http://hdl.handle.net/10023/42 2013-04-30T16:00:54Z 2013-04-30T16:00:54Z Kennedy, Sarah Dow, Lisa Oliver, Iain Angus Sweetman, Rebecca Jane Miller, Alan Henry David Campbell, Anne Davies, Christopher John McCaffery, John Philip Allison, Colin Green, Daryl Luxford, Julian Marcus Fawcett, Richard http://hdl.handle.net/10023/3332 2013-01-24T10:01:16Z 2012-12-01T00:00:00Z

Abstract: St Andrews Cathedral is located on the East Coast of Scotland, construction started in 1160 and spanned Romanesque and Gothic architectural styles. It was consecrated in 1318, four years after the battle of Bannockburn in the presence of King Robert the Bruce. For several hundred years, the Cathedral was one of the most important religious buildings in Europe and the centre of religious life in Scotland. During the Scottish Reformation, John Knox lead reformers in divesting the Cathedral of much of its finery. Thereafter it fell into disuse and decline. Today the impressive remains only hint at the former glory of this important building. Cultural Heritage encompasses physical aspects such as architecture and artifacts along with less tangible culture such as music, songs and stories. Open virtual worlds offer an extensible collaborative environment for developing historic scenes against the background of which material and ephemeral aspects of cultural heritage associated with a site may be explored through engagement with historic narratives. They offer the potential to reconstruct within a 3D computer environment both the physical structures of the past and important aspects of the light, music and life that once filled those structures. Virtual reconstructions enable scenarios to be created where individual pieces of art can be located and appreciated within the audio, visual and spacial contexts for which they were originally created. Bringing together architecture, sculpture, illumination, stained-glass, music, procession and lighting into a scene which can be explored from multiple spatial perspectives enables holistic experience and appreciation. Historic reconstructions may be created upon virtual stages allowing new and engaging Cultural Heritage perspectives to be accessible to diverse audiences. Through the example of St Andrews Cathedral reconstruction this paper presents an example of Open Virtual Worlds as a technology for supporting the creation and use of virtual reconstructions as a platform that promotes understanding of and engagement with Cultural Heritage. The use contexts discussed range from research based exploration of 3D spaces, to primary schools students using the reconstructions as a backdrop for tag. The digital literacies of the audience and goals of the use case impact on the appropriateness of the user interface. A range of interfaces are explored including games controllers, touch screens, tablets that provide location aware views into the model and hands free gesture control systems.

2012-12-01T00:00:00Z Kennedy, Sarah Dow, Lisa Oliver, Iain Angus Sweetman, Rebecca Jane Miller, Alan Henry David Campbell, Anne Davies, Christopher John McCaffery, John Philip Allison, Colin Green, Daryl Luxford, Julian Marcus Fawcett, Richard St Andrews Cathedral is located on the East Coast of Scotland, construction started in 1160 and spanned Romanesque and Gothic architectural styles. It was consecrated in 1318, four years after the battle of Bannockburn in the presence of King Robert the Bruce. For several hundred years, the Cathedral was one of the most important religious buildings in Europe and the centre of religious life in Scotland. During the Scottish Reformation, John Knox lead reformers in divesting the Cathedral of much of its finery. Thereafter it fell into disuse and decline. Today the impressive remains only hint at the former glory of this important building. Cultural Heritage encompasses physical aspects such as architecture and artifacts along with less tangible culture such as music, songs and stories. Open virtual worlds offer an extensible collaborative environment for developing historic scenes against the background of which material and ephemeral aspects of cultural heritage associated with a site may be explored through engagement with historic narratives. They offer the potential to reconstruct within a 3D computer environment both the physical structures of the past and important aspects of the light, music and life that once filled those structures. Virtual reconstructions enable scenarios to be created where individual pieces of art can be located and appreciated within the audio, visual and spacial contexts for which they were originally created. Bringing together architecture, sculpture, illumination, stained-glass, music, procession and lighting into a scene which can be explored from multiple spatial perspectives enables holistic experience and appreciation. Historic reconstructions may be created upon virtual stages allowing new and engaging Cultural Heritage perspectives to be accessible to diverse audiences. Through the example of St Andrews Cathedral reconstruction this paper presents an example of Open Virtual Worlds as a technology for supporting the creation and use of virtual reconstructions as a platform that promotes understanding of and engagement with Cultural Heritage. The use contexts discussed range from research based exploration of 3D spaces, to primary schools students using the reconstructions as a backdrop for tag. The digital literacies of the audience and goals of the use case impact on the appropriateness of the user interface. A range of interfaces are explored including games controllers, touch screens, tablets that provide location aware views into the model and hands free gesture control systems. Rudy, Kathryn Margaret http://hdl.handle.net/10023/1872 2012-12-12T13:05:32Z 2010-06-01T00:00:00Z

Abstract: Early users of medieval books of hours and prayer books left signs of their reading in the form of fingerprints in the margins. The darkness of their fingerprints correlates to the intensity of their use and handling. A densitometer is a machine that measures the darkness of a reflecting surface can reveal which texts a reader favored. This article introduces a new technique, densitometry, to measure a reader's response to various texts in a prayer book.

2010-06-01T00:00:00Z Rudy, Kathryn Margaret Early users of medieval books of hours and prayer books left signs of their reading in the form of fingerprints in the margins. The darkness of their fingerprints correlates to the intensity of their use and handling. A densitometer is a machine that measures the darkness of a reflecting surface can reveal which texts a reader favored. This article introduces a new technique, densitometry, to measure a reader's response to various texts in a prayer book. Fawcett, Richard Oram, Richard Luxford, Julian Marcus http://hdl.handle.net/10023/1827 2012-12-12T13:07:39Z 2010-02-01T00:00:00Z

Abstract: An account of a research project into the architectural and historical evidence for the survival of medieval fabric in the parish churches of the dioceses of Dunblane and Dunkeld.

2010-02-01T00:00:00Z Fawcett, Richard Oram, Richard Luxford, Julian Marcus An account of a research project into the architectural and historical evidence for the survival of medieval fabric in the parish churches of the dioceses of Dunblane and Dunkeld. Howard, J C http://hdl.handle.net/10023/671 2010-12-07T15:28:27Z 2002-01-01T00:00:00Z

Abstract: Contents of whole book: Catherine the Great's 'Greek project' and the ideology of court architecture during her reign / Dmitry Shvidkovsky -- Shadows in the city: public representations and private identities in Warsaw during the Stalin era / David Crowley -- The Devil's work: unholy relics of Nazi Germany / Jonathan Meades -- The triune identity of Romanian architecture: mid-twentieth century state building / Augustin Ioan -- 'Singing of the nation, invocation of the Holy Ghost': Wyspianski's Veni Creator hymn / Marta Romanowska -- An architectural icon for Hungary: Vajdahunyad Castle / József Sisa -- The Ruler Prince of Moldavia, Vasile Lupu, and the church of Golia Monastery / Anca Brãtuleanu -- Calling time on the yoke: Revival period clock towers in Bulgaria / Rachel Angelova -- From the peasant estate to the industrial city: images of the world of the Russian entreperneurs (1780s - 1910s) / Ekaterina Shorban -- New developments and historical continuities in contemporary Hungarian artistic allegiances / Katalin Keserü -- Latvian fates: reflections on sculpture / Zigfrids Sapietis -- From Baghçesaray 'Salsabil' to Bakhchisarai Fountain: the transference of Tatar triumph to tears / Jeremy Howard. Description: This is the last chapter of a book which was based on a conference held in the late 1990s at St Andrews

2002-01-01T00:00:00Z Howard, J C Contents of whole book: Catherine the Great's 'Greek project' and the ideology of court architecture during her reign / Dmitry Shvidkovsky -- Shadows in the city: public representations and private identities in Warsaw during the Stalin era / David Crowley -- The Devil's work: unholy relics of Nazi Germany / Jonathan Meades -- The triune identity of Romanian architecture: mid-twentieth century state building / Augustin Ioan -- 'Singing of the nation, invocation of the Holy Ghost': Wyspianski's Veni Creator hymn / Marta Romanowska -- An architectural icon for Hungary: Vajdahunyad Castle / József Sisa -- The Ruler Prince of Moldavia, Vasile Lupu, and the church of Golia Monastery / Anca Brãtuleanu -- Calling time on the yoke: Revival period clock towers in Bulgaria / Rachel Angelova -- From the peasant estate to the industrial city: images of the world of the Russian entreperneurs (1780s - 1910s) / Ekaterina Shorban -- New developments and historical continuities in contemporary Hungarian artistic allegiances / Katalin Keserü -- Latvian fates: reflections on sculpture / Zigfrids Sapietis -- From Baghçesaray 'Salsabil' to Bakhchisarai Fountain: the transference of Tatar triumph to tears / Jeremy Howard.