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    <title language="eng">Designing Naga's Vision</title>
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    <publisherName>Kettler</publisherName>
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      <firstName>Dominik</firstName>
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    <publisherName>von Zabern</publisherName>
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      <firstName>Dominik</firstName>
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      <firstName>Dominik</firstName>
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      <firstName>Sebastian</firstName>
      <lastName>Ristow</lastName>
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    <title language="deu">Die Bauphasen des Kölner Doms</title>
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    <publisherName>Verlag Philipp von Zabern</publisherName>
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    <volume>65</volume>
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    <publisherName/>
    <publisherPlace/>
    <creatingCorporation/>
    <contributingCorporation>Leibniz-Institut für Wissensmedien</contributingCorporation>
    <belongsToBibliography>0</belongsToBibliography>
    <completedDate>2017-02-15</completedDate>
    <publishedDate>--</publishedDate>
    <thesisDateAccepted>--</thesisDateAccepted>
    <title language="eng">Designing computer-based learning contents: influence of digital zoom on attention</title>
    <abstract language="eng">In the present study, we investigated the role of digital zoom as a tool for directing attention while looking at visual learning material. In particular, we analyzed&#13;
whether minimal digital zoom functions similarly to a rhetorical device by cueing mental zooming of attention accordingly. Participants were presented either static film clips, film clips with minimal zoom-ins, or film clips with minimal zoom-outs while eye movements were recorded. We hypothesized that minimal zoom-ins should lead to more gaze&#13;
coherence, to longer dwell times as an indicator of more elaborative processing, and to fewer transitions as an indicator of less mental integration. Zoom-outs, on the other hand, were expected to have opposite effects. Results showed that zoom-ins increase gaze coherence and dwell times on the center parts of the depictions while decreasing transitions&#13;
of pictorial elements from the center and the context areas. In contrast, patterns of results from zoom-outs and static presentations were similar to a large degree, indicating that&#13;
zoom-ins and zoom-outs do not operate in a complementary fashion. Theoretical and practical implications of the present results are discussed.</abstract>
    <parentTitle language="eng">Educational Technology Research and Development</parentTitle>
    <identifier type="doi">10.1007/s11423-016-9495-9</identifier>
    <identifier type="issn">1042-1629</identifier>
    <identifier type="issn">1556-6501</identifier>
    <enrichment key="BTU">an der BTU erstellt / created at BTU</enrichment>
    <author>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </author>
    <submitter>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </submitter>
    <author>
      <firstName>Catherine</firstName>
      <lastName>Toulouse</lastName>
    </author>
    <author>
      <firstName>Manuela</firstName>
      <lastName>Glaser</lastName>
    </author>
    <author>
      <firstName>Stephan</firstName>
      <lastName>Schwan</lastName>
    </author>
    <subject>
      <language>eng</language>
      <type>uncontrolled</type>
      <value>Visualisation</value>
    </subject>
    <collection role="institutes" number="6206">FG Architektur und Visualisierung</collection>
  </doc>
  <doc>
    <id>18655</id>
    <completedYear/>
    <publishedYear>2016</publishedYear>
    <thesisYearAccepted/>
    <language>eng</language>
    <pageFirst>479</pageFirst>
    <pageLast>524</pageLast>
    <pageNumber/>
    <edition/>
    <issue/>
    <volume>6</volume>
    <type>articler</type>
    <publisherName/>
    <publisherPlace/>
    <creatingCorporation/>
    <contributingCorporation>Excellence Cluster TOPOI</contributingCorporation>
    <belongsToBibliography>0</belongsToBibliography>
    <completedDate>2017-02-15</completedDate>
    <publishedDate>--</publishedDate>
    <thesisDateAccepted>--</thesisDateAccepted>
    <title language="eng">Authenticity and Communication</title>
    <abstract language="eng">Authenticity is not an absolute and constant quality inherent in an object or an experience; it is constructed in the process of research. Actors inscribe and attribute it to both material objects and subjective processes like communication and consumption. This article from the research group seeks on the one hand to reflect on the historical scope of action and action patterns among actors from various disciplines between the conflicting priorities of authentication and communication, and on the other to find ways to visualize and operationalize attribution processes through joint reflection. When we look at both history and the discussions fifty years after the Venice Charter, its idea to hand on historic monuments “in the full richness of their authenticity” has turned into an abundance of vibrant action&#13;
and decision-making.</abstract>
    <parentTitle language="eng">eTOPOI Journal for Ancient Studies</parentTitle>
    <identifier type="url">http://journal.topoi.org/index.php/etopoi/article/view/263</identifier>
    <identifier type="issn">2192-2608</identifier>
    <enrichment key="BTU">an der BTU erstellt / created at BTU</enrichment>
    <author>
      <firstName>Friederike</firstName>
      <lastName>Fless</lastName>
    </author>
    <submitter>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </submitter>
    <author>
      <firstName>Bernhard</firstName>
      <lastName>Graf</lastName>
    </author>
    <author>
      <firstName>Ortwin</firstName>
      <lastName>Dally</lastName>
    </author>
    <author>
      <firstName>Ute</firstName>
      <lastName>Franke</lastName>
    </author>
    <author>
      <firstName>Christine</firstName>
      <lastName>Gerbich</lastName>
    </author>
    <author>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </author>
    <author>
      <firstName>Matthias</firstName>
      <lastName>Knaut</lastName>
    </author>
    <author>
      <firstName>Claudia</firstName>
      <lastName>Näser</lastName>
    </author>
    <author>
      <firstName>Bénédicte</firstName>
      <lastName>Savoy</lastName>
    </author>
    <author>
      <firstName>Laura Katharina</firstName>
      <lastName>Steinmüller</lastName>
    </author>
    <author>
      <firstName>Katharina</firstName>
      <lastName>Steudtner</lastName>
    </author>
    <author>
      <firstName>Moritz</firstName>
      <lastName>Taschner</lastName>
    </author>
    <author>
      <firstName>Catherine</firstName>
      <lastName>Toulouse</lastName>
    </author>
    <author>
      <firstName>Stefan</firstName>
      <lastName>Weber</lastName>
    </author>
    <subject>
      <language>eng</language>
      <type>uncontrolled</type>
      <value>Visualisation</value>
    </subject>
    <collection role="institutes" number="6206">FG Architektur und Visualisierung</collection>
  </doc>
  <doc>
    <id>18657</id>
    <completedYear/>
    <publishedYear>2016</publishedYear>
    <thesisYearAccepted/>
    <language>eng</language>
    <pageFirst>403</pageFirst>
    <pageLast>408</pageLast>
    <pageNumber/>
    <edition/>
    <issue/>
    <volume/>
    <type>bookpart</type>
    <publisherName>Gangemi Editore</publisherName>
    <publisherPlace>Firenze</publisherPlace>
    <creatingCorporation/>
    <contributingCorporation>Unione Italiana del Disegno</contributingCorporation>
    <belongsToBibliography>0</belongsToBibliography>
    <completedDate>2017-02-15</completedDate>
    <publishedDate>--</publishedDate>
    <thesisDateAccepted>--</thesisDateAccepted>
    <title language="eng">The consecution of uncertain knowledge, hypotheses and the design of abstraction</title>
    <abstract language="eng">In archaeology and building history, uncertain knowledge spans from the interpolation of findings to contradictory equivalent hypotheses. The visual reflection of this scientific uncertainty explicitely visualizes this. In case of extensive uncertainty this leads to a decidedly abstract visual appearance. Two classical fields of architectonic design – abstract virtual modeling and virtual photography – are responsible for the design of abstraction.&#13;
 &#13;
In general, visualisations of archaeological hypotheses are regarded as digital reconstructions that implicite the representation of lost architecture by a digital substitution. Reconstructions though implicite the general possibility of reconstructing and neglect the lack of knowledge in favour of a vivid, visually attractive and immersive and easy to understand compensatory phantasy world that barely resembles the archaeologists’ hypotheses but is overwhelmed by pure phantasy. The extreme escalation of this approach is reached by computer games and approximated by a number of illustrious archaeological sites: Barcino 3D (www.bcn.cat/cultura/serveiarqueologia/index.html), Versailles 3D (www.versailles3d.com), Paris 3D (paris.3ds.com), Rome Reborn (romereborn.frischerconsulting.com), Colonia 3D (archaeologie.uni-koeln.de/node/299)&#13;
&#13;
A number of archaeological projects’ hypotheses have been analyzed to extract spatial information to be transformed into abstract forms up to the archaeologists confirmed accordance without contradiction.&#13;
&#13;
The design of abstracion aims at creating convincing images of architectural ideas without appending more content than necessary. This has been achieved for Excellence Cluster TOPOI exhibitions Pergamon and Palatine (Rome) as well as for Naga and Cologne Cathedral’s permanent installation.</abstract>
    <parentTitle language="ita">Le ragioni del disegno</parentTitle>
    <identifier type="isbn">978-88-492-3295-0</identifier>
    <enrichment key="BTU">an der BTU erstellt / created at BTU</enrichment>
    <author>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </author>
    <editor>
      <firstName>Stefano</firstName>
      <lastName>Bertocci</lastName>
    </editor>
    <submitter>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </submitter>
    <author>
      <firstName>Catherine</firstName>
      <lastName>Toulouse</lastName>
    </author>
    <editor>
      <firstName>Marco</firstName>
      <lastName>Bini</lastName>
    </editor>
    <subject>
      <language>ita</language>
      <type>uncontrolled</type>
      <value>Visualizzazione</value>
    </subject>
    <collection role="institutes" number="6206">FG Architektur und Visualisierung</collection>
  </doc>
  <doc>
    <id>18649</id>
    <completedYear/>
    <publishedYear>2016</publishedYear>
    <thesisYearAccepted/>
    <language>deu</language>
    <pageFirst>91</pageFirst>
    <pageLast>98</pageLast>
    <pageNumber/>
    <edition/>
    <issue>2</issue>
    <volume/>
    <type>articler</type>
    <publisherName/>
    <publisherPlace/>
    <creatingCorporation/>
    <contributingCorporation/>
    <belongsToBibliography>0</belongsToBibliography>
    <completedDate>2017-02-15</completedDate>
    <publishedDate>--</publishedDate>
    <thesisDateAccepted>--</thesisDateAccepted>
    <title language="deu">Die digitale Visualisierung von Architektur</title>
    <abstract language="deu">Der Beitrag widmet sich der digitalen Visualisierung von archäologischen Baubefunden und den damit verbundenen grundlegenden Möglichkeiten und Problemen. Was kann die digitale Visualisierung von Architektur im Kontext der 3D-Digitalisierung in der Archäologie leisten? Die Frage ist vor allem deshalb nicht leicht zu beantworten, weil viele Begriffe nicht eindeutig verwendet werden und vor allem&#13;
in dieser Konstellation unterschiedlichste Assoziationen&#13;
auslösen. Es geht schließlich nicht um Archäologie oder Architektur als Ganzes, sondern eben um die Schnittstelle im Kontext der allumfassenden Digitalisierung.</abstract>
    <parentTitle language="deu">Blickpunkt Archäologie</parentTitle>
    <identifier type="issn">2364-4796</identifier>
    <enrichment key="BTU">an der BTU erstellt / created at BTU</enrichment>
    <author>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </author>
    <submitter>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </submitter>
    <author>
      <firstName>Catherine</firstName>
      <lastName>Toulouse</lastName>
    </author>
    <subject>
      <language>deu</language>
      <type>uncontrolled</type>
      <value>Visualisierung</value>
    </subject>
    <collection role="institutes" number="6206">FG Architektur und Visualisierung</collection>
  </doc>
  <doc>
    <id>19196</id>
    <completedYear/>
    <publishedYear>2016</publishedYear>
    <thesisYearAccepted/>
    <language>eng</language>
    <pageFirst>1</pageFirst>
    <pageLast>16</pageLast>
    <pageNumber/>
    <edition/>
    <issue/>
    <volume/>
    <type>conferenceobject_ref</type>
    <publisherName>Museen der Stadt Wien – Stadtarchäologie</publisherName>
    <publisherPlace>Wien</publisherPlace>
    <creatingCorporation/>
    <contributingCorporation>Museen der Stadt Wien – Stadtarchäologie</contributingCorporation>
    <belongsToBibliography>0</belongsToBibliography>
    <completedDate>2017-03-12</completedDate>
    <publishedDate>--</publishedDate>
    <thesisDateAccepted>--</thesisDateAccepted>
    <title language="eng">The consecution of uncertain knowledge, hypotheses and the design of abstraction</title>
    <abstract language="eng">The paper describes the necessity of architectural design in the process of creating abstract geometry as representation of archaeological hypoth eses in opposition to pretended reconstructions. Methodology: How were the objectives reached? Which methods were used? Knowledge in archaeology, building or art history is generally of largely different certainty including contradictions and multivalencies, which unambiguou sly excludes true reconstructions in the sense that the reconstruction equals its origin. Instead there is a number of hypotheses that approximate the historic state. The visualisation of hypotheses with a special regard on uncertain knowledge, i. e. respecting and explicitely showing this uncertainty, is a counter position towards pretended reconstructions. &#13;
Results: What are the results of the work? A number of projects e.g. in cooperation with the German Archaeological Institute DAI, the State’s Museums in Berlin SMB (e.g. the first scientific 3D model of Pergamon and the Palatine palace in Rom, both presented in the Pergamon Museum Berlin), the Museum for Islamic Art Berlin (e. g. the Sasanian metropole Ktesiphon), funded by the German Research Foundation DFG and as  part of the DFG Excellence Cluster TOPOI (mainly hosted by the universities FU Berlin and HU Berlin) that successfully visually mediated the state of science and its scientific characteristics among the scientists as well as to the public. Innovations: What is new and significant about your ideas, methods, and results? The visualisation of hypotheses has a higher scientific impact incorporating uncertain knowledge as in&#13;
evitable characteristic of science. One way of visually expressing different possible states in one image is the use of abstract geometry. This implies a highly qualified &#13;
handling of abstract geometry (model making) and imagery architectural photography) being a creative act of design with effect on the inner-scientific and public perception of the historic topic. So qualified architectural design makes the difference.</abstract>
    <parentTitle language="eng">International Conference on  Cultural Heritage and New Technologies, Vienna, 2015</parentTitle>
    <identifier type="isbn">978-3-200-04698-6</identifier>
    <identifier type="url">http://www.chnt.at/wp-content/uploads/eBook_CHNT20_Lengyel_Toulouse_2015.pdf</identifier>
    <enrichment key="BTU">an der BTU erstellt / created at BTU</enrichment>
    <author>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </author>
    <editor>
      <firstName>Wolfgang</firstName>
      <lastName>Börner</lastName>
    </editor>
    <submitter>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </submitter>
    <author>
      <firstName>Catherine</firstName>
      <lastName>Toulouse</lastName>
    </author>
    <editor>
      <firstName>Susanne</firstName>
      <lastName>Uhlirz</lastName>
    </editor>
    <subject>
      <language>eng</language>
      <type>uncontrolled</type>
      <value>Visualisation</value>
    </subject>
    <collection role="institutes" number="6206">FG Architektur und Visualisierung</collection>
  </doc>
  <doc>
    <id>19197</id>
    <completedYear/>
    <publishedYear>2017</publishedYear>
    <thesisYearAccepted/>
    <language>eng</language>
    <pageFirst>403</pageFirst>
    <pageLast>408</pageLast>
    <pageNumber/>
    <edition/>
    <issue/>
    <volume/>
    <type>conferenceobject</type>
    <publisherName>Gangemi Editore spa</publisherName>
    <publisherPlace>Rom</publisherPlace>
    <creatingCorporation/>
    <contributingCorporation>Unione Italiana per il Disegno</contributingCorporation>
    <belongsToBibliography>0</belongsToBibliography>
    <completedDate>2017-03-12</completedDate>
    <publishedDate>--</publishedDate>
    <thesisDateAccepted>--</thesisDateAccepted>
    <title language="eng">The consecution of uncertain knowledge, hypotheses  and the design of  abstraction</title>
    <abstract language="eng">In archaeology and building history, uncertain knowledge spans from the interpolation of findings to contradictory equivalent hypotheses. The visual reflection of this scientific uncertainty explicitely visualizes this. In case of extensive uncertainty this leads to a decidedly abstract visual appearance. Two classical fields of architectonic design – abstract virtual modeling and virtual photography – are responsible for the design of abstraction.&#13;
In general, visualisations of archaeological hypotheses are regarded as digital reconstructions that implicite the representation of lost architecture by a digital substitution. Reconstructions though implicite the general possibility of reconstructing and neglect the lack of knowledge in favour of a vivid, visually attractive and immersive and easy to understand compensatory phantasy world that barely resembles the archaeologists’ hypotheses but is overwhelmed by pure phantasy. The extreme escalation of this approach is reached by computer games and approximated by a number of illustrious archaeological sites: Barcino 3D (www.bcn.cat/cultura/serveiarqueologia/index.html), Versailles 3D (www.versailles3d.com), Paris 3D (paris.3ds.com), Rome Reborn (romereborn.frischerconsulting.com), Colonia 3D (archaeologie.uni-koeln.de/node/299)&#13;
A number of archaeological projects’ hypotheses have been analyzed to extract spatial information to be transformed into abstract forms up to the archaeologists confirmed accordance without contradiction.&#13;
The design of abstracion aims at creating convincing images of architectural ideas without appending more content than necessary. This has been achieved for Excellence Cluster TOPOI exhibitions Pergamon and Palatine (Rome) as well as for Naga and Cologne Cathedral’s permanent installation.</abstract>
    <parentTitle language="ita">Le ragioni del Disegno: Pensiero, Forma e Modello nella Gestione della Complessità, Atti del 38° convegno internazionale dei Docenti della Rappresentazione</parentTitle>
    <identifier type="isbn">978-88-492-8295-5</identifier>
    <enrichment key="BTU">an der BTU erstellt / created at BTU</enrichment>
    <author>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </author>
    <editor>
      <firstName>Stefano</firstName>
      <lastName>Bertocci</lastName>
    </editor>
    <submitter>
      <firstName>Dominik</firstName>
      <lastName>Lengyel</lastName>
    </submitter>
    <author>
      <firstName>Catherine</firstName>
      <lastName>Toulouse</lastName>
    </author>
    <editor>
      <firstName>Marco</firstName>
      <lastName>Bini</lastName>
    </editor>
    <subject>
      <language>eng</language>
      <type>uncontrolled</type>
      <value>Visualisation</value>
    </subject>
    <collection role="institutes" number="6206">FG Architektur und Visualisierung</collection>
  </doc>
</export-example>
