I. How to tell the catastrophe  Pompeii : the paradox of a creative destruction (Bulwer, Gautier, Jenssen) B. Virtual reality and romanticism : the literary challenge II. How to tell the creation Parthenon : the cult of representation The placeless place : from myth to the self consciousness (V. Woolf, Sigmund Freud )

2. From Pompeii to Athens
I. How to tell the catastrophe
™ Pompeii : the paradox of a creative destruction (Bulwer, Gautier,
Jenssen)
™ B. Virtual reality and romanticism : the literary challenge
II. How to tell the creation
™ Parthenon : the cult of representation
™ The placeless place : from myth to the self consciousness (V.
Woolf, Sigmund Freud )

4. Definition of myth
™ Mircea Eliade : Myths describe breakthroughs of the
sacred (or the Supernatural) into the World. They
describe a time that is fundamental different from
historical time.
™ Claude Levi-Strauss: Myth is language,functioning on
an especial high level […]
™ Roland Barthes : Myth is simply a type of speech
demonstrated in our dealings with ordinary things […]

6. Histories of landscapes
Pompeii : The paradox of a creative destruction
Edward Bulwer-Lytton, The Last Days of Pompeii, 1832
™ From the ample materials before me, my endeavor has been
to select those which would be most attractive to a modern
reader: the customs and superstitions least unfamiliar to
him, — the shadows that, when reanimated, would present
to him such images as, while they represented the past,
might be least uninteresting to the speculations of the
present. (1834 edition)

7. The lion . . . halted abruptly in the arena, raised itself half on end, uttered a
baffled howl
Half leading, half carrying Ione, Glaucus followed his guide
F. C. Yohn, 1926/ scan by George Landow

8. Pompeii:
capital of the digital culture
™ http://www.zerooneanimation.com/index.php/projects/po
mpeii
™ Virtual Pompeii (Carnegie Mellon University)
http://artscool.cfa.cmu.edu/~hemef/pompeii/project.html
(2007)
EPOCH EU Project: Virtual Pompeii Crowd simulation
LIFEPLUS EU Project: Augmented Reality revival of fauna
and flora in ancient Pompeii based on frescoes
Pompeii Quadriporticus Project
http://www.umass.edu/classics/Objectives.html

9. A day in Pompeii I

10. A day in Pompeii II

11. A day in Pompeii III

12. Chapter IX,
The Last Days of Pompeii
The despair of the lovers
™ Another—and another—and another shower of ashes,
far more profuse than before, scattered fresh desolation
along the streets. Darkness once more wrappedthem
as a veil; and Glaucus, his bold heart at last quelled
and despairing, sank beneath the cover of an arch, and,
clasping Ione to his heart—a bride on that couch of
ruin—resigned himself to die.

13. Pompeii
and computer games
™ Timescape: Journey to Pompeii (2001)
™ Darkest of Days (2009)
™ Escape from Pompeii: An Isabel Soto Archaeology
Adventure (2011)

14. ARRIA MARCELLA
(1852)
™ Indeed nothing dies, but all exists perpetually, that which
was once, no power can annihilate. Every act, every word,
every shape, every thought which has fallen into the
universal ocean of being forms widening circles that go on
expanding to the far reaches of eternity…Passionate minds,
powerful wills, have succeeded in summoning forth
ostensibly vanished centuries and in resurrecting human
beings from the dead.
™ Théophile Gautier, “Arria Marcella. Souvenir of Pompeii”, 1852

15. GRADIVA (1905)
“The heavens held the doomed city wrapped in a black
mantle of smoke only here and there the flaring masses of
flame from the crater made distinguishable something
steeped in blood red light.[…] As he stood thus at the
edge of the Forum near the Jupiter temple, he suddenly
saw Gradiva a short distance in front of him. Until then
no thought of her presence there had moved him, but
now suddenly it seemed natural to him, as she was, of
course, a Pompeiian girl, that she was living in her native
city and, without his having any suspicion of it, was his
contemporary.”
Wilhelm Jenssen, Gradiva, 1905

16. Of other spaces :
Utopias and Heterotopias
™ Places of this kind are outside of all places even though it may be
possible to indicate their location in reality. Because these places
are absolutely different from all the sites that they reflect and
speak about, I shall call them, by way of contrast to utopias,
heterotopias. I believe that between utopias and these quite other
sites, these heterotopias, there might be a sort for mixed joint
experience, which would be the mirror. The mirror is, after all, a
utopia, since it is a placeless place. In the mirror, I see myself
there where I am not, in an unreal, virtual space that opens up
behind own visibility to myself, that enables me to see myself
there where I am absent : such is the utopia of the mirror.
™ Michel Foucault (1967)

17. LIFEPLUS: Main focus
™ Reenact historical scenes by reviving ancient life
depicted in frescos in Augmented Reality AR
Foni, A., Papagiannakis, G., and Magnenat-Thalmann, N. 2010. A Taxonomy of Visualization Strategies for
Cultural Heritage Applications. ACM Journal on Computingand Cultural Heritage 3, 1, 1–21.
Magnenat-Thalmann, N. and Papagiannakis, G. 2010. Recreating Daily Life in Pompeii. VAR-Virtual Archaeology
Review, ISSN 1989-9947, alsopresented inArqueologica 2.0 1, 2, 16–20.

18. LIFEPLUS AR simulation
Papagiannakis, G., Schertenleib, S., O'Kennedy, B., Poizat, M., Magnenat-Thalmann, N., Stoddart, A., Thalmann, D.
.2005. Mixing Virtual and Real scenes in the site of ancient Pompeii. Computer Animationand Virtual Worlds, JohnWileyand
Sons Ltd 16, 1, 11–24.

19. The cult of representation
™ Parthenon : the phantasmatic experience of continuity
™ The ceremonial reference to the past
™ The tactile memory of the material traces
™ The cultural memory discourse

20. Virginia Woolf, Journal
(1897-1909)
™ When the day broke, we headed
to our windows and saw a huge
boulder that was emerging from
the darkness in fawn and striped
shadows, in which were planted
two groups of columns, one of
the color of the rock and the
other white and fragile. Others
stood on the rock, but we knew
that the darker were the Crown
and the King of the house, the
Parthenon itself.

21. Virginia Woolf, Journal
(1897-1909)
™ the light was of such violence that we had all the
trouble to look up to the frieze also because of the
marble mounds scattered at our feet - all these plates,
these drums of columns and these pieces marble
planned on us a jet of light that seemed to emanate
from the ground.

22. Freud, A disturbance of
Memory on the Acropolis
™ When, finally, on the afternoon of our arrival I stood
on the Acropolis and cast my eyes upon the landscape,
a surprising thought suddenly entered my mind: 'So all
this really does exist, just as we learnt it at school!'
™ . . . the whole psychical situation, which seems so
confused and is so difficult to describe, can be
satisfactorily cleared up assuming that at the time I had
(or might have had) a momentary feeling: 'What I see
here is not real.' Such a feeling is known as 'a feeling of
derealization' ['Enfremdungsgefühl' ]

23. Derrida, Athens still remains,
1966
™ We owe ourselves to death. It was
this past July 3, right around
noon, close to Athens. It was then
that this sentence took me by
surprise, in the light—“we owe
ourselves to death”—and the
desire immediately overcame me
to engrave it in stone, without
delay: a snapshot [un instantané],
I said to myself, without any
further delay

25. Patricia Highsmith,
The two faces of January, 1964

26. Computer graphics modelling, animation and rendering technology tools demo, Whiskytree.com,
ACM SIGGRAPH 2013
Acropolis Computer Graphics Simulation

27. Paul Debevec’s Parthenon
™ "The Parthenon" is a short computer-generated animation which
visually reunites the Parthenon and its sculptural decorations,
separated since the early 1800s.
™ The film used combinations of
™ time-of-flight laser scanning,
™ structured light scanning,
™ photometric stereo,
™ inverse global illumination,
™ photogrammetric modeling,
™ image-based rendering, BRDF measurement, and
™ Monte-Carlo global illumination
™ in order to create the twenty-some shots used in the film.
™ http://gl.ict.usc.edu/Films/Parthenon/

28. http://gl.ict.usc.edu/Films/Parthenon/
Acropolis Mixed Reality Storytelling

29. Conclusions
™ Without the original experience of writing or the authenticity of
text, basically without the notion of literature, the dream of
hybrid information proves a mire technological achievement, a
condensed fantasy of imagination and material reality, which
however doesn’t really lead the imaginary into a sharp and clear
form.
™ “Ontologies of the present demand archeologies of the future, not
forecasts of the past”
™ Fredric Jameson, A Singular Modernity, 2002

30. Thank you!

31. Bibliography I
™ Robert Ginsberg, The Aesthetics of Ruins, Rodopi B.V. Amsterdam-NY, 2004.
™ William St Clair and Annika Bautz, “Imperial Decadence: The making of myths in Edward
Bulwer-Lytton’s Last Days in Pompeii”, Victorian Literature and Culture (2012), 40, 359-396.
™ Nothing changes under the sun: Authenticity in The Last Days of Pompeii, www. victorian.web.org
™ Simmons, James C., Bulwer and Vesuvius: The Topicality of The Last Days of Pompeii. Nineteenth-
Century Fiction 24.1 (1969): 103-105.
™ Victoria C. Gardner Coates, Kenneth Lapatin, Jon L. Seydl, The Last Days of Pompei. Decadence,
Apocalypse, Ressurection, J. P. Getty, LA 2012
™ Sasha Colby, "The Literary Archaeologies of Théophile Gautier" , CLCWeb Volume 8 Issue 2
(June 2006) Article 7
™ Annelisa Stephan, “Apocalypse Then : Buwer-Lyttons’s “ The Last Days of Pompeii”,
http://blogs.getty.edu/iris/apocalypse-then-bulwer-lyttons-the-last-days-of-pompeii/
™ A day in Pompeii, Full length animation, zero one,
https://www.youtube.com/watch?v=dY_3ggKg0Bc

32. Bibliography II
™ Ian Hodder and Scott Hutson, Reading the Past. Current approaches to Interpretation in
Archeology, Cambridge University Press, 2003
™ Joan Kessler, Demons of night. Tales of the fantastic, Madness and the Supernatural,
University of Chicago Press, 1995
™ Michel Foucault, “Of other Spaces: Utopias and Heterotopias”,
Architecture/Mouvement/Continuité, October 1984 (“Des espaces autres”, March
1967. Translated from the french by Jay Miskowiec)
™ Roland Barthes, "La Gradiva", Fragments d'un discours amoureux [1977], Œuvres
complètes (éd. É. Marty), Paris, Le Seuil, t. III, 1995, p. 573-575.
™ Stephen Poole, “Timescape : Journey to Pompeii Review”,
http://www.gamespot.com/reviews/timescape-journey-to-pompeii-review/1900-
2678110/
™ Victoria C. Gardner Coates, “On the cutting Edge. Pompeii and the new
technology” Decadence, Apocalypse, Ressurection, J. P. Getty, LA 2012, 44-51.
™ Richard Coyne, Technoromanticism. Digital narrative, holism, and the romance of the
real

33. Bibliography III
™ P. Milgram, F. Kishino, “A Taxonomy of Mixed Reality Visual Displays”, IEICE Trans.
Information Systems, vol. E77-D, no. 12, 1994, pp. 1321-1329
™ R. Azuma, Y. Baillot, R. Behringer, S. Feiner, S. Julier, B. MacIntyre, “Recent Advances in
Augmented Reality”, IEEE Computer Graphics and Applications, November/December 2001
™ H. Tamura, H. Yamamoto, A. Katayama, “Mixed reality: Future dreams seen at the border
between real and virtual worlds”, Computer Graphics and Applications, vol.21, no.6, pp.64-
70. 2001
™ Nandi A., Marichal X., Transfiction, proceedings of Virtual Reality International
Conference, Laval May 2000.
™ G. Papagiannakis, S. Schertenleib, B. O’Kennedy , M. Poizat, N.Magnenat-Thalmann, A.
Stoddart, D.Thalmann, "Mixing Virtual and Real scenes in the site of ancient Pompeii",
Journal of CAVW, pp. 11-24, Volume 16, Issue 1, John Wiley and Sons Ltd, February 2005
™ G. Papagiannakis and N. Magnenat-Thalmann, “Mobile Augmented Heritage: Enabling
Human Life in ancient Pompeii,” The International Journal of Architectural Computing,
Multi-Science Publishing, vol. 5, no. 2, pp. 395–415, 2007.
™ Mónica Ann Walker Vadillo, Salome, mawalk01@ghis.ucm.es
™ C. P. Cavafy in Tokyo, http://tokyo.cavafy.eu/en/project