http://hdl.handle.net/10023/56 Mon, 13 May 2013 00:00:53 GMT 2013-05-13T00:00:53Z http://hdl.handle.net/10023/3468 Sat, 01 Aug 2009 00:00:00 GMT http://hdl.handle.net/10023/3468 2009-08-01T00:00:00Z Halliwell, Francis Stephen http://hdl.handle.net/10023/3392 Wed, 01 Aug 2007 00:00:00 GMT http://hdl.handle.net/10023/3392 2007-08-01T00:00:00Z Halliwell, Francis Stephen http://hdl.handle.net/10023/3384 Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/10023/3384 2012-01-01T00:00:00Z Halliwell, Francis Stephen http://hdl.handle.net/10023/3332 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. Sat, 01 Dec 2012 00:00:00 GMT http://hdl.handle.net/10023/3332 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. http://hdl.handle.net/10023/3045 Sun, 01 May 2011 00:00:00 GMT http://hdl.handle.net/10023/3045 2011-05-01T00:00:00Z Lavan, Myles Patrick http://hdl.handle.net/10023/3044 Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10023/3044 2008-01-01T00:00:00Z Lavan, Myles Patrick http://hdl.handle.net/10023/2160 Thu, 01 Nov 2007 00:00:00 GMT http://hdl.handle.net/10023/2160 2007-11-01T00:00:00Z Konig, Jason Peter http://hdl.handle.net/10023/1750 Thu, 01 May 2008 00:00:00 GMT http://hdl.handle.net/10023/1750 2008-05-01T00:00:00Z Konig, Jason Peter http://hdl.handle.net/10023/1749 Wed, 01 Apr 2009 00:00:00 GMT http://hdl.handle.net/10023/1749 2009-04-01T00:00:00Z Konig, Jason Peter http://hdl.handle.net/10023/1687 Tue, 01 Dec 2009 00:00:00 GMT http://hdl.handle.net/10023/1687 2009-12-01T00:00:00Z Konig, Jason Peter http://hdl.handle.net/10023/1686 Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10023/1686 2008-01-01T00:00:00Z Konig, Jason Peter http://hdl.handle.net/10023/1613 Sat, 01 Dec 2001 00:00:00 GMT http://hdl.handle.net/10023/1613 2001-12-01T00:00:00Z Gee, Emma Ruth Grenville http://hdl.handle.net/10023/1517 Sat, 01 Dec 2007 00:00:00 GMT http://hdl.handle.net/10023/1517 2007-12-01T00:00:00Z Gee, Emma Ruth Grenville http://hdl.handle.net/10023/917 Abstract: In this article the first portrait book of physicians and philosophers, Joannes Sambucus' Veterum aliquot ac recentium medicorum philosophorumque Icones [...] (Antwerp: Christopher Plantin, 1574) is examined as a prism of the history of science and the culture of scholarship in the sixteenth century. It shows how the book was produced and what sort of information it presents, with particular attention to its antiquarian interest. Many of the portraits turn out to be based on the famous Dioscorides manuscript (Codex Vindobonensis) which had recently been brought to the imperial court in Vienna. In the appendix all portraits are listed with specific reference to those based on the Dioscorides manuscript. Furthermore, the social functions of the portrait collection are considered. It is shown how the book has to be set in the context of Sambucus' ambition to replace the successful Dioscorides editions by Pier Andrea Mattioli. For this project Sambucus needed support from his colleagues and patrons. The portrait book was a useful instrument for this strategy. In the end, however, bad timing thwarted the plans: by 1570 medical humanism was becoming more and more of an antiquarian enterprise itself. Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/10023/917 2004-01-01T00:00:00Z Visser, Arnoud Silvester Quartus In this article the first portrait book of physicians and philosophers, Joannes Sambucus' Veterum aliquot ac recentium medicorum philosophorumque Icones [...] (Antwerp: Christopher Plantin, 1574) is examined as a prism of the history of science and the culture of scholarship in the sixteenth century. It shows how the book was produced and what sort of information it presents, with particular attention to its antiquarian interest. Many of the portraits turn out to be based on the famous Dioscorides manuscript (Codex Vindobonensis) which had recently been brought to the imperial court in Vienna. In the appendix all portraits are listed with specific reference to those based on the Dioscorides manuscript. Furthermore, the social functions of the portrait collection are considered. It is shown how the book has to be set in the context of Sambucus' ambition to replace the successful Dioscorides editions by Pier Andrea Mattioli. For this project Sambucus needed support from his colleagues and patrons. The portrait book was a useful instrument for this strategy. In the end, however, bad timing thwarted the plans: by 1570 medical humanism was becoming more and more of an antiquarian enterprise itself.