Archeomatica 3 2024

ivista trimestrale, Anno XVI - Numero 3 2024 

www.archeomatica.it 

ArcheomaticA 

Cultural Heritage Technologies 

Towards 

a New 

Archaeology? 

Artificial Beings 

in Archaeology 

Immersive Virtual 

Reality 

Revealing Tyndaris

EDITORIAL 

Archaeo-Logos? 

Archaeology is undergoing significant transformations thanks to new technologies and 

multidisciplinary approaches. These changes, on the one hand, accelerate the process 

of knowledge-building in the archaeological field, but on the other, make the body of 

knowledge required to practice archaeology increasingly extensive and, therefore, the 

path to studying this discipline more complex and interdisciplinary. We are certainly facing 

a phase of transition and transformation in archaeology that, at least partially, may set 

aside some of the long-held tools of the trade—like the pickaxe, trowel, shovel, buckets, 

and wheelbarrow. While these tools remain essential for excavations, archaeology as a 

field is not solely dependent on them. 

Considering that archaeology is a Science focused on reconstructing ancient civilizations 

through the study of material evidence, the role of the archaeologist goes beyond 

merely unearthing or excavating artifacts. Rather, it involves interpreting the past and 

navigating a vast array of bibliographic sources and material data to enable historical 

reconstruction based on direct, tangible, and scientifically verifiable evidence. In this 

regard, archaeometry has played a fundamental role since its emergence in the early 

1950s with William Libby, strengthening archaeology’s status as a science. Today, a similar 

technological push is opening new horizons and enabling scientific connections from 

survey to data publication. It is these technologies that now accelerate the processes 

of knowledge-building, documentation, analysis, interpretation, and dissemination of 

archaeological data. 

The use of advanced technologies, such as drones, 3D scanners, lidar, and satellite 

imagery, allows us to map archaeological sites more precisely and quickly, providing data 

that archaeologists can use to reconstruct the past. This information is also valuable for 

conducting preliminary investigations required by institutions or companies involved in 

territorial planning and preventive archaeology. 

The introduction of big data and artificial intelligence techniques has helped to analyze 

large quantities of information, making the search and interpretation of data and the 

identification of archaeological sites, as well as the analysis of numerous finds, more 

efficient. Yet, it is ultimately the responsibility of people—scholars and archaeologists—to 

manage, analyze, and interpret all of this information provided by technology and to 

decide how to apply it. Therefore, archaeologists must keep up with the rapidly changing 

world, as their role involves connecting dots, assembling pieces, and reconstructing 

the historical mosaic. This transformation can sometimes feel too fast, complex, and 

overwhelming, creating a large, often cumbersome, volume of data. 

We often hear the question, "What do I do with all this information and data?" The answer 

is, in essence, straightforward: they are testimonies for a future that has not yet arrived 

and remains unknown. Archaeologists, in particular, must recognize the value of preserving 

material or digital records of a past that no longer exists. Technology that captures reality 

and creates digital models serves as a primary, direct record of our present world for a 

near future that continuously shifts in time and space. In this sense, technology has a 

dual purpose: to document the current state of Cultural Heritage and accelerating the 

knowledge process by creating connections that were unimaginable few years ago. 

Enjoy your reading! 

Valerio Carlucci

SUMMARY 

Case Study 

6 Immersive Virtual Reality 

in Archaeology: Enhancing 

Research and Public 

Engagement - 

A Case Study of the Temple 

of Juno Excavations in 

On the cover, an image of the Tindari Baths 

(Edited by Andrea di Santo). 

Agrigento, Italy by Eleonora 

Lanfranco, Marcello Carrozzino, 

Giuseppe Rignanese, Gianfranco Adornato, Massimo Bergamasco 

14 Artificial Beings in 

Archaeology: Bridging 

Historical Reality and Digital 

Simulation - The "Johannes" 

Project: A Novel Approach 

to Reconstructing Medieval 

Life through AI and Material 

Culture 

by Stefano Bertoldi e Marco Valenti 

follow us on 

Twitter, Facebook e Instagram 

RESTORATION 

20 Cultural heritage: from 

Italy smart conservation 

and protection from fire, 

bacteria, water - Climate 

phenomena require the 

use of the most advanced 

technology By Camilla Ghedini 

ArcheomaticA 

CULTURAL HERITAGE TECHNOLOGIES 

YEAR XV, N° 3 - 2024 

Archeomatica, quarterly published since 2009, is the 

first Italian magazine for dissemination, promotion and 

exchange of knowledge on technologies for the preservation, 

enhancement and enjoyment of cultural heritage. 

Publishing about technologies for survey and documentation, 

analysis and diagnosis, restoration and maintenance, 

museums and archaeological parks, social networking and 

"smart" peripherals. As a reference point in the field is the 

sharing media for the industry, the professionals, the institutions, 

the academia, including research institutions and 

government agencies. 

Director 

Renzo Carlucci 

dir@archeomatica.it 

Managing Editor 

Michele Fasolo 

michele.fasolo@archeomatica.it 

Editorial board 

Giuseppe Ceraudo, Annalisa Cipriani, Maurizio 

Forte, Bernard Frischer, Giovanni Ettore 

Gigante, Mario Micheli, Stefano Monti, 

Luca Papi, Marco Ramazzotti, 

Antonino Saggio, Francesca Salvemini, 

Rodolfo Maria Strollo 

Editors 

Valerio Carlucci 

valerio.carlucci@archeomatica.it 

redazione@archeomatica.it 

Matteo Serpetti 

matteo.serpetti@archeomatica.it 

Maria Chiara Spezia 

chiaraspiezia@archeomatica.it

DOCUMENTATION 

26 Revealing Tyndaris: a 

technological approach to 

archaeological conservation 

and study By Valerio Carlucci, Andrea 

COLUMNS 

46 EVENTS 

ADV 

Di Santo e Michele Fasolo 

34 From Sports Collectibles to 

the Digital Humanities: the 

Evolution of Technology 

and the Transformation of 

Consciousness 

By Luca Baraldi 

40 Cultural Heritage and 

Gamification: Xenia 

Progetti solutions that 

revolutionize the ways 

of learning and visiting 

cultural sites 

CHNT 44 

Esri 46 

Gter 23 

Halta Definizione 45 

Makros 48 

Planetek 33 

Stonex 13 

TechnologyForAll 47 

Xenia 2 

by Luca Antonio Falzone, Viola Massa, Antonio Gianmaria Spampinato 

TECHNICAL DATA SHEET 

42 Thermography for the 

conservation of historical 

artifacts: the case of the Chinese 

Buddha in an underground 

published by 

environment By TESTO 

Science & Technology Communication 

Science & Technology Communication 

Marketing and Subcriptions 

Tatiana Iasillo 

t.iasillo@mediageo.it 

MediaGEO soc. coop. 

Via Palestro, 95 

00185 Roma 

tel. 06.64.87.12.09 

fax. 06.62.20.95.10 

www.archeomatica.it 

Graphic Design 

Daniele Carlucci 

daniele@archeomatica.it 

Publisher 

MediaGEO soc. coop. 

Archeomatica è una testata registrata al 

Tribunale di Roma con il numero 395/2009 

del 19 novembre 2009 

ISSN 2037-2485 

Printed by Bona Digital Print Srl 

Signed articles engages only the 

responsibility of the author. It is forbidden 

partial reproduction of the contents of 

this journal in any form and by any means, 

electronic or mechanical, including data storage 

systems and download, without any written 

permission.

CASE STUDY 

Immersive Virtual Reality in Archaeology: 

Enhancing Research and Public Engagement 

A Case Study of the Temple of Juno Excavations in Agrigento, Italy 

by Eleonora Lanfranco, Marcello Carrozzino, Giuseppe Rignanese, Gianfranco Adornato, Massimo Bergamasco 

Fig. 1 - - Metashape (left) and Blender (right) showcasing the 3D model of the site. 

Immersive Virtual 

Reality (VR) is having a 

revolutionary impact on the 

field of archaeology. It is 

not only facilitating greater 

public engagement, but 

also providing tools that 

can be used to optimise 

workflows and enhance 

data analysis, as well as 

fostering interdisciplinary 

collaboration. This project 

illustrates the potential of 

VR to effect transformative 

change regarding both 

research and cultural 

heritage dissemination. 

This paper introduces "Valle dei Templi VR" (VTVR) a prototype 

virtual reality application developed at the Institute 

of Mechanical Intelligence at Sant’Anna School of Advanced 

Studies in Pisa, in partnership with the Scuola Normale di Pisa under 

the auspices of the Archaeological Park of the Valley of the 

Temples at Agrigento. The project, demonstrated on the archaeological 

digs in the Valley of the Temples in Agrigento, aims to 

revolutionize how archaeological sites are documented by offering 

archaeologists immersive, real-time access to excavation data. 

Unlike VR tools designed solely for public exhibitions, this application 

caters specifically to archaeologists, providing them with 

a comprehensive collection of resources, such as excavation reports, 

images, videos, and detailed 3D scans of excavation layers. 

One of the most time-consuming aspects of archaeology is the 

post-excavation phase, where data analysis and integration are 

critical. This system helps streamline those processes by facilitating 

faster organization and retrieval of excavation data, significantly 

boosting the efficiency of research and site or artifact 

analysis. The VR application also offers a virtual exploration of 

archaeological sites, delivering a deeper and more authentic experience 

than traditional methods of presenting archaeological 

findings. 

6 ArcheomaticA N°4 2023

Cultural Heritage Technology 7 

With its ability to let users interact 

with 3D models of the 

excavation, the tool represents 

a major leap forward in archaeology. 

By providing professionals 

with an immersive platform 

for accessing, analysing, and 

sharing excavation data, the 

application supports enhanced 

collaboration, innovation, and 

insight within the field. The objective 

is to demonstrate how 

VR can provide researchers with 

an immersive experience akin to 

that experienced by the original 

excavators when collecting their 

data. At the same time, VTVR 

has been designed to address 

the needs of various stakeholders, 

from professional users to 

non-specialist audiences. 

generated can be extensive. 

This documentation includes 

written records, such as excavation 

diaries, lists of significant 

finds, and inventories of SUs, 

as well as graphical records like 

trench maps, section plans, and 

photos of the SUs. For each SU, 

there are also detailed lists of 

discovered materials, catalog 

entries for individual artifacts, 

drawings of pottery fragments, 

and photographs of the findings. 

For archaeologists, this detailed 

documentation is essential for 

reconstructing the context of 

artifacts. However, the challenge 

lies in managing fragmented 

records that link excavation 

findings with material analysis. 

To resolve this, data is systematically 

stored in both physical 

and digital formats, shared via 

hard drives and cloud storage 

for ongoing team access. In order 

to enhance this procedure, 

it would be advisable to implement 

a unified methodology for 

the documentation process, integrating 

excavation data with 

artifact analysis for accurate 

interpretations and future publications. 

Objectives 

The project aims to create a 

living 3D model of the archaeological 

site that captures its 

transformation over time. This 

model provides detailed access 

to each Stratigraphic Unit (SU), 

offering a visual timeline of how 

DESIGN 

Archaeological research depends 

heavily on stratigraphy, a 

concept derived from geological 

principles of sedimentation. In 

this context, stratification refers 

to the formation of distinct 

stratigraphic units (SUs), which 

are discrete layers or deposits in 

the soil resulting from either human 

activities or natural events. 

Each SU represents a continuous 

and homogenous formation in 

both time and space. The accurate 

identification and contextualization 

of each SU are critical 

for archaeologists to draw 

informed conclusions regarding 

the function of a site, its chronological 

development, and the 

phases of human occupation. 

During excavation campaigns, 

such as those led by the Scuola 

Normale Superiore under the direction 

of Gianfranco Adornato 

since 2020 at Temple D in the 

UNESCO-listed Valle dei Templi, 

the volume of documentation 

Fig. 2 - Starting screen of the VR application

the excavation site has evolved. 

Users can analyse excavation 

data in real-time, seeing the 

status of active digs, how SUs 

have changed throughout the 

process, and finalized models of 

completed areas The prototype 

has been designed as an everevolving 

resource, with the capacity 

to continually integrate 

new data and discoveries. It is 

anticipated that this will make 

it a valuable tool for both researchers 

and the general public. 

The model's modular design 

permits seamless updates, 

thereby ensuring that the model 

develops in tandem with ongoing 

excavations, rather than 

merely reflecting a fixed point 

in time. 

While this meets the specific 

needs of archaeologists, a significant 

focus of the project 

also involves bridging the gap 

between the specialized world 

of archaeology and the public. 

Part of this effort includes developing 

tools aimed at nonspecialists, 

allowing them to 

explore the discoveries and 

research processes in an engaging 

and informative way. Such 

a project not only broadens 

public understanding of the archaeological 

field but also fosters 

greater appreciation for 

the cultural heritage uncovered 

through research. 

The system is designed to extend 

beyond the technical aspects 

of archaeology, incorporating 

historical and cultural 

insights related to the site. This 

will facilitate engagement with 

a broader audience, transforming 

the tool into an educational 

platform where users can explore 

the site's history in a visually 

intuitive and immersive 

manner. 

Moreover, another requirement 

of the project is to facilitate 

the effective communication 

of archaeological findings to a 

non-specialist audience, ensuring 

that users have access to 

tools which simplify complex 

data. These tools must provide 

clear, intuitive visualizations 

and explanations of discoveries, 

fostering greater public interest 

and appreciation for cultural 

heritage and archaeological 

work. 

Information acquisition 

and processing 

A critical phase of the project 

involved the development of a 

comprehensive methodological 

and operational framework, essential 

for successful implementation. 

This phase underscored 

the significance of integrating 

theoretical insights with practical 

applications, thereby ensuring 

that the project was firmly 

anchored in both conceptual 

understanding and real-world 

implementation. 

We spent a period working at 

the Valley of the Temples archaeological 

site, where our 

main objective was to produce 

accurate 3D models using photogrammetry 

techniques. This approach 

was essential for acquiring 

detailed and accurate data 

on the current condition of the 

Fig. 3 - Selection and navigation starting menu (left) and Technical Data Sheet for a Stratigraphic Unit (right). 



site. It also allowed us to document 

the excavation locations, 

creating a highly detailed and 

realistic virtual representation 

of the excavation site. This period 

was crucial not only for the 

collection of data, but also for 

gaining first-hand insight into 

the day-to-day operations of the 

archaeologists on site. Observing 

the excavation work provided 

a better understanding of the 

complexity of their tasks and the 

difficulties inherent in accurately 

documenting each artefact 

discovered. Currently, as previously 

stated, the documentation 

process is largely unstructured 

and relies on fragmented textual 

descriptions, scattered digital 

images and freehand sketches. 

The absence of a unified system 

or central repository greatly 

hampers the ability to quickly 

retrieve and interpret this heterogeneous 

information, resulting 

in delays in research, limiting 

collaborative potential and 

complicating decision-making. 

IMPLEMENTATION 

Building the prototype for the 

VR information system involved 

a complex, multi-layered approach 

to ensure that archaeological 

data could be accessed 

and understood intuitively. In 

the following parts, we detail 

the methods used: first, we 

outline the steps taken in the 

development process, covering 

both the suite of software tools 

employed and the hardware 

needed for visualization; additionally, 

we examine the factors 

that significantly influence 

the user experience, including 

the design of the user interface, 

the strategic use of transparent 

overlays to display terrain, 

and the manner in which users 

navigate and interact within the 

virtual environment. 

Tools 

Archaeologists traditionally rely 

on tables within text documents 

to log excavation data, as discussed 

earlier. To improve the 

organization and management 

of stratigraphic data, we introduced 

the use of CSV (Comma- 

Separated Values) files, which 

are compatible with spreadsheet 

programs such as Google 

Sheets and Microsoft Excel. This 

format offers better data structuring 

and can be seamlessly 

imported into our system for 

processing. 

For generating 3D models of 

stratigraphic units (SUs), we 

utilized Agisoft Metashape a 

photogrammetry software specialized 

in producing highly accurate 

and detailed visual representations, 

and Blender, an 

open-source 3D modelling suite. 

The terrain modelling involved 

importing GIS data, including 

geographic and spatial elements 

like topography and reliefs, into 

Blender. This data enabled the 

creation of an accurate and detailed 

model of the site’s geographic 

context (Fig. 1). 

The resulting models have been 

exported into the fbx format 

and the subsequently imported 

into Unity 3D, a game engine for 

Fig. 4 - Three-dimensional reconstruction of the original temple.

VR development used to design 

the user interface, build the VR 

environment, and implement 

the application's interaction and 

visualization frameworks. 

To capture a comprehensive 

360-degree panoramic view of 

the archaeological site, a specialized 

application was employed: 

the Street View Download 

360 application was used 

to capture a comprehensive 

360-degree panoramic image 

of the archaeological site from 

Google Street View, in order to 

create a skybox providing an immersive 

background within the 

Virtual Reality environment. 

The final virtual experience was 

optimised for use with the Meta 

Oculus Quest 3 headset, thereby 

providing users with a fully immersive 

archaeological exploration. 

Graphical User Interface (GUI) 

The graphical interface (GUI) 

of the VR application has been 

crafted to ensure users have a 

seamless and informative interaction 

with the displayed 

archaeological heritage. Upon 

launching the app, users are 

prompted to select between 

two modes: one tailored for experts 

and the other designed for 

general audiences (Fig. 2). All 

menu interactions are managed 

via the Quest controllers using a 

ray-casting interaction method. 

Upon entering the application, 

users are situated at the 

northern side of the Temple of 

Juno, positioned on the altar. A 

concise tutorial video presents 

the controls and guides users 

through navigating the virtual 

space. 

n "Professional" mode, users are 

prompted with a pop-up menu, 

which allows them to select an 

excavation site and, if relevant, 

the specific SU they wish to 

explore, while in the general 

mode, instead of choosing an 

excavation site, users can select 

a "historical-artistic theme" 

related to the Valley of the 

Temples to further explore. This 

interface facilitates straightforward 

navigation through the 

excavation areas, enabling users 

to focus on specific archaeological 

details. Additionally, it 

provides the option to modify 

the transparency of the terrain, 

which enhances the clarity of 

the visualisation. All menu interactions 

are managed via the 

Quest controllers using a raycasting 

interaction method. 

The user is teleported to a designated 

location within the virtual 

environment; alternatively, 

free navigation can be selected 

(see subsequent Navigation System 

section). As the user progresses 

through the designated 

area in the expert mode, an additional 

panel is automatically 

generated, displaying detailed 

information about the corresponding 

SUs. This includes photographic 

images, descriptions, 

materials, dimensions, and accurate 

locations, enabling researchers 

to categorise each excavation 

and conduct a comprehensive 

analysis of the findings 

within the digital environment 

(Fig. 3). In the general mode, 

after being teleported, the user 

can access specific multimedia 

Fig. 5 - Interactive hotspot (left) and his multimedia content (right). 



content related to the selected 

historical-artistic themes. 

Visualization 

The application utilizes transparency 

effectively, allowing users 

to see through the various layers 

of an excavation and facilitating 

a greater degree of clarity and 

comprehension regarding the 

various stratigraphic units (SUs). 

By modifying the transparency 

value associated with the materials 

in the system's backend, 

users can alternatively view the 

present-day terrain, complete 

with excavations coverage, or 

activate a transparent mode for 

detailed examination of each 

SUs. This flexibility allows for a 

dynamic and customisable view 

of the archaeological site, enabling 

users to modify the visualisation 

according to their specific 

exploration requirements. 

The three-dimensional reconstruction 

of the original temple, 

as observed in Fig.4, is presented 

with a fixed degree of partial 

transparency that remains 

unaltered throughout the experience. 

This model serves as a 

pivotal spatial reference point 

within the application, offering 

users a clear visual context for 

the site's layout. 

For those following the "general 

audience" pathway, the application 

affords the opportunity for 

interactive exploration of the 

virtual site. As users progress 

through the environment, they 

can interact with various hotspots, 

represented as spheres 

(Fig. 5), situated at significant 

locations. These hotspots allow 

the user to access supplementary 

content, including text, 

images, and videos, which provide 

a more comprehensive 

understanding of the historical 

importance of each area. This 

interactive design encourages 

engagement and facilitates a 

more immersive comprehension 

of the site's past as users navigate 

through the virtual environment. 

Navigation System 

The project integrates a userfriendly 

navigation system designed 

to offer seamless exploration 

of the virtual environment, 

leveraging the Oculus 

Meta Quest 3 controllers. Users 

can move through the virtual 

space using the thumbsticks, 

allowing for smooth and precise 

movement, while selecting 

or interacting with objects by 

pressing the trigger buttons on 

the controllers. For additional 

ease, a teleportation option is 

also available, allowing users to 

instantly move to different areas 

within the environment for 

quicker navigation. 

The navigation system has been 

developed in accordance with 

ergonomic guidelines and user 

experience principles, considering 

factors such as comfort during 

extended periods of use and 

ease of interaction, with the objective 

of ensuring that the system 

responds in a fluid manner 

to user inputs. The incorporation 

of customisable movement 

speed and adjustable controller 

sensitivity enables the adaptation 

of the system to individual 

preferences. The result is a 

highly immersive and accessible 

virtual environment, which allows 

users to focus on exploration 

and interaction without experiencing 

any discomfort. 

CONCLUSIONS AND 

FUTURE DEVELOPMENTS 

The archaeologists participating 

in this project regard the 

VR system as a groundbreaking 

tool for organizing the extensive 

documentation produced during 

excavation efforts and artifact 

analysis. They recognize 

its capability to consolidate all 

data generated from archaeological 

digs into a single, accessible 

virtual platform. Users can 

navigate individual stratigraphic 

units (SUs) while retaining a 

comprehensive understanding 

of the site's overall topography. 

Each SU, reconstructed through 

photogrammetry, is intricately 

linked to its corresponding excavation 

location and related 

documentation. This method 

provides a means to address the 

irreversible aspects of stratigraphic 

excavation by offering a 

virtual reconstruction that aids 

in historical analysis. 

Although the current iteration 

of the system is a prototype centered 

on a specific case study, 

its potential for broader application 

in various archaeological 

contexts is considerable, pending 

further enhancements. One 

potential improvement could 

involve creating authoring tools 

tailored for archaeologists. Such 

tools would empower field specialists 

to independently contribute 

to and update SU data, 

thus streamlining the documentation 

workflow. Additionally, 

an automated georeferencing 

system would represent another 

significant advancement, allowing 

3D scans of each SU to be 

accurately positioned with minimal 

manual intervention, thereby 

enhancing both precision and 

efficiency.

The broader significance of this 

VR system extends beyond archaeological 

research. Its capacity 

to simplify complex technical 

information makes it invaluable 

for public engagement 

and educational initiatives. 

Utilizing similar visualization 

and interaction methods, this 

system could convey a diverse 

range of content—historical, 

artistic, and architectural—thus 

enriching the visitor experience. 

It not only enhances on-site exploration 

but also makes archaeology 

more approachable and 

engaging for a wider audience. 

This integration of technology 

and heritage has the potential 

to transform how individuals interact 

with archaeological sites, 

enabling them to explore history 

in an immersive and interactive 

manner. 

Looking ahead, the incorporation 

of Augmented Reality (AR) offers 

tremendous potential. By utilizing 

AR, this experience could be 

brought into real-world visits, 

providing the same extensive 

information directly in the physical 

environment. This would allow 

the public to participate 

in AR-enhanced tours and give 

archaeologists real-time access 

to digital records superimposed 

on their actual surroundings. A 

precise localization or tracking 

system would facilitate this transition 

to AR, offering an unprecedented 

level of engagement with 

the archaeological site. 

Moreover, the VR system opens 

exciting avenues for remote collaboration 

and telepresence. 

By supporting real-time data 

sharing and interactive involvement 

from anywhere around the 

globe, the system can foster a 

worldwide network of experts 

Bibliography 

BPujol Tost, L.; Sureda Jubrany, M. (2007) 

Vers une Réalité Vir-tuelle véritablement 

interactive. In: proc. of Virtual Retrospect, 

p. 77-81. 

Reilly, P. (1990) Towards a virtual archaeology. 

In: Computer Applications in Archaeology, 

British Archaeological reports (Int. 

Series 565), p. 133-139 

Christou, C.; Angus, C.; Loscos, C.; Dettori, 

A.; Roussou, M. (2006) A versatile largescale 

multimodal VR system for cul-tural 

heritage visualization. In: VRST06 Symp. on 

Virtual real-ity software and technology, 

ACM, p. 133–14 

Elkarmoty, M., Rupfle, J., Helal, K., 

Sholqamy, M., Fath-Elbab, M., Kollofrath, 

J., ... & Helal, H. (2023). Localization and 

shape determination of a hidden corridor 

in the Great Pyramid of Giza using nondestructive 

testing. NDT & E International, 

139, 102809. 

Brooks, J. (2020). The Applications of Immersive 

Virtual Reali-ty Technologies for 

Archaeology (Master's thesis, Trent University 

Canada, etd:813, TC-OPET-10779). 

Gaugne, R; Gouranton, V.; Dumont, G.; 

Chauffaut, A.; Ar-naldi, B. (2014) Immersia, 

an open immersive infrastructure: 

doing archaeology in virtual reality. In: Archeologia 

e Calcola-tori, pp.1-10 

Ogle, T.; Skarbez, R. Immersive Archaeology. 

Virginia Tech (2018) 

Cozzolino, M., Caliò, L. M., Gentile, V., 

Mauriello, P., & Di Meo, A. (2020). The discovery 

of the theater of Akragas (Valley of 

Temples, Agrigento, Italy): an archaeological 

confirmation of the supposed buried 

structures from a geophysical survey. Geosciences, 

10(5), 161. 

who can both contribute to and 

utilize this digital information. 

Such collaborative capabilities 

could expedite research efforts 

and shorten the timeline for 

publishing findings, as archaeologists 

would be able to access 

comprehensive data without 

needing to be physically present 

at the excavation site. 

The future direction of this project 

also hints at the creation 

of a unified data management 

platform, which would significantly 

boost the efficiency of 

archaeological processes. This 

platform would enable seamless 

sharing, analysis, and processing 

of collected data, thereby accelerating 

excavation activities 

and facilitating more thorough 

and timely research. 

Abstract 

The use of Virtual Reality (VR) is becoming 

increasingly popular in the creation of innovative 

content archiving and cataloguing 

solutions. In the field of archaeology, the 

utilisation of VR for both professional and 

non-specialist applications remain a relatively 

unexplored area. To address this gap, 

we present a VR application designed to 

streamline the storage and access of critical 

data for archaeological studies, while 

facilitating the presentation of these studies 

to the public. The application interface 

facilitates direct interaction with 3D 

models generated through photogrammetry 

and modelling techniques, facilitating 

two distinct yet complementary objectives: 

firstly, a detailed examination of the data 

collected, which in turn improves research 

activities; secondly, it brings visitors closer 

to the world of archaeological research. 

We applied this system to the case study of 

excavations at the Temple of Juno in Agrigento, 

Italy. 

Keywords 

Virtual Reality, Archaeology, Data Archiving, 

Photogrammetry, Reconstruction 

Author 

Eleonora Lanfranco 

eleonora.lanfranco@santannapisa.it 

Institute of Mechanical Intelligence (IIM) 

of Scuola Superiore Sant’Anna, Pisa (PI), 

Italy - www.santannapisa.it/it/istituto/ 

intelligenza-meccanica 

Marcello Carrozzino 

m.carrozzino@santannapisa.it 





Giuseppe Rignanese 

giuseppe.rignanese@sns.it 

Scuola Normale Superiore, Pisa (PI), Italy - 

www.sns.it/it 

Gianfranco Adornato 

gianfranco.adornato@sns.it 

Scuola Normale Superiore, Pisa (PI), Italy - 

www.sns.it/it 

Massimo Bergamasco 

m.bergamasco@santannapisa.it 







XVS 

vSLAM 3D Scanner 

CONTATTACI 

PER INFO 

Seguici sui Social 

www.stonex.it

CASE STUDY 

Artificial Beings in Archaeology: Bridging 

Historical Reality and Digital Simulation 

The "Johannes" Project: A Novel Approach to Reconstructing Medieval 

Life through AI and Material Culture 

by Stefano Bertoldi e Marco Valenti 

Fig. 1 - Burial SK86 

under excavation. 

The "Johannes" project represents an innovative intersection 

of archaeology and artificial intelligence, aiming to 

reconstruct and simulate the consciousness of a medieval 

individual based on extensive archaeological data. By utilizing 

AI, specifically a ChatGPT model, the project seeks to bridge 

the gap between material culture and digital self-awareness. 

The AI is populated with data from the archaeological site 

of Miranduolo, integrating information about the village's 

historical context, material culture, and societal structures 

from the 7th to the early 14th century. This project explores 

the challenges of limiting the AI's knowledge. 

Setting aside purely theoretical 

and faith-based positions 

that either remain 

enthusiastic or, conversely, 

entirely opposed, the application 

of artificial intelligence is 

viewed through a limited lens, 

either as a sophisticated search 

engine or a somewhat capable 

assistant more or less capable of 

solving our problems. In reality, 

there is an emerging field of research 

focusing on the applica- 



tion of AI as digital companions, 

even extending into the realms 

of emotion and affection. That 

intelligence might entail more 

than just processing power-it 

could also encompass empathy, 

and perhaps even emotions, or 

at least a sophisticated ability 

to simulate them. This prompts 

an intriguing question: at what 

point does an artificial entity 

with advanced intellectual capabilities 

and potential empathy 

transition from being merely 

artificial to something we might 

consider alive? 

The debate surrounding AI performance, 

though engaging, 

doesn't fully address this question. 

While we can't yet claim that 

true intelligence with computational 

prowess and independent 

initiative exists, some applications 

possess mathematical capabilities 

far beyond the natural 

average and can empathize 

with our human essence in surprisingly 

effective ways. 

It is from these reflections, not 

strictly archaeological in nature, 

that the "Johannes" project 

emerged. The name chosen 

for the character wasn't drawn 

from any specific source but 

was randomly selected from 

documented individuals in archival 

records from the analyzed 

period. 

into Gemini) was sentient. This 

assertion led to his suspension 

from the tech giant. Whether 

Lemoine was being provocative, 

genuinely believed in his 

claims, or based them on unscientific 

assumptions, his statement 

sparked significant controversy 

and opposition. 

The cognitive stronghold of language, 

once believed to set humanity 

apart from animals and 

machines, elevating Homo sapiens 

to the rank of "master" of 

the planet, has now crumbled 

(Manzotti & Rossi 2023, p. 142). 

Another boundary—physical 

presence in the world—is also 

eroding. Robotics is transforming 

theory into tangibility in this 

regard. 

Thus, consciousness, the perception 

of oneself and others, 

might be the next—and perhaps 

final—frontier to conquer or perhaps 

defend. In the case of the 

Johannes project, the goal was 

not to create artificial life (a 

concept challenging to define) 

but to restore the residual image 

of a life that has persisted 

in the real world, one that can 

be glimpsed through material 

culture, society, and religion. 

THE ARCHAEOLOGICAL 

SITE OF MIRANDUOLO 

Miranduolo (Chiusdino - SI) represents 

an extensive excavation 

project spanning 17 campaigns 

and over 700 days. Nearly all of 

the space within the castle's, 

and more than 1,000 square 

meters outside them, has been 

fully excavated, yielding a vast 

quantity of material. Over the 

past six years, we have continuously 

analyzed, processed, and 

cross-referenced these findings, 

leading to new insights that 

would have been impossible in 

the context of more hastily published 

excavations. 

Updates on progress and evolv- 

THE DEBATE SURROUNDING AI 

The debate on AI consciousness 

is a complex topic, with 

contours we do not fully understand 

and do not intend to 

fully explore here. However, 

consider the case of Google's 

engineer Blake Lemoine, who, 

two years ago, claimed that the 

LaMDA program (now evolved 

2 - SK86's skull after restoration 

Fig.

ing hypotheses have been 

shared consistently, contributing 

to a bibliography of over 80 

titles. Our approach has been 

to thoroughly revisit and reexamine 

the entire body of documentation 

linked to more than 

4,500 stratigraphic units. This 

process involves stressing the 

data, reinterpreting it from various 

perspectives, and drawing 

new insights. Given the site's 

complexity and its significant 

potential to inform archaeological 

and historical debates, such 

iterative processes are essential 

particularly for its contribution 

to archaeological and historical 

debates. The long periods 

of data processing are crucial 

to building a "critical mass" of 

data capable of generating interpretive 

frameworks, which 

can then be tested, refined, and 

transformed into models. With 

its diachronic pattern of continuous 

occupation from the 7th to 

Fig. 3 - Reconstruction of SK86's face (creation 

by Stefano Ricci). 

the early 14th century, and the 

fact that it has been excavated 

to a highly significant extent, 

the site can be proposed as an 

indispensable touchstone for 

anyone developing interpretive 

models of early medieval village 

formation and, where applicable, 

their evolution into castles. 

Moreover, following the example 

of Poggibonsi, the site has 

also served as a testing ground 

for experimenting with Information 

Technology techniques and 

methods applied to Archaeology, 

particularly in documentation, 

analysis, and data sharing. 

The enormous volume of data 

collected and processed, the 

maturity of the processing techniques 

achieved, and the diversity 

of information obtained 

led to the development of the 

Johannes concept and prototype. 

Initially, the idea was to 

have the history and archaeology 

of the site narrated by one 

of its inhabitants. However, we 

quickly realized the limitations 

of this approach; a 12th-century 

person could not have known 

much of what modern research 

has uncovered. Therefore, we 

opted for a different methodology 

that is more subjective yet 

also more plausible. 

The primary objective of the 

project was to evaluate the behavior 

of a ChatGPT bot when 

constrained within a markedly 

limited spectrum of information; 

on this front, much work 

remains to be done. Additionally, 

Johannes is intended to 

serve as an educational tool for 

archaeology students, aimed at 

training them to assess the subjectivity 

of sources and to stimulate 

inquiry in a multi-layered 

manner. 

ARCHITECTURE OF AN 

"ARTIFICIAL BEING" 

The ChatGPT bot, along with 

its "consciousness" and memory, 

was initially populated with 

knowledge derived from archaeological 

investigations conducted 

between 2001 and 2016. 

This included information about 

the village's inception in the 7th 

century and its early medieval 

transformations, leading up to 

the processes of incastellation 

and decastellation in the early 

14th century (Valenti 2022). The 

buried individual, labeled SK86 

(Fig. 1), was a man approximately 

167 cm tall, with pronounced 

muscle attachments 

in the upper limbs, significant 

osteoarthritis in the spine, and 

signs of nutritional stress from 

childhood. These markers indicate 

a life of hard, strenuous labor 

and a birth into a very poor 

family. 

The most striking features include 

a sharp-force injury on 

the left frontal bone, a small 

oval depression on the right 

frontal bone likely caused by 

a blunt, pointed object, and 

trauma with bone remodeling 

of the mandibular condyle (Fig. 

2), resulting in a misaligned 

jaw structure that would have 

caused significant difficulties in 

chewing during the individual's 

lifetime (Abate & Ricci 2022). 

The anthropological analysis 

of the buried individual and 

his facial reconstruction (Fig. 

3), conducted by Stefano Ricci 

(Department of Earth, Physical, 

and Environmental Sciences 

- University of Siena), and 

the dating of the burial, led to 

the hypothesis that SK86 was 

a man-at-arms serving the Gherardeschi 

family and that he 



fought during the siege of Miranduolo, 

led by the Bishop of 

Volterra's troops around 1125 

(Fig. 4). However, the injuries 

sustained in battle did not result 

in his death. SK86—our Johannes—survived 

and was able 

to recount the most significant 

event of his life: the battle that 

began on the plains below the 

castle and continued until the 

defenses were breached (Nardini 

2022). 

Drawing from this "story within 

the History," we sought to populate 

Johannes's memory and 

consciousness. The process of 

populating his memories was 

complex and delicate, given the 

evident gap between what he 

knew and what archaeologists 

know today. 

JOHANNES'S PAST 

AND MIRANDUOLO'S HISTORY 

After integrating the "past" archaeology 

of Miranduolo into 

Johannes's present (Bertoldi 

2022), including the landscape 

(Putti 2022), historical context, 

material culture (Menghini 

2022, Palmas 2022, Nardini 

2024), diet, and nearby rural 

and urban settlements (Cantini 

2003, Causarano 2017), we 

faced our first major challenge. 

From the dataset of information 

known to historians and archaeologists 

about 12th-century 

Tuscany, we needed to filter out 

what a peasant-soldier, likely 

illiterate and spending almost 

his entire life among the hills of 

the Val di Merse, could realistically 

have known. This required 

us to simulate sensory experiences; 

Johannes knew only 

what he could see and what he 

was told. Of the long history of 

his settlement, he might have 

Fig. 4 - The Siege of Miranduolo (graphic reconstruction by InkLink studio, Firenze) 

heard about the castle's transformation 

from mixed construction 

to stone (an event occurring 

within a century before his 

birth); it's plausible that elders 

recounted this "revolutionary" 

change. However, as we move 

further back in time, Johannes's 

memory fades after two or 

three generations at most. SK86 

would not have known about 

the 9th- and 10th-century village 

organized as a curtis, nor 

about its polarized society; 

even less would he have known 

about the village's founding as 

a mining settlement—a factoryvillage—in 

the 7th century, and 

its subsequent evolution into an 

agricultural center with divided 

power in the 8th century. 

Therefore, within this complex 

differential, we were compelled 

to enrich the character's reminiscences 

by drawing upon our 

deep knowledge of the castle's

material culture. We sought to 

incorporate objects that could 

evoke sensations, memories of 

the past, and narratives that intertwined 

archaeologically and 

historically verified facts with 

plausible individuals who could 

have intersected with the life of 

our character. 

JOHANNES'S FUTURE 

What further complicated the 

creation of the bot was the 

understanding of what happened 

during the long period 

that can be described as the 

"liminal phase" of consciousness, 

between the death of 

SK86 and the artificial rebirth of 

Johannes. To actualize this process, 

we established a terminus 

a quo (the year 1140), marking 

the endpoint of our character's 

memory. This is essentially the 

moment around which Johannes 

dies, yet the space-time paradox 

generated results in a present 

that predates this threshold. 

Johannes perceives himself 

as alive and does not see himself 

as belonging to a distant 

"Middle Ages" (a term obviously 

unknown to him). When asked 

directly, he would respond with 

surprise: "I do not come from 

the past; I live in the present." 

From a technical perspective, 

this operation of erasing the 

future/past creates some challenges 

within ChatGPT. It is 

necessary to continuously refine 

the bot and filter out irrelevant 

information. 

HIS CONSCIOUSNESS 

Once his memory was constructed 

within the limited scope previously 

described, we needed to 

define the simulation of emotions, 

empathy, and the selfawareness 

that Johannes possesses. 

This aspect, extremely 

delicate as it goes far beyond 

archaeology and technology, 

is crucial to the project. The 

bot, as previously mentioned, 

is not an artificial assistant nor 

merely an intelligent collection 

of information regarding Miranduolo, 

the Val di Merse, central-southern 

Tuscany, the 12th 

century, or the phenomenon of 

incastellamento. 

The goal is to model an artificial 

being endowed with critical 

thought about its own life, with 

opinions expressed emotionally 

(for Johannes, the Bishop 

of Volterra represents the arrogance 

and cruelty of ecclesiastical 

power), and with desires 

and hopes for his future. These 

expressions do not necessarily 

represent objective truth, 

but rather personal thoughts 

shaped by past experiences. 

We also aim to equip him with 

knowledge that could lead to 

a form of bodily-kinesthetic 

intelligence (Di Napoli 2007). 

Johannes's body (or rather, the 

bones of SK86) and his material 

culture are our tools for decoding 

his life and actions. In this 

light, we used the acquired data 

to enable him to communicate 

about what he saw and did. 

Consider this simple example: 

When Johannes tells us his personal 

story—his childhood, his 

service to the Gherardeschi 

Counts at Miranduolo, etc.—he 

consistently identifies himself 

as an "archer," even though we 

did not provide this information. 

We questioned why he 

chose to present himself in this 

way. What prompted this interpretive 

liberty? 

Upon reviewing all the data entered 

for the period in question, 

we noticed that arrowheads are 

among the most commonly attested 

finds. Their abundance 

attests to the siege and subsequent 

battle conducted against 

Miranduolo by the Bishop of Volterra's 

troops. Johannes's reasoning 

sequence is clear: I am 

a man-at-arms—there are many 

arrows—therefore, I was also an 

archer. 

In its simplicity, this cognitive 

sequence offers valuable insights 

into how our artificial being 

reasons. It helps us evaluate 

which routines we need to refine 

or codify for inputting data 

that can be transformed into 

"stories" and narratives. 

CONCLUSIONS 

This project, which will be expanded 

to include other artificial 

beings from preceding and 

succeeding periods (7th to early 

14th century), is an experiment 

in evaluating direct sources 

for constructing archaeological 

data. In this sense, "interviewing" 

an artificial being from the 

Middle Ages aims to highlight 

the differences between objective 

material data (even if partial, 

fragmentary, and complex) 

and those shaped by specific individual 

wills. It is also intended 

as a teaching tool and a new 

point for theoretical discussion. 

In the uncertainty of whether AI 

is or ever will be sentient, our 

goal was to simulate a natural 

being, complete with errors 

determined by cultural limitations, 

personal opinions, and 

individual expectations. 

Although archaeological, historical, 

anthropological, and genetic 

data may suggest extensive 

knowledge of people from 



the past, there is a palimpsest 

that cannot be fully modeled—a 

limit beyond which it 

is impossible to proceed. This 

refers to the spectrum of instinct, 

character, and innate 

abilities. To address this, we 

created a simulation to restore 

Johannes from SK86, populating 

his narrative with reliable, 

yet not always verifiable, information. 

AKNOWLEDGEMENTS 

The anthropological study and 

facial reconstruction were 

conducted as part of a cooperative 

project between the 

Municipality of Chiusdino and 

the Department of Historical 

Sciences and Cultural Heritage 

of the University of Siena 

(under the scientific direction 

of Prof. Marco Valenti), in collaboration 

with the Department 

of Earth, Physical, and 

Environmental Sciences. 

The Johannes project is part 

of the "New Technologies in 

Cultural Heritage Research" 

Lab-Arena, within the 2023- 

2027 Excellence Project of the 

Department of Historical Sciences 

and Cultural Heritage of 

the University of Siena (SOPaC, 

acronym for Sustainability and 

Employability in Cultural Heritage). 

The bot is accessible at: 

https://chatgpt.com/g/gmchL2LSPc-johannes-abitante-di-miranduolo. 

Bibliographical References 

Abate, E., & Ricci, S. (2022). Restauro, studio paleoantropologico e tafonomico degli 

inumati del cimitero medievale di Miranduolo. In M. Valenti, A. Nardini, & S. Bertoldi 

(Eds.), Miranduolo. Le lunghe mutazioni del potere tra VII e XIV secolo (pp. 121-134). 

Firenze: All'Insegna del Giglio. 

Bertoldi, S. (2022). L'insediamento e i rapporti sociali tra VIII e inizi XI secolo. In M. 

Valenti, A. Nardini, & S. Bertoldi (Eds.), Miranduolo. Le lunghe mutazioni del potere 

tra VII e XIV secolo (pp. 49-66). Firenze: All'Insegna del Giglio. 

Cantini, F. (2003). Il castello di Montarrenti. Lo scavo archeologico (1982-1987). Per 

la storia della formazione del villaggio medievale in Toscana (secc. VII-XV). Firenze: 

All'Insegna del Giglio. 

Causarano, M. A. (2017). La cattedrale e la città. Il cantiere del duomo di Siena tra 

XI e XIV secolo. Firenze: All'Insegna del Giglio. 

Di Napoli, G. (2007). Disegnare e conoscere. La mano, l'occhio, il segno. Vicenza: 

Einaudi. 

Manzotti, R., & Rossi, S. (2023). IO e IA. Mente, cervello e GPT. Soveria Mannelli: 

Rubbettino Editore. 

Menghini, C. (2022). La ceramica dal VII al XIV secolo: analisi sociali, economiche e 

politiche. In M. Valenti, A. Nardini, & S. Bertoldi (Eds.), Miranduolo. Le lunghe mutazioni 

del potere tra VII e XIV secolo (pp. 167-186). Firenze: All'Insegna del Giglio. 

Nardini, A. (2022). L'insediamento e i rapporti politici e sociali tra XI e XIV secolo. 

In M. Valenti, A. Nardini, & S. Bertoldi (Eds.), Miranduolo. Le lunghe mutazioni del 

potere tra VII e XIV secolo (pp. 67-86). Firenze: All'Insegna del Giglio. 

Nardini, A. (2024). Il bicchiere nel corredo domestico fra IX e XIII secolo nel senese: 

i casi di Miranduolo e Poggibonsi. In M. Uboldi, S. G. Lerma, & M. Bagnasco (Eds.), Il 

vetro nel Medioevo. Atti delle XXI Giornate di Studio sul Vetro del Comitato Nazionale 

Italiano AIHV (pp. 57-68). Cremona: Fanti Gragica. 

Palmas, C. (2022). I reperti metallici fra VII e XIV secolo. In M. Valenti, A. Nardini, 

& S. Bertoldi (Eds.), Miranduolo. Le lunghe mutazioni del potere tra VII e XIV secolo 

(pp. 216-232). Firenze: All'Insegna del Giglio. 

Putti, M. (2022). La complessità di un paesaggio storico: il territorio di Miranduolo 

nella diacronia. In M. Valenti, A. Nardini, & S. Bertoldi (Eds.), Miranduolo. Le lunghe 

mutazioni del potere tra VII e XIV secolo (pp. 106-120). Firenze: All'Insegna del 

Giglio. 

Valenti, M. (2022). Le lunghe mutazioni del potere (VII-inizi XIV secolo). In M. Valenti, 

A. Nardini, & S. Bertoldi (Eds.), Miranduolo. Le lunghe mutazioni del potere tra VII e 

XIV secolo (pp. 14-39). Firenze: All'Insegna del Giglio. 

Abstract 

The "Johannes" project represents an innovative intersection of archaeology and artificial 

intelligence, aiming to reconstruct and simulate the consciousness of a medieval 

individual based on extensive archaeological data. By utilizing AI, specifically 

a ChatGPT model, the project seeks to bridge the gap between material culture and 

digital self-awareness. The AI is populated with data from the archaeological site of 

Miranduolo, integrating information about the village's historical context, material 

culture, and societal structures from the 7th to the early 14th century. This project 

explores the challenges of limiting the AI's knowledge to what would have been 

known by a 12th-century individual, thereby enriching the AI's "memories" with sensory 

experiences and historically plausible narratives. The project raises significant 

questions about the potential of AI in historical reconstruction, particularly in the 

simulation of emotions, empathy, and self-awareness. 

Ultimately, "Johannes" is not merely an intelligent collection of data but an experimental 

artificial being capable of critical thought, subjective experiences, and 

emotional expression. The implications of this project extend beyond archaeology, 

offering new perspectives on the use of AI in understanding the past and its potential 

as a teaching tool and a medium for theoretical exploration. 

Keywords 

Artificial Intelligence; Artificial Archaeology; 

Archaeological Reconstruction; Self-Awareness 

Author 

Stefano Bertoldi 

stefano.bertoldi@unisi.it 

Università di Siena 

Marco Valenti 

Marco.Valenti@unisi.it 

Università di Siena

RESTORATION 

Cultural heritage: from Italy smart conservation 

and protection from fire, bacteria, water 

Climate phenomena require the use of the most advanced technology 

By Camilla Ghedini 

Fig. 1 – Max Planck Institute. History of Art Institute of Florence. 

Makros founded in 2018, 

is based in Ferrara, Emilia 

Romagna. its organization 

includes a technical scientific 

committee of biologists, 

mathematicians, physicists, 

computer technicians 

and scientists, architects, 

who direct research and 

development, to which 

about half of the profits 

are allocated. Makros owns 

six patents, which can be 

combined together. Clients 

are public, private and even 

religious authorities and 

institutions. 

The floods that in recent years 

have been hitting Italy and Europe, 

strongly test the ability to 

protect and conserve the archival, 

artistic, cultural heritage 

of institutions, private individuals 

who own important collections 

and companies that have 

historical archives. Water, like 

fire, causes irreversible damages 

and losses, forcing to select 

which operations can be 

done to restore. The collective 

memory and identity of countries, 

territories and communities 

are affected. This is what 

Massimo Luise, founder of Makros 

srl, thought about when, 

in 2011 patented Blockfire, an 

archival fire protection system 

now combined with protection 

from bacteria and water. A fire 

is an occasional event, fungal 

proliferation and floods are directly 

connected to ongoing 

climate change and require Art 

managers to activate technological 

processes. It is no coincidence 

that the company, which 

is based in Ferrara, Emilia Romagna, 

a region with constant 

hydrogeological risk, was recognized 

in 2023 by Fassa Bortolo 

and Fondazione Symbola - the 

Foundation for Italian qualities 

- among the one hundred excellent 

companies in the Fourth 

Report Italian Cultural Spaces 

Stories. What does Makros produces? 

Archival systems with 

the appearance of real design 

libraries that open and close, 

allowing access and consultation 

(see the various types in 

products, on www.blockfire.it, 



English version). These libraries 

are micro ventilated, to let 

the contents breathe, they are 

equipped with a control unit 

that controls the closure in case 

of heat and flames and a system 

to monitor the internal environmental 

conditions. Makros’ 

installations protect without 

external fire-extinguishing systems, 

which not only compromise 

the heritage but can harm 

humans. Compactable, they 

can reach a height of 6 meters 

and store several linear meters 

if not kilometers of documents 

and books. In Rami Barrack, the 

largest book center in Istanbul 

and the second largest in Turkey, 

Makros installations - designed 

to host 2 million books 

– are 27 kilometers long and 12 

meters deep. A true three level 

citadel, the underground level 

built under the lake of the immense 

public park. At the Kunsthistorisches 

Institut in Florenz 

- Max Planck, the recently renovated 

and inaugurated institute 

of history of art in Florence, 

Makros has created systems to 

safeguard over two kilometers 

of documents, some inside the 

Palace, some in a basement, 

beneath an internal garden. The 

installations, in Italy, Europe 

and Asia, are countless: from 

Brera Institute of Science to 

Bordeaux International Art Museum, 

from Ankara Art & Sculpture 

Museum to Vatican Palaces. 

Then there is the Laboratory 

for the Restoration of Ancient 

Books, important Universities - 

Rome 3, Genoa, Ferrara, Milan 

Polytechnic, Turin - the Military 

School of Cecchignola (Rome), 

the Bank of Italy, Leonardo 

Aerospace. Without neglecting 

the Courts, health facilities, 

the Courts, health facilities, 

ethnographic institutes. 

Makros' clients are public and 

private. The need to protect 

and conserve - this is Makros' 

challenge - is everywhere. Just 

think that 85 percent of the artistic 

heritage of museums and 

foundations is not exhibited. It 

is stored and often piled up in 

improvised exposed to air, infiltrations 

and dangers contain-

ers despite the existence of 

ministerial guidelines for their 

preparation and storage, with 

specific requirements in terms 

of safety of the systems and microclimatic 

parameters. If exhibited 

works are, in Italy alone 

480 thousand, there are 4 and 

a half million in storage, theoretically 

they should be kept in 

good conditions in order to be 

consulted or exhibited in temporary 

exhibitions. Not counting 

the archaeological material and 

other materials known only to 

insiders. 

The Makros system is certified 

by 6 patents, nationalized in 

Europe, as well as in the United 

States, Canada, China, Russia, 

Turkey. The work of the technical 

scientific committee made 

up of physicists, biologists, 

mathematicians, computer scientists 

never stops. For Makros, 

continuous research is essential. 

It supports research in 

collaboration with important 

and prestigious partners – for 

example CNR in Florence- some 

of which have been published 

in important specialized magazines. 

Makros also uses the skills 

and spaces of the nearby University 

Technology Park (University 

of Ferrara) to carry on 

experiments. Each installation 

requires the study of internal 

and external environment and 

the material to be contained: 

from the canvases of the paintings 

to the paper of the codes, 

as well as fabrics, leather, furnishing. 

The key word is suitability, 

which presupposes constant 

technological advancement, 

skill refinement, continuous 

software improvement 

and updating. Special increased 

power sensors have been developed 

to detect environmental 

data, they have been placed 

inside the archive systems and 

they can export data even if 

they are in insulated structures. 

This way they feed data to the 

fungal proliferation prediction 

software. In case of detection 

of non-optimal conservation 

conditions, the software issues 

warnings to intervene and activate 

remedies which can also 

be automatic according to the 

parameters set by the Makros’ 

technical scientific committee. 

The remedies include solutions 

for ventilation, dehumidification 

or humidification, solid 

support inhibition of fungal 

growth. Warning and remedies 

are remotely reported on devices. 

Each system is equipped 

with emergency batteries so 

that data are never lost. Makros 

uses non-carcinogenic materials, 

starting with paints and 

insulation material. Luise’s idea 

of Blockfire started from fire. 

Working with museums and archives, 

he asked himself: what 

is missing? Looking around he 

realized that a protection system 

was missing. There were 

fire extinguishers or automatic 

extinguishing systems but they 

were not enough. They solved 

only half of the problems. Putting 

out the flames didn’t mean 

saving Art. So he started to do 

research. He wanted something 

that did not exist. After two 

years of study and comparisons 

with other systems he made 

it, he filed the first patent, 

Blockfire precisely, the result 

of a test at Giordano Institute, 

which certified that even with a 

thousand degrees outside temperature, 

his 'containers' remained 

structurally intact and 

offered a passive protection 

barrier against fire. From fire he 

also thought about water and 

bacteria, from protection to 

conservation, which must be a 

daily routine. His first, great intuition 

was understanding that, 

regarding flames, the so-called 

active protection systems had 

to be eliminated. The second, 

that proceeding by sectors did 

not make sense. "There were 

those who cared about fire, 

those about deterioration, those 

about water. A global vision 

was missing", he summarizes. 

In Italy he broke consolidated 

patterns, with the recognition 

of this protection technology by 

the Fire Brigade. For this reason, 

he says, it would be important 

to have a unique European 

legislation, thus overcoming 

the current fragmentation. And 

for this reason it is important 

to train the staff who will deal 



with it. "There is nothing difficult 

- Luise begins - but knowing 

how to read the data is fundamental". 

Does protecting heritage 

cost money? "It also costs 

money to recover it. Nothing 

can be saved from fire and what 

is not damaged by the flames is 

damaged by the heat and subsequent 

extinguishing methods. 

What is saved from water must 

be frozen, then defrozen without 

passing through the liquid 

state, with very high costs. In 

both cases, restoration work is 

needed. Bacteria cause 'holes' 

in paper, in the wooden frames 

of paintings, etc. The cost is a 

false problem, because the risk 

is the irreversibility of the loss". 

And Luise cites the flood in 

Florence in 1966, with damaged 

works of art and millions 

of books submerged. The water 

and mud reached the Uffizi, the 

Baptistery, the Archaeological 

Museum, the National Library. 

Then the flood of Emilia Romagna, 

in 2023, with over 30 

archives and libraries ending up 

under water and thousands of 

books that, taken to the cold 

storage rooms of food companies, 

are still waiting to be restored. 

Or the fire at the National 

Museum of Brazil, in Rio de 

Janeiro, in 2018, which marked 

the loss of 20 thousand objects 

but above all 200 years (opened 

in 1818, ed.) of knowledge and 

research. Or the recent one at 

Somerset House in London, a 

noble house transformed into 

a museum with paintings by 

Cezanne, Monet, Van Gogh and 

other artists saved by firefighters. 

Not less important the 

works of art attacked by biological 

agents, such as fungi, insects, 

bacteria, which presence 

is linked to humidity, therefore 

to poor conservation conditions, 

with consequent degradation. 

Luise, is organizing an 

international event in Ferrara, 

the city of the Este family, 

where the company's creative 

headquarters are located, the 

date will be Spring 2025. In the 

meantime, he monitors climate 

and meteorological changes, 

«which require us to accelerate 

the protection and conservation 

of the archival and cultural 

heritage, of which we consider 

ourselves defenders. The world 

around us is changing rapidly. 

For Makros trusting science is an 

essential tool for Culture. “We 

want beauty all around us”. 

Abstract 

Makros founded in 2018, is based 

in Ferrara, Emilia Romagna. its 

organization includes a technical 

scientific committee of biologists, 

mathematicians, physicists, computer 

technicians and scientists, 

architects, who direct research 

and development, to which about 

half of the profits are allocated. 

Makros owns six patents, which can 

be combined together. Clients are 

public, private and even religious 

authorities and institutions. 

Keywords 

Cultural heritage; blockfire; smart 

conservation; conservation; technologies 

Author 

Camilla Ghedini 

info@ufficiostampacomunicazione.com 

Press, Makros

Orthomosaic of 

Insula IV, Tindari 

Archaeological 

Park (UAV survey 

and processing 

by Andrea Di 

Santo).

DOCUMENTATION 

Revealing Tyndaris: a Technological Approach 

to Archaeological Conservation and Study 

By Valerio Carlucci, Andrea Di Santo e Michele Fasolo 

Fig. 1 - Textured mesh of the northeast 

elevation of the Basilica in the Tindari 

Archaeological Park (UAV survey and 

processing by Andrea Di Santo). 

The archaeological site of 

Tyndaris (currently Tindari, 

municipality of Patti, 

province of Messina, Italy) 

served as the backdrop for 

an important technological 

and cultural initiative 

organized by mediaGEO 

on May 30, 2024: the 

“TECHNOLOGYforALL 

OnTheRoad”. 

The event brought together 

university professors, 

experts in geomatics, archaeology, 

and engineering, as 

well as industry professionals 

engaged in applying advanced 

surveying methodologies. The 

main objective was to create 

precise and detailed digital 

documentation of a site useful 

for conservation, study, and 

tourism enhancement. 

During the event, a series of 

state-of-the-art surveying technologies 

were employed to map 

and meticulously document the 

topography and monuments of 

the ancient Greek, and later 

Roman, city in Sicily—an area 

for which a complete survey is 

still lacking. 

According to Diodorus Siculus, 

the foundation of Tyndaris 

dates to 396/395 B.C., when Dionysius 

I of Syracuse allocated a 

territory on the northern coast 

of Sicily, opposite the Aeolian 

Islands, to six hundred Messenean 

mercenaries who fought 

under his command in a victorious 

campaign that led the 

Carthaginians to abandon the 

island in 393 B.C. This stable 

and formidable garrison of professional 

soldiers, adopting a 

mythical Messenean poleonym, 

established control over a territory 

taken from the Sicel city of 

Abakainon, an ally of Carthage. 

The area was inhabited and surrounded 

by largely hostile Sicel 

populations and centered on 

a promontory overlooking the 

sea. 

Simultaneously, likely as a consequence 

of this new settlement, 

the nearby Hellenized 

indigenous center of Gioiosa 

Guardia nearly lost all vitality. 

From the Tyndarian promontory, 

an important pass along the 

coastal route was controlled, 

coinciding with the coastal terminus 

of a significant inland 

route. This position also allowed 

for the interdiction of a 

port area, possibly comprising 

two harbors, strategic for dominating 

the maritime routes of 

the southern Tyrrhenian Sea. 

The chronological data of the 

foundation provided by the 

historical source, however, has 



not yet found confirmation in 

archaeological research. Both 

the oldest structures of the settlement, 

identified during excavations 

in the 1950s, and the 

earliest data from necropolis 

areas do not date beyond the 

second half of the 4th century 

B.C. Consequently, both the 

dating of the urban plan and the 

related chronological issue concerning 

the city walls remain 

uncertain and controversial in 

scholarly studies. 

After over a century of conflict, 

with only a few decades of independence—amidst 

struggles 

involving Syracusans, leaders 

like Timoleon and Agathocles, 

Carthaginians, Mamertines, 

and Romans—in 254 B.C., a 

few years after the naval battle 

of Atilius Regulus against 

Hamilcar in the nearby waters, 

Tindari surrendered in fidem 

et amicitiam populi Romani, 

subsequently maintaining loyal 

conduct. From the 2nd to early 

1st century B.C., evidence indicates 

lively public and private 

building activity in the city, 

adhering to experiences and 

models of Hellenistic and Italic 

architectural and figurative culture. 

Between the late Republican 

and early Imperial periods, 

coinciding with the arrival in 

Sicily of increasingly numerous 

and entrepreneurially aggressive 

Italian groups, villae began 

to appear in the territory. 

Following the military events 

that pitted Sextus Pompey 

against Octavian in Sicily, the 

Imperial era saw the establishment 

of the Colonia Augusta 

Tyndaritanorum, with a probable 

widespread transfer of properties 

from the old local aristocracy 

to members of the new 

and victorious Augustan ruling 

class. This period also saw an 

intensification of presence in 

the surrounding countryside, as 

highlighted by systematic and 

intensive surface surveys conducted 

between 2010 and 2012 

(Fasolo 2013, 2014). Among 

these new owners, Grypianus 

might be included, possibly 

connected with Iucundus Grypianus, 

who had land holdings in 

Egypt; the name of one of his 

freedmen emerged from an inscription 

reused centuries later 

in the Tyndarian territory at 

Patti, possibly in what was once 

his estate. Certainly, to him or 

another unknown prominent 

supporter of Octavian belonged 

a marble slab with a bas-relief 

depicting Apollo before the 

Temple of Victory on the Palatine, 

found during excavations 

in the area of the Roman villa of 

Patti Marina and probably displayed 

in a room of the dwelling 

that preceded the late antique 

villa. 

However, Augustus's plans—envisioning 

a revival and significant 

role for the new Roman 

Fig. 2 - Textured mesh of the southeast elevation of the Basilica 

at the Tindari Archaeological Park (UAV survey and processing by 

Andrea Di Santo). 

colony compared to a state of 

abandonment and depopulation 

(oliganthropia), as reported 

by Strabo—seem to have been 

abruptly interrupted due to a 

catastrophic event recalled by 

Pliny the Elder. Studies have 

not yet clarified the nature or 

the area affected by the disaster, 

but certainly, in the city, 

after an initial series of urban 

interventions in the early Imperial 

age, signs from the second 

half of the 1st century A.D. indicate 

a slowdown in building 

activity, both private and public, 

a financial crisis, and later 

evidence of a progressive decline 

in urban life. At the beginning 

of the 3rd century, stratigraphic 

data show a definitive 

abandonment of some urban 

building complexes and perhaps 

temporary abandonment 

of many others, also indicating 

a significant demographic contraction, 

likely exacerbated by 

epidemics. 

A significant seismic event, 

identified by most scholars with 

the earthquake of 365 A.D.,

then led to the residential abandonment 

of the western and 

northwestern quarters of the 

city. Even in the countryside, 

stable settlement shrank, and 

if it did not disappear entirely, 

it certainly did not concentrate 

in Tindari. In the late antique or 

proto-Byzantine period, some 

scholars attribute the restructuring 

of the original Greek city 

walls to this time, in connection 

with Vandal incursions in Sicily 

between 440 and 475 A.D. In the 

southeastern sector of the city, 

this intervention incorporated 

the northwest wall of the socalled 

"Basilica" and marked a 

general narrowing of the urban 

perimeter. 

From the 6th century onward, 

the settlement seems to lose 

any urban character, beginning 

to assume a rural aspect. In the 

last Byzantine phase of Sicily, 

Tindari, although still an episcopal 

seat (in the Basilica perhaps) 

, is perhaps reduced to merely 

a fortified outpost of the territory 

and a stretch of coast. A 

terminus ad quem for the end of 

the city could be derived, if we 

accept the identification of the 

toponyms M.d.nar or D.ndarah 

with Tindari, from the report of 

the city's conquest by Arab invaders 

in the year 835/836. Between 

the end of the 11th and 

the end of the 12th century, 

under Norman rule, Tindari was 

supplanted by Patti in the role 

it had held for centuries as the 

territorial center. In historical 

sources, it is not mentioned except 

indirectly as vetus civitas, 

reappearing as sedes Helene 

Tindaree only in 1282. 

Archaeological research at Tindari 

began as early as the 18th 

century, with initial studies conducted 

by the Prince of Biscari 

and other contemporaries of 

the time. During the 19th century, 

further excavations were 

promoted by the Commission of 

Antiquities and Fine Arts, which 

led to the discovery and study 

of numerous artifacts and structures. 

In the 20th century, under 

the guidance of Paolo Orsi 

and Luigi Bernabò Brea, investigations 

became more systematic, 

revealing significant details 

about the urban planning and 

history of the site, including the 

discovery of the theater and the 

basilica. 

AMONG THE MONUMENTS SUR- 

VEYED WITH ADVANCED TECH- 

NOLOGIES: THE BASILICA 

The so-called "Basilica" is one 

of the most imposing monuments 

in Tindari, but its function 

remains a subject of debate. 

Some scholars identify 

it as a Hellenistic gymnasium, 

while others see it as a Roman 

basilica later reused as an episcopal 

residence. The building 

features a rectangular hall divided 

into eight sections, each 

separated by transverse arches 

supported by pillars. The interior 

had a vaulted roof and may 

have had one or more upper 

floors. The construction exhibits 

techniques typical of the Imperial 

Age, with the use of squared 

blocks and some elements in 

concrete work, indicating a 

chronology between the Hellenistic 

and Roman periods. 

Fig. 3 - Orthogonal view of the 

RGB point cloud of the Basilica 

and Insula IV at the Tindari Archaeological 

Park (3D survey by 

Lorenzo Ruglioni, 3DTarget). 



THE GRECO-ROMAN THEATER 

The theater of Tindari is one of 

the best-preserved monuments 

and has undergone several restoration 

campaigns, especially 

in the 20th century. Originally 

built in the Hellenistic period, 

it was expanded and modified 

in the Roman era to host circus 

performances. The cavea 

(koilon) has a diameter of about 

76 meters and could accommodate 

up to 3,000 spectators. The 

structure rests against the hillside, 

while the wings are supported 

by massive substructure 

walls. The stage features typical 

elements of Greek theaters 

with paraskenia and a channel 

(euripus) for water drainage. 

THE FORTIFICATIONS 

The defensive walls of Tindari, 

still visible today, display multiple 

construction phases. They 

are built with parallelepiped 

sandstone blocks in a doublefaced 

structure. Some sections 

of the walls have been dated 

to the 3rd century B.C., likely 

constructed to protect the city 

from the threats of the Mamertines. 

Typical elements such 

as towers and gates have been 

identified, including a dipylon 

gate with a semicircular tenaille 

entrance, flanked by towers. 

The city walls include a sophisticated 

water drainage system 

and showcase various construction 

techniques that reflect Punic 

influences and subsequent 

Roman interventions. 

INSULA IV AND THE BATHS 

Insula IV, located in the southeastern 

sector of the city, is one 

of the best-preserved blocks in 

Tindari. It comprises residential 

houses (including the so-called 

Houses B and C), baths, and tabernae. 

The baths are renowned 

for their mosaics, decorated 

with geometric patterns and 

figures such as the Trinacria and 

symbols of the Dioscuri. These 

mosaics attest to the stylistic 

influence of North African and 

local workshops active between 

the 2nd and 3rd centuries A.D. 

The houses were organized 

around porticoed courtyards, 

featuring cisterns and rainwater 

collection systems. 

The collected data are currently 

being processed by mediaGEO: 

▪ Processing of Point Clouds 

▪ Creation of BIM Models 

▪ Structural Analyses (Insula IV) 

▪ Geographic Information Systems 

(GIS) 

Some preliminary results are already 

promising: 

The combined use of these 

technologies can offer an unprecedented 

view of the monuments. 

Not only does it digitally 

preserve the heritage, but it 

also makes it accessible and attractive 

on a global scale. 

The "Technology for All" event 

in Tyndaris offered a unique opportunity 

to field-test a series 

of advanced tools, each with its 

own peculiarities, advantages, 

and some limitations. Below is 

a report that compares these 

instruments, highlighting their 

features and providing insights 

into their performance during 

the event. 

THE TECHNOLOGIES 

NavVis VLX 3 Wearable 

Mobile Laser Scanner 

The NavVis VLX 3 is a portable 

mapping system designed 

for scanning complex environments, 

both indoors and outdoors, 

while in motion. It is 

equipped with two 32-layer Li- 

DAR sensors, four cameras for 

360° imagery, and an integrated 

display for real-time monitoring. 

• Main Features 

Portable and wearable, it utilizes 

SLAM technology to capture 

detailed point clouds and 

can be integrated with georeferencing 

systems for increased 

accuracy. 

• Advantages 

Portability and Ergonomics: Being 

wearable, it allows smooth 

movement through complex archaeological 

sites. 

Continuous Scanning. Ensures 

uninterrupted coverage without 

the need to reconfigure the 

scanner. Geospatial Data Integration. 

Compatible with global 

coordinates for integrated mapping. 

• Possible Disadvantages 

Challenges with Uniform Surfaces: 

SLAM technology may struggle 

in environments with few 

distinguishable features. 

Limited Range: Not ideal for 

long-distance scans. 

Sensitivity to Sudden Movements: 

Unexpected movements 

can compromise scan quality. 

• Post-Processing: 

Reliance on Automatic Software 

Cleaning: Although the software

can clean point clouds, residual 

artifacts in crowded environments 

may require manual corrections. 

Complex Data Integration for 

Large Projects: When using data 

from multiple sources or sessions, 

integration can become 

complex and require advanced 

expertise. 

• Post-Processing Considerations: 

Supporting Software: NavVis 

IVION 

Automatic and Real-Time Registration: 

Immediate visualization 

to identify any gaps. 

Integrated Georeferencing: Improved 

accuracy thanks to compatibility 

with GNSS systems. 

Automatic Point Cloud Cleaning: 

Automatic removal of moving 

objects. 

Advantages: Reduced editing 

times, easy integration with 

CAD/BIM software for analysis 

and modeling. 

Leica BLK2GO 

Compact and Portable Laser 

Scanner: The BLK2GO is a lightweight 

and easy-to-use device 

designed for rapid and dynamic 

3D data acquisition in indoor 

environments. It features a horizontal 

field of view of 360° and 

a vertical field of 270°, along 

with wireless data transfer. 

• Main Features 

Portable, fast, capable of 360° 

scans, includes an integrated 

imaging camera. 


Extreme Portability: Ideal for 

exploring tight and narrow 

spaces. 

360° Scanning: Complete coverage 

in a single pass. 

Ease of Use: Autonomous startup, 

wireless data transfer. 


Medium Precision: Does not offer 

the same quality as more 

advanced scanners. 

Limited Range: Suitable for 

short distances, not for larger 

structures. 

Battery Life: Limited to short 

sessions without interruptions. 

• Post-Processing 

Dependence on Wireless Data 

Transfer: The connection can 

suffer interference, delaying 

data acquisition and transfer. 

Less Advanced Noise Filtering: 

Filtering capabilities may not 

completely remove noise, necessitating 

manual cleaning. 

• Post-Processing Considerations 

Supporting Software: Cyclone 

REGISTER 360 (BLK Edition) 

• Peculiarities 

Wireless Transfer and On-Site 

Management: Real-time control 

to avoid coverage errors. 

Point Cloud Optimization: Automatic 

filtering and enhancement. 

Advantages: Efficient merging 

of scans, reduced editing times 

thanks to dynamic on-site previews. 

Leica RTC360 

High-Speed and High-Precision 

3D Laser Scanner: The RTC360 is 

designed for rapid acquisition of 

extremely detailed data. It integrates 

HDR imaging and a VIS 

(Visual Inertial System) that automatically 

aligns point clouds. 

Main Features: High precision, 

scanning speed up to 2 million 

points per second, automatic 

real-time registration. 


Speed and Precision: Ideal for 

quickly covering large archaeological 

areas. 

Automatic Registration: The VIS 

system reduces the need for 

complex post-processing operations. 

HDR Images: Provide detailed 

and realistic models. 


Heavy and Expensive: Heavier 

and more costly than other 

scanners. 

Requires Accurate Setup: Demands 

detailed installation and 

maintenance. 


Large Volume of Data to Manage: 

High-resolution scans generate 

large files that require 

powerful systems for processing 

and storage. 

Dependence on VIS Automatic 

Registration: In specific environments, 

automatic registration 

may not work perfectly, 

requiring manual alignments. 


Supporting Software: Cyclone 

FIELD 360 and REGISTER 360 


On-Site VIS Automatic Registration: 

Minimizes the need for 

manual alignments. 

HDR Processing: Enhances the 

visual quality of models. 

Advantages: Efficient merging 

of scans, seamless integration 

with CAD/BIM software for conservation 

and reconstruction 

projects. 



Stonex X70GO Model 

Portable 3D Laser Scanner with 

Dual Mode: The X70GO combines 

SLAM mode for dynamic 

scanning and static mode for 

detailed scans, integrating a 12 

MP RGB camera to colorize point 

clouds. 

• Main Features: SLAM and static 

modes, real-time processing, 

integrated georeferencing. 


Dynamic and Static Modes (X- 

Whizz): Adaptability to precision 

and speed requirements. 

Real-Time Processing and Preview: 

Reduces time for corrective 

actions on-site. 

Georeferencing: Improves the 

accuracy of acquired data. 


Variable Precision in SLAM Mode: 

Scans may be less precise in 

challenging environments. 

Limited Battery Life: Prolonged 

scanning sessions may require 

frequent battery replacements. 


Complexity in Combining Different 

Modes: Integrating data 

acquired in dynamic and static 

modes may require additional 

steps, slowing down point cloud 

merging. 

Dependence on Dedicated Software: 

If the software is not 

well-managed, obtaining precise 

alignments can be difficult. 

Dual-Mode Scanning: Facilitates 

the combination of dynamic and 

static data. 

Advantages: Advanced point 

cloud optimization and management, 

precise georeferencing, 

and easy integration for 

detailed models. 

Lidaretto H32X on 

DJI Matrice 350 Drone 

UAV-Mounted Lidar System 

(Drone): The Lidaretto H32X, 

integrated with a GARMIN 

VIRB360 camera, is a versatile 

scanning system that can be 

mounted on drones, vehicles, or 

backpacks for aerial or mobile 

acquisitions. Ideal for largescale 

mapping. 

• Main Features: Mountable on 

drones, rapid aerial acquisition, 

point cloud colorization through 

360° images. 


Versatile Aerial Acquisition: 

Covers extensive areas difficult 

to explore on foot. 

Integration with 360° Images: 

Adds visual information to point 

clouds for photorealistic models. 

Speed and Efficiency: Rapid and 

detailed scanning of large areas. 

• Possible Disadvantages: 

Weather Conditions: Wind, rain, 

and other factors can affect 

flight stability and data quality. 

Drone Regulations: Require special 

permits, which can delay 

operations. 

Drone Battery Life: Limited battery 

duration requires frequent 

recharging breaks. 

• Post-Processing: 

Complexity in Managing Large 

Volumes of Aerial Data: Large 

amounts of data collected during 

flights may require considerable 

processing and management 

time. 

Synchronization of Images and 

Point Clouds: Accurately combining 

lidar data and 360° images 

can be complicated, especially 

in case of alignment 

issues. 


Supporting Software: GOpost 

and Cube-3D 


Flexible Data Processing and 

Optimization: Filtering and enhancing 

scans. 

Fig. 4 - Orthomosaic of the tomb at 

Cercadenari, Tindari Archaeological 

Park (UAV survey and processing by 

Andrea di Santo).


Supporting Software: Dedicated 

software from Alma Sistemi 

• Peculiarities: 

Multi-Source Processing and 

Point Cloud Colorization: Combines 

lidar and 360° images for 

photorealistic models. 

Automated Flight Planning: Optimizes 

data collection to uniformly 

cover large areas. 

Advantages: Enhanced visual 

models and efficient data management 

for large areas, ideal 

for presentations and detailed 

analyses. 

FINAL CONCLUSION 

Post-processing is a critical 

phase in archaeological surveying. 

Each tool offers different 

solutions for data optimization 

and management: 

• NavVis VLX 3: Efficient with 

automatic registration and 

cleaning, but complex when 

integrating data from multiple 

sources. 

• Leica BLK2GO: Quick transfer 

and on-site control, but with 

limitations in automatic noise 

filtering. 

• Leica RTC360: Minimizes 

manual alignments but requires 

complex management of large 

data volumes. 

• Stonex X70GO: Flexibility with 

dynamic and static modes, but 

difficulties in integrating mixed 

data. 

• Lidaretto H32X on Drone: Excellent 

for covering large areas 

with photorealistic models, but 

requires precise management of 

data synchronization. 

The choice of the right tool 

should consider the specific 

needs of the project, balancing 

speed, precision, and data integration 

capabilities to create 

accurate and useful models in 

the field of archaeological conservation 

and presentation. 

The "Technology for All on the 

Road 2024" event in Tindari 

demonstrated how technological 

innovation can serve culture. 

The integration of advanced 

surveying techniques 

offers powerful tools for the 

conservation, study, and promotion 

of cultural heritage. With 

data processing underway, the 

community eagerly awaits the 

final results, which promise to 

shed new light on Tindari's rich 

history and become a model for 

future similar initiatives. 

ACKNOWLEDGEMENTS 

We thank all the companies 

that participated and made this 

event possible and for the survey 

made: Dyna-Tech, Geomax, 

Lidaretto, Stonex and 3DTarget. 

Abstract 

The archaeological site of Tyndaris 

(currently Tindari, municipality of 

Patti, province of Messina, Italy) 

served as the backdrop for an important 

technological and cultural 

initiative organized by mediaGeo 

on May 30, 2024: the “Technology 

for All on the Road 2024”. 

The event brought together university 

professors, experts in geomatics, 

archaeology, and engineering, 

as well as industry professionals 

engaged in applying advanced surveying 

methodologies. The main 

objective was to create precise and 

detailed digital documentation of a 

site useful for conservation, study, 

and tourism enhancement. 

During the event, a series of stateof-the-art 

surveying technologies 

were employed to map and meticulously 

document the topography 

and monuments of the ancient 

Greek, and later Roman, city in Sicily—an 

area for which a complete 

survey is still lacking. 

Keywords 

Archaeology; Technologies; 

survey; Lidar; scanner 3D; 

Author 

Valerio Carlucci 

valerio.carlucci@archeomatica.it 

Andrea di Santo 

andreadis.workspace@gmail.com 

Michele Fasolo 

michele.fasolo@archeomatica.it 


Cultural Heritage Technology 33

DOCUMENTATION 

From Sports Collectibles to the Digital 

Humanities: the Evolution of Technology 

and the Transformation of Consciousness 

By Luca Baraldi 

For several decades 

now, we have been 

living through rapidly 

accelerating technological 

change, at a moment 

in history in which 

digitization is remaking 

the relationship between 

knowledge and humanity. 

Until recently, the act of 

passing down our history 

from generation to 

generation was entrusted to the 

voluntary or involuntary production 

of material witnesses. But 

in today’s growing digital ecosystem, 

historical memory has 

turned into data, computer architectures, 

and algorithmic interpretations. 

It is important not 

to approach this in purely technological 

terms, but instead as a 

real epistemological revolution. 

This not only changes the way 

we do things; it is also changing 

the ways we perceive them, 

know them, interpret them, and 

rework them. History, culture, 

and knowledge are all part of 

an evolving information ecosystem, 

which today, more than 

ever, is based on the possibility 

of direct interaction, immediate 

accessibility, and dynamic 

modularity. All of this requires 

new skills and new methodologies, 

born from an encounter 

between humanistic knowledge 

and technology. Starting today, 

Gruppo Panini Cultura is a major 

player in this revolution. The 

Group was founded as the next 

step in a corporate history which 

has always combined technological 

evolution with the desire 

to disseminate knowledge. 

The companies that form the 

Group share the will to rewrite 

the ways of preserving and enhancing 

our cultural heritage by 

pursuing a business model that 

merges tradition and innovation. 

DIGITAL HUMANITIES: 

THE NEED FOR AN 

EPISTEMOLOGICAL ENCOUNTER 

Digital humanities represent a 

growing field of research and 

experimentation, where innovative 

approaches to the study and 

preservation of culture unite the 

humanities with digital technologies 

and bring a practical 



perspective to theoretical ideas. 

Yet despite their widespread visibility, 

they run the risk of being 

misunderstood and oversimplified 

when public discourse fails 

to recognize the real difficulties 

and the challenges to our beliefs 

about art. On the one hand, 

Digital humanities celebrate the 

power of technology in cataloging, 

making accessible, and interpreting 

cultural data. On the 

other hand, it is easy to forget 

that simply using new technological 

tools is not enough, by 

itself, to really transform the 

process of acquiring knowledge. 

As highlighted by Johanna Drucker, 

one of the leading voices in 

the field of digital humanities, 

data are never neutral (Drucker 

2011), nor can a representation 

of phenomena or cultural objects 

be considered scientifically 

reliable as if it were really observer-independent. 

Every technical 

or methodological choice 

we make in the digitization 

process - from the selection of 

material to be digitized, to how 

data is to be accessed and used 

- reflects a set of epistemological 

and value-based decisions. 

Cultural data, therefore, cannot 

be simply considered as objects 

to be stored and preserved, but 

represent a continuous engagement 

between the past and 

the present, between historical 

memory and contemporary 

needs. It may seem obvious that 

digital technologies introduce 

a condition of despatialization, 

that is, the possibility of freeing 

the informational value of an 

object from its physical context. 

This leads to real and potentially 

immediate methodological challenges 

involving new strategies 

for the conservation, exploitation, 

and use of cultural heritage. 

One of the most critical aspects 

of the digital humanities 

is therefore the too frequent 

reference to the mere application 

of technological tools to 

the humanities, without thinking 

of it as a real epistemological 

encounter (Masson 2017). 

This means that different forms 

of knowledge, humanistic and 

technological, run the risk of 

relating to each other in a passive, 

purely functional way, 

without the activation of processes 

of real exchange, which 

would have the purpose to create 

new methodologies and new 

paradigms of understanding. Today 

there is a clear need to take 

steps to construct a serious dialogue 

between epistemologies, 

between ways of knowing and 

producing knowledge, which is 

not limited to not limited to simply 

coexisting perspectives, but 

that generates a creative and innovative 

synthesis. 

The risk of not recognizing this

challenge is clear. The use of 

technology, as well as unquestioned 

enthusiasm for innovation 

at any cost without an adequate 

critical perspective, runs the risk 

of flattening cultural and historical 

complexity, impoverishing 

its wealth, and hiding the most 

relevant information. The digital 

humanities theorist David M. 

Berry has neatly described this 

phenomenon as computational 

turn, seeking to highlight its potential 

and risks: a shift towards 

a world view dominated by the 

quantification and standardization 

of processes of knowledge 

(Berry 2011). However, as Berry 

points out, the value of the digital 

humanities comes from examining 

how technology is used, 

studying its true value, and taking 

advantage of new perspectives 

and opportunities. 

To fully realize the potential of 

the digital humanities, we need 

methodologies that go beyond 

the mere digital reproduction 

of cultural materials, seeking to 

understand their meaning and 

determine their purpose. An approach 

is needed that integrates 

the accuracy and efficiency of 

digital data with the humanities’ 

ability to interpret and to 

explain the context of works of 

art. This is the vision of Gruppo 

Panini Cultura, which works daily 

to offer the most advanced 

technologies, working to create 

and enable a synthesis between 

humanistic knowledge and technological 

innovation. 

THE GEOPOLITICS OF KNOWL- 

EDGE: PRESERVING HISTORY AS A 

POLITICAL RESPONSIBILITY 

In the age of digital geopolitics, 

it is important to understand 

that the conservation of the cultural 

heritage is not only critical 

for the preservation of historical 

memory, but it is also an important 

political issue, and the digital 

humanities must inevitably 

face that fact (Grincheva 2024). 

History is not a neutral concept. 

In its substance, in the tangible 

product of its assertions and its 

symbolic interpretations, it is a 

multi-faceted battle for identity, 

power and influence. If it is true, 

as Michel Foucault wrote, that 

history is the result of a relationship 

of forces (Foucault 1969), in 

today’s world of platforms and 

the attention economy, strength 

is also expressed through the 

governance of digital platforms. 

To preserve memory and to control 

its digitization today means 

controlling the collective narrative 

of society as well as the 

elements of facilitation of, or 

resistance to, the ways of consuming 

and enjoying culture. 

In this context, the digitization of 

cultural heritage is at the center 

of a broader reflection on the 

geopolitics of knowledge (Fiormonte 

2017). It is not only about 

preserving documents, works 

of art or historical objects, but 

about establishing who has the 



right to define the past and have 

access to it, through the creation 

of tools for information processing 

and public use. When the 

power to preserve and transmit 

cultural memory is concentrated 

in a few hands, we run the 

risk of privatizing memory and 

knowledge (Mhalla 2024). That 

is a risk we run today, through 

the progressive centralization of 

digital platforms outside of our 

own cultural and social-political 

context. 

The act of preserving history 

thus becomes a political responsibility. 

How can we ensure that 

a digitized cultural heritage remains 

accessible to all? How can 

we ensure that digital assets do 

not become tools of control, manipulation, 

or exclusion? Gruppo 

Panini Cultura is at the forefront 

of these challenges. By participating 

in digitization projects 

linked to the National Recovery 

and Resilience Plan (PNRR), the 

Group is contributing to the conservation 

of some of Italy’s most 

valuable cultural resources, such 

as the State Archives in Rome 

and Florence and the Biblioteca 

Nazionale Braidense in Milan. 

However, its role is not limited 

to a purely technical task, nor 

do they wish it to be. It is a mission 

with profound political and 

social implications. 

ecosystem, based on the capitalization 

of information potential, 

digitized cultural goods are 

no longer mere objects of study 

or conservation, but become 

real economic assets, acting in a 

global system of exchange, storage, 

and potential monetization 

(Zhang 2024). Obviously, this 

evolving situation offers new opportunities 

but raises a number 

of strategic, ethical, and technological 

questions which we 

must not ignore. 

One of the most important problems 

that we have been facing 

since the introduction of digitization 

technologies (not only for 

the cultural heritage) concerns 

the durability of digital data. 

Unlike physical objects, whose 

durability is related to the physiological 

longevity of materials, 

digital data is subject to rapid 

technological obsolescence. Digital 

formats, management software, 

hardware interfaces and 

technological infrastructures 

are changing rapidly, making it 

strategically necessary to define 

a policy or institutional strategy 

capable of adapting to changing 

technologies, to ensure the survival 

of historical memory and 

its verifiability. 

A second problem concerns data 

security, both in terms of data 

integrity and of ensuring the 

correct conditions for access and 

use. The digitized cultural heritage, 

which certainly represents 

an invaluable treasure from a 

historical-cultural point of view, 

is acquiring an increasingly significant 

role in the context of a 

resurgent soft power, with growing 

geopolitical and economic 

implications (Andreula 2022). 

This makes it a potential target 

for cyberattacks and misappropriation 

or manipulation by state 

or private actors (Loiseau 2020). 

Although we are more likely to 

think of cybersecurity problems 

in other contexts, security and 

data integrity are major issues 

here as well, both at a strategic 

level and at the infrastructure 

level. 

Finally, there is the question of 

monetization. The pervasive 

presence of generative artificial 

intelligence has raised the issue 

of the informational potential of 

digitized assets as economic assets, 

perhaps for the first time 

in such a disruptive manner. 

Beyond the purely legal issues, 

THE CONSERVATION OF MEMORY 

AND THE DATA ECONOMY: THE 

FUTURE OF DIGITAL CULTURE 

The preservation of memory in 

the age of digitization is closely 

linked to the dynamics of the 

data economy, where data — its 

detection, collection, organization 

and interpretation — are 

its founding and fundamental 

character. In this new economic

which suggest a necessary evolution 

of the industry’s doctrine 

(Thongmeensuk 2024), for the 

first time, the digitized heritage 

can be exploited as complex information 

capital, where metadata 

can legitimately acquire 

economic value (Hansson 2023). 

If digitized cultural heritage becomes 

an integral part of the 

data economy, how can we be 

sure that the economic benefits 

deriving from its use are distributed 

fairly? Who controls access 

to and use of cultural data? Is it 

possible to prevent digital culture 

from becoming an object 

of commercial speculation, and 

from losing its educational and 

public value? Many questions will 

require urgent answers, to protect 

strategies and methodologies 

that promote the advancement 

of the whole concept of 

heritage and the way in which 

its value evolves and constantly 

changes, in the midst of all this 

accelerated technological implementation. 

Gruppo Panini Cultura has decided 

to gather specialist expertise 

into a single vision, in order to 

deal with the strategic, design 

and operational complexity of 

advanced digitization and digital 

humanities projects, and to 

ensure a constant state of methodological 

and technological 

evolution. 

Franco Cosimo Panini Editore has 

a long tradition in art publishing 

and the faithful reproduction of 

high-quality facsimiles, showing 

how fine craftsmanship and attention 

to detail can be incorporated 

into museum and cultural 

management. This legacy enables 

the group to face the challenges 

inherent in the preservation 

of the quality and integrity 

of the cultural heritage and to 

provide solutions that maintain 

the aesthetic and historical value 

of digitized objects, ensuring 

all forms of their future enjoyment 

and use. 

Haltadefinizione is at the forefront 

of advanced digitization, 

using technologies such as ultrahigh 

definition and 3D formats 

to ensure highly detailed reproduction 

of works of art. This not 

only allows the masterpieces of 

the past to be preserved in a 

safe and faithful way, but also 

makes them accessible and usable 

in new and interactive ways. 

This novel approach addresses 

the issue of accessibility to cultural 

heritage, allowing anyone 

to view what would otherwise 

be limited to a physical and local 

experience, so that study 

and research can expand beyond 

physical barriers. 

Hyperborea makes a fundamental 

contribution to the management 

and exploitation of cultural 

data. Its highly specialized software 

organizes complex archival 

assets and makes them available 

for use, responding to increasing 

demand for modularity and scalability 

of digital solutions. Designing 

structured digital libraries 

means not only archiving but 

creating a network of knowledge 

that can be constantly updated, 

safely consulted and that is open 

to multi-level use, promoting 

the sustainable monetization of 

content without compromising 

its public value. 

Mida Digit specializes in large 

digitization projects and is capable 

of dealing with the vast 

complexity and variety of cultural 

materials. From historical 

documents to three-dimensional 

artefacts, the company ensures 

that each object is treated with 

the most advanced and appropriate 

technologies, to ensure 

its physical integrity. This is particularly 

crucial in a landscape 

where the risk of technological 

obsolescence is high, and digitization 

techniques must con- 



stantly adapt to new quality and 

preservation standards. 

Finally, Memooria represents the 

innovative drive of the group, 

with a research and development-oriented 

approach that 

focuses on building hardware 

and software solutions designed 

to ensure the security and longterm 

usability of digitized cultural 

heritage. Because of its 

drive for innovation, the group 

can successfully address the 

challenges posed by managing 

large volumes of cultural data, 

preserving not only public access 

to these contents but also their 

integrity and protection against 

cyber threats. 

Together, these companies offer 

an integrated response to the 

challenges of the digital humanities, 

providing specialist expertise 

ranging from ultra-high 

resolution digital acquisition to 

complex archive management 

and the public use and active 

enjoyment of the cultural heritage. 

Gruppo Panini Cultura 

is a synthesis of technical and 

humanistic knowledge, able to 

deal with the problems related 

to the preservation of memory in 

the digital age in a strategic and 

innovative way. 

TOWARDS AN INNOVATIVE CUL- 

TURAL ECOSYSTEM: QUESTIONS 

STILL OPEN 

How can we ensure that the 

digitization of the cultural heritage 

is truly inclusive and accessible 

to all, without creating 

new forms of exclusion or 

inequality? What are the ethical 

limits to monetizing digital culture, 

and how can we balance 

the need for economic sustainability 

with preserving the public 

and democratic value of the 

cultural heritage? How can we 

develop digital technologies and 

infrastructures that are able to 

guarantee the durability and security 

of cultural data, without 

relying solely on market logic or 

political pressures? The future of 

the digital humanities seems to 

be more than ever marked by a 

dense set of questions that require 

answers. The evolution of 

technology, the introduction of 

digital systems with increasingly 

autonomous operational capabilities, 

the rapid transformation 

of the geopolitical scene and the 

increasingly pervasive impact of 

the platform economy are just 

some of the variables that contribute 

to making the current 

scenario difficult to predict. 

What does remain constantly 

clear is the cultural, social, 

and political responsibility that 

comes from the conservation of 

history and cultural heritage in a 

correct way, with an educational 

aim that reaches out to all, is inclusive 

and empowering, and remains 

clearly so. If we fail to answer 

these many open questions 

correctly and consistently, not 

only will we risk compromising 

the preservation of our past, but 

we may also impede our ability 

to carry our culture forward into 

the future, to ensure its vitality, 

autonomy, and legitimacy 

(Chaves 2023). Never before this 

moment has technology made 

it so necessary for us to foster 

a dialogue between disciplines 

and perspectives, to ensure that 

knowledge is not misrepresented 

or manipulated, to protect individual 

and social freedom and 

to avoid losing the distinction 

between what is true and what 

pretends to be true, about the 

past. 

References 

Drucker, J. (2011). Humanities approaches to graphical 

display. Digital Humanities Quarterly, 5(1), 1-21. 

Masson, E. (2017). Humanistic data research: An encounter 

between epistemic traditions. 

Berry, D. M. (2011). The computational turn: Thinking 

about the digital humanities. Culture machine, 12. 

Grincheva, N., & Stainforth, E. (2024). Geopolitics of 

Digital Heritage. Elements in Critical Heritage Studies. 

Foucault, M. (1980). L’archeologia del sapere (1969), 

trad. it. di G. Bogliolo, Milano, Rizzoli (BUR). 

Fiormonte, D. (2017). Digital humanities and the 

geopolitics of knowledge. Digital Studies/Le Champ 

Numérique, 7(1). 

Mhalla, A. (2024). Technopolitique: comment la 

technologie fait de nous des soldats. Seuil. 

Zhang, T., Jiang, Y., Liu, M., Jiang, Y., Yu, B., & Chen, 

Y. (2024). The digital economy brings new opportunities 

for arts and culture. Cambridge Explorations in 

Arts and Sciences, 2(1). 

In reference to the project Ephemerality and Loss 

in Digital Humanities Projects, diretto da Wymer, 

al Duke: https://humanitiesunbounded.duke.edu/ 

ephemerality-and-loss-digital-humanities-projects 

Andreula, N., & Petruzzelli, S. (2022). Meta-soft power: 

Flipping the scales between art & culture. RAI- 

SINA FILES, 144. 

Loiseau, H., Ventre, D., & Aden, H. (Eds.). (2020). 

Cybersecurity in Humanities and Social Sciences: A 

Research Methods Approach. John Wiley & Sons. 

Thongmeensuk, S. (2024). Rethinking copyright 

exceptions in the era of generative AI: Balancing innovation 

and intellectual property protection. The 

Journal of World Intellectual Property, 27(2), 278- 

295. 

Hansson, K. (2023). Metadata as imaginary demands: 

Exploring metadata markets in digital heritage with 

speculative design. Journal of the Association for Information 

Science and Technology. 

Chaves, D. A. D. L., & Alvarez, E. B. (2023). Scientific 

divulgation before the post-truth and the crisis of 

credibility of science in the context of Digital Humanities. 

Transinformação, 35, e237317. 

Abstract 

For several decades now, we have been living through 

rapidly accelerating technological change, at a 

moment in history in which digitization is remaking 

the relationship between knowledge and humanity. 

Until recently, the act of passing down our history 

from generation to generation was entrusted to 

the voluntary or involuntary production of material 

witnesses. But in today’s growing digital ecosystem, 

historical memory has turned into data, computer 

architectures, and algorithmic interpretations. It 

is important not to approach this in purely technological 

terms, but instead as a real epistemological 

revolution. This not only changes the way we 

do things; it is also changing the ways we perceive 

them, know them, interpret them, and rework 

them. History, culture, and knowledge are all part 

of an evolving information ecosystem, which today, 

more than ever, is based on the possibility of direct 

interaction, immediate accessibility, and dynamic 

modularity. All of this requires new skills and new 

methodologies, born from an encounter between 

humanistic knowledge and technology. 

Keywords 

Cultural Heritage; Digital Humanities; technologies; 

digitization; digital culture; conservation 

Author 

Luca Baraldi 

l.baraldi@hyperborea.com 

Haltadefinizione

DOCUMENTATION 

Cultural Heritage and Gamification: Xenia 

Progetti solutions that revolutionize the 

ways of learning and visiting cultural sites 

By Luca Antonio Falzone, Viola Massa, Antonio Gianmaria Spampinato 

Fig. 1 - In the photo Luca Falzone, Marketing & Innovation Solution Manager at Xenia 

Progetti, with the staff of the Cerveteri and Tarquinia Archaeological Park, during the 

installation of the touch screen inside the park's museum area. 

In recent years, the concept of gamification has acquired 

increasing relevance, becoming a valid and recognized learning 

methodology. Gamification, using characteristic elements of 

games, such as prizes, timed challenges and competitions, 

makes the learning process more engaging and interactive, thus 

promoting the acquisition of knowledge. When integrated with 

technology, this method turns into a highly effective tool, also 

capable of improving the user experience, especially in certain 

contexts such as, for example, the cultural one. The adoption 

of gamification in cultural contexts not only attracts a larger 

and more diverse audience, but stimulates a more dynamic 

approach to culture and education. 

The challenge today is 

to integrate these tools 

effectively, finding 

the right balance between 

play and learning, so that 

the gaming experience does 

not become an end in itself 

but a true engine of cultural 

growth. In this scenario, Xenia 

Progetti, a company that has 

been involved in the design, 

consultancy and marketing 

of goods and services in the 

Information Technology sector 

for over 30 years, offers 

customized gamification solutions 

capable of significantly 

improving the experience 

of using cultural sites and to 

enhance the historical heritage 

through interactive and 

engaging solutions. The integration 

of these technologies 

makes it possible to transform 

the visit into a dynamic experience 

in which visitors are 

motivated to actively interact 

with works of art and places 

thanks to stimulating and personalised 

digital content. The 

Xenia Progetti solutions which 

involve the use of virtual reality 

technologies and digital 

reconstructions offer the 

possibility of developing, for 

example, 3D games to be played 

on common devices or on 

special touch screen monitors 

installed within cultural sites. 



The possibilities are many and 

also include the development 

of dedicated applications, suitable 

for every type of audience, 

including people with motor 

disabilities, thus providing inclusive 

tools that allow visitors 

with reduced mobility to fully 

participate in the museum experience. 

These solutions can 

be implemented both in indoor 

places such as museums and art 

galleries but also in outdoor environments 

such as archaeological 

and naturalistic parks, thus 

allowing easier access through 

multimedia content, even to 

areas that are difficult to explore, 

such as caves or places that 

are closed to visitors because 

they are inaccessible. 

More and more cultural structures 

are adopting these solutions, 

recognizing the benefits 

in terms of accessibility, involvement 

and enhancement of 

heritage. A significant example 

is that of the Cerveteri and 

Tarquinia Archaeological Park,, 

which chose to rely on Xenia 

Progetti for the implementation 

of a solution based on gamification. 

The project involved the 

development of an application 

installed on a touchscreen monitor 

through which visitors can 

discover the sculptural group of 

Fig. 2 - The game intro screen. 

Fig. 3 - The game screen of ART PUZZLE 3D. 

the god Mithras through gaming 

activities, which allow visitors 

to reconstruct the sculptural 

group in the shortest possible 

time and to observe the operates 

in its integrity. In order to 

develop the system, the work 

and its various fragments have 

been digitally reconstructed, 

enriched with animations and 

sounds that allow visitors to admire 

the sculptural group, thus 

enriching the visual and cognitive 

experience. 

Xenia Progetti, fully exploiting 

the benefits of gamification, 

offers museum structures tools 

that make culture more accessible, 

inclusive and immersive. 

Solutions that enrich the understanding 

of cultural and natural 

heritage, involving the public 

in a direct and personalized 

way. This approach transforms 

a passive visit into an active 

challenge, stimulating interest 

in history and art. The introduction 

of gamification into cultural 

contexts is not just a way to 

attract a younger or technologically 

advanced audience, but 

represents a real paradigm shift 

in the way culture can be described 

and transmitted to the 

public. 

Abstract 

In recent years, the concept of gamification 

has acquired increasing relevance, 

becoming a valid and recognized learning 

methodology. Gamification, using 

characteristic elements of games, such 

as prizes, timed challenges and competitions, 

makes the learning process more 

engaging and interactive, thus promoting 

the acquisition of knowledge. When integrated 

with technology, this method 

turns into a highly effective tool, also capable 

of improving the user experience, 

especially in certain contexts such as, for 

example, the cultural one. The adoption 

of gamification in cultural contexts not 

only attracts a larger and more diverse 

audience, but stimulates a more dynamic 

approach to culture and education. 

Keywords 

Cultural Heritage; accessibility; gamification; 

gaming experience; Xenia Progetti Solutions; 

archaeology 

Author 

Luca Antonio Falzone, Viola Massa, 

Antonio Gianmaria Spampinato 

LFalzone@xeniaprogetti.it

TECHNICAL DATA SHEET 

Thermography for the conservation of 

historical artifacts: the case of the Chinese 

Buddha in an underground environment 

By Testo 

Thermography is the ideal 

choice for protecting historical 

treasures. With the use of 

this technique, we are able 

to identify imperfections that 

can damage our artifacts, such 

as water infiltration or mold, 

invisible to the naked eye. 

This technology is increasingly 

widespread as a preventive 

maintenance method for 

cultural and artistic heritage 

throughout the world. 

Thermography is not a measurement 

of temperature, 

but is based on the 

principles of thermodynamics: 

each body is characterized by 

its own thermal emission depending 

on its surface temperature, 

which is in turn conditioned by 

the thermal conductivity and 

specific heat of each material. 

In fact, each material has a different 

capacity to transmit or 

retain heat. 

Thermography allows us to investigate 

and identify internal problems 

that are not visible to the 

naked eye and is very useful in 

various applications for the protection 

of artistic and cultural 

heritage. 

Some examples: 

• large surfaces can be mapped 

to search for cavities, voids or 

infill 

• the presence of water infiltration 

by capillarity can be observed 

• over-plastered mosaics can be 

studied and maps of the adhesion 

of the tiles can be obtained 

• detachments and cracks in frescoes 

can be detected 

The potential of thermography is 

truly enormous even for medium 

and small-sized artifacts, such 

as archaeological finds, bronzes, 

paintings, ancient books and 

parchments. 

THE APPLICATION CONTEXT 

The Chinese nation, with a history 

of over 5,000 years of uninterrupted 

civilization, has created 

an extremely rich cultural heritage. 

Cultural relics are non-renewable 

historical resources and 

are the "flagship" of China. Relics 

are a precious material cultural 

heritage, not only a historical 

and tourist resource, but also 

represent Chinese artistic culture 

and are the basis of modern 

science and technology. 

Cultural relics embody the national 

sentiment, cohesion and 

consensus of the Chinese people 

in particular: they generate 

profound and majestic power, 

can be called the "roots" and 



"sources" of the nation and the 

country, a very important concept 

for traditional Chinese 

culture! 

Premier Li Keqiang stressed 

at the 12th National People's 

Congress in 2016 that by protecting 

historical relics, we 

promote the development of 

cultural enterprises, to pass 

on traditional Chinese culture, 

and also modernization, not 

only to create abundant material 

wealth, but also to provide 

excellent spiritual products 

to the people through culture, 

thus to win the respect of the 

world with civilization and 

moral strength. 

THE CHALLENGE 

Testo has received many requests 

for cultural heritage 

management around the 

world, hoping to provide solutions 

for the protection of 

historical relics, so that the 

precious relics get more attention 

and maintenance. 

Especially in some caves or in 

environments where the temperature 

and humidity are not 

stable, taking measurements 

on such cultural artefacts is 

very challenging. However, 

once all the measurements 

have been taken, the thermal 

imaging camera used for the 

measurements will certainly 

become "famous in history" 

together with the artefacts 

analysed. 

THE SOLUTION 

Testo 890 is a thermal imaging 

camera with high thermal sensitivity 

and high resolution. 

Furthermore, the possibility of 

using different lenses allows 

collecting images of both details 

at a great distance and 

large surfaces when the spaces 

are narrow. As can be seen 

in the collected images, testo 

890 has proven to be particularly 

suitable for this type of application, 

highlighting some problems 

of the Buddha statue. Through 

the thermal imaging camera we 

can observe with precision that 

under the left arm of the Buddha 

statue there are evident cracks, 

highlighted with the lighter colours 

and caused by the heating 

of the material by air convection 

inside the cracks themselves. It 

can also be observed that these 

cracks are invisible to the naked 

eye, making thermographic 

inspection particularly useful in 

this case. 

The area at the base of the statue 

raises suspicions of excessive 

humidity, highlighted by the cooling 

caused by the evaporation of 

the water. This could identify an 

area with mold on the surface in 

contact with the floor. Here, further 

investigations are necessary. 

Abstract 

Thermography is the ideal choice for protecting 

historical treasures. Using this 

technique, we are able to identify imperfections 

that can damage our artifacts, 

such as water infiltration or mold, invisible 

to the naked eye. This technology is 

increasingly widespread as a preventive 

maintenance method for cultural and artistic 

heritage throughout the world. 

Thermography is not a measurement of 

temperature, but is based on the principles 

of thermodynamics: each body is 

characterized by its own thermal emission 

depending on its surface temperature, 

which is in turn conditioned by the 

thermal conductivity and specific heat of 

each material. In fact, each material has 

a different capacity to transmit or retain 

heat. 

Thermography allows us to investigate 

and identify internal problems that are 

not visible to the naked eye and is very 

useful in various applications for the protection 

of artistic and cultural heritage. 

Keywords 

Thermography; diagnostics; conservation; 

heritage; technologies 

Author 

Testo S.p.A. Settimo Milanese (MI) - Italy 

info@testo.it

Cultural Heritage Technology 

CHNT29 

Conference on Cultural Heritage and New Technologies 

November, 04 - 06 2024 | Vienna, Austria 

Call for Papers: April 15 to June 30 

Notification: from July 14 

Early Bird Tickets: until October 06 

The association CHNT-ICOMOS Austria was - 

founded in early 2021 to organise the annual Confe-rence 

on Cultural Heritage and New Technologies. It 

is a sister association of the Austrian National Committee 

of the International Council on Monuments 

- 

and Sites (ICOMOS). The association has around 20 

members who contribute to the continuous development 

of the conference and participate intensively in 

the preparations. 

The City of Vienna (Department 7 - Cultural Affairs) 

is the association‘s cooperation partner and is 

hosting the event, which is funded by the Federal 

Ministry of Culture, Arts, Civil Service and Sports. 

CHNT29: November 04 - 06 

CHNT provides a platform for exchanging views 

on the Cultural Heritage protection agenda and 

enables discussions among colleagues from a 

wide range of disciplines. During the conference 

the latest approaches to the research, management 

and monitoring of world heritage sites, 

cultural assets and archaeological monuments 

will be presented. The focus is primarily on interdisciplinary 

cooperation between experts with a 

strong interest in the application of new technologies 

in the field of cultural heritage. 

CHNT29 makes an open call on topics to uncover 

the latest insights from the CHNT community, 

welcoming new and current findings to shape 

an engaging conference at the forefront of contemporary 

discussions. This approach sets the 

stage for an exciting journey towards the 30 th 

CHNT anniversary year. 

CALL FOR PAPERS 

The CHNT Committee invites you to submit a 

cont-ribution in the form of a long abstract that 

relate to 

round table (short talks of about 5 to 10 minutes). 

In addition, you can participate in various 

panels and workshops. 

Please find further information online: 

www.chnt.at/call-for-papers 

Presenters and session chairs who participated 

in CHNT 29 have the possibility to publish their 

cont-ributions in the proceedings of the conference. 

The call is open from April 15 to June 22, 2024! 

„We believe that technology can make a difference and help to pro- 

tect, research and valorize Cultural Heritage in a sustainable way 

and to thereby preserve it for the next generation.“ 

CHNT-ICOMOS Austria • Karlsplatz 13, 1040 Vienna • www.chnt.at • info@chnt.at

Un nuovo modo 

di vedere l’arte 

Giovanni Battista Moroni, Il cavaliere in rosa, 1560, Olio su tela, Palazzo Moroni – Bergamo 

© Haltadefinizione Image Bank | Su concessione di FAI - Fondo per l'Ambiente Italiano

EVENTS 

11-12 NOVEMBER 2024 

Italia Hexagon Live 

Monza Italy 

https://tinyurl.com/2cybnsn5 

11 - 15 NOVEMBRE 2024 

CIDOC 2024 

Amsterdam (The Netherlands) 

14 - 15 NOVEMBER 2024 

GeoBuiz Summit Europe 


https://tinyurl.com/4364xj7v 

19 - 22 NOVEMBER 2024 

EAASI Partner Summit 2024 

Athens (GR) 

https://lnkd.in/duYqd_Q7 

28-29 NOVEMBER 2024 

GeoAI 2024 - Artificial Intelligence for 

Geospatial data (FBK) 

Trento (Italy) 

https://tinyurl.com/mvh4cn76 

28 NOVEMBER 2024 

GeoCom 24 

London (UK) 

https://www.agi.org.uk/geocom/ 

2 - 4 DICEMBRE 2024 

Paradata, Metadata, and Data in 3D 

Digital Documentation for Cultural 

Heritage 

Limassol (Cyprus) 

https://euromed2024.eu/ 

10-13 DECEMBER 2024 

Conferenza Nazionale di Geomatica e 

Informazione Geografica #ASITA2024 

Padova (Italy) 

https://www.asita.it/ 

12 - 13 DECEMBER 2024 

Optical 3D Metrology Workshop 

Brescia (Italy) 

https://tinyurl.com/5asxz7u6 

30-31 JANUARY 2025 

H-BI(M)ON - Heritage - Building 

Information Modeling / MONitoring 

Parma (Italy) 

https://tinyurl.com/3896mhhn 

8 - 10 APRILE 2025 

Commercial UAV Expo Europe 


https://www.expouav.com/ 



TECHNOLOGYforALL Italian events: 

OnTheRoad, Academy, and Expo. A series of traveling exhibitions, training 

sessions, and meetings that will combine practical demonstrations, workshops, 

and high-level conferences across various locations in Italy. The initiative will 

culminate in the Expo, a major exhibition event set to take place in Rome in 2025. 

TFA ONTHEROAD 

Tindari, Sicilia: 

30 May 2024 

Foligno, Umbria: 

25-26 October 2024 

Civitavecchia, Lazio: 

Being Defined 

Roma, Lazio: 

28 November 2024 

TFA ACADEMY 

L’Aquila, Abruzzo: 

January 2025 

TFA EXPO 

Roma, Lazio: 

May/June 2025 

technologyforall.it 

technologyforall.it

SISTEMI INNOVATIVI DI ARCHIVIAZIONE A PROTEZIONE PASSIVA TOTALE 

ANTIFUOCO ANTIALLAGAMENTO ANTIBATTERICO 

www.makros.org 

www.blockfire.it

Archeomatica 3 2024

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?