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Assessing the Accuracy of Underwater Photogrammetry for Archaeology: A Comparison of Structure from Motion Photogrammetry and Real Time Kinematic Survey at the East Key Construction Wreck

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By Fabio Bruno 1, * , Michela Ricca 2 , Antonio Lagudi 3 , Pari Kalamara 4 , Angelos Manglis 5 , Anastasia Fourkiotou 5 , Dimitra Papadopoulou 5 and Aggeliki Veneti 6

In recent years, the development in digital technologies such as Augmented Reality (AR) and Virtual Reality (VR) has evolved rapidly. These technologies are currently in the process of creating driving change in the Cultural and Creative Industries (CCIs), representing innovative means to share information, facilitating access and increasing the value and public awareness on Cultural and Natural Heritage. This is particularly relevant for underwater environments, where the most interesting cultural and naturalistic sites are accessible only to scuba divers, or not accessible at all, due to depth and/or environmental constraints. In addition, in underwater sites, guided diving tours are carried out by professionals that usually describe the area to be visited during the predive briefings; such step is needed due to the impossibility of underwater verbal communication without dedicated equipment, a practice very rarely adopted for recreational diving. So, these difficulties make it almost impossible to replicate under the sea, the guided tour approach that is usually offered in on-land museums. Considering such limitations, several technological applications are emerging to increase the accessibility underwater and enrich users’ experience both for divers and nondivers. This work aims to identify the potential of underwater sites (either cultural or natural) to support the development of sustainable tourism (economic, environmental, cultural and social) in the Mediterranean. Moreover, it focuses on supplying local/regional authorities and stakeholders with a multidisciplinary plan for managing Underwater Museums and Knowledge Centres, by promoting innovation in the diving industry and improving users’/tourists’ experience through value-added services and cutting-edge technologies.

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The cultural and naturalistic heritage that lies on the seabed around the world is an important resource that raises particular attention among tourists. Such interest is attributed to the sense of mystery that surrounds cultural and natural assets and the harmonic “symbiosis” between the artefacts and sea life.

Although the interest in the field of underwater cultural heritage (UCH) is growing, the difficulty in the enjoyment of underwater archaeological/historical assets is still remarkable. Hence, there is a need to utilize innovative solutions suitable to raise public awareness and knowledge towards such an important and emerging topic.

Cultural Heritage (CH) represents a very important aspect of our past, reflecting the historical/cultural development of populations over the centuries [1, 2, 3, 4]. People/Tourists who travel to learn about unknown places and cultures, first search for museums to visit and/or Visitor Centres that can provide them relevant information. The growth in users’ demand in enjoying added value/innovative services and in visiting assets located at sea continuously increases, but there are still many limits for their full enjoyment.

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In this direction, to meet users requests and with an attempt to provide them new ways that will satisfy and attract their curiosity, the need rose to exploit new technologies that make it accessible to the general public, resources lying on the seabed. In this respect, the research aims at improving the exploitation modality of UCH and disseminates related knowledge, making the underwater world available, accessible and suitable for all [3]. Such an approach raises awareness on the value of cultural assets and makes underwater archaeological sites enjoyable by everyone, both divers and nondivers (creating the same impact as on-land cultural sites). This is also in accordance with the UNESCO 2001 convention [5], which has among its fundamental pillars the raising of public awareness and the creation of tourism potential through the valorisation and protection of underwater natural and cultural heritage, preferably in situ.

Today’s technological progress provides several ways and options (mainly based on digital technologies) to enhance and extend the traditional museum exhibitions with different contents and solutions. These new technological approaches raise a great interest among visitors and, at the same time, offer many opportunities to convey information otherwise impossible to be presented through traditional exhibitions [6, 7].

Different technological solutions that enable visitors to enjoy new ways of communication and interactive visualization are already available in many traditional museums. Particularly, Virtual Reality (VR) and Augmented Reality (AR) have been used on several occasions for allowing users/tourists to explore and get educated on cultural heritage [8, 9]. These applications basically assemble visual technologies, which put the image at the centre of the communication, with interactive technologies, demanding users to act and choose. Various embodiments can be used, each characterized by the type of devices, the user workspace and the provided levels of immersion, interaction and presence. VR has been used for exploring the digital replica of archaeological finds [10], complex reality-based 3D models [11] or for creating interactive and immersive experiences in museums to increase visitor engagement and education [12]. As reported in [13], there are still various open issues related to the integration of digital technologies into the exhibition space of traditional museums although it has been proved from the experiences of visitors that it improves knowledge and interest in cultural heritage.

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Even if VR technologies have proven their effectiveness in increasing the value of cultural heritage, fewer applications have been developed for underwater cultural and naturalistic sites, due to various constraints, i.e., environmental conditions [14, 15, 16, 17, 18, 19, 20, 21].

At submerged sites, divers often suffer from low visibility conditions due to water turbidity and biological colonization. This leads to a reduced perception of the surrounding environment and a higher probability (for divers) to lose the sense of direction. In addition, the sea progressively transforms the cultural assets, both shipwrecks and ancient ruins that lie on the seabed. The mechanical action of the seawater, in conjunction with various changing environmental parameters, and the biological colonization of the marine flora and fauna that grow over the surface of the submerged artefacts, make materials (and more generally everything) that lie on the seabed, drastically different, or even completely unrecognizable from their original appearance [22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34].

So, in this regard, the presentation of submerged sites through the use of new technologies requires more resources and efforts (financially, labour-wise and tech-wise) since much of the required work must first be carried out underwater. For example, if the scope is to explore a digital replica of an underwater cultural site in VR, an underwater 3D survey of the archaeological remains has to be accomplished in order to create a realistic virtual scenario [8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28].

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Some details and specific methods useful for realistic 3D modelling and VR presentation of underwater archaeological assets were presented in recent studies [14, 15, 16, 17, 18, 26, 28] along with the virtual diving exploration of some shipwrecks and further underwater sites. The results achieved in these studies allow users to live an entertaining and interdisciplinary learning experience by receiving archaeological, historical and biological information through several points of interest (POIs), also supported by a virtual dive buddy that guides during the exploration of the digital replica of a submerged site.

Such solution makes visible to people/users that are not used to or unable to dive, or most other stakeholders (e.g., museum managers), that AR and VR have a huge potential since they can reveal the original shape and beauty of the underwater cultural assets to even when they are deeply transformed by the action of the sea [8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 26, 28].

The main objective of this work is based on the design of exhibitions and Information Centres, so-called KAC (Knowledge Awareness Centre), where advanced digital technologies (i.e., Virtual Reality, Mixed/Augmented Reality, immersive visualization techniques, etc.) merge with traditional museum management practices and with dissemination/communication activities of recreational facilities, such as Visitor Centres and InfoPoints.

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Choosing a canvas size is one of those horrible math-filled topics that are terrifying and mysterious the first time you try and do digital art, or start considering printing your art. It is important to make sure that you do not start with a canvas that is too small because you cannot make it larger later without losing quality. But what is “too small”? How large can you go? This comprehensive guide should help you jump into the confusing world of pixels, printing and canvas size guesstimates. You don’t need to understand it all, but it’s a good idea to understand it a little!

The desktop versions have unlimited canvas sizes, limited only by your computer memory. The mobile apps have capped sizes, due to the limited memory (RAM) in phones and tablets.

Pixels are the units of the internet. Every image on your screen is made up out of many, many little pixel dots, and this is what you are‘painting’ with.

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Every digital image contains a specific number of pixels, and the size of your canvas is literally just picking how many pixels you want to start with. The bigger your image, the more detail you can add, and the larger you can print. However, you don’t actually need a very large canvas size if you just want to share your work online. However, the bigger your image, the more memory it uses and the slower things might get (this is why the mobile apps have capped canvas sizes).

Print size is an estimate based on your pixel size (the ‘real’ size of the image) and the ‘Pixels/Inch’ measurement (also known as DPI/PPI), which tells the printer how detailed the final image should be. But you don’t need to worry about that unless you are trying to get a really specific printing result.

Do you need to print it? Calculate the largest size and exact aspect ratio that you’ll need and use that so you don’t have to worry going forward.

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I’m serious about the aspect ratio, by the way; you can usually fudge the print quality a bit (paintings are blurrier that photos by default so you don’t need to be as picky), but if your actual width:length ratio is wrong? You may have to make some painful cropping decisions as most print places only carry a specific range of paper sizes.

Don’t forget to untick‘Preserve Aspect Ratio’ as that will force your width and height to stay the same relative sizes, so you’ll be stuck in an endless update loop.

Does it need to be high quality and detailed? Probably 5000-15, 000. You’ll need to figure this out as you go, but you can resize your canvas as you work, and you may find you don’t like working at large sizes (as it affect tool size and computer speed).

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Or is it just a quick sketchy image for the internet or a lowish quality web graphic? Pick a smallish basic size between 1000-4000 pixels and don’t worry about it. You can go even smaller, but usually you don’t need to.

I generally draw web graphics at twice their final size, which gives me some flexibility if I want to crop it or change the aspect ratio and means I don’t have to worry about quality loss for the fine details.

Bigger is always safer, as you can scale down as needed, but you might not like working at large sizes, so it’s a personal decision. I usually work at around 3000-5000 pixels a side, unless I know I will need a larger image for a specific result (e.g. I can make a small poster out of that, but the quality might not be great. On the other hand, I regularly sold A3 posters and even created an A2 poster out of a 3000 pixel image once and they sold just fine!).

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If you are uploading your work to an online print on demand website, you may find that their system requires some very specific sizes and DPI settings. This is to avoid people uploading truly unsuitable images, but if

Are confident that your image will be fine and doesn’t need to be the size they are requiring, just artificially resize your canvas upwards before uploading. How much you can get away with this is going to vary on a case by case basis, but paintings are usually soft edged and can be upsized about 30% before you see noticeable issues. But you will always see

Set the zoom level to 100% in . This will show you how big the canvas actuallyis relative to your screen size. It’s very easy to lose sight of the actual size when zooming in and out to work ;D

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Do the Pixels Per Inch x Pixel calculation: This is the horrible mathy bit that makes people’s heads hurt.If you need 300 pixels for each inch, what does 3000 pixels divide down into? (Ten inches ;D).

You can also ignore the nasty math and just toggle back and forth between the canvas size tabs in , which calculates this for you.

Screen Size uses pixels. Print Size lets you set the units (mm, cm or inches), but the Pixels/Inch measurement is very important here, because it is calculating the size based on your pixels.

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The pixel size is the‘real’ size of your file, so we highly, highly recommend getting used to what the numbers mean. A 5000 x 10, 000 pixel canvas (which is large for most purposes) may be muchhigher than you need, or it may be just right.

Calculating the ‘perfect’ print size is a topic that tends to cause a lot of argument amongst ‘real’ artists (and photographers), for whom it is very important to get exactly the right result, but the easiest way to estimate the size for now is to switch over to the ‘Print Size’ tab in the canvas size screen (see picture).

Once you know what pixel size you like working at, you can ignore the‘Print Size’ tab and the Pixels/Inch measurement entirely, and just set those when you go to actually print something.

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DPI = dots per inch, or how many ink drops. PPI = pixels per inch. These days they’re essentially the same thing and used interchangeably.

72 is‘screen resolution’ and generally not great. 450 is super high quality overkill that most printers can’t even manage. 150-300 is a good range for art printing.

The‘recommended’ DPI/PPI amount is usually set by a) photographers or b) Very Serious Artists. These people needvery, very high pixels per inch because photographs do not look good when slightly fuzzy and Serious Artists will be printing out very high quality images on expensive paper and needing to consider everything down to the type of ink.

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You probably do not need that. You can probably get away with 100 pixels per inch. The only times you need to worry a lotabout the exact pixels per inch is if you:

If you’re not sure what ‘too low but only slightly’ will look like in real life, pick up some random printed pictures or leaflets, hold them up to your nose and try and see if you can actually see any pixels. The cheaper the printing, the more likely you are to see low quality graphics! Then hold it at arms length and have another look – you’ll often find that the pixelated images look fine if you aren’t rubbing your nose on them, so you have a lot more leeway when creating very large posters.

Or just randomly print out some test images on computer paper. Your home printer will almost always use 72 DPI, so it’s very easy for you to see if that’s usable or not.

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Complicated because every screen is different and websites will display everything differently, but most of the time, the actual size you need will be far, far smaller than the size you need for printing, so you’ll rarely run into quality issues. This can mean that problems won’t show up until you go to print!

Your screen resolution is somewhere between 600 and 1920 pixels across. That’s smallerthan the maximum canvas size in our mobile apps (which is 2048×2048 pixels). So you could easily create a screen size canvas using the ‘Use Window Size’ button and not really worry about the quality or size.

Facebook and other social media sites tend to shrink pictures to a standard size that are easy to browse, but aren’t always the best size for sharing fullsize, detailed, art. Facebook shrinks images to around 900 pixels wide, so as long as your images are bigger than that, they will always be full size – for Facebook! – when you upload them.

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To find out the exact size you need, try downloading an image off the website and then open it in an image editor or right click on it and have a look at the properties.

The larger your image, the more likely you are to run into problems with memory, as you start working with a larger and larger file, or the tool sizes may just not scale up enough for your purposes. If you can’t create

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For high net worth individuals, tax strategies and investing go hand-in-hand. If you’re not diligent about the tax consequences of your investments, you may owe the IRS far more than anticipated. As such, these wealthy individuals often ask our team about the potential tax savings of different investments. Recently, we’ve fielded questions about investing in art and non-fungible tokens, or NFTs, for tax savings. In this article, we’ll explain how investing in these asset classes can earn you some serious NFT tax savings.

Many high-net-worth individuals choose to invest in art. They purchase valuable paintings, sculptures, or other pieces of art for two primary reasons. First, these items traditionally hold their value. That is, unlike the stock market, the value of a painting isn’t likely to drop significantly. Second, major upside potential exists with art, with the possibility of items increasing in value over the long term.

Non-fungible tokens, or NFTs, are in some ways a modern variation on art. According to the Journal of Accountancy, an NFT is: a unique (nonfungible) digital code (token) that represents one or more specific items of text, image, video, and/or music, and possibly also information about and rights in that content. And, over the past year: several artistic creators have recently “tokenized” their original works and sold the resulting NFTs for jaw-dropping prices through online auctions. Essentially, some wealthy individuals now view NFTs as a form of digital art that offers the same potential benefits to investing in traditional art.

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Currently, the IRS has not issued authoritative guidance on the treatment of NFTs. However, initial guidance suggests that, from an investor’s perspective, they will receive similar tax treatment to art.

The IRS classifies art as collectibles. Accordingly, when you sell a work of art held for more than a year at a gain, you face the collectible’s long-term capital gains rate of 28%. As with all capital assets, gains on holding periods for a year or less are subject to ordinary income tax rates (i.e. your marginal tax rate).

Unless the IRS publishes authoritative guidance to the contrary (which appears unlikely), NFTs will continue to be treated as collectibles. That is, NFTs held for more than a year will face the collectibles-specific capital gains rate of 28%. This rate should be viewed in terms of the standard capital gains rates of 0%, 15%, or 20%, depending on your income bracket. In other words, individuals who invest in art or NFTs will actually pay a higher tax rate than they would for investments in other capital assets.

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While investing in art results in higher capital gains rates, you may be able to deduct certain art-related expenses. Receiving deductions for purchasing art depends on how the IRS classifies your activities. As a collector, you cannot deduct any expenses related to the purchase, transportation, or maintenance of a piece of art. Alternatively, you may receive investor status. In this case, the IRS lets you deduct these expenses.

However, to receive the investor classification, you must demonstrate that your interest in art is more than a hobby. That is, you must demonstrate that you collect art primarily for investment purposes, meaning you seek to sell art for a profit. If you have never sold a piece of art, the IRS will likely classify you as a collector, disallowing any related deductions.

If the IRS considers you an investor, you can deduct the ordinary expenses associated with purchasing, transporting, and maintaining art. Some common expenses include the following:Â

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Unlike with art, the IRS has yet to classify distinct categories of people who purchase NFTs (i.e. collectors vs. investors). However, assuming this distinction does arise, investors will have far fewer options for NFT tax deductions than with art. As a digitized item, there are few expenses (if any) related to the purchase, transportation, or maintenance of NFTs.

Investing in NFTs will actually trigger larger tax bills. Currently, investors can only purchase an NFT with cryptocurrency (e.g. Bitcoin, Ethereum, etc.). And, the IRS views crypto as property – not currency. Therefore, when you use cryptocurrency to purchase an NFT, you have a taxable event.

For example, say you bought some cryptocurrency two years ago for $1, 000. It has now grown in value to $10, 000, and you use that $10, 000 in crypto to purchase an NFT. The IRS would view this as a sale of property, and you would recognize a $9, 000 long-term capital gain on the “sale” of that cryptocurrency, even though you only used it to purchase an NFT.

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Furthermore, if you ultimately sell that NFT for gains, you will incur the 28% capital gains rate used for collectibles – not the more favorable 0%, 15%, or 20% long-term capital gains rates. Bottom line, investing in NFTs does not appear to offer any significant tax savings. Quite the opposite, this strategy forces investors to pay more in taxes than they would with other capital assets.

If the IRS decides to offer investors in NFTs the same tax classifications as investors in art, some tax deductions may exist. While you will not incur any transportation expenses due to the digital nature of NFTs, you may face purchase and “storage” fees. For instance, if an NFT sales platform charges a commission for a sale, that would likely qualify as a deductible, purchase-related expense. Similarly, if you must pay for specific software to store and secure your collection of NFTs, that would likely qualify for a tax deduction.

Investing in art and NFTs may not provide the tax savings that many people initially believe. With that said, potential tax deductions do exist. And, at Shared Economy Tax, we live and breathe tax savings for high net worth individuals, so contact us to set up a tax planning strategy session!Property owners can become liable to pay income tax on their property as per Section 24, titled “Deduction From Income from House Property”.

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Let’s take a look at the cases where the property owners have to pay income tax on their property under Section 24-

In case, the property owner has only one house and he/she is living in it, then the income from that property will be considered as NIL. Any other income which is collected in the form of rent or the Net Annual Value of the additional houses will be considered as income under Section 24.

There are two types of deductions for the property owners who are liable to pay income tax under Section 24 as explained below:

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The owners can get exempted from the income tax under Section 24. Here are the following cases where they can be exempted:

House owners should have the interest certificate for the loans that they have taken to submit as proof of the loan during the calculation of tax deductions.

Tax deductions under Section 80C come into the picture for a newly bought house. House owners can claim deductions on stamp duty and registration charges, which is usually up to 10% of the amount at which the house is purchased. The maximum amount that can be deducted under Section 80C is INR 1.5 lakh. House owners are also entitled to claim the dedications for the costs incurred during the transfer of a newly constructed house.

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Capital Gains is the tax paid on the profit gained by the sale of a property. Capital Gain can contribute to the wealth drain hugely if the house owners do not handle it well. However, this can be avoided by investing the profit in the purchase of another property within two years of the sale of the property.

House owners are liable to pay income tax for the profit earned from the properties they own. However, if the house is self-occupied by the owner, then they are exempted from the income tax. There are two types of deduction under Section 24, which can be exempted from the income tax if several conditions are met. There are also other types of tax deductions on the property apart from Section 24, such as Section 80C and the Capital Gains.

The following are the cases where an individual or an organization is liable to pay income tax on property under Section 24:

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No, if the owners are residing in the property, then they are not entitled to pay income tax on that property. However, if there are tenants on the property, then the rent obtained from them is termed as income on the property and will attract income tax on it.

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To enable personalized advertising (like interest-based ads), we may share your data with our marketing and advertising partners using cookies and other technologies. Those partners may have their own information they’ve collected about you. Turning off the personalized advertising setting won’t stop you from seeing ads or impact 's own personalization technologies, but it may make the ads you see less relevant or more repetitive.

This type of data sharing may be considered a “sale” of information under California privacy laws. Turning off personalized advertising opts you out of these “sales.” Learn more in our Privacy Policy., Help Center, and Cookies & Similar Technologies Policy.In a world dominated by applications and gadgets, the hunt for a decent and safe app for kids is a struggle parents face every day. As the dystopian world showcased in Ernest Cline’s book Ready Player One slowly takes shape, the line between kid-friendly and adult content slowly begins to fade. Nevertheless, there are multiple developers out there who are focused on the production of wholesome educational content tailored specifically for kids.

One of those companies is Toca Boca, developer of the Toca Life World and the Toca franchise. Since 2011, Toca Boca has been producing some of the best educational apps for kids. Today, Toca Life World is by far their biggest app that binds together all the entries in the Toca Life series.

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Toca Life World is a “mega-app” that houses all the applications in the Toca Life franchise. The app serves as a platform packed with various tools that kids can interact with. In this app, kids can create cities, build houses, decorate interiors, create custom avatars, and side characters. It does not feature an immersive storyline or narrative, instead, it provides players with the equipment needed to forge a story of their own. In other words, Toca Life World is focused on the enhancement of the creativity of its users. Toca Life World is available for both iOS and Android devices.

In 2021, the Journal of Children and Media published a study called “How educational are “educational” apps for young children?” of which Toca Life World received an 8/10 score based on the apps’ influence on the four pillars of learning (Active Learning, Engagement in the Learning Process, Meaningful Learning, and Social interaction). In the same year, the game app also bagged the Best iPhone App award making it one of the few kids’ games to ever receive such recognition. Toca Life World currently boasts over 125 million installs with over 2.5 million five-star ratings on the Android platform alone.

One of the best elements of Toca Life World is that it does not come with an internet browser. This means that kids will be safe from the dangers of the internet. Think of it as a wholesome bubble packed with enough educational tools and knick-knacks to keep a curious kid busy for hours.

Toca Life World: Build Stories App Review

A surprising, yet fun side of Toca World is the ability to record the action on screen to make your own short cartoons. These have led to some creative storytelling and the ability to voice the thoughts of young people. Whether the characters are talking about issues at the coffee shop or telling jokes in the park, children are able to record the voices of the characters and either make-believe or talk about real-world issues.

Many people ask if Toca Life World is a single-player or multiplayer game. Toca Life World is primarily a single-player game, but it does allow players to share their creations with friends.

It’s worth noting that there are plenty of things to buy. Whether you want to unlock the school, certain outfits, or have a new avatar generator, there is plenty to buy. Whilst, you do not need them to enjoy the game, players soon want the new locations, items, and add-ons.

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To that end, if you are one of those parents who have yet to discover Toca Life World online , then you should get this application today. The best part is that you can get this application free of charge and that by itself is a no-brainer.

There are a few concerns that parents and players should be aware of. Whilst some are mentioned above, I have summarized the main concerns below.

As a general rule, parents should always monitor their child’s use of mobile apps and games, and be aware of any potential concerns or risks.

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budimasnur1 April 27, 2023 Comment

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