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Chapter 5 - A 4D Virtual Presentation of the White Bastion Fortress in Sarajevo
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- By Selma Rizvić
- Edited by Anna Bentkowska-Kafel, Lindsay MacDonald
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- Book:
- Digital Techniques for Documenting and Preserving Cultural Heritage
- Published by:
- Amsterdam University Press
- Published online:
- 26 January 2021
- Print publication:
- 08 January 2018, pp 87-106
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- Chapter
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Summary
ABSTRACT
The fortress known as Bijela tabija, or the White Bastion is one of the most impressive and important historical sites in Sarajevo, Bosnia and Herzegovina. It is located on the southeast outskirts of the city and offers a view over the city valley. Historically it has commanded a significant and strategic position in the city. The fortification is a part of the dominant defensive walls that surrounded the old city of Vratnik.
The historical site presents various valuable strata, from the medieval era to the present. During archaeological excavations the remains were found of a medieval fortification from the fourteenth century, and from the Ottoman period in the seventeenth century when the fortification was expanded and some new structures were built. During Austro-Hungarian rule part of the fortification and the structures inside the walls were demolished and a new group of structures was built. During the early excavation, a significant number of artefacts was found, registered, and conserved for the purpose of the exhibition hosted in the Museum of Sarajevo.
Our project “4D Interactive Multimedia Presentation of the White Bastion Fortress”, described in this chapter aims to present the historical development of this cultural heritage site through digital stories combined with interactive 3D models of the Bastion in various time periods. These models include digitized findings from the site and their 3D reconstructions.
Keywords: interactive digital storytelling, virtual cultural heritage, virtual reality, 3D virtual reconstruction, COSCH
Introduction
The age of interactive communication has changed the way people perceive information. All aspects of our lives are influenced by digital technologies. They introduced a new language, and new communication means and tools. Cultural heritage is no longer limited to museums and heritage sites, but is being communicated to the public through new methods and forms which enable users to travel virtually to the past.
Storytelling has been present in human communication since the beginning of time. Our ancestors used to tell stories and tales around camp fires. Every day of our lives can be described through a set of stories. Therefore, it is natural that storytelling plays an important role in cultural heritage presentation and its digital preservation. Museum exhibitions employ storytelling to explain the context and purpose of exhibited objects, in order to make the visitors’ experience more attractive. Virtual reconstructions of archaeological remains are becoming enhanced with stories about the objects, characters, and events from their past.
Digital Storytelling
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- By Selma Rizvić
- Edited by Anna Bentkowska-Kafel, Lindsay MacDonald
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- Book:
- Digital Techniques for Documenting and Preserving Cultural Heritage
- Published by:
- Amsterdam University Press
- Published online:
- 26 January 2021
- Print publication:
- 08 January 2018, pp 211-212
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- Chapter
- Export citation
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Summary
COSCH Case Study that has employed this method: White Bastion
From early mankind people have communicated through storytelling. Throughout history the concept has remained the same, but the tools and methods have changed with time. People started writing down their stories, recording at first the sound of their voices, and finally recording audio and video clips, nowadays called movies. Digital technologies enhanced the ways of presenting stories and digital storytelling was born.
Digital storytelling is narrative entertainment that reaches the audience via digital technology and media. Handler Miller (2008) states that digital storytelling techniques can make a dry or difficult subject more alive and engaging to the viewers. In order to enhance the classic storytelling concept, in which the listener remains passive, Glassner (2004, 8) defined interactive storytelling as a two-way experience, where “the audience member actually affects the story itself.” Manovich (2002, 218) also considered the possibility for the audience to change the story and offered the concept of an interactive narrative as “a sum of multiple trajectories through a database.”
One of the most common concepts of hyperlinked story structures is the hypervideo, first demonstrated by the Interactive Cinema Group at the MIT Media Lab. Elastic Charles (Brøndmo and Davenport 1990) was a hypermedia journal developed between 1988 and 1989, in which micons (video footnotes) were placed inside a video, indicating links to other content. Following the Storyspace project, a hypertext writing environment, the HyperCafe, an award-winning interactive film, placed the viewer inside a virtual cafe. It is a video environment where stories unfold around the viewer (Sawhney et al. 1996). After these first works, and a rather long period of stagnation, many different methods of hypervideo implementations started to appear with development of the Internet, starting in 2010, most of them for use in advertising and marketing. Nowadays there are several popular tools using hypervideo. In the RaptMedia cloud-based editor (www.raptmedia.com) the user can create interactive videos and controls implemented in the form of links on the web. The Madvideo tool (www.themadvideo.com) is used to add tags to video files. Interactivity is implemented via manually inserted interactive tags. The tags can be links to websites, images, or other video clips.
How to Breathe Life into Cultural Heritage 3D Reconstructions
- Selma Rizvić
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- Journal:
- European Review / Volume 25 / Issue 1 / February 2017
- Published online by Cambridge University Press:
- 03 February 2017, pp. 39-50
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- Article
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Virtual 3D reconstructions of destroyed or disappeared cultural heritage enable viewers to effectively travel back through time and visualize monuments whose fragments they can see in museums or archaeological sites. A powerful way to convey information through three-dimensional geometry is to add interactive digital storytelling to virtual models. In this paper we present our work on interactive virtual cultural heritage applications with storytelling and show how users appreciate this presentation form, considering it as breathing life into 3D geometry. We describe the Tašlihan project, which consists of a documentary, interactive digital story and serious game about this valuable cultural monument from Sarajevo, Bosnia and Herzegovina, of which only one wall remains as a memento to its existence.