TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Dally, Ortwin ED - Zimmermann, Norbert T1 - Visualization [DL/CT] T2 - The House of the Two Skeletons at Morgantina KW - Archaeology Y1 - 2023 SN - 978-3-447-11846-0 SP - 405 EP - 406 PB - Harrassowitz Verlag CY - Wiesbaden ET - 1 ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Cappellini, Vito T1 - The design of the tactile model of Pergamon T2 - Electronic Media & the Visual Arts 27 May 2024 Edited by Vito Cappellini KW - Archaeology Y1 - 2024 UR - http://digital.casalini.it/9788859624240 SN - 9788859624240 SP - 88 EP - 93 PB - Edizione Polistampa CY - Florenz ET - 1 ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Bowen, Jonathan T1 - The challenges of a tactile model with scientific uncertainty T2 - EVA London 2024 Proceedings KW - Archaeology Y1 - 2024 U6 - https://doi.org/10.14236/ewic/EVA2024.8 VL - 2024 SP - 39 EP - 44 PB - BCS The Chartered Institute for IT CY - London ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Morais, Rui ED - Centeno, Rui M. ED - Ferreira, Daniela T1 - An architect's view on antique vases and their paiting T2 - Myths, gods & heroes : Greek vases in Portugal = Mitos, deuses & heróis : vasos Gregos em Portuga KW - Archaeololgy Y1 - 2022 SN - 978-989-8183-25-5 SP - 292 EP - 305 PB - Imprensa da Universidade de Coimbra [u.a.] CY - Porto [u.a.] ET - 1 ER - TY - CHAP A1 - Lengyel, Dominik A1 - Kelly, Benjamin ED - Kelly, Benjamin ED - Hug, Angela T1 - Virtual Photography: Computer Visualizations as Architectural Hypotheses T2 - The Roman Emperor and his Court c. 30 BC–c. AD 300 KW - Archaeology Y1 - 2022 SN - 9781009063814 U6 - https://doi.org/10.1017/9781009063814 SP - 33 EP - 34 PB - Cambridge University Press CY - Cambridge ET - 1 ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine A1 - Locher, Hubert A1 - Henrich, Florian ED - Lengyel, Dominik ED - Toulouse, Catherine ED - Locher, Hubert ED - Henrich, Florian T1 - Architecture Transformed : das Forschungsprojekt T2 - Architecture Transformed : das digitale Bild in der Architektur 1980–2020 Y1 - 2023 SN - 978-3-98501-162-9 U6 - https://doi.org/10.11588/arthistoricum.1156.c15953 SP - 9 EP - 12 PB - arthistoricum.net CY - Heidelberg ET - 1 ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Lengyel, Dominik ED - Toulouse, Catherine ED - Locher, Hubert ED - Henrich, Florian T1 - Der Produktionsprozess des digitalen Bildes in der Architektur T2 - Architecture Transformed : das digitale Bild in der Architektur 1980–2020 Y1 - 2023 U6 - https://doi.org/10.11588/arthistoricum.1156.c15954 SP - 13 EP - 20 PB - arthistoricum.net CY - Heidelberg ET - 1 ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine A1 - Henrich, Florian ED - Lengyel, Dominik ED - Toulouse, Catherine ED - Locher, Hubert ED - Henrich, Florian T1 - Die Evolution des digitalen Bildes : das digitale Bild in der Architektur 1980–2020 T2 - Architecture Transformed : das digitale Bild in der Architektur 1980–2020 Y1 - 2023 SN - 978-3-98501-162-9 U6 - https://doi.org/10.11588/arthistoricum.1156.c15956 PB - arthistoricum.net CY - Heidelberg ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Krizič Roban, Sandra ED - Kovač, Leonida ED - Šeparović, Ana ED - Kuhar, Martin T1 - The construction of knowledge through virtual photography of Abstract Geometry T2 - FORMATS OF (NON)SEEING N2 - Photography is a position. It is the conscious composition of images in interaction with the scene in front of the camera and the technical options of its projection. The underlying relationship to photography in this paper is precisely this ideal one, since it is the same attitude, though under technically quite different conditions, namely the application of the methods of classical photography in virtual space. This method, called “virtual photography” by the authors, treats virtual space just as if it were physical reality. The aim of this self-restriction is the referentiality of the images thus created, trusting that their reception will thereby follow in the tradition of the reception of classical photography and that the images will thus be received as naturally as possible. This, in turn, is intended to ensure that the content of the images is the focus of perception. For the pictures are about complex spatial facts, not about imitating physical reality. This will be explained in the following. KW - Archaeology Y1 - 2024 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:hr:254:851635 SN - 9789533730424 SP - 334 EP - 347 PB - Institute of Art History CY - Zagreb ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Börner, Wolfgang ED - Rohland, Hendrik ED - Kral-Börner, Christina ED - Karner, Lisa T1 - The Visualisation of Unseen Planning States : The Planning and Building States of Early Bern Minster in Visual Comparison T2 - Artificial Intelligence : New Pathways Towards Cultural Heritage Y1 - 2022 U6 - https://doi.org/10.11588/propylaeum.1045.c14497 VL - 2022 SP - 173 EP - 182 PB - Propylaeum CY - 1 ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Franco, Francesca ED - Burbano, Andres T1 - Media Art as a Mediator of Scientific Uncertainty T2 - RE:SOURCE - The 10th International Conference on the Histories of Media Art, Science and Technology - Proceedings N2 - Art changes perception, and just as it is difficult to grasp the concept of art, it is equally difficult to exclude adjacent fields. Design is such a term, and when it comes to architecture, traditionally commonly referred to as a discipline between art and science, but in fact at least as much between applied technology and engineering, the transitions become increasingly fluid. In the case presented here, we are dealing with an expansion of the term design into the interdisciplinary area between the architecture that conceives and finds form and the humanities disciplines of archaeology, historical building research and art history. The fact that the results of these highly fruitful collaborations are essentially concretised through the use of new media, and that they neither correspond to the mainstream nor can be adequately received without some degree of openness to abstract art as well, makes them appear as media art in this respect. The key to archaeology, however, lies in its scientific nature: not only is archaeological knowledge fragmentary, but here this becomes particularly evident. The interpretation of finds in the sense of a spatial hypothesis of an architectural structure on the basis of a few fragments is a generation of knowledge that is inevitably based on conclusions of varying firmness and on analogies. These are hypothetical, but precisely scientifically based and by no means merely speculative. Generally formulated verbally, entire cities that have long since disappeared are described in this way within the limits of what is scientifically justifiable, but just usually only described, not illustrated. It is often conceded that too little is known to visualise it. The misconception lies in the practice that archaeological hypotheses are often visualised in a form familiar to the film or games industry, namely photorealistically and thus highly speculative. But if the objective of visualisation is to visualise the actual scientific hypothesis, to translate the verbal hypothesis as faithfully as possible from the text into the image, then visual translation cannot avoid translating those abstractions that are completely natural in language into the image as well. But this act, the creation of visual artefacts, abstract in form and content, is a creative act of design, as is inherent in all formally creative disciplines from architecture to design to art. It is perhaps more of an applied art, but this term is also already occupied and falls short here. In the end, the visualisation of scientifically based hypotheses of archaeology is a phenomenon that the authors call visualisation and uncertainty, a kind of media art whose content is a transferred, if not subtle, mediation of architectural intentions. This initiates a development that opens up a new field of activity for media art and thus contributes to the creation of future memories. The paper illustrates this method by means of selected projects that have been created in close collaboration with research and cultural institutions and have been exhibited in renowned museums, including Cologne Cathedral, Bern Minster, the Palatine in Rome, Pompeii, Pergamon, Jerusalem and more. KW - knowledge KW - uncertainty KW - archaeology KW - architecture KW - design KW - abstraction KW - virtual photography Y1 - 2024 UR - https://drive.google.com/file/d/1-tTEKj5ZVbrU3Btq_FZu9orn1iaf_L5x/view SN - 979-12-210-6571-8 N1 - Nur Abstract. Das PDF zu den Proceedings kann gern per Mail bereitgestellt werden. Autor SP - 658 EP - 659 CY - Venezita, Italy ER -