[et_pb_section fb_built=\u00bb1″ fullwidth=\u00bbon\u00bb _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb][et_pb_fullwidth_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/caebceracuevamanos.jpg\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb min_height=\u00bb378px\u00bb custom_padding=\u00bb78px|||||\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/expandida.jpg\u00bb title_text=\u00bbexpandida\u00bb _builder_version=\u00bb4.19.1″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ text_orientation=\u00bbjustified\u00bb z_index_tablet=\u00bb0″ text_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_text_shadow_blur_strength_tablet=\u00bb1px\u00bb link_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb link_text_shadow_vertical_length_tablet=\u00bb0px\u00bb link_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ul_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ul_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ul_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ol_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ol_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ol_text_shadow_blur_strength_tablet=\u00bb1px\u00bb quote_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb quote_text_shadow_vertical_length_tablet=\u00bb0px\u00bb quote_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_2_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_2_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_2_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_3_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_3_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_3_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_4_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_4_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_4_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_5_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_5_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_5_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_6_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_6_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_6_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n
\nExpanded visual anthropology.<\/span>
Archaeological heritage and virtual reality at the Cueva de las Manos site, Santa Cruz, Argentina.<\/span>
<\/strong><\/p>\n<\/blockquote>\nUBACyT 20020190200046BA
Faculty of Philosophy and Letters | Institute of Anthropological Sciences<\/p>\nDirector<\/strong> PhD. Marina Guti\u00e9rrez De Angelis
https:\/\/orcid.org\/0000-0003-1918-0876<\/a><\/p>\nTeam<\/strong> Greta Winckler | Carolina Menke | Paula Bruno | Gorka L\u00f3pez de Munain | Cecilia Fiel<\/p>\n
2020-2022<\/strong>: 2020-2022<\/p>\n
Contact: mdeangelis[a]filo.uba.ar<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb custom_padding=\u00bb0px|||||\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ text_orientation=\u00bbjustified\u00bb custom_margin=\u00bb35px|||||\u00bb z_index_tablet=\u00bb0″ text_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_text_shadow_blur_strength_tablet=\u00bb1px\u00bb link_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb link_text_shadow_vertical_length_tablet=\u00bb0px\u00bb link_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ul_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ul_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ul_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ol_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ol_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ol_text_shadow_blur_strength_tablet=\u00bb1px\u00bb quote_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb quote_text_shadow_vertical_length_tablet=\u00bb0px\u00bb quote_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_2_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_2_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_2_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_3_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_3_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_3_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_4_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_4_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_4_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_5_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_5_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_5_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_6_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_6_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_6_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n
Abstract<\/strong>: In 2018, the team from the Visual Anthropology Area (UBA) began recording 360\u00ba video at the Cueva de las Manos archaeological site (Argentina), with the aim of designing an immersive experience based on gestural interaction, through haptic technologies and Mixed Reality. It raises a series of reflections on the application of these technologies to the development of an interactive environment that invites the user to explore a new interface concept based on body exploration, as a means of constructing knowledge through the sensory-motor and affective experience of reality. It introduces the use of low-cost technologies such as Oculus Rift combined with motion sensors, 3D design and specialized software for archaeology. The project also seeks to contribute to the ongoing discussion on the role of digital technologies in the field of digital cultural heritage<\/p>\n
About<\/strong><\/p>\n
Cueva de las Manos is one of the most important archaeological sites in Argentina and was declared a World Heritage Site by UNESCO in 1999. Located in the Pinturas River canyon, between the cities of Perito Moreno and Bajo Caracoles, in the province of Santa Cruz, it contains traces of hunter-gatherer groups dating back 10,000 years, including examples of wall carving, with figures of guanacos, hunting scenes, anthropomorphic figures and the famous negatives of hands, of which there are more than 2,000. The open-air images are located in rock shelters that are vulnerable not only to wind and water erosion but also to anthropogenic erosion.<\/p>\n
At the end of 2018, we began the first stage of field work using 360\u00b0 video, with the aim of designing an innovative immersive experience for archaeological sites, appealing to the physical participation of the user enriched by the tools offered by haptic technologies. Taking up the concept of Bildakt (Bredekamp, \u200b\u200b2015) and the contributions from experimental aesthetics (Gallese, 2015), as the basis of a theory on perception and on our relationship with different media and image supports, the project explores the capacity of virtual reality to stimulate the experience of the spatial and haptic sensoriality of the image, as well as a non-linear narrative experience to bring the user closer to open questions rather than to the deciphering of meanings. Its main objective is the creation, promotion and production of content exclusively for VR in the field of Cultural and educational Heritage.<\/p>\n
This project presents a series of reflections on the possibilities offered by immersive media together with haptic technologies, to create an environment that does not distance the user from the site, but invites him\/her to explore a new concept of interface and learning. In this sense, it does not propose to record or document or offer a guided story, but to create an environment based on first-person exploration. It introduces the use of low-cost technologies such as Oculus Rift combined with motion sensors for manipulation of 3D modeled objects and 360\u00ba sound, together with specialized software for archaeology such as DStrech and drone mapping. The use of these technologies allows the development of the capacity of virtual reality to record phenomenologically significant aspects of visual culture that cannot be transmitted by other image media such as video or photography.<\/p>\n
The main challenge of the design of the virtual cave is the problem associated with parietal graphics. In the attempt to read these images, their modern representations in photos and drawings, and the selection of which images to take to represent in books and other media, it becomes evident that they are difficult to access for both specialized and non-specialized audiences. Considering these figures as art tends to simplify them when trying to understand or decipher their isolated meaning. Some authors propose using the expression image-making in this sense, leaving aside any connotation that refers to the modern concept of art (Andrea Pinotti and Somaini 2016, 233). This first obstacle gave impetus to the idea of \u200b\u200bdeveloping a virtual cave with the aim of designing an immersive experience where the public can experience the question of images without resorting to explanations, interpretations or the deciphering of their meaning and, simultaneously, explore the physical relationship that exists between images and space. In the case of images made in caves, the aim is generally to decipher their meaning, what they represent, illustrate or symbolize. As suggested by W.J.T Mitchell (2017), but also by authors such as Alfred Gell (2016), Conkey (2010), White (2003) or Moro Abad\u00eda and Gonz\u00e1lez Morales (2007), the study of the pictorial should not be based primarily on the decoding of the meanings of the images, on the understanding of an intention behind them or on the figure of the spectator. In this sense, O\u2019Sullivan (2005) proposes treating images as objects of encounter<\/em> antes que objects of recognition<\/em>, since the encounter produces a cut that makes us reflect beyond what we see. These authors point out the need to study Paleolithic visual cultures independently of the models of Art History.<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ text_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_text_shadow_blur_strength_tablet=\u00bb1px\u00bb link_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb link_text_shadow_vertical_length_tablet=\u00bb0px\u00bb link_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ul_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ul_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ul_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ol_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ol_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ol_text_shadow_blur_strength_tablet=\u00bb1px\u00bb quote_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb quote_text_shadow_vertical_length_tablet=\u00bb0px\u00bb quote_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_2_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_2_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_2_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_3_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_3_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_3_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_4_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_4_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_4_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_5_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_5_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_5_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_6_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_6_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_6_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n
\nPublications<\/p>\n<\/blockquote>\n
Marina Guti\u00e9rrez De Angelis; L\u00f3pez de Munain, Gorka. \u00abPatrimonio cultural y entornos virtuales. Aportes te\u00f3ricos desde los estudios de la imagen y la est\u00e9tica experimental\u00bb, III Simposio Internacional de Cultura Visual 2020-2021, La interdisciplinariedad en el estudio de la imagen, Valencia,27-29 de octubre de 2021.<\/p>\n
Marina Guti\u00e9rrez De Angelis; L\u00f3pez de Munain, Gorka. \u00abPatrimonio Cultural y conocimiento: Propuestas para el dise\u00f1o de una experiencia inmersiva basada en Realidad Mixta para el sitio arqueol\u00f3gico Cueva de las Manos (Argentina)\u00bb, HDH2021, Santiago de Compostela, Espa\u00f1a, 4-8 octubre de 2021.<\/p>\n