, will be writing a report on the dating of the lettering. Here we may quote his personal communication of August 1, 2013: “Considering the meridian inscriptions, in my view, it would be difficult to suggest a precise dating on the basis of paleography: an Augustan monumental text set up in a public place could look very similar to a Claudian or even a Flavian one. This is also because monumental writing tends to be conservative, and occasionally it is even archaizing. In the present case, one may also wonder if the fact that the texts were presumably modelled upon Greek precedents had some (extra) influence on the letter style.”

(c) The sub-phases of the project are: (i) the idea to bring an Egyptian obelisk to Rome as a manubial donation: presumably in 30 BCE after Augustus’ victory over at Alexandria and his annexation of Egypt; (ii) the vow of the Ara Pacis on July 4, 13 BCE; (iii) the dedication of the obelisk in 10 BCE,[3] presumably in conjunction with the twentieth anniversary of the victory at Alexandria;[4] (iv) the dedication of the Ara Pacis on January 30, 9 BCE; (v) the addition of the meridian at an indeterminate date during the reign of Augustus.[5]

(d) The height of the obelisk (including plinth, the bar between the pyramidion and the sphere, and the sphere itself) was 100 Roman feet. Haselberger (personal communication, October, 2013) stresses that this dimension is based on evidence that permits a range of possible heights varying by 3 to 6 feet depending on such factors as how we convert the Roman foot to meters, the unknown dimensions of the distanziatori (in the unlikely event such actually existed[6]), the height of the pole attaching the sphere to the pyramidion, and the diameter of the sphere itself. Albèri Auber takes a different tack: as a practicing gnomonologist himself, he stresses the practical advantages to his ancient Roman counterpart of working with the round number of 100 Roman feet and the useless complications that result if the height differed fractionally from it. Alberi Auber thinks that if 100 Roman feet is within Haselberger’s possible range of heights (and it is), and if the alternatives force us to work with dimensions such as (to make up some random examples) 101.33 or 103.75 Roman feet which would greatly complicate the ancient gnomonologist’s calculations of the length and subdivision into 360 degrees of the meridian, then, faute de mieux, 100 Roman feet is the obvious solution.[7] We agree.
In a forthcoming publication, we give the GPS coordinates, dimensions, and bibliographical sources for our 3D models of the meridian, obelisk, and Ara Pacis (Frischer and Fillwalk 2013). In brief, we claim +/- 2 meter accuracy for the placement of the existing fragment of the meridian at via di Campo Marzio 48 and of the Ara Pacis. The position of the obelisk at piazza del Parlamento 3 was derived from its height and the shadow it cast in relation to the position of meridian fragment, as previous scholars have noted can be done (e.g., Heslin 2007:13). In the same publication, we also describe the technical specifications of the simulation. In brief, we authored the model in Maya and converted the 3D model of the northern Campus to the game engine Unity. We developed a plug-in which, as noted, utilizes azimuthal data from NASA’s Horizons System. In calculating where to position the sun and create a lighting solution for observations concerning the obelisk and its shadow, we used the geocoordinates of the obelisk; for those concerning the Ara Pacis, we used the geocoordinates of the Ara Pacis. Unity makes it possible to roam around the simulated landscape and to see the monuments from both freely chosen and preset points of view. For example when the “Ara Pacis View” is selected, movement is restricted to the hypothetical axial line from the center of the base of the obelisk to the Ara Pacis and beyond to the via Flaminia. The height of the camera is fixed at 1.58 m, the average height of the human eyes. In this way, in Ara Pacis View, it is not possible to deviate from a true axial position, and the sun (or its shadow) appears in a way that would have been visible to the ancient adult Roman.

  1. Everything stated in section 3 explains the default settings for our simulation. But we have made an effort to build a certain flexibility into the simulation so that it can support different interpretations of the archaeological situation. Thus, even though the default setting does not display Buchner’s hypothesized pavement and horologium, we have included a software switch that can be thrown to illustrate where Buchner thinks this would have been positioned. Similarly, we have a slider that can lower the height of the obelisk in units of 1 mm to a depth of 2 meters. Pending additional funding, we plan to make all major components of the simulation equally flexible, so that, for example, one can also raise the obelisk up to 2 meters higher in increments of 1 mm; and one can move the center of the Ara Pacis in any direction by 2 meters in the same increments. In this way, we hope to create a flexible tool that supports assumption-free scientific research, allows adjustments to be made to improve accuracy, and is not limited to one particular reading of the archaeological record. In our view, the simulation ought ideally to serve the needs of archaeologists without itself becoming a new topic of debate.
  2. On the basis of the default values, we have thus far addressed the following issues that bulked large in the articles published in JRA 2011: (1) Did the shadow of the obelisk travel all the way down the equinoctial line (whether real and inscribed, or purely hypothetical) to the center of the western façade of the Ara Pacis on September 23, Augustus’ birthday? (2) If the shadow hits the façade of the Ara Pacis, does it have salience? (3) Did the shadow of the obelisk point toward the Ara Pacis at some point every day of the year? (4) Is the Ara Pacis oriented, not toward the obelisk, but toward the rising sun on April 21 (Parilia)?
  3. Before answering the first question, we note that our formulation of it reflects the “strong” reading of Buchner’s thesis about the relationship between the obelisk and Ara Pacis.[8] Like several scholars before him, Haselberger 2011:64 interpreted Buchner to mean only that the shadow progressed along the line, implicitly pointing toward the center of the western façade of the Ara Pacis, but did not necessarily reach the façade.[9] We call this the “weak” interpretation of Buchner. Our simulation can address both interpretations. Here we note that we dispute the weak interpretation and think Buchner did indicate that the shadow hit the façade. Even if Buchner never states this expressis verbis—just as he never says expressis verbis what scholars holding to the weak interpretation think that he says–what Buchner did write, taken in relation to his illustrations, leaves little doubt about what he meant.  Buchner 1976: 347 does state, as Haselbeger relates, “am Geburtstag des Kaisers…wandert der Schatten von Morgen bis Abend etwa 150 m weit die schnur-gerade Aequinoktienline entlang genau zur Mitte der Ara Pacis….” The weak interpretation of these words is that Buchner knew that the shadow moved along the equinoctial line but did not reach the facade of the Ara Pacis; and therefore that Buchner’s phrase, “etwa 150 m,” referred simply to the inscribed equinoctial line on the (hypothesized) pavement of his horologium. Our view is that the scholars who think Buchner meant that the shadow hit the façade of the Ara Pacis are right because of the phrase “etwa 150 m.” What does this refer to? If one measures the equinoctial line of the horologium on Buchner’s figure 7 (p. 337), one finds[10] that 1 cm=20 m. One also finds that the length of the equinoctial line on the horologium (i.e., the solid line) is 7 cm=140 m. But Buchner said “etwa 150 m.” If one then measures his dotted line extending the solid equinoctial line to the middle of the facade of the Ara Pacis, one discovers the missing 10 m.  For the weak interpretation to be right, Buchner would have to have written “etwa 140 m.”  Moreover, advocates of the weak interpretation must also explain why Buchner accounts at p. 346 for a supposed architectural anomaly of the two entrances of the Ara Pacis by claiming that “die Aequinoktienlinie des Solarium geht durch die Ara hindurch, durchschneidet wie di Vorder- so auch die Rückfront….” And this, too, is clearly seen in his fig. 7 on p. 337. This latter point is, it seems to us, decisive evidence in favor of the strong interpretation. Buchner cannot simply mean that an imaginary equinoctial line can be extended from the end of the actual inscribed line through the west to the east entrance of the Ara Pacis. Such an imagined extension of a line would not require a physical entrance and exit point. Buchner must, rather, be loosely describing an actual physical event, namely the progress of the shadow along the (imagined) extension of the equinoctial line through the altar. Clearly it is the shadow that requires the two entrances, not the hypothetically extended line. At any rate, since the weak interpretation is often encountered in the scholarly literature,[11] we address it here as well as the strong interpretation.
  1. To answer the first question as understood by the strong interpretation, the simulation suggests that it is true, as Buchner always claimed, that on September 23 the shadow of the obelisk progresses more or less down the (in our view hypothetical) equinoctial line in the zone that would be paved and inscribed with the horologium Buchner imagines. Since September 23 is not the actual date of the fall equinox in the Augustan age (which fell on the 25th of the month on the Julian calendar), the shadow actually fails to hit the line at the beginning of the second hour of the day; but for most of the second hour and all the other hours indicated on Buchner’s diagram of the horologium, the shadow does move along the line. However, the simulation also shows that, just at the crucial moment, when the shadow leaves that zone and approaches to ca. five meters of the center of the façade of the Ara Pacis, it  veers off course (see figure 1).These are the facts, at least if the simulation is reliable. In our view the simulation refutes the strong interpretation of Buchner and also casts doubt on the validity of the weak interpretation. If, as Buchner thought, the whole point of the ensemble Obelisk-Ara Pacis is an alignment of the latter with the former precisely on Augustus’ birthday, then the fact that the shadow misses the mark just as it approaches closest to its alleged target (and in an area where they was probably pavement on which the shadow could clearly be seen,)[12] is an indication that Buchner’s thesis is wrong. The simulation shows that the shadow clips the lower south end of the façade of the Ara Pacis just before sunset, when it disappears. We also note here that both the strong and weak interpretations are also thrown into doubt if, as we assume from the absence of any archaeological support, Buchner’s hypothesized pavement with an inscribed equinoctial line never existed. Without such a line, the average observer unversed in the subtleties of astronomy and gnomonology would have had little reason to process the significance of what he was seeing. Buchner’s thesis requires that the observer who does realize what is happening as the shadow advances across the zone to the Ara Pacis have the patience to stand and watch for some, or, ideally, all of the nearly twelve hours of daylight on that date. This seems impractical and implausible. Another decisive point against Buchner’s thesis is the fact that the shadow from the obelisk does hit the center of the western façade of the Ara Pacis at sunset on several other dates of the year. At most, then, one can say that Buchner had the right idea but concentrated on the wrong date. After they have been independently verified, we will report in a separate publication on the dates when the shadow does fall on the center of the western façade at sunset. In this regard, we note Suetonius’ comment (Augustus 31) that Augustus named Sextilis and not his birth month September after himself when he became pontifex maximus “because in the former he had won his first consulship and his most brilliant victories.” Here we have a nice parallel for Augustus’ decision-making in conferring honors on himself: he was not unduly influenced by his birthday but took other factors into consideration. Apparently, the same thing was true of the design he commissioned for the alignment of the obelisk with the Ara Pacis. Finally, and this is the most decisive point against the Buchner thesis, the phasing outlined in section 3(c) makes purely coincidental any shadow effect involving the hypothesized horologium and the Ara Pacis since the Ara Pacis was designed and sited first, the obelisk second, and the horologium (or, as we would instead assert, following Albéri Auber, the meridian) was added as an afterthought.
  2. Pollini 2012:210-216 reports on and illustrates (see, especially, p. 215, figure V.7e) a computer simulation that appears to confirm the strong version of Buchner’s thesis. We were naturally concerned about this result, which contradicts our own. Pollini and his modeler, N. Cipolla, kindly answered questions about their methods and software. We learned that Cipolla used formZ as his modeling package and for the lighting solution showing the shadow of the obelisk hitting the center of the western façade of the altar at 4:31 pm on September 23. As noted above in section 3, correct azimuthal, temporal and geospatial data are needed if the results of a simulation can have validity. Cipolla (personal communication, April 16, 2013) wrote that in creating a lighting solution for the shadow of the obelisk cast at 4:31 pm toward the western façade of the Ara Pacis, he used the built-in geocoordinates for Rome furnished by formZ. We determined that these coordinates are: 41 degrees, 54 minutes N, 12 degrees 30 minutes E. If we put these coordinates in Google Maps, we find that they yield an address near Stazione at via Giovanni Amendola 14-40, 00185 Rome. This location is ca. 2 km from where the obelisk was erected in antiquity. The spatial error is compounded by a temporal error. Cipolla also used formZ’s built-in time setting in his lighting solution. However, as a personal communication (dated April 30, 2013) from Paul Helm of the formZ Technical Support team states, “the formZ Sun Position is designed for current years, and [is] not intended for historical use.” The position of the sun in the sky is quite different today than it was in the period under discussion. Here, too, formZ’s built-in data have contributed to the different—and, we would claim, erroneous–results seen in the Pollini-Cipolla simulation.
  3. Heslin 2007:14 writes that “the shadow of the obelisk would have pointed at the Ara Pacis every single afternoon of the year…” Hannah 2011:94 notes that this is mistaken and that “in mid-winter, for example, it is not possible for the afternoon sun to cast a shadow that will fall from the obelisk towards anywhere near the direction of the altar.” The simulation, with its ability to instantly make complex calculations, allows us to confirm Hannah’s point and make it more precise. On the following dates, the shadow from the obelisk does not point at all toward the Ara Pacis: October 30 to February 11.
  1. Schütz 1990:450-453 questions whether the shadow of the sphere of the obelisk on the Ara Pacis would have had salience. Hannah 2011:91-93 disputes this on the basis of autopsy of the shadow cast by the cenotaph in Dunedin. The simulation also shows that Schütz’s concern was misplaced.
  2. Schütz 2011:85 claims that the Ara Pacis is not aligned with the shadow of the setting sun from the obelisk, but is oriented precisely away from the obelisk toward the rising sun to the east on April 21, the Parilia festival. The simulation shows that there is no precise alignment at sunrise on April 21 (figure 2), but there is such an alignment on May 6, a date with no festival on the religious calendar or other connection to Augustus, his family, or Roman history. It is therefore doubtless accidental—a coincidental result of another date (or dates) determining the design of the obelisk-Ara Pacis ensemble.
  3. Schütz’s attempt to orient the Ara Pacis toward the sun may, however, turn out to be another good idea which, like Buchner’s regarding the shadow, was simply misapplied. Let us recall the phasing of the project (section 3[c]): the design and construction of the Ara Pacis preceded the installation of the obelisk. When it was erected in Rome, the obelisk was rotated to be nearly parallel to the orientation of the Ara Pacis. This rotation has no impact on the obelisk’s functionality as a gnomon for the (still later) meridian: the obelisk’s shadow falls at the correct cross-hatchings on the meridian line whether or not the obelisk, like the meridian, is oriented N-S. But the obelisk’s rotation does have an important visual relevance for the relationship of the obelisk to the Ara Pacis: the obelisk, added after construction of the altar was already underway, was sited and disposed so as to be aesthetically compatible with the altar for someone viewing both on axis from the east (i.e., from the via Flaminia). Here, a different rotation of the obelisk would have been dysfunctional, i.e., aesthetically unpleasing. By looking eastward toward the sunrise from the eastern entrance of the Ara Pacis, Schütz ignores the (to us) indisputable visual and positional relationship between the obelisk and the altar.

The idea of seeing a relationship between the Ara Pacis and the sun—and not, as Buchner thought, the sun’s shadow—is quite interesting, and Schütz deserves credit for introducing it into the debate. All over the world, archaeoastronomers have found evidence of such built “solar markers” (cf., e.g., s.v. solstice markers in the Index of Kelly and Milone 2011: 606). Finding one at Rome would thus not be unprecedented. In this connection, we may note that the obelisk is expressly dedicated to the Sun god (see above n.2).  We are currently using the simulation to study this possibility and have identified three candidate pairs of dates. We note that given the nature of the analemma pattern traced by the sun in the sky each year, we will always find at least two dates (equidistant from the solstices) when any such alignment will occur. And, given the fact that when the observer moves along the axial line of the Ara Pacis imaginarily extended across the via Flaminia, the date of the alignment changes, we are likely to find more than one pair of candidate dates.

If arbitrary results are to be avoided in deciding which date (or, if this is another case of Augustan polysemy, dates; cf. Galinsky 1992) determined the positioning of the obelisk with respect to the altar, one needs rules of inquiry, and we state the rules we think reasonable to apply in the hope that they draw comment before our final report is published. First, there are the visual rules. What we are looking for must fulfill these visual criteria: the observer must be standing on the via Flaminia on axis with the eastern entrance to the Ara Pacis and with his gaze directed so that he can see the top of the obelisk in the distance; the disk of the sun must be more or less tangent to the top of the obelisk; and the disk must be (at least approximately) centered on the obelisk and, of course, on the axis of the Ara Pacis (figure 3). We think that the via Flaminia is the right place to use for observation because from here one had a good view of the entire façade of the Ara Pacis and the top part of the obelisk; and it was much more heavily trafficked than the adjacent area between the road and the eastern entrance to the altar. We assume that the effect we are looking for was exoteric, not esoteric: it was intended to be noticed by the mass of Romans passing through the Campus Martius and not simply by a select few. Then there is the cultural rule that a date is significant if and only if it corresponds to a well-attested religious festival, a personal event in the life of Augustus and his family, or an event of historic importance to the Roman state. We are, of course, aware of the fact when the requirements for a significant alignment are met for the observer stationed on the via Flaminia looking on axis from the east, then at the same time an observer positioned to the west on the imaginary axial line between the obelisk and the Ara Pacis would see the obelisk’s shadow projected onto the axis of the western entrance to the altar (figure 4). Our analysis, then, is in a sense an ironic (and, let us hope, irenic) compromise between the approaches of Buchner (=obelisk’s shadow centered on the western façade of the Ara Pacis) and of Schütz (=sun seen aligned to the main axis of the altar). However, to effect the compromise, we had to find better dates, and we had to turn Schütz ‘s ancient observer around so that she could see both the Ara Pacis and the obelisk, something possible only at sunset, not sunrise. We hasten to add that our results did not come from consciously working out such a compromise in advance and applying it to the simulation, but from using the simulation with no preconceptions as simply a device for virtual empirical survey and observation.[13]

We conclude by expressing the hope that our simulation does not itself become a new topic of the debate (which already includes more than enough controversies!). To reduce the chances that this will happen, before we will release any of our new findings along the lines of the compromise just described we will have the underlying calculations independently checked. And before we freely post the simulation itself on the Internet (as is our intention to do as a support for teaching and research), we want to modify it as suggested above in section 4 so that it is flexible enough to accommodate the complete range of expert views about the archaeological record.

Bibliography

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Albèri Auber, Paolo, 2013a. “La Linea meridiana di Augusto,” Orologi Solari, n. 2, CGI Coordinamento Gnomonico Italiano,  August, 2013.

Albèri Auber, Paolo, 2013b. “The Obelisk of Augustus and its Meridian Line. Part 1,” The Compendium. Journal of the North American Sundial Society, September, 2013.

Buchner, E., 1976. “Solarium Augusti und Ara Pacis,” RömMitt 83, 3 19-65.

Buchner, E., 1980.  “Horologium Solarium Augusti. Bericht über die Ausgrabungen 1979/80,”

RömMitt 87, 355-73.

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Frischer, B.and J. Fillwalk, 2013. “ A Computer Simulation to Test the Buchner Thesis. The Relationship of the Ara Pacis and the Meridian in the Campus Martius, Rome,” Proceedings of Digital Heritage 2013, forthcoming.

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Galison, P., 1997. Image & logic. A material culture of microphysics (Chicago and London).

Grenier, J.-C., 1996.  LTUR 3 s.v. Obeliscus Augusti: Circus Maximus (Rome) 355-356

Hannah, R., 2009. Time in antiquity (London and New York).

Hannah, R., 2011. “The Horologium of Augustus as a sundial,” JRA 24, 87-95.

Haselberger, L., 2011. “A debate on the Horologium of Augustus: Controversy and clarifications,” JRA 24, 47-73.

Heslin, P. J., 2007. “Augustus, Domitian and the so-called Horologium Augusti,” JRS 97, 1-20.

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Figures and Captions

Figure 1. At sunset on September 23, 1 CE, the shadow of the obelisk does not hit the middle of the western façade of the Ara Pacis as required by Buchner’s thesis but, as seen in this illustration, it only grazes the lower right side of the façade before continuing to the right (south) beyond the altar and soon disappearing after sunset. Source: Frischer-Fillwalk simulation.

Figure 2. Sunrise on April 21 (Parilia) of 1 CE seen from the eastern doorway of the Ara Pacis. According to Schütz 2011, 85 the Ara Pacis is oriented in such a way as to be on axis with the rising sun on this date. The doted red line gives the vertical axis and shows that Schütz’s theory is not confirmed by the simulation. Source: Frischer-Fillwalk simulation.

Figure 3.  The Ara Pacis and upper part of the obelisk seen in “Ara Pacis View” from the via Flaminia in the Frischer-Fillwalk simulation. This striking effect appears to have occurred on several days of the year. Before releasing the dates and discussing their possible significance, we are having them independently verified. Source: Frischer-Fillwalk simulation.

Figure 4. The shadow of the obelisk projected onto the vertical axis of the western façade of the  Ara Pacis seen in “Ara Pacis View” from a position along the axial line from the base of the obelisk to the center of the Ara Pacis, as seen in the Frischer-Fillwalk simulation. The dotted red line indicates the vertical axis, on which the shadow appears to be precisely centered. The date and time are the same as in figure 3. Source: Frischer-Fillwalk simulation.


[1] We are honored that Lothar Haselberger has invited us to contribute to this volume. We thank the National Science Foundation for the funding that made the Digital Meridian Project possible. We also thank Paolo Albèri Auber and Robert Hannah for their constant responsiveness to requests for information, help and collaboration. We are grateful to Nicholas Cipolla, David Dearborn, Karl Galinsky, Mika Kajava, Ann-Marie Lewis, Paolo Liverani, John Miller, John  ollini, and Michael Schütz for answering questions and providing the information we requested. Franco Sgariglia kindly arranged our several visits to study the remains of the meridian found by E. Buchner under via di Campo Marzio 48. Needless to say, we are solely responsible for the data and interpretations presented in this report. Bernard Frischer wrote this report, was the principal investigator of the NSF grant, and is responsible for the archaeology behind the simulation; John Fillwalk edited the text of this report and is responsible for the creation of the digital simulation and related solar tracker plug-in.

[2] Ca. 1.0 degree at sunrise and sunset and 0 .5 degrees at other times of the day.

[3] The date is given by mention in the dedicatory inscription of Augustus’ holding of tribunician power for the fourteenth time (CIL VI.701 and 702; ILS 91).

[4] So J.-C. Grenier, LTUR 3 s.v. Obeliscus Augusti: Circus Maximus (Rome 1996) 355-356 at p. 356.

[5] In his contribution to the present volume, Albèri Auber rightly stresses that  in NH 36.72 Pliny uses the word “addidit” twice in connection with the meridian and related sphere atop the obelisk: Ei, qui est in campo, divus Augustus addidit mirabilem usum ad deprendendas solis umbras dierumque ac noctium ita magnitudines, strato lapide ad longitudinem obelisci, cui par fieret umbra brumae confectae die sexta hora paulatimque per regulas, quae sunt ex aere inclusae, singulis diebus decresceret ac rursus augeresceret, digna cognitu res, ingenio Facundi Novi mathematici.  is apici auratam pilam addidit, cuius vertice umbra colligeretur in se ipsam, alias enormiter iaculante apice, ratione, ut ferunt, a capite hominis intellecta. The meridian was a genial afterthought to a project already complete when the obelisk had been installed in the Campus Martius. On the basis of the fact that the obelisk is rotated by 15 degrees from N, the same point was made as early as 1750 by J. Stuart apud Bandini 1750: letter XIII, p. LXXIV.

[6] Schütz 1990:438 cogently notes in this connection that distanziatori are not seen on the relief of Antoninus and Faustina illustrating the obelisk.

[7] Albèri Auber 2011-12:467. Schütz 1990:442 may be right that for Buchner the choice of 100 Roman feet stemmed solely from “a fascination from round numbers,” but for Albèri Auber the decision was made for purely hard-headed, practical reasons. Moreover, Schütz does not reckon with the fact that there was a single, Augustan phase and that, according to Albèri Auber, the meridian was elevated by 60 cm on an embankment off the virgin soil (Buchner’s Flavian phase). So, in a sense, both Schütz and Albèri Auber can be right: the obelisk, including its base was higher off the virgin soil than 100 Roman feet; but since the meridian was also raised off the virgin soil—in Albèri Auber’s view, to offer some protection against the flooding of the Tiber (but, we would note, possibly because the quota level of the virgin soil was lower at the obelisk end of the meridian than at its northern limit; cf. Rodriguez-Almeida 1982:208) —then the effective height of the sphere of the obelisk off the pavement of the meridian was still 100 Roman feet.

[8] See, for example: Schütz 1990: 451; Favro 1996:130; Rehak 2006:83; Hannah and Magli 2011:506. In a rare lapsus memoriae, Torelli 1999:70, writes that the “shadow of the obelisk-gnomon touched the figure of Augustus represented on the frieze around the altar” (cf. also Torelli 1992:107).  Torelli has rotated the Ara Pacis by 90 degrees. Correcting that error, we can add Torelli to the list of scholars holding to the strong interpretation of Buchner.

[9]Haselberger writes: “Buchner never speaks of the actual shadow reaching the Ara Pacis, but of the connection between Ara and Horlogium established through the equinoctial line.”

[10] At least on my photocopy, which may not be a perfect 1:1 reproduction; but the scale issue is irrelevant since it affects Buchner’s scale as well as his plan.

[11] E.g., La Rocca 1983:57, Zanker 1988:144, Rossini 2006:12.

[12] Pavement survives only on the south side of the Ara Pacis. See Haselberger 2011, 55.

[13] To confess the truth, the first author must admit to starting this project with the working assumption that Buchner’s thesis was more or less correct, as several generations of the students who have attended his lecture courses on Roman Topography at UCLA and the University of Virginia can attest.

Khan Academy

The Khan Academy featured HDT / IDIA Lab and Virtual World Heritage Laboratories Digital Hadrian’s Villa Project. Hosted by Beth Harris, Dean of Art and History at Khan Academy, a walkthrough with archeologist and HDT research fellow Dr. Bernard Frischer showcases the project. A virtual tour of Hadrian’s Villa using a 3D digital model of the villa was created under the direction of Dr. Bernard Frischer in conjunction with the IDIA Lab. The ruins of Hadrian’s Villa, in the town of Tivoli, near Rome, is spread over an area of approximately 250 acres. Many of the structures were designed by the Emperor Hadrian who ruled from 117 until his death in 138 C.E. This virtual rendering is based on current archeological research and has been created in consultation with art historians, archaeologists, and museum curators with expertise in this area. Please note, a few features are necessarily assumptions based on the best available evidence. Dr. Bernard Frischer and Dr. Beth Harris are the speakers in this walk though that was created by Beth Harris and Steven Zucker of Smart History.

Interactive Art at the College of Architecture and Planning

The IDIA Lab is designing a series of extended reality artworks that will be installed in the atrium of the College of Architecture and Planning. The installation allows passers-by to interact using various modes including motion, voice, and gesture to shape the compositions. The works employ sensors, sound art, artificial intelligence, and other programming to create dynamic experiences.

History Channel’s The Universe Features Virtual Stonehenge

IDIA Lab has developed a simulation of Stonehenge in Unity 3D which illustrates the various stages of construction and celestial alignments in an interactive virtual simulator. The project incorporates IDIA Lab’s CelestialEngine which uses NASA JPL data to accurately position the sun, moon and visible planets – correcting for changes in time in the Earth’s rotation and other forces – allowing for accurate observations of the night sky as they would have appeared thousands of years ago at Stonehenge.

The History Channel’s television series The Universe recently shot segments of an upcoming Stonehenge episode at Ball State University’s IDIA Lab and will feature the use of our simulator and rendered animations throughout the hour long episode. http://www.history.com/shows/the-universe/episodes

Press release: https://www.insideindianabusiness.com/newsitem.asp?ID=63067

Simulator video feature walkthrough:  http://www.youtube.com/watch?v=fNK-cCIog1E&list=UUtQrLF1JPprEvP4AO-iSNvw&feature=share&index=2

The History Channel’s The Universe, Ancient Mysteries Solved: Stonehenge

Perhaps the most mysterious structure on Earth, Stonehenge has stood on a plain in Southern England for 5000 years. Why is it there? In this episode we explore the possibility that this was a prehistoric astronomical observatory. Here ancient astronomer priests may have divined the complex movements of the Sun and Moon, recognizing patterns that would not be discovered elsewhere for thousands of years. The primitive Shamans may have also been the first astronomers to predict eclipses.

Stonehenge

Introduction

Stonehenge is one of the most famous prehistoric sites in the world – consisting of a ring of standing stones set within large earthworks. It is in the middle of the most dense complex of Neolithic and Bronze Age monuments in England, including several hundred burial mounds.

Archaeologists believe the earliest phases were built approximately around 3000 BC with radiocarbon dating in 2008 suggesting that the first Sarsen stones were raised between 2400 and 2200 BC and that the bluestones may have been raised at the site as early as 3000 BC.

The site and its surroundings were added to the UNESCO‘s list of World Heritage Sites in 1986 in a co-listing with Avebury Henge. It is a national legally protected Scheduled Ancient Monument. Stonehenge is owned by the Crown and managed by English Heritage, while the surrounding land is owned by the National Trust.

Archaeological evidence found by the Stonehenge Riverside Project in 2008 indicates that Stonehenge could have been a burial ground from its earliest beginnings. The dating of cremated remains found on the site indicates that deposits contain human bone from as early as 3000 BC, when the ditch and bank were first constructed.

PHASES

Phase One 3000-2920 BC

The first monument was essentially an earthwork, consisted of a circular bank and ditch enclosure measuring about 110 meters (360 ft.) in diameter, with a large entrance to the northeast and a smaller one to the south. It stood in open grassland on a slightly sloping spot. Within the outer edge of the enclosed bank is a circle of 56 holes each about a meter in diameter, known as the Aubrey holes after John Aubrey, a 17th-century antiquarian who was thought to have first identified them. Current thinking is that the Aubrey holes contained 56 bluestones during this phase of construction. There are suspected to be three heel stones during this era.

Phase Two 2620-2480 BC

Archaeological excavation has indicated that around 2600 BC, the builders reimagined the monument entirely – and began a massive phase of construction. During this period the sarsen ring with horizontal lintels was erected, the “U” shaped cluster of 5 central trilithons. These huge stones, ten uprights and five lintels, weigh up to 50 tons each. They were linked using complex jointing transferred from knowledge of woodworking. Also during this phase an inner ring of bluestones was constructed – most likely from the removal and relocation of the 56 Aubrey hole bluestones.

The earthwork was altered to create two barrows containing the addition of two of the station stones, with the remaining two outside the barrows, forming a rectangle. These station stones have both solar and lunar alignments. The heel stones were reduced to one – which stands somewhat angled today.

Phase Three 2480-2280 BC

In stage three the Avenue was constructed, a long roadway leading to the river Avon and leading to other settlements and monuments. A bluestone circle is constructed inside the ring of trilithons. This phase also noted the appearance of three slaughter stones.

Phase Four 2280-2020 BC

The main alteration of the monument during this period was the reconstruction of the bluestone configuration within the sarsen ring. They were reworked into two distinct patterns, one a central inner oval of 23 stones inside the trilithon ring – the other a circle of 59 stones between the trilithons and the sarsen ring. The remnants of both patterns are visible today. Also, the slaughter stones were reduced to one – which remains in a fallen state.

Phase Five  1680-1520 BC

The site is essentially unchanged with the exception of the construction of the X and Y holes. There are 30 Y holes and 29 Z holes – these are suspected to perhaps have significance in the tracking of the lunar month. The Y and Z Holes are the last known construction at Stonehenge, built about 1600 BC.

Present Day (1600 BC on)

Roman coins and medieval artifacts have all been found in or around the monument but it is unknown if the monument was in continuous use throughout British prehistory and beyond, or exactly how it would have been used. The Romans are believed to have removed 4 of the 23 inner bluestones from the oval, leaving the remaining 19 stones and holes forming the horseshoe we see today. The site was known to scholars during the Middle Ages and since then it has been studied and adopted by numerous groups.

Throughout the 20th century, Stonehenge began to be revived as a place of religious significance, by adherents of Neopagan and New Age beliefs, particularly the Neo-druids.

In the late 1920s a nation-wide appeal was launched to save Stonehenge from the encroachment of the modern buildings that had begun to rise around it. By 1928 the land around the monument had been purchased with the appeal donations, and given to the National Trust to preserve. The buildings were removed (although the roads were not), and the land returned to agriculture. More recently the land has been part of a grassland reversion scheme, successfully returning the surrounding fields to native chalk grassland.

Celestial Alignments

Many astronomical alignments have been attributed to Stonehenge, a complex of megaliths and earthworks in the Salisbury Plain of England. The most famous of these is the midsummer alignment, where the Sun rises over the Heel Stone.

As well as solar alignments, there are proposed lunar alignments. The four station stones mark out a rectangle. The short sides point towards the midsummer sunrise and midwinter sunset. The long sides if viewed towards the southeast, face the most southerly rising of the moon.

Gerald Hawkins, a professor and chair of the astronomy department at Boston University in the United States, published an analysis of Stonehenge in 1965 in which he proposed its purpose as an ancient astronomical observatory predicting movements of sun and stars. Archaeologists and other scholars have since demonstrated such sophisticated, complex planning and construction at other prehistoric earthwork sites across the globe.

Function and Construction

Stonehenge was produced by a culture that left no written records. Many aspects of Stonehenge remain subject to debate. There is little or no direct evidence for the construction techniques used by the Stonehenge builders. Proposed functions for the site include usage as an astronomical observatory or as a religious site.

Professor Michael Parker Pearson of Sheffield University has suggested that Stonehenge was part of a ritual landscape and was joined to Durrington Walls by their corresponding avenues and the River Avon. He suggests that the area around Durrington Walls Henge was a place of the living, whilst Stonehenge was a domain of the dead. A journey along the Avon to reach Stonehenge was part of a ritual passage from life to death, to celebrate past ancestors and the recently deceased. Whatever religious, mystical or spiritual elements were central to Stonehenge, its design includes a celestial observatory function, which might have allowed prediction of eclipse, solstice, equinox and other celestial events important to a contemporary religion.

IDIA Lab Virtual Stonehenge Simulator

IDIA Lab has developed a simulation of Stonehenge that illustrates the various stages of construction and celestial alignments in an interactive virtual simulator. The project incorporates IDIA Lab’s Celestial SimEngine which uses NASA JPL data to accurately position the sun, moon and visible planets – correcting for changes in time in the earths rotation and other forces – allowing for accurate observations of the night sky as they would have appeared thousands of years ago at Stonehenge.  https://idialab.org/virtual-stonehenge/

________________________________________

BBC The Sky at Night Episode

This past summer, BBC’s program, The Sky at Night also included IDIA Lab’s Stonehenge simulation and animation in an episode about Stonehenge and the summer solstice. The Sky at Night is a 50 year running program on astronomy which airs on BBC One, Two, Three and Four.

BBC Sky at Night Programme website:  http://www.bbc.co.uk/programmes/b036r5nj

Stonehenge pan preview: Stonehenge Sunset Pan

NSF FUNDED VIRTUAL SIMULATION OF HADRIAN’S VILLA

NFS Funded Virtual Simulation of Hadrian’s Villa

IDIA Lab has designed a virtual simulation of the villa of the Roman Emperor Hadrian, which is a UNESCO World Heritage site located outside of Rome in Tivoli, Italy. This project is being produced in collaboration with the Virtual World Heritage Laboratory (VWHL) at the University of Virginia (UVA), directed by Dr. Bernard Frischer and funded by the National Science Foundation. This large-scale recreation virtually interprets the entire villa complex in consultation with the world’s foremost villa scholars and educators. The project has been authored in the game engine of Unity as a live 3D multi-user online learning environment that allows students and visitors to immerse themselves in all aspects of the simulated villa.

The project will not only accurately recreate the villa buildings but also include a complete Roman avatar system, non-player characters with artificial intelligence, furniture, indigenous vegetation, dynamic atmospheric system and sophisticated user interface. The interface will not only provide learning, navigation, reporting and assessment opportunities but will also allow users to change the position of the sun to any date in 130 AD using data from the Horizons database at JPL NASA – testing theses of astro-alignments of architectural features during solstices and equinoxes. UVA students will be briefed on the culture and history of the villa as well as learn the virtual environment for five weeks prior to immersing themselves within it. The avatar system will allow for them to enter the world choosing class and gender – already being aware of the customs and behavior of the Roman aristocracy, soldier, slave or politician. This project will be delivered to VWHL at UVA in early March.

The Digital Hadrian’s Villa Project:

Virtual World Technology as an Aid to Finding Alignments between

Built and Celestial Features

Bernard Frischer1

John Fillwalk2

1Director, Virtual World Heritage Laboratory, University of Virginia

2Director, IDIA Lab, Ball State University

Hadrian’s Villa is the best known and best preserved of the imperial villas built in the hinterland of Rome by emperors such as Nero, Domitian, and Trajan during the first and second centuries CE. A World Heritage site, Hadrian’s Villa covers at least 120 hectares and consists of ca. 30 major building complexes. Hadrian built this government retreat about 20 miles east of Rome between 117, when he became emperor, and 138 CE, the year he died. The site has been explored since the 15th century and in recent decades has been the object of intense study, excavation, and conservation (for a survey of recent work, see Mari 2010).

From 2006 to 20011, with the generous support of the National Science Foundation[1] and a private sponsor, the Virtual World Heritage Laboratory created a 3D restoration model of the entire site authored in 3DS Max. From January to April 2012, Ball State University’s Institute for Digital Intermedia Arts (IDIA Lab) converted the 3D model to Unity 3D, a virtual world (VW) platform, so that it could be explored interactively, be populated by avatars of members of the imperial court, and could be published on the Internet along with a related 2D website that presents the documentation undergirding the 3D model.

The 3D restoration model and related VW were made in close collaboration with many of the scholars who have written the most recent studies on the villa.[2] Our goal was to ensure that all the main elements—from terrain, gardens, and buildings to furnishings and avatars—were evidence-based. Once finished, the was used in two research projects.

The first project was a NSF-sponsored study of the usefulness of VW technology in archaeological education and research. We used the virtual villa in undergraduate classes at Xavier University and the University of Virginia to investigate the thesis of two recent studies by project advisors Michael Ytterberg and Federica Chiappetta about how this enormous built space was used by six different groups of ancient Romans, ranging from the Emperor and Empress to normal citizens and slaves (Ytterberg 2005; Chiappetta 2008). Avatars representing these groups have been created and are being operated by undergraduate students as a Problem‐Based Learning (PBL) experience. They are observed by subject experts, who are using the data generated to test and, if necessary, refine the initial theses about how circulation through the villa was handled.  The results are still being evaluated. Preliminary indications are that the data show that the combination of VW used in a PBL educational context is very effective in taking advantage of the known connection between between the hippocampus and long-term learning, especially when the information to be mastered is spatial (Kandel 2007).

The second project involved use of the VW for some new archaeoastronomical studies. Most of our advisors’ publications, like the older work by archaeologists that preceded them, have concentrated on archaeological documentation, restoration, formal, and functional analysis. The latest research by advisor De Franceschini and her collaborator Veneziano (2011) combined formal and functional analysis: it considered the alignment of certain important parts of the villa in relation to the sun’s apparent path through the sky on significant dates such as the solstices. In their recent book they showed how two features of the villa are aligned with the solar solstices: the Temple of Apollo in the Accademia; and the Roccabruna. We used the VW to extend their research to other areas of the villa, taking advantage of 3D technology to restore the sun to the right place in the sky and also to restore the damage to the architecture of the villa, as De Franceschini and Veneziano had independently suggested be done before they learned about our digital model of the villa.

The work of De Franceschini and Veneziano is innovative. Archaeastronomy has become an accepted field of study in recent decades, and a considerable amount of work has been done in Old and New World archaeology. In Roman archaeology, however, this approach is still rarely encountered. Significantly, one of the few compelling studies concerns the most famous Hadrianic building: the Pantheon in Rome. Hannah and Magli 2009 and Hannah 2011 have shown a number of solar alignments in the building, of which the most notable are the sun’s illumination of the entrance doorway at noon on April 21; and the view of sunset silhouetting the statue of Hadrian as Sun god on a four-horse chariot atop the Mausoleum of Hadrian as viewed from the middle of the Pantheon’s plaza at sunset on the summer solstice. Like the summer solstice, April 21 is also a significant date: on it occurred the  annual festival in Rome known as the Parilia (re-named the Romaia by Hadrian),[3] which celebrated the founding of Rome.

De Franceschini and Veneziano pursued an observation of Mangurian and Ray (2008) to document an impressive example of solar alignment at Hadrian’s Villa involving the tower known as Roccabruna at the western end of the villa. Originally, a tower-like structure topped by a round temple, what remains today is the well-preserved, massive lower floor. The main entrance is located on the northwestern side to the right and gives access to a large circular hall covered by a dome. The dome is punctuated by an odd feature: five conduits that are wider on the outside than on the inside (figure 1).

What is the function of these unusual conduits? They have no known parallel in Roman architecture. After asking themselves this same question, on June 21st, 1988, the day of summer solstice, the American architects Robert Mangurian and Mary Ann Ray went to Roccabruna at sunset, and discovered the extraordinary light phenomena which occur there. At sunset the Sun enters through the main door illuminating the niche on the opposite side, something that happens during most of the summer days. But only in the days of the summer Solstice the Sun penetrates also into the conduit located above that door: its rays come out from the slot inside the dome projecting a rectangular light blade on the opposite side of the dome. In June 2009, De Franceschini verified the findings of Mangurian and Ray. However, they know that the apparent path of the Sun through the sky changes slightly each year, so that in the nearly 1880 years separating us from Hadrian, the precise effect of the alignment has been lost. As they noted, only a computer simulation can recreate the original experience of being in the lower sanctuary at Roccabruna at sunset on the summer solstice during the reign of Hadrian.

Once we had our 3D model of the site, we were able to obtain from NASA’s Horizons system[4] the correct azimuthal data for the year AD 130 and put the sun into the sky at sunset on the summer solstice. Following the lead of De Franceschini, who in the meantime had become a consultant to our project, we put into the niche one of the four statues of the Egyptian sky goddess Isis that were found at the Villa. De Franceschini chose Isis because first of all, there is no question there was a statue in this niche so we need to put something there; and the two flanking niches had candelabra, whose bases are preserved and are decorated with Isiac iconography. Moreover, Isis’ festival in Rome was on the summer solstice. So we scanned and digitally restored one of the several statues of Isis from the villa and put it into the central niche. Finally, for the dome, which we know from surviving paint was blue and therefore had the famous “dome of heaven” motif (Lehmann 1945), we followed De Franceschini in restoring a zodiac set up in such a way that the sign of Gemini is over the statue niche since the last day of Gemini is the summer solstice. Our zodiac is adapted from the great Sun God mosaic in the Rheinisches Landesmuseum in Bonn, which kindly gave us permission to use it.

As can be seen in figure 2, when we restored the sun in the right position in the sky dome for sunset on the summer solstice (June 21) of 130 CE in our 3DS Max model of Roccabruna, the sunlight coming through the main doorway illuminated the statue of Isis in the statue niche, and the light entering through the conduit lit up the sign of Gemini painted on the cupola. So we were able to confirm the Mangurian-Ray thesis.

The approach we have taken in our Roccabruna project is deductive: Mangurian and Ray noted the strange feature of the conduits punctuating the cupola of Roccabruna; they hypothesized a solar alignment. De Franceschini and Veneziano agreed and for various reasons we don’t need to go into today, they put a statue of Isis into the statue niche. We set up the conditions in which these hypotheses could be tested and were able to verify them.

But surely, if there is one such alignment at the villa of the same emperor who was responsible for the Pantheon, there may be others. But the villa is very big—covering over 100 hectares—and has 30 major building complexes, most larger than Roccabruna. Moreover, such alignments could just as easily involve astrological features such as the Moon and the planets. Faced with this level of complexity, the best methodological way forward in searching for new alignments is clearly inductive and empirical. This is one reason why we asked the Institute for Digital Intermedia Arts (IDIA Lab) of Ball State University to create a multi-user virtual world based in Unity 3D from our 3DS Max model.

The project of virtually interpreting a simulation on the scope and scale of Hadrian’s Villa was a daunting one – engaging layers of scholarly, technical and pedagogical challenges. The technical challenges were many – foremost to leverage the game engine of Unity 3D to become an effective multi-user avatar-based virtual world. An important factor was to create an environment that was straightforward and accessible via standard web browsers on both Mac and Windows and selected Unity 3D as the starting point for developing the platorm. We required specific back-end administration tools to handle the accounts and server side aspects of the project – for this we relied on Smart Fox Server as it manages Unity 3D quite well. Our team took an approach that bridged and integrated disparate technologies, creating a robust virtual world platform to immersively augment both instructional and PBL processes. VW features available to the learning community included text based communication, a live map showing current visitor positions, map based teleportation, managed voice channel, user selected avatar gestures, online users, paradata, photographs of the extant site, plan views, and integrated web links.

Key to the project was a varied system of avatars representing the imperial court, freemen, senators, scholars, soldiers, and slaves to the emperor. The avatar system provided several important functions testing recent scholarly interpretations of circulation throughout the villa and the use of various spaces for typical court activities – meals, imperial audiences, bathing, worship, etc. Upon entering the simulation, the choice of avatar would predicate how one’s social standing within the role-play of the world.

A gesture system was created via motion capture providing each user with a unique set of actions and gestural responses to engage social interactions – including greetings, bowing and gestures specific to rank and class. Communication was also a critical element in the modes of problem based learning engaged by the participants in the simulation. Specific technologies provided varied abilities such as public chat, private instant messaging and live multi-user voice channels.

A companion website was co-developed and integrated into the VW environment providing learners with visual assets such as photographs and panoramas of the current site, site plans, elevations, and video interviews with Villa scholars. We also developed three-dimensional turntables of the interpreted and reconstructed models, overview information on each of the major Villa features, bibliography and an expansive database of art attributed to the Villa site. This information can be directly accessed by learners directly from within the virtual world. The development team integrated the notion of paradata, introduced by the London Charter – making instantly transparent the scholarship and all underlying elements of the 3D model (from terrain to buildings, furnishing, costumes, and human behavior).

In support of new research theme on celestial alignments by consultants De Franceschini and Veneziano, a major goal for the project was to develop an accurate simulation for the position of the sun. The solar tracking, or virtual heliodon that we created as a response to this research, was envisioned as a simulation that would a bridge between the virtual environment and coordinates from an external database calculating solar positions. After investigating existing tools we decided to employ the Horizons database that was created by NASA’s Jet Propulsion Laboratory as an on-line solar system data computation service – tracking celestial bodies in ephemerides from 9999 BCE to 9999 CE. In implementing solar tracking for the Villa project in instances were we where we wanted to investigate potential significant solar alignments, we entered the latitude, longitude and altitudes of specific buildings from the Tivoli site to poll the Horizons data for the year 130 CE. The user was able to change the date, time of day, and quickly play the sun from specific moments via the user interface. The system was co-related to both the Julian and Gregorian calendars and contained presets for the vernal and autumnal equinoxes as well at the summer and winter solstices.

These tools allowed for the rapid discovery of potential alignment that might bear further investigation. The solar feature allows one to proceed empirically, in effect turning the clock back to 130 CE and running experiments in which the days and hours of the year are sped up by orders of magnitude so that one can in a very short time find candidate alignments not yet hypothesized by scholars working in the traditional way of Mangurian-Ray.

As developers, our goal was to create the solar tool and let students and scholars use it to undertake their own empirical research. Our team was not intending to engage in this research ourselves, yet in the process of working within the environment daily we quickly began to notice curious solar phenomena. In a bit of empirical study of the very first component of the site we installed in the simulation, the Antinoeion – or newly-discovered Temple of the Divine Antinous, we noticed an alignment of potential interest. The most likely alignment seemed at first glance to be along the main axis running from the entrance, through the obelisk in the central plaza to the statue niche at the end of the axis. We ran the days and hours of the year and found that the sun and shadow of the obelisk align at sunrise on July 20. We consulted with our expert on the Egyptian calendar in the Roman period, Professor Christian Leitz of the University of Tuebingen–and he confirmed that this date has religious significance. It is, in fact, the date of the Egyptian New Year, as the Romans of Hadrian’s age clearly knew (cf. the Roman writer Censorinus, who states that the Egyptian New Year’s Day fell on July 20 in the Julian Calendar in 139 CE, which was a heliacal rising of Sirius in Egypt).

In the process of developing and subsequently utilizing the simulation tools we created for astro-archeological research, our conclusions have been that virtual world technologies can indeed take the inquiry for significant built-celestial alignments to a new level of insight.

Bibliography

Chiappetta, F. 2008. I percorsi antichi di Villa Adriana (Rome).

De Franceschini, M. and G. Veneziano, 2011. Villa Adriana. Architettura celeste. Gli secreti degli solstizi (Rome).

Hannah, R. 2008. Time in Antiquity (London).

Hannah, R. 2011. “The Role of the Sun in the Pantheon’s Design and Meaning,” Numen 58: 486-513.

Kandel, E. 2007. In Search of Memory: The Emergency of a New Science of Mind (W. W. Norton, New York). Kindler edition.

Lehmann, K. “The Dome of Heaven,” Art Bulletin 27: 1-27.

Lugli, G. 1940. “La Roccabruna di Villa Adriana,” Palladio, 4: 257-274

Mangurian, R. and M.A. Ray. 2008. “Re-drawing Hadrian’s Villa,” Yale Architectural Journal, 113-116.

Mari, Z. 2010. “Villa Adriana. Recenti scoperte e stato della ricerca,” Ephemeris Napocensis 20: 7-37.

Ytterberg, M. 2005. “The Perambulations of Hadrian. A Walk through Hadrian’s Villa,” Ph.D. dissertation, University of Pennsylvania.


[1] NSF grant # IIS-1018512.

[2] For a list of scholarly consultants, see http://idialabprojects.org/hvtest/mission.php,

[3] Athenaeus 8.361e-f.

[4] http://ssd.jpl.nasa.gov/?horizons.

The History Channel’s The Universe, Ancient Mysteries Solved: Roman Engineering

History Channel at IDIA Lab
History Channel at IDIA Lab

John Fillwalk, director of the Institute for Digital Intermedia Arts and senior director of the university’s Hybrid Design Technologies initiative, was interviewed for the History Channel’s “The Universe.” The episode, which aired 9 p.m. May 23, featured the IDIA Lab’s digital recreation of ancient Roman structures.

For the season finale of its popular program “The Universe,” the History Channel is shining a spotlight on the work of virtual artists from Ball State University.

The season finale episode of the documentary series, which aired May 23, explores how Roman emperors built ancient structures to align with movements of the sun. To confirm experts’ theories about the religious, political, and cultural significance behind these phenomena, the cable network enlisted the help of Ball State’s Institute for Digital Intermedia Arts (IDIA).

Through the use of 3-D computer animation, artists and designers from the IDIA Lab virtually recreated several monuments featured in the episode, along with accurately simulating the alignment of the sun. These structures include: the Pantheon, one of the best preserved buildings of ancient Rome; the Temple of Antinous, a complex that today lies in ruins within Hadrian’s Villa outside of Rome; and the Meridian of Augustus, a site containing an Egyptian obelisk brought to Rome for use as a giant sundial and calendar.

‘Getting things right’

IDIA Lab's Roccabruna reconstruction

 

The IDIA Lab digitally rebuilt ancient Roman structures to give viewers of the History Channel’s “The Universe” a vivid idea of what ruins looked like when they were inhabited.

James Grant Goldin, a writer and director for The History Channel, says IDIA’s animations were an essential part of the program’s second season finale. An earlier episode of “The Universe,” which aired in 2014, contracted with IDIA for animation of Stonehenge in a segment demonstrating how the prehistoric monument may have been used to track celestial movements.

This time around, the work of Ball State digital artists is featured throughout the Roman engineering episode.

“It’s an honor for us,” says John Fillwalk, director of IDIA and senior director of the university’s Hybrid Design Technologies initiative. “Ideally our relationship with the History Channel will continue long into the future.”

Goldin said the cable network is keen on employing the IDIA for future projects because Fillwalk and his team create beautifully rendered graphics backed by data and research.

“John was devoted to getting things right,” he said. ” Many of the theories we discuss in the show remain controversial, and in nonfiction TV it’s always a good idea to present such things with a qualifying phrase in the narration—an ‘if’ or a ‘maybe.’ But the IDIA Lab combined their own research with that of experts, and I’m very happy with the results.”

Gaming software transforms history

IDIA Lab's Pantheon reconstruction

 

The Pantheon is one of the ancient structures the IDIA Lab developed 3-D renderings of for the History Channel’s “The Universe.”

Fillwalk has worked closely over the years with many prominent scholars of the ancient world, including Bernard Frischer, a Roman archeologist at Indiana University and Robert Hannah, dean of arts and social sciences from New Zealand’s University of Waikat, who advised on the archeo-astronomy of the project.

Hannah says he’s been astounded to see the way up-to-the-minute gaming software can bring to life the work of today’s historians and virtual archaeologists. “I’ve seen my son play games like ‘Halo,’ so I knew what was possible,” he said, “but I’d never seen it adapted to ancient world buildings.”

Phil Repp, Ball State’s vice president for information technology, says the relationship between the university and the cable network is a key example of how Ball State is distinguishing itself as leading world provider of emerging media content.

“For the History Channel to want the continued help of John and his staff speaks to the quality of what our lab can produce,” he said.

Goldin’s praise for the IDIA supports Repp’s theory. “Bringing the past to life is a very challenging task,” he said. “The renderings Ball State artists have created represent the most accurate possible picture of something that happened almost 2,000 years ago.”

Old Planetarium + Cutting Edge Studio

planetarium_sub

OLD PLANETARIUM REVAMPED INTO CUTTING-EDGE STUDIO

Months after the opening of the Charles W. Brown Planetarium, Ball State has found a new use for its almost 50-year-old predecessor. The dome-shaped room in the basement of the Cooper Science Complex has become a production facility dedicated to developing new shows for planetariums nationwide.

“This is an exciting opportunity for us,” said planetarium director Ron Kaitchuck, “because the last thing we wanted was for the old planetarium to become a storeroom.”

To make use of the space, Kaitchuck and his staff first needed to outfit it with a new digital projector. Helping him secure funding for the device was John Fillwalk, director of Ball State’s Hybrid Design Technologies, a division of the Office of Information Technology that seeks out partnerships injecting the arts into STEM education. More commonly known as STEAM, the acronym stands for science, technology, engineering, arts and mathematics.

“We saw the dome as a valuable space where we could create new content — the kind that’s hard to test on flat-screen computer monitors,” said Fillwalk, who’s also director of the Institute for Digital Intermedia Arts (IDIA), a lab specializing in creating virtual reality and 3-D simulations for a broad range of clients including UNESCO, other universities and the History Channel.

Kaitchuck said Fillwalk’s expertise — as well as that of his student and professional designers — will let planetarium staff and students in the Department of Physics and Astronomy create shows they couldn’t otherwise. “For instance, we don’t know how to craft 3-D models, but John does.”

“And I’m not a scientist, but Ron is,” Fillwalk said. “So there’s a nice synergy at play where he advises us on the science side of these productions and we create the graphics.”

AN ENTREPRENEURIAL VENTURE IN THE MAKING

While the partnership is new this year, Dayna Thompson, assistant planetarium director, looks forward to seeing how the IDIA Lab helps improve shows Ball State is already creating.

One goal is to generate more revenue from the productions. Take, for example, “Saturn & Beyond,” which recently sold to a distribution company for $18,000. “Had we been able to work with IDIA on that, we could have included more graphics to help explain the science that the program talks about,” she said.

Helping assist with the creation of “Saturn & Beyond” was physics and astronomy student Monique Gabb, a Florida native completing her master’s degree who wants to work for a government-backed science and engineering research lab like Argonne. “Astronomy is a great gateway to getting people interested in science, so I enjoyed helping create a show like this.”

Gabb said when it came time to test “Saturn” for audiences, it was a challenge to get large blocks of screen time inside the 52-foot domed Brown Planetarium. “There are so many shows going on over there, it was hard to work us in.” With the conversion of the old planetarium into a new production dome, “we no longer have to worry about that issue.”

Kaitchuck said the size of the old planetarium is also major boon for its new use. “As far as I know, no other planetarium in the country has at its disposal a 30-foot dome for production purposes only,” he said, noting New York City’s Hayden Planetarium, inside the American Museum of Natural History, uses a production dome a fraction of that size.

IDIA TO CREATE NEW, INTERACTIVE CONTENT

Fillwalk has his own aspirations for the old planetarium, now that he’s helped transform it into a studio — one equipped with game-engine computers and a digital projector encased inside a protective fabricated display created by IDIA artist and Ball State alumnus Chris Harrison, ’10, MS ’12.

Most of Fillwalk’s plans involve using the space to help IDIA expand upon — and reshape — content the lab has created for past projects, including virtual simulations of Stonehenge and other ancient ruins in various celestial alignments. “It’s a great opportunity for us to test what we already do in another immersive environment. A dome gives you the same kind of view you’d see with a head-mounted, immersive display, but now we don’t have to wear goggles to get it.”

IDIA is also exploring development of dome-spaced content for new clients including museums and aerospace companies. “My biggest interest is finding ways to allow audiences to be more interactive with these kinds of show,” Fillwalk explained. “If you could hold your phone up as you’re watching, and have a planet or star jump out at you — I think kids would love that.”

OPPORTUNITIES FOR EDUCATION

Closer to home, Fillwalk and his team are working with Thompson on projects for the Brown Planetarium, which in its first year had about 20,000 visitors — more than the double the number of people who visited the old planetarium in its last full year of operation.

For the planetarium’s show, “Black Holes, Worm Holes, and the Movies,” IDIA artists visualized travel through a worm hole, which scientists consider to be a shortcut connecting two distant points in space-time. And for an upcoming Halloween show, Fillwalk and his staff will create graphics illustrating the history of the holiday and its astronomical origins.

Kaitchuck wants to use the old planetarium for future entrepreneurial learning opportunities that will let students outside his department help create new planetarium shows. “We could use music media production students for the audio, creative writing majors to help with scripts — it could be a very diverse group,” he said. “And now, with John’s help, the kinds of work we’ll be able to do … well, the sky really is the limit.”

By Gail Werner

DOME Lab photographs courtesy of Ball State University, Division of Strategic Communication

http://bit.ly/2anJRzr

NATIONAL AWARD: VIRTUAL ESCAPE ROOM


The BSU College of Health and CAP’s IDIA Lab were honored with a national award for their collaborative virtual escape room project. The  serious game, “The Case of the Kidnapped Healthcare Professionals: Virtual Escape Room” was selected to receive the 2023 Creativity in Practice and Education Award from the National Academies of Practice (NAP). BSU’s Lori Porter accepted the award on behalf of the project team Karrie Osborne, PhD, RN, Blair Mattern, John Fillwalk, IDIA staff and Katherine Berryhill for their work in developing the project.

Escape rooms employ innovative learning strategies such as problem-based immersive learning, role-play, and game principles to improve teamwork, communication and leadership. Nationally, health profession curricula are beginning to explore the use of escape room experiences as innovative pedagogy. Escape rooms challenge individuals to collaboratively explore new content, work as a team to discover clues, solve puzzles, and accomplish interactive tasks in a limited amount of time.

Newton’s Cenotaph in VR

Appeared in Engadget, Variety and Motherboard

Linden Lab lifted the veil on Sansar, the long awaited followup to Second Life, allowing the general public to explore VR environments that beta-testers have been creating for the platform. Among the usual suspects of ritzy nightclubs and elven cities is something unexpected.

Over the summer, a group of digital artists from Ball State University used Sansar to construct a digital replica of Newton’s Cenotaph—one of the most awe-inspiring neoclassical structures to never have been built.

“The building is really at this preposterous and fantastical scale,” director at Ball State’s IDIA Lab John Fillwalk told me in a phone interview. IDIA Lab is a division within Ball State’s College of Architecture and Planning that explores the intersection of digital and physical design.

“With this technology, you can build the impossible, or at least the impractical,” said Fillwalk. It had been a long-time aspiration of his to digitally assemble Newton’s Cenotaph in some shape or form, and Sansar provided a convenient way to bring the unrealized work of architecture to life.

The Cenotaph is a great, big dome of a building, originally imagined by the French architect Étienne-Louis Boullée in the 18th century. But Boullée’s more grandiose designs tended to skirt the limits of feasibility, and thus rarely saw the light of day. The Cenotaph’s design, for instance, eclipses the height of the Great Pyramids at 455 feet.

“It would take an enormous amount of labor to do something like that in reality,” Fillwalk said. “And the engineering to pull it off would be an outstanding undertaking.”

Sansar made it easier. To begin with, Fillwalk got ahold of high resolution scans from Boullée’s architectural prints. Following them as closely as possibly, the group recreated them in 3D modeling software Maya.

While the exterior of the unbuilt building is expansive, the interior is mechanically intricate. Boullée envisioned the building as a monument to Isaac Newton, who among other things, worked out mathematical proofs for heliocentrism, the idea that planets orbit around the sun.

In tribute, a great brass armillary sphere, representing the motion of the planets, was intended to rotate within the equally great dome.

One of VR’s greatest assets is giving users a sense of scale, so the medium was a natural fit for resurrecting impossible works of overambitious architecture, Fillwalk said. In fact, the Cenotaph may be too big.

“Because it takes so long to walk through it normally, we put in a teleport feature as a speedy way to get through it,” he said.

https://www.vice.com/en/article/zm4pe4/newtons-cenotaph-has-finally-been-built-but-in-vr

Visit Newton’s Cenotaph

GIS PAPER: DEEP MAPPING

BSU’s James Connolly, Director, Center for Middletown Studies and John Fillwalk, Director, IDIA Lab presented their joint paper at the 30th ACM SIGSPATIAL International Conference on Advances in Geographic Information Systems in Seattle, WA. This paper explored innovations in visualizing data in immersive 3D environments associated with the newly launched Deep Mapping Middletown project. Lead by Connolly and Fillwalk, the project consists of a team of scholars and library scientists from several institutions producing deep maps based on the extensive archive created by the century of social research focused on Muncie, IN.

https://dl.acm.org/doi/abs/10.1145/3557919.3565815

Wright Brothers Workshop

IDIA Lab has created a virtual simulation of the Wright Brothers bicycle shop in Dayton, OH for the HTC Vive headset and SteamVR. The environment is a recreation of the Wright Cycle Company, on South Williams Street in Dayton was built in 1886 and is a US National Historic Landmark and on the National Register of Historic Places. The Wrights occupied this location from 1895-1897. IDIA Lab designed the experience as a virtual field trip where a visitor can pick up and examine highly detailed objects from the shop including letters, tools and inventions created by the Wrights. This project will be published on Steam VR in the coming months.

EVAC+ Virtual Disaster Simulator

EVAC+ Virtual Disaster Simulator

IDIA Lab partnered with physicians at the Seattle Children’s Hospital to develop a virtual simulator to train staff in the case of various disasters.

The EVAC+ Virtual Disaster Simulator leverages virtual reality to train health care providers to react quickly and effectively to unexpected events that threaten patient safety. It was developed after pilot live simulations, user focus groups, surveys, and a successful pilot of the initial EVAC system. After the need for more communication opportunities and variations in disasters responses was identified in the pilot, EVAC+ was created.  EVAC+ leverages the same ability to prepare patient equipment for an evacuation but with significantly more features allowing for interacting with hospital room, other staff, and family members. Upon entering the EVAC+ environment providers are oriented to the virtual space, including navigation, interacting with objects, and how to interact verbally with non-player characters.  

Once they are comfortable with the space they can choose from a menu of disasters to experience, including earthquakes, fire, and an active shooter event. Each simulation has unique objectives around patient protection, equipment packing, and communication with other staff and families. Learners practice how they would provide a status update using the SBAR technique to their charge nurse, use closed loop communication, and respond to anxious family members.  

Pre-determined safety behaviors, such as stopping and resolving a mission critical issue, are prompted and performance recorded for feedback. After each scenario the user is guided through a self-debriefing on how well they performed on key disaster and communication behaviors. Information on how they managed and packed medical equipment is presented along with evidence-based information on how experts would recommend managing equipment. Users can choose to repeat any scenario to practice or refine their responses and can explore the scenarios in any order.  

The Unity3D environment is accessible on web-browsers and head-mounted VR systems. Amazon Web Services (AWS) supports voice communication and real-time analytics. The EVAC+ system fills a unique need for accessible, interactive, sustainable disaster training for healthcare providers.

ATK Procedural Audio Library

ATK-Sharp

ATK (Audio Tool Kit) is a demo of ATK-Sharp, a procedural audio generation library. ATK contains four example sound scripts that developers can use as a reference to script their own custom sounds.

Download now from the Unity Asset Store!

Why use procedural audio?

Using procedurally-generated audio instead of pre-made audio files has two main benefits:

1. Build file size can be reduced. Audio files can take up megabytes of disk space, while procedural audio is an order of magnitude smaller, typically only requiring kilobytes to store its script’s algorithm.

2. Procedural audio is flexible. Audio files are essentially baked. You may be able to change the pitch or speed of a file, but they could never match the sample-by-sample control you’ll have using procedural audio. Adding physics and logic as input, a given sound script may never produce the same output more than once.

Features

– WindAudio.cs demonstrates the very basics of what a developer will need to do to start scripting procedural audio using the library.
– FireAudio.cs script showcases how the developer can combine noise generators and a modifier to create the hiss, crackle, and pop of a campfire.
– ChimeAudio.cs exhibits how the developer can use physics as an input to the audio script.
– CricketAudio.cs models the chirp pattern of an actual species of cricket, known as the fall field cricket, to demonstrate how far the concept of procedural audio can be taken.

Dependencies

ATK-Sharp

Support

For support with ATK, please email us at idialab@bsu.edu.

BALL STATE UNIVERSITY AND TU DORTMUND EXCHANGE PROGRAM IN INTERMEDIA ART

Ball State University and the Technische Universität Dortmund have partnered in creating an international exchange program for students studying the design and technology of Intermedia artforms.

Ball State University and the Technische Universität Dortmund have partnered in creating an international exchange program for students studying the design and technology of Intermedia artforms. This program will provide opportunities for students and faculty engaged in experiential project-based approaches to the collaborative creation of new media art. The Hans Breder Foundation, which is a non-profit international Intermedia art organization, has contributed a significant body of historic artwork to the Museum Ostwall in Dortmund – the largest art museum in Germany. The archive will serve as a catalyst for research and production of Intermedia based projects initiated by the BSU and TU Dortmund exchange. John Fillwalk, also president of the Hans Breder Foundation, initiated the exchange program with the assistance of the Rinker Center for International Programs. He will be present at the formal signing ceremony on November 19th in Dortmund, Germany.

IDIA Lab Featured on WTHR News for Virtual Reality research

wthr

The future of home entertainment is taking a giant step forward into the world of virtual reality. More devices are hitting the market that transform the way we look at the world around us, and a group of developers at Ball State is on the cutting edge.

It’s something we experienced first-hand at Ball State University, where they produce content for virtual reality devices at the Institute for Digital Intermedia Arts. The lab is located in the architecture building on the Ball State Campus, where the focus is on the exploration the arts, science and technology.

For the last ten years, Ball State has been developing a wide range of projects for museums, the History Channel and other clients.

John Fillwalk oversees the work done there.

“We basically explore 3D simulation and virtual reality,” he explained. “The skill sets from the staff are across computer science to design to animation.”

“We continue to further the emerging media brand aspect of this university, giving students professional opportunities to work and stay in Indiana for design technology jobs,” said John Fillwalk.

The virtual reality industry estimates more than 7 million headsets will ship this year, even though researchers have found more than half of Americans have no interest in VR and don’t know what it is. Developers foresee huge growth in the next six years as they develop virtual reality social media apps, combined with lower prices for the technology.

http://bit.ly/29JHJAl

Solar System and Jupiter App

jupiter-2

Explore the solar system by touch and augmented reality. New app for iOS, Android and Oculus Rift designed by BSU’s IDIA Lab allows users to learn about our sun and planets – and their moons. Physical museum objects trigger augmented experiences of each planet, providing deeper context and understanding. View the moon’s orbits, examine each moon, the planet’s atmosphere and unique features such as Jupiter’s Great Red Spot. IDIA designed this augmented reality app as a prototype for the Boston Museum of Science Planetarium.

Photogrammetry capture of the Pertev Paşa Mosque

mosque-interior-pan01

IDIA Lab’s Chris Harrison presented on the topic of photogrammetry at a workshop in İzmit, Turkey, the results of which have recently been published in Mimarlık | Tasarım Kültürü Dergisi (Architecture | Design Culture Magazine).

View the 3D Model

The workshop

The workshop was a collaboration between Ball State University’s College of Architecture and Planning (group led by Jonathan Spodek, FAIA), the Politecnico di Milano (group led by Prof. Elisabetta Rosina), and the host Kocaeli University (group led by Dr. Emre Kishali).

While the workshop focused broadly on theories of historic preservation in relation to the city of İzmit as a whole, Chris was invited to the workshop to present photogrammetry as a cheap, fast, and accessible method of site documentation and preservation. Chris led a team comprised of one student from each participating university and used the mosque and its grounds as a hands-on experience to teach various capture techniques.

While other documentation methods such as laser scanning exist, they require very expensive equipment that takes considerable training. Photogrammetry only requires a digital camera, which many people have on their cell phones these days. Using a free version of Autodesk’s browser-based ReMake, Chris and the students were able to capture and process the mosque interior and several smaller exterior details over the course of a few days.

Post processing

After returning from the workshop, we decided to further refine the model and optimize it for a virtual reality experience. Using a variety of softwares, the model was simplified so that it could be run as a live experience. This now enables visitors to experience a site located halfway across the world as if they were there.

Launch of Virtual Companion iOS app by IDIA Lab

Learn how modern technology can shape our understanding of the past during a special program at Mounds State Park on Saturday, Nov. 14.

Visitors to the 1 p.m. program will join park naturalist Kelley Morgan to learn about modern technologies that help archaeologists and historians bring the past to life. During the second half, director John Fillwalk and animator Neil Zehr of the Institute for Digital Intermedia Arts Laboratory at Ball State University will demonstrate how they use archaeological data to interpret the past to the public.

BSU’s IDIA Lab is premiering Virtual Companion – their custom augmented reality app employing LocusEngine, a geolocative process developed by IDIA Lab. Visitors to the park use the app to aid in learning and discovery while exploring the park’s Adena-Hopewell mounds. Using GPS data, the user’s position is geolocated in reference to the historical sites, allowing the app to display relevant content as a dynamic guide. This approach can be applied in cultural heritage, archeology, the sciences and the arts.

Interactive features, as well as the user’s current location in the park, are marked on a series of map options designed to provide multiple layers of locative information throughout the park. A GPS-driven trail map is available, allowing the user to track their movement through the trails and important features. When an interactive feature is selected on the map, an augmented reality view using gyroscope and compass data is loaded, portraying native people’s and habitats from the Adena-Hopewell era. Archaeologists have proposed that the enclosures were used to track celestial alignments. Using solar data from NASA’s JPL Horizons database, the movements of the sun on the equinoxes and solstices during the Adena-Hopewell era can be viewed and tracked to search for important alignments.

Standard park entry fees of $5 per in-state vehicle apply. Mounds State Park (stateparks.IN.gov/2977.htm) is at 4306 Mounds Road, Anderson, 46017.

Demonstration videos:

Download app here: http://bit.ly/VC_Mounds

Buffalo Bill’s Wild West gets a virtual makeover

Virtual Buffalo Bill's Wild West

Digital artists from Ball State’s IDIA Lab built their virtual simulation of Buffalo Bill’s Wild West with the Unity 3-D gaming platform along with custom software created by the lab.

Cowboys and Indians captivated the country when Buffalo Bill’s Wild West rolled through America in the late 1800s and early 1900s. More than a century later, Ball State digital artists have re-created the legendary showman’s outdoor exhibition.

Working with staff from the Buffalo Bill Center of the West, artists and designers from Ball State’s Institute for Digital Intermedia Arts (IDIA) have crafted a computer-generated world that authentically simulates the Wild West showdramatizing frontier life.

“The visual look and feel of the project is something we’re really proud of,” said John Fillwalk, IDIA director and senior director of the university’s Hybrid Design Technologies initiative.

Fillwalk collaborated on the project with Jeremy Johnston, curator of the center’s Buffalo Bill Museum, and Ball State historians James Connolly and Douglas Seefeldt.

As a senior digital editor of the Papers of William F. Cody, Seefeldt has worked closely with Johnston on several projects the National Endowment for the Humanities recently recognized as among the most significant it funded.

“When Doug introduced me to John, I was excited because all we had to visually represent the Wild West show at the Buffalo Bill Museum was this small architectural diorama,” said Johnston, who is also managing editor of the Papers of William F. Cody. “It gave our visitors an aerial overview of the show but lacked action.

“What the IDIA captured for us is the look and feel of the experience, right down to the sound effects of horses and the stage coach running through the arena.”

Buffalo Bill’s Muncie visit

Interactive Firearm Demonstration

IDIA-created augmented reality apps will feature objects in the museums’ collections, such as firearms.

The Virtual Buffalo Bill project offered a crossover research opportunity for Connolly, director of Ball State’s Center for Middletown Studies. The center is developing Virtual Middletown, a 3-D visualization of industrializing early 20th-century Muncie, and the Buffalo Bill simulation offered an opportunity to produce a module as part of that endeavor.

Connolly and Seefeldt provided Fillwalk with photographs and newspaper accounts of Buffalo Bill’s 1899 stop in Muncie. “He personified the Wild West for audiences in these small towns,” Connolly said.

Connolly’s and Seefeldt’s research, along with assets provided by the Buffalo Bill Center, allowed Fillwalk and his artists to create beautifully rendered graphics based on data and research, hallmarks that have distinguished IDIA’s work in emergent media design.

“The attack on the Deadwood Stage Coach is simulated down to representing John Y. Nelson, one of America’s original Mountain Men driving the coach,” Fillwalk explained. “And Cody himself—along with his wardrobe—was painstakingly researched and re-created. His appearance was based on specific clothing of Cody’s in the museum collection that we were allowed to photograph.”

Seefeldt said Fillwalk’s re-creations uniquely capture William F. “Buffalo Bill” Cody.

“His show had it all—buffalos, the Pony Express, Annie Oakley, re-enactments of iconic events in the history of the West. He was one of the most famous people in the country, a celebrity of that era, and it’s a thrill to see the way John has brought him back to life.”

Ball State-Center of the West partnership continues

Located in Cody, Wyoming, the Buffalo Bill Center of the West includes the Buffalo Bill, Draper Natural History, Whitney Western Art, Plains Indian and Cody Firearms museums, along with the McCracken Research Library.

The Origins of Buffalo Bill

Buffalo Bill portraitBorn in 1846, William F. Cody rode for the Pony Express, served as a military scout and earned his moniker “Buffalo Bill” while hunting the animals for the Kansas Pacific Railroad work crews. Beginning in 1883, he became one of the world’s best showmen with the launch of Buffalo Bill’s Wild West, which was staged for 30 years, touring America and Europe multiple times.

The IDIA Lab’s next project for the center will be a series of augmented reality apps featuring objects in each museum’s collection. By holding electronic devices over images like a grizzly bear or gun, users can learn more about them as 3-D models of the subjects pop up on screen.

“By using their phones or tablets, visitors can see museum exhibits come to life,” Fillwalk said. “All of our work is meant to give visitors a greater appreciation for these assets with the aid of our digital interpretations.”

Johnston said what he likes best about Fillwalk’s approach is the way “he puts technology in the users’ hands.”

“I’ve seen so many younger people walking through our museums with their heads down, glued to their iPhones and iPads. With John’s help, I’m excited that we’re taking something they’re so familiar with and using it in a way to get them to engage with our exhibits here.”

Funding for the Virtual Buffalo Bill project was provided by a grant from the Buffalo Bill Center for the West, which was matched by internal grant funding from Ball State.

http://cms.bsu.edu/news/articles/2015/10/ball-state-gives-buffalo-bills-wild-west-a-virtual-makeover

Virtual Buffalo Bill

Ball State University’s IDIA Lab https://idialab.org is developing a multiplayer virtual world that simulates Buffalo Bill Wild West Show. This digital history project is built in Unity 3D using custom software created by IDIA Lab and is being produced for the Buffalo Bill Center for the West in Cody, WY. Scholars include Douglas Seefeldt and James Connolly at Ball State University. http://centerofthewest.org

Buffalo Bill's Wild West

Oculus Rift + Leap Motion controller 3D printing.

Using our MakerBot Replicator 2X 3D printer, IDIA’s Chris Harrison worked with David Rodriguez to create a family of 3 brackets with varying uses and advantages to mount a Leap Motion Controller to the front of an Oculus Rift DK2.

Finding that double sided tape was not doing a very effective job of holding the Leap Motion Controller in place, we looked around Makerbot’s Thingiverse, an online warehouse of 3D print-ready objects, for a solution.

We found a bracket which when printed didn’t quite meet the tolerances of the Leap’s dimensions, and so some slight modifications were made to better accommodate it. In addition, rather than the 2-piece configuration on the website, a new bracket was made to be printed in one single pass.

Finally, after realizing other potential uses for the Leap, 2 more brackets were designed and printed so that the Leap can be securely installed onto the Oculus in a total of 3 different configurations.

The brackets can be viewed and downloaded here:

Bracket 1 Straight bracket used for visual IR passthrough from Leap camera

Bracket 2 Straight bracket used to minimize Oculus IR emitter occlusion

Bracket 3 Angles backet used to track hands with best angle – if no passthrough is desired

View a Oculus / Leap project here: https://idialab.org/oculus-rift-and-leap-motion-demo/

Temple of Artemis: Wonder of the Ancient World

IDIA Lab was contracted by digital humanities scholars at UCLA to design and build a virtual simulation of the Temple of Artemis, one of the Wonders of the Ancient World, This massive Greek temple, four times the size of the Parthenon lies in ruin in present-day Turkey. This simulation incorporates our CelestialEngine with accurately positions both the sun and moon using a site’s latitude, longitude, altitude and year via NASA JPL data. This particular simulation studies whether an opening in the temple’s portico allowed moonlight to illuminate the statue of Artemis on her feast day.

IDIA Lab wins the Bronze Medal at iENA Exposition in Nuremberg, Germany

IDIA Lab’s Virtual Pantheon/Kinect project in Blue Mars and our occupational simulation for Alzheimer’s patients won the Bronze Medal at the iENA International Trade Fair for Ideas, Inventions and New Products in Nuremberg, Germany. http://www.iena.de/en/home.html

The Virtual Pantheon Project in Blue Mars is a multi-user simulation of the Roman Pantheon and its surroundings as it might have existed in 320AD. The structure is the largest and most intact surviving example of ancient Roman architecture in existence. The building was commissioned by Marcus Agrippa during the reign of Augustus as a temple to all the gods of ancient Rome, and rebuilt by the emperor Hadrian about 126 AD. The simulation was created by the Institute for Digital Intermedia Arts at Ball State University in consultation with the University of Otago, NZ and the Virtual World Heritage Laboratory at Indiana University. The simulation leverages the significant graphic capabilities of the CryEngine to create a compelling immersive experience. IDIA Lab and Avatar Reality worked together to design an interactive solar tracker that allows the visitor to change time of day around important celestial and celebratory events in Ancient Rome. More detail here: http://bit.ly/18cfDKu The project can also be interacted with via MS Kinect sensor directly in Blue Mars.

Virtual Roman Pantheon in Blue Mars / CryEngine

Pantheon32

The Pantheon is the best-preserved architectural monument of ancient Rome. This simulation by BSU’s IDIA Lab represents the Pantheon and its surrounds as it may have appeared in 320 AD. Visitors to this Blue Mars / CryEngine simulation can tour the vicinity, learning about the history, function and solar alignments through an interactive heads up display created for this project. The project opened in beta in late 2013 and will premiere publicly in February 2014 and includes new solar simulation software calibrated to the buildings location and year, an interactive HUD, a greeter bot system and a new AI Non Player Character system developed in partnership between IDIA Lab and Avatar Reality.

Originally built by Agrippa around 27 BC under the rule of Augustus, it was destroyed by fire, then rebuilt and finally completed in its present form during Emperor Hadrian’s reign, around 128 AD. Agrippa finished the construction of the building and it bears his name above the portico. The Pantheon would have contained numerous marble statues representing the major Roman deities. The statues displayed in this simulation represent a possible configuration and are scanned via photogrammetry. The buildings surrounding the Pantheon are built and interpreted by IDIA based on the large scale model of ancient Rome built by Italo Gismondi between 1935 and 1971. The model resides in the Museo della Civiltà Romana, just outside of Rome, Italy.

Video walkthrough of the Virtual Pantheon in Blue Mars:

To  visit the Virtual Pantheon firsthand:

First step, create an account: https://member.bluemars.com/game/WebRegistration.html/
Secondly, download client: http://bluemars.com/BetaClientDownload/ClientDownload.html/
Lastly, visit the Virtual Pantheon: http://blink.bluemars.com/City/IDIA_IDIALabPantheon/

Advisors

The Solar Alignment Simulation of the Roman Pantheon in Blue Mars was developed under consultation with archeo-astronomer Dr. Robert Hannah, Dean of Arts and Social Sciences at the University of Waikato, New Zealand, one of the world’s  foremost scholars on Pantheon solar alignments; and archaeologist Dr. Bernard Frischer, Indiana University.

Background

The Pantheon that we can visit today is composed of a rectangular porch with three rows of granite columns in front of a circular building designed as a huge hemispherical dome (142 feet in diameter), built over a cylinder of the same diameter and as high as the radius. Therefore, the ideal completion of the upper hemisphere by a hypothetical lower one touches the central point of the floor, directly under the unique source of natural light of the building. This light source is the so-called oculus, a circular opening over 27 feet wide on the top of the cupola. It is the only source of direct light since no direct sunlight can enter from the door in the course of the whole year, owing to the northward orientation of the entrance doorway. Of the original embellishments the building should have had, the coffered ceiling, part of the marble interiors, the bronze grille over the entrance and the great bronze doors have survived.

Interior Wall

The interior wall, although circular in plan, is organized into sixteen regularly spaced sectors: the northernmost one contains the entrance door, and then (proceeding in a clockwise direction) pedimented niches and columned recesses alternate with each other. Corresponding to this ground level sector are fourteen blind windows in the upper, attic course, just below the offset between the cylinder and the dome. It is likely that both the niches and the windows were meant for statues, which, however, have not survived.

Oculus

Direct sunlight penetrates the interior only through a large, 27 foot wide oculus in the center of the domed roof. Otherwise indirect sunlight can enter the building, but only through the large, north-facing doorway, when it is open. The fall of direct sunlight through the oculus into the essentially spherical building leads to the comparison with a roofed sundial.

Celestial Alignments

A columned porch leads through a vestibule of the Pantheon, into a huge, shadowy interior, over 142 feet in height and as much in diameter. The building’s form is essentially that of a sphere with its lower half transformed into a cylinder of the same radius. Direct sunlight penetrates the interior only through a large, 27 feet wide oculus in the centre of the domed roof.

The shift from one semester to the other is marked by the passage of the sun at the equinoxes in March and September. At this point the noontime sun shines partially just below the dome, passing through the grill over the entrance doorway and falling on the floor of the porch outside. More significantly, however, the centre of this equinoctial, midday circle of sunlight lies on the interior architectural moulding, which marks the base of the dome.

On April 21st, the midday sun shines directly on to visitors to the Pantheon when they are standing in the open doorway, dramatically highlighting them. This day is of particular significance, not just because this was when the sun entered Taurus, but more because it is the traditional Birthday of Rome, a festival preserved from antiquity right through to the present day. And it may be that when the building was officially commissioned in AD 128, the person expected to be standing in the open doorway was the emperor Hadrian himself.

The illustration indicates a section through the Pantheon, showing the fall of the noon sunlight at the winter solstice, when the sun is at altitude 24 degrees; noon sunlight, at both equinoxes at altitude 48 degrees; noon sunlight on April 21st, when the sun is at altitude 60 degrees; and finally, noon sunlight at the summer solstice, when the sun is at altitude 72 degrees.

Meaning of Pantheon

The Pantheon is a building in Rome, Italy commissioned by Marcus Agrippa during the reign of Augustus as a temple to all of the gods of ancient Rome, and rebuilt by the emperor Hadrian about 126 AD.

Pantheon is an ancient Greek composite word meaning All Gods. Cassius Dio, a Roman senator who wrote in Greek, speculated that the name comes either from the statues of so many gods placed around this building, or from the resemblance of the dome to the heavens.

“Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens.”

-Cassius Dio History of Rome 53.27.2

Augustus

Augustus was the founder of the Roman Empire and its first Emperor, ruling from 27 BC until his death in 14 AD.

The reign of Augustus initiated an era of relative peace known as the Pax Romana (The Roman Peace). Despite continuous wars or imperial expansion on the Empire’s frontiers and one year-long civil war over the imperial succession, the Roman world was largely free from large-scale conflict for more than two centuries. Augustus dramatically enlarged the Empire, annexing Egypt, Dalmatia, Pannonia, Noricum, and Raetia, expanded possessions in Africa, expanded into Germania, and completed the conquest of Hispania.

Beyond the frontiers, he secured the Empire with a buffer region of client states, and made peace with the Parthian Empire through diplomacy. He reformed the Roman system of taxation, developed networks of roads with an official courier system, established a standing army, established the Praetorian Guard, created official police and fire-fighting services for Rome, and rebuilt much of the city during his reign.

Augustus died in 14 AD at the age of 75. He may have died from natural causes, although there were unconfirmed rumors that his wife Livia poisoned him. He was succeeded as Emperor by his adopted son (also stepson and former son-in-law), Tiberius.

Argrippa

Marcus Vipsanius Agrippa (c. 23 October or November 64/63 BC – 12 BC) was a Roman statesman and general. He was a close friend, son-in-law, lieutenant and defense minister to Octavian, the future Emperor Caesar Augustus and father-in-law of the Emperor Tiberius, maternal grandfather of the Emperor Caligula, and maternal great-grandfather of the Emperor Nero. He was responsible for most of Octavian’s military victories, most notably winning the naval Battle of Actium against the forces of Mark Antony and Cleopatra VII of Egypt.

In commemoration of the Battle of Actium, Agrippa built and dedicated the building that served as the Roman Pantheon before its destruction in 80 AD. Emperor Hadrian used Agrippa’s design to build his own Pantheon, which survives in Rome. The inscription of the later building, which was built around 125, preserves the text of the inscription from Agrippa’s building during his third consulship. The years following his third consulship, Agrippa spent in Gaul, reforming the provincial administration and taxation system, along with building an effective road system and aqueducts.

Arch of Piety

The Arch of Piety is believed to have stood in the piazza to the immediate north of the Pantheon. Statements made in mediaeval documents imply, but do not specifically say, that the scene of Trajan and the widow was represented in a bas-relief on the Arch – narrating the story of the emperor and a widow, suppressing the emperor’s name. His probable source, the mediaeval guidebook of Rome known as Mirabilia Romae, does not even state that the arch was built in commemoration of the event. It mentions the arch and then says that the Incident happened there.

Giacomo Boni discusses the legend of Trajan, giving many interesting pictures which show how the story was used in medieval painting and sculpture. He has found a bas-relief on the Arch of Constantino, which he thinks may have given rise to the story. It shows a woman sitting, her right hand raised in supplication to a Roman figure, who is surrounded by other men, some in military dress, and two accompanied by horses. Boni suggests that the Middle Ages may have supposed this figure to be Trajan because of his reputation for justice.

Saepta Julia

The Saepta Julia was a building in Ancient Rome where citizens gathered to cast votes. The building was conceived by Julius Caesar and dedicated by Marcus Vipsanius Agrippa in 26 BC. The building was originally built as a place for the comitia tributa to gather to cast votes. It replaced an older structure, called the Ovile, which served the same function. The building did not always retain its original function. It was used for gladiatorial fights by Augustus and later as a market place.

The conception of the Saepta Julia began during the reign of Julius Caesar (died 44 BC). Located in the Campus Martius, the Saepta Julia was built of marble and surrounded a huge rectangular space next to the Pantheon. The building was planned by Julius Caesar who wanted it to be built of marble and have a mile long portico according to a letter written by Cicero to his friend Atticus about the building project. The quadriporticus (four-sided portico, like the one used for the enclosure of the Saepta Julia) was an architectural feature made popular by Caesar.

After Caesar’s assassination in 44 BC, and in the backlash of public support for the former ruler, men continued to work on projects that Caesar had set into motion. Marcus Aemilius Lepidus, who used to support Caesar and subsequently aligned with his successor Octavian, took on the continuation of the Saepta Julia building project. The building was finally completed and dedicated by Marcus Vipsanius Agrippa in 26 BC. Agrippa also decorated the building with marble tablets and Greek paintings.

The Saepta Julia can be seen on the Forma Urbis Romae, a map of the city of Rome as it existed in the early 3rd century AD. Part of the original wall of the Saepta Julia can still be seen right next to the Pantheon.

– edited from Robert Hannah, “The Pantheon as Timekeeper”, 2009.
________

Simulation by the Institute for Digital Intermedia Arts at Ball State University
Project Director: John Fillwalk, Senior Directory IDIA Lab, BSU.
IDIA Staff: Neil Zehr, Trevor Danehy, David Rodriguez, Ina Marie Henning, Adam Kobitz

PROJECT ADVISORS:
Dr. Robert Hannah, University of Waikato, New Zealand
Dr. Bernard Frischer, Virtual World Heritage Laboratory, Indiana University, USA

SPECIAL THANKS:
Shinichi Soeda, Avatar Reality

Virtual Art Museum and Virtual Collaboration Center Projects in AvayaLive Engage

Avaya_ArtMuseum2The IDIA Lab has developed two new simulations for AvayaLive Engage – a multi-user virtual world platform based on the Unreal Game Engine. The virtual collaboration Center is a multi-use teaching and learning facility prototype for use by large and small groups containing rich media and collaboration tools including desktop sharing, presentations, drop box, white boards, streaming video and webcam. The Virtual Art Museum is a demonstration of an interactive museum experience with links to companion webpages including a database that allows for extremely close examination of the paintings. Both simulations work on Mac and PC within industry standard web browsers and will be launching in the month of May, 2013. You can visit the project here:  https://wa11619.avayalive.com/11619/html/index.html Certain areas need administrative permission – we will be opening these up in the near future.

AvayaLive Engage
http://avayalive.com/Engage/Products.aspx
Unreal Game Engine UDK
http://www.unrealengine.com

Mars and Ceres Photoscan 3D sculptures created for IDIA Lab Pantheon Project in Blue Mars

CeresStatue_Detail-1

IDIA Lab Roman Pantheon in Blue Mars Project

http://idialab.org/virtual-roman-pantheon-in-blue-mars-cryengine/

Created with Agisoft PhotoScan
Professional Edition

Agisoft PhotoScan Pro allows to generate high resolution georeferenced orthophotos (up to 5 cm accuracy with GCP) and exceptionally detailed DEMs / textured polygonal models. http://www.agisoft.ru/products/photoscan/professional/
MarsStatue_Detail

Blue Mars Client
The Blue Mars Client is your window into our free to play massively multiplayer virtual world made up of an expanding set of independently operated Cities that feature unique themes, activities, and attractions. Through the Blue Mars Client, users can participate in a wide variety of entertainment, educational, and productivity experiences.
Blue Mars PC, Lite and Mobile clients here: http://www.bluemars.com/

Virtual Nursing Simulator

NursingSimLoginScreen

HDT and IDIA Lab have developed a next generation, high-fidelity Virtual Nursing Simulator in the game engine of Unity 3D for testing by the Ball State University School of Nursing. Students will practice interviews via role-playing – employing avatars with predefined health histories. The simulator introduces our new media tools within the environment including the ability to play video, webcam, screen sharing, presentations and webpages. Additionally the simulator allows for interdisciplinary immersion – providing a context for student nurses to role-play scenarios alongside doctors, health insurance representatives, administrators and other professionals. Desktop, web and tablet versions are in development.
Video preview here: http://www.youtube.com/watch?v=Asz92FuhEyc&feature=share&list=UUtQrLF1JPprEvP4AO-iSNvw

“Designing the Unbundling of Courses” for the American Association of Nursing

American-Association-Of-Colleges-Of-NursingA presentation by Jo Ann Gora, President of Ball State University; Phil Repp, Vice-President of Information Technology; Linda Sweigart, BSU Nursing Faculty; and John Fillwalk, IDIA Lab Director on March 21st 2013 to the American Association of Colleges of Nursing.

A presentation that examines how universities, like Ball State University, use emerging technologies to enrich and expand the utility of course materials at scale by leveraging the inherent production flexibility of digital tools.  The advantages of digital technologies when designing virtual participation, collaboration, and interaction will be discussed, as well as the pedagogical uses of un-assembling and re-assembling diverse sets of course materials.
http://www.aacn.nche.edu/webinars/2013/03/21/designing-the-unbundling

Izapa Group F Ballcourt Solar Simulation

Mayan Solar Simulator
Izapa Group F Ballcourt

IDIA_IzapaSimulator1stPerson

We have applied our Virtual Solar Simulator to a simple white model build of the pre-Columbian ballcourt in Group F at the Izapa site in Chiapas, Mexico. Izapa is considered to be the birthplace of the Mayan Long Count, which ends its cycle today on December 21st, 2012 – the winter solstice. Viewed today, the site is oriented on an axis where it is aligned generally but not precisely to sunrise on the winter solstice and to sunset on summer solstice. In direct observation today, the alignment along the axis of the ballcourt from the throne #2 to the stela #60 is off-axis by approximately two degrees.

The simulator can be visited here:

https://projects.idialab.org/izapasolarsimulator.html

* The simulation requires Internet Explorer and the Unity plugin.

IDIA_IzapaSimulatorPlanView

The solar simulator developed by IDIA Lab at Ball State University polls data from the NASA / JPL Horizons database (http://ssd.jpl.nasa.gov/horizons.cgi) calculates celestial objects position (sun, moon, planets, comets, etc). The database takes into account for the Chandler Wobble – a periodic deviation in the rotation of the Earth’s axis. Archeo-astronomical alignments that are viewed today at Izapa appear to be off-axis, however when compensated for changes in time, rotation, position and Chandler effect via this simulation method, the solstice events come back into their original orientation for the era of their construction and can be observed to be in actual alignment.

A b’ak’tun is 144,000 days in length – almost 400 years. In the Mayan Long Count it took 13 b’ak’tuns to progress throughout a full cycle of creation. Dec. 21, 2012, marks the end of the 13th b’ak’tun of this Mayan calendar and after today’s solstice, the next Long Count cycle begins again – another 5128.8 years.

Happy New Mayan Long Count!
– John
December 21st, 2012

Simulator:

https://projects.idialab.org/izapasolarsimulator.html

* The simulation requires Internet Explorer and the Unity plugin.

It requires the Unity plugin http://unity3d.com/webplayer/

Note on display time and date

Dates are in the year 300 BCE/BC.
Time is represented in Universal Time (UT1/UTC/GMT).
To obtain local time for the Izapa site, subtract 6 hours from the UT time displayed in the simulator.
Next release will provide solstice and equinox preset for the year 2012 for comparison.

Camera control

To switch cameras press the 1 for 1st person camera view, 2 is for bird’s eye view and 3 is for top down view.
To pan use the WASD keys and to zoom use the middle mouse button. To rotate camera use CTRL-Click or Right Mouse Button.

Background

The model is geolocated and accurately referenced in 3D space by latitude, longitude, orientation and elevation. The Horizons database is then scraped using these coordinates as well as the year of interest – in this case we chose 300 BCE/BC as an apogee in the range in which the Izapa site was inhabited.

IDIA Lab has developed the celestial simulation – which can also track the moon and planets, etc – to work on various Cultural Heritage and archeo-astronomy projects in collaboration with international scholars. Other projects utilizing the Celestial Simulator include simulations of Hadrian’s Villa, the Roman Pantheon, the Solarium Augusti in Rome (the largest sun calendar of the ancient world), the Temple of Artemis in modern Turkey (one of the ancient wonders) and Stonehenge.

Augmented Reality Research

The IDIA is utilizing the open source Augmented Reality toolkit to explore possible applications of AR in the educational and art realms.  Of particular interest is the use of AR in architecture to effectively evaluate students’ white models in a group setting.

Dave Schultz demonstrates the use of AR to display 3D architectural models.

Dave Schultz demonstrates the mapping of video onto an AR object.

IDIA Blackboard Greenhouse Grant for Virtual Worlds

Ball State University’s Institute for Digital Intermedia Arts (IDIA) has produced a bridging toolset, linking the multi-user virtual environment of Second Life with Blackboard Learn – providing a unified, secure and fluid hybrid learning experience. This project is funded by the Blackboard Greenhouse Grant for Virtual Worlds and has produced an open-source Building Block.

IDIA at Ball State University (BSU) created a virtual and web-based software toolset to manage, administrate and facilitate any hybrid Second Life / Blackboard Learn instructional experience. These Blackboard Building Blocks and Second Life scripts were specifically developed for a “hands-on” cinematography course taught with a complete set of virtualized filmmaking equipment. This pilot course also served as a prototype for Blackboard courses from any discipline that uses Second Life – especially in the delivery of studio, laboratory or other hands-on modes of learning – extending the modes of typical distance-learning offerings. The pairing of Blackboard technology augments Second Life as is not designed with course management tools to operate effective self-contained distance instruction.

Open Source Site

Blackboard World Presentation

Ball State University Press Release

Blackboard Press Release

Campus Technology 2008 Innovators Award

Video Demo

News Items:

IDIA Present Blackboard/SL Greenhouse Grant for Virtual Worlds at Blackboard World 2009

Digital Cinema Arts in the Virtual World, The Aesthetic Camera Project

The Aesthetic Camera Project was designed to deliver digital cinema curriculum through Second Life – an online virtual world. This intensive research and development project was hatched through a partnership between the College of Fine Arts, the Center for Media Design, and Information Technology. Students learn the techniques of filmmaking in this 3D collaborative multi-user environment and are able to make virtual films using the project’s equipment. Student designers and programmers worked with a team of local and global professionals from across the arts and sciences.

The one-credit course focuses on cinematography instruction in the physical world and virtual world where it is also known as “machinima” and while teaching cinematography techniques and allowing students to gain hands-on experience with equipment and resources that might not ordinarily be available to them. Within the virtual studio, they can check out cameras, dollies, light systems and more to create their own original movies. They can also film using avatars in costume in a wide variety of virtual set locations.

The project is set in an environment that stimulates creativity and interaction with fellow students and instructors. This environment includes virtual versions of all the necessary tools and some that do not exist in the real world, for example, a flexible shooting environment or holodeck.

The Institute has found measurable benefits for both instructors and researchers from this project that have included the development and retention of an expert research team centered around simulation, visualization and interaction.
Benefits for students include that distance education students can participate in communal learning and synchronous dialog with instructors and a peer group.

Most recently, the IDIA has earned a 2009 Institutional Excellence in Information Communications Technology Award from ACUTA, the Association for Information Communications Technology Professionals in Higher Education. The award recognizes IDIAA for its Aesthetic Camera filmmaking course and integrated Blackboard custom software, offered through the online world of Second Life.

News Items:

Greenhouse Grant for Virtual Worlds
Second Life Press Conference
IDIA Receives ACUTA Institutional Excellence Award
IDIA presents to UCit Instructional Research Computing

Las Americas Virtual Design Studio

The Las Americas Virtual Design Studio is made possible through a collaboration between IDIA, the College of Architecture and Planning at Ball State University, the Las Americas Network, with the professional firm of BSA LifeStructures. The project linked 11 international Departments of Architecture, over 100 students and 11 faculty in this immersive collaboration environment. The students worked within their prospective studios under the direction of their local instructors. At the same time each student is assigned to an international virtual studio made out of students of different universities under the advisory of several virtual instructors. The roster of virtual instructors is made out of the instructors of all participating studios and a number of professional reviewers who do not have students at their particular location.

The LAVDS is a beacon that not only attracts visitors, but encourages interaction on multiple levels:  it is depicted an organic system – a radial configuration of pods or petals -spaces for small group use, and a large group meeting place at the center.  A tall mast-like element. The structure relied on configurable interfaces to facilitate large and small interactions. For instance, it could be set up for small critique or large group lecture sessions.

On November 10, the Las Americas Network held the international grand opening of its Virtual Design Studio. “The nature of the tower’s architecture is specific to Second Life. There are no stairs, and dynamic pods and audio bubbles allow groups to meet together or ‘fly’ away to have private meetings,” said dean of CAP Guillermo Vasquez de Velasco.

The project was created on a Second Life island at the Ball State University Instructional Campus. Some constraints designers faced were the 96′ x 96′ x 96′ cubic site, a limit to 40 avatars able to interact simultaneously, 15,000 geometrical primitives. The project required that it celebrate the spirit of the virtual design studio while leveraging technologies and capabilities for the interaction (work and play) of the participants of the LAVDS in ways that have not been possible outside of a virtual environment.

Links
Indianapolis Wish TV 8 Story
AIArchitect: Architecture in Second Life Is a World All Its Own

News Items:

Wish TV covers Las Americas project
AIArchitect: Architecture In Second Life Is a World All Its Own
Las Americas Finalist for 2009 Mira Award
Design Communication Conference Presentation

Virtual Middletown Living Museum in Blue Mars

The Virtual Middletown Living Museum project in Blue Mars is a simulation of the Ball Glass factory from early 20th century Muncie, Indiana. Life and conditions in the factory were one of the key elements of the Middletown Studies by Robert S. and Helen Merrell Lynd in their landmark studies Middletown (1929) and Middletown in Transition (1937). These in-depth accounts of life in Muncie, Indiana, became classic sociological studies and established the community as a barometer of social trends in the United States. In the years since, scholars in a variety of fields have returned to Muncie to follow up on the Lynds’ work, making this small city among the most studied communities in the nation. The center continues this tradition by sponsoring and promoting research on Muncie as Middletown, on small cities generally, and on the themes and issues the Lynds explored.

This simulation of industrial life, built as a prototype for a much larger project dealing with all aspects of the Lynd Study, has aimed to create an virtual living museum experience expanding the opportunities for both learning and interpretation. The approach to interactive design embeds learning and navigation experiences subtly into the project to maintain the sense of immersion. IDIA has prototyped several techniques to do this including: interactive objects that allow for close up inspection; objects that when clicked bring up web resources that show information; plans or photographs used in the interpretation; non-player character factory workers, a live interactive avatar of Frank C. Ball who greets visitors and introduces them to the factory; video and audio files of factory experts and archival films; an in-world interactive Heads-Up-Display (HUD) that provides deeper investigation and navigation through the factory; and a supporting webpage with complete documentation on all resources used in this interpretation.

To download the Blue Mars client, create an account and tour Virtual Middletown, please visit: http://blink.bluemars.com/City/IDIA_IDIALabExhibitions/

Follow these steps to get set up:

  1. Slelect “Download Client” and follow instructions to install the BlueMars client on your PC (Windows desktop or laptop)
  2. Once you have successfully installed the BlueMars client, select “Go To City” to install the Virtual Middletown virtual world
  3. Register your account and confirm when you receive an email from BlueMars
  4. Modify your avatar (optional)
  5. Explore Virtual Middletown!

NOTE: If you are a Macintosh user (OS X) you may run the BlueMars client and Virtual Middletown virtual world using the Boot Camp emulation: http://www.apple.com/support/bootcamp/

Here are links for additional information on the project:

  1. Center for Middletown Studies project website: http://cms.bsu.edu/Academics/CentersandInstitutes/Middletown/Research/Virtual/Virtual.aspx
  2. IDIA Lab project website: https://idialab.org/virtual-middletown-living-museum-in-blue-mars/

Recommended settings: Very High Graphics with good graphics cards – otherwise High or Low as needed. Screen resolution: Minimum 1280 by 720 or higher. Sound levels should be up. Many objects in the world are interactive – anything that highlights blue can be clicked with the left mouse button and examined – or might can reference a web page. The heads up display in the lower right hand corner provides information and navigation to augment your visit.

Project partners: The Center for Middletown Studies, Library Services and the Emerging Media Initiative at Ball State University

Press release: http://www.bsu.edu/news/article/0,1370,7273-850-65401,00.html

IDIA Lab Simulations in Blue Mars

Ball State University’s Institute for Digital Intermedia Arts (IDIA) in Blue Mars is a large scale virtual simulation that showcases re-creations of artifacts and artworks in their original historical contexts, including sculptures at the 1915 Panama-Pacific International Exposition in San Francisco and a centuries-old Buddha at a Japanese temple. Through the use of such emerging technologies, visitors to Blue Mars can virtually experience these important but long lost sites.

IDIA’s simulations in Blue Mars present several examples of recent grant-supported research projects. IDIA is exploring various new ways that it might be used, from learning and the arts to gaming. Future IDIA initiatives in Blue Mars will include the prototyping the 3D internet, shared media collaboration tools and the development of an open virtual campus for use by educators interested in engaging the platform as an environment for learning.

Videos on IDIA Lab Youtube Channel
http://www.youtube.com/user/IDIALab#p/u

Images on IDIA Lab Flickr Photostream
http://www.flickr.com/photos/idia_lab/

This release of IDIA Lab introduces the following new features and updates, including

 • Heads up Display system – flash-based HUD system displaying dynamic information and map based teleportation

• Automated avatar/bot greeter system

• A guided tour vehicle – launching from the orientation island

• The Snow Globe, a virtual winter simulation – employing physics, environment and particle systems. Teleports are placed throughout the City

• Depth of Field – now enabled in most environments • New navigation and orientation system

• New vegetation design – new plants with LOD

• High fidelity statues using advanced mapping techniques

• High optimization, terrain painting, parallax mapping

• Please use Very High Graphics settings to view

 

Blue Mars Builds


The IDIA Lab

THE INSTITUTE FOR DIGITAL INTERMEDIA ARTS is a collaborative research and design studio exploring the intersections between art, science and technology. We consult, design and produce immersive experiences for virtual reality, hybrid worlds, simulations, visualizations, games and interfaces for various platforms and devices. For more information, please visit IDIALAB.org. You can walk to all simulations or alternatively use the teleport columns you see at each location. Follow us on Twitter @ IDIA_Lab for news and updates.

Panama-Pacific International Exposition Simulation

IDIA simulation of the 1915 San Francisco Panama – Pacific Exposition The project allows for visitors to travel to the past to immersively tour a recreation of an historic environment that no longer exists. The exposition celebrated the opening of the Panama Canal but also San Francisco’s recovery from the devastating earthquake of 1906. IDIA 3D laser-scanned two sculptures by artist Adolph Weinman that have been included in this simulation and were originally installed on top of tall columns in the Court of the Universe. A more detailed examination of the sculptures can be found in our Museum Simulator. Visitors can change the time of day near controls found near this sign and the Fine Arts Palace to experience the lighting design of this exposition.

Palace of Fine Arts

The Palace of Fine Arts in the Marina District of San Francisco, California was originally constructed for the 1915 Panama-Pacific Exposition. One of a handful of surviving structures from the Exposition, it is the still situated on its original site. It was rebuilt in 1965 – and renovation of the lagoon, walkways, and a seismic retrofit were completed in early 2009. IDIA Lab constructed this as an addition to its Panama- Pacific Court of the Universe simulation.

Art Museum Simulation

Using blue prints, photographs, laser-scanning and measurements, IDIA Lab simulated an actual museum gallery to a high degree of accuracy for exploration and study within a live 3D environment. This goals of this build were to provide visitors with a remote immersive experience of an actual exhibition as it was installed – closely replicating all original factors such as the layout, framing and lighting of the physical space. Additional information is provided by touching each canvas or sculpture in the exhibition. Via a simulation such as this, curators can also spatially archive a show or prototype layout, lighting, and installation design.

Byodo-In Temple (Amida Hall)

Amida Hall, the most famous building in the Byodo-in temple complex was constructed in 1053 and is the only remaining building from the original site. Additional buildings making up the compound were burnt down during a civil war in 1336. IDIA scanned an Amida Buddha and created this temple site to give visitors an understanding of a typical context in which the Buddha was observed. A replica of the temple was also constructed on the island of O’ahu in Hawai’i. Nearby there are 360º immersion spheres of the Hawaiian temple that avatars can also explore.

Relic Temple

Relic Temple – located in the Ji Le Temple complex – Nangang District in Harbin, China.The Relic Temple simulation was built by by IDIA Lab as part of our larger 3D Laser Scanning and Simulation Project, including the 1915 Panama Pacific Exposition in San Francisco, Byodo-In Temple in Japan and the Bingling Si Buddhist Cave site – all simulated here on IDIA Lab in Blue Mars.

Shafer Tower

Shafer Tower is a 150-foot-tall (46 m) bell tower with a chiming clock and carillon bells located in the middle of the campus of Ball State University. A small staircase in the tower leads to a control room of the carillon, which has 48 custom-made bells. This virtual tower chimes when an avatar approaches – as does the bell in a smaller temple at our Byodo-in build.

The Snow Globe

Winter themed landscape simulation including environment, weather, particle and physics systems.

Twitter Cloud

The Twitter Cloud is a visualization of real time Tweets (messages) posted on Twitter.com. The system automatically scans specified user feeds, and visualizes new messages as they arrive. This piece was programmed in Java using the Processing API.

This project was also linked with the Tweet Station so users could be identified with RFID and allowed to post their own messages through a touchscreen kiosk. In the context below, conference attendees entered their Twitter feeds to be tracked so that others could read about their experiences as they posted from their laptops and phones. The Twitter Cloud visualizer has also been used within virtual worlds – both as a live event Tweet tracker, and to track and visualize avatars as they traveled to various locations within the world.