Enhancing Cultural Heritage of a Region Through Visual and Auditory Engagement in a Video Mapping Projection
New media, such as projections using the video mapping technique, are increasingly used in public spectacles, attracting many viewers. However, most video mapping spectacles are highly focused on special effects and visual appeal, rarely focusing on the visual narrative with the aim of communicating and diffusing historical knowledge. Interested in the unexplored potential of using this technique, the project was established for the development of an audiovisual production for a video mapping projection that took place in May 2019, as part of the NMSPCAM project. The current article reveals the research and consequent method for storytelling and communicating cultural heritage, in the real context of the project. Starting by analyzing cases of relevant audiovisual productions and immersive exhibitions, the video mapping technique is studied on its ability to convey facts and information, exploring its potential to discover and enhance culture to a wider audience.
The present article investigates the narrative facet of the production using the results of the NMSPCAM project’s audiovisual production as example. The visual narrative, as a central topic, is explored on the different facets of production, from the medium, to the character design, historical elements and sound design.
Almeida, P. R. de. (2009). O azulejo do século XVIII nos Mosteiros de Santa Clara de Guimarães e de S. Bento de Viana do Castelo. Revista de Artes Decorativas, 3, 317–319. Retrieved May 15, 2020, from https://doi.org/10.34632/REVISTAARTESDECORATIVAS.2009.3367
Atelier des Lumières. (n.d.). Immersive exhibition: Gustav Klimt. Retrieved May 19, 2020, from https://www.atelier-lumieres.com/en/node/855
Beauchamp, Robin. (2005). Designing sound for animation. Focal Press.
Bishop, M. C., & Coulston, J. C. (2006). Roman military equipment : from the Punic Wars to the fall of Rome. Oxbow.
Ekim, B. (2011). A VideoProjection Mapping Conceptual Design and Application: Yekpare. The Turkish Online Journal of Design, Art and Communication -TOJDAC,1(1), 10–19.
Escobar, H. (2018). In a ‘foretold tragedy,’ fire consumes Brazil museum. Science, 361(6406), pp960. Retrieved May 19, 2020, from https://doi.org/10.1126/science.361.6406.960
Faria, P. M., Cardoso, S., & Morais, R. (2019). Architecture for video mapping development: The method and the application in NMSPCAM. ICGI 2019 -Proceedings of the International Conference on Graphics and Interaction. Retrieved May 18, 2020, from https://doi.org/10.1109/ICGI47575.2019.8955007
Faria, P. M., Moreira, P. M., Cardoso, S., & Morais, R. (2019). Visual Engagement and Historical Accuracy in a Production for a Video Mapping Projection. ACM International Conference Proceeding Series. Retrieved May 15, 2020, from https://doi.org/10.1145/3359852.3359911
Iannuzzi, Gianfranco. (n.d.). Immersive art experience. Retrieved May 19, 2020, from http://www.gianfranco-iannuzzi.com/
Grandpa’s Lab. (n.d.). Caras de Lisboa. Retrieved May 19, 2020, from https://grandpaslab.pt/portfolio_page/caras-de-lisboa/
Kosara, R., & MacKinlay, J. (2013). Storytelling: The next step for visualization. Computer, 46(5), 44-50. https://doi.org/10.1109/MC.2013.36
Oskar&Gaspar. (n.d.). Immersive Exhibition -Vieira da Silva. Retrieved May 19, 2020, from https://oskargaspar.com/copy-of-agt
Rall, H. (2017). Animation: From concepts and production. In Animation: From Concepts and Production. CRC Press. https://doi.org/10.1201/b22170
Scott, J. (2002). How to write for animation. Overlook Press.
Studio Mr.White. (n.d.). Byblos 3D Projection Mapping the Iconic Citadel. Retrieved May 20, 2020, from https://studiomrwhite.com/8000-years-old-city-celebrates-heritage-and-future/
Withrow, S. (2009). Secrets of Digital Animation: A Master Class in Innovative Tools and Techniques. Rockport Publishers.
Yoo, H., & Kim, H. (2014). On Study of the Projection Mapping In Media Arts. Retrieved May 17, 2020, from https://doi.org/10.14257/astl.2014.54.19
Copyright (c) 2020 Pedro Miguel Faria
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish in the JDMI agree to the following terms:
Authors retain copyright and grant the journal the right of first publication with the work simultaneously licensed under a Creative Commons BY-NC-ND 4.0. This licensing allows others to share the work with no changes and acknowledgement of the work's authorship and initial publication in this journal, but not for commercial use.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) after publication, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
Copyrights to illustrations published in the journal remain with their current copyright holders.
It is the author's responsibility to obtain permission to quote from copyright sources.
Any fees required to obtain illustrations or to secure copyright permissions are the responsibility of authors.
All correspondence concerning contributions, books and other review material should be sent to: firstname.lastname@example.org