Geomatics and virtual tourism

• Main Authors: Valeria Minucciani, Gabriele Garnero
• Format: Article
• Language: English
• Published: PAGEPress Publications 2013-09-01
• Series: Journal of Agricultural Engineering
• Subjects: museography, virtual tourism, geomatics and shared databases, human computer interaction, social inclusion.
• Online Access: http://www.agroengineering.org/index.php/jae/article/view/342

The most recent technological revolution, concerning web and “ICT”, not only changed individual and collective behaviors, but also allowed experiences no possible before: a real time communication, regardless of the distances; an extended access to disjointed data and sources; the shift in different realities – missing or entirely imaginary. Nowadays, we can think about a new concept of museum, much more inclusive than “objects container”: now the museum involves entire countries, entire ecosystems, entire regions. We can speak of “museum outside of the museum”, to extend museum “storytelling” to a regional scale, beyond the walls of the traditional museum. On a regional scale experiments entirely convincing have not yet been carried out, but from this point of view cultural lands can be visited as great open air museums, to find objects, artworks or signs: the whole land is a “collection” to be preserved, to be presented and to be interpreted. Thus the visit allows to elicit outstanding objects, to read into landscapes with different filters. Both the physical and virtual visit seem to be a “tour” (Minucciani and Garnero, 2013). To create a virtual tourism prototypal station, we need several and unconventional geometrical data (shared geographic databases, DTMs, digital orthoimages and angle shots, modeling with spherical cameras, ...), thematic data (related to cultural content) and no conventional input units to move and to observe how and where the observer prefers. Authors report here their experience to carry out a prototypal station, able to relate geomatics references to cultural content and to offer a whole experience, involving users also from the sensory point of view. That’s nowadays a specific purpose of new technologies applied to cultural heritage.