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One of the major public health measures to manage and contain the outbreak of the COVID-19 pandemic was to engage in systematic contact tracing, which required gastronomy, community and sporting venues to keep patron registers. Stand-alone and web-based applications, developed by a range of private IT providers, soon replaced pen-and-paper lists. With the introduction of a uniform, state-wide, mandatory data collection system, these private applications became obsolete. Although only active for four months, these applications paved the way for the public acceptance of state-administered collection systems that allowed for an unprecedented, centralized tracking system of the movements of the entire population. This paper discusses the cultural significance of these applications as a game changer in the debate on civil liberties, and addresses the question of how the materiality, or lack thereof, of this digital heritage affects the management of ephemeral smartphone applications, and its preservation for future generations.

This article aims to investigate how participatory design influences interdisciplinary relationships in digital heritage projects. In particular, the article reflects on opportunities and challenges of interdisciplinary encounters in participatory design, with the cross-border project “Terra Mosana” as a case study, which aims to investigate, digitalize, and communicate the shared heritage of the Meuse–Rhine Euregion (EMR). Terra Mosana is a collaboration between multiple partners from municipalities, museums, cultural heritage sites, and universities in different EMR cities. Partners of the project have different backgrounds that vary from archaeologists, historians, and heritage professionals to computer scientists, developers, and communication specialists. My role in this project focused on designing and organizing several participatory design workshops with citizens of the EMR, aiming to empower and enable them to share their views about their shared history, and what they want from museums and other cultural institutions. Those workshops play a crucial role in the project by creating meaningful connections across the different disciplines involved in the project. In this article, I focus on the negotiation processes between the partners involved: What challenges were they confronted with? How did they arrive at creative solutions, and which issues remained unresolved? My analysis does not draw only on my participatory observation of workshops, but also on a focus group discussion that invited the partners to reflect on and assess the collaborative process.

Esta investigación tiene como objetivo principal reflexionar sobre la efectividad de las aplicaciones de arqueología virtual en públicos escolares para la comprensión y el aprendizaje del patrimonio arqueológico con el fin de aprehender de qué manera las tecnologías, como la Realidad Aumentada y la Realidad Virtual, pueden aportar un valor añadido a las propuestas educativas realizadas por museos y sitios arqueológicos que no cuentan con esta inclusión. El análisis exploratorio del caso se realiza en el Museo del Mar de Santa Pola (España) que ha desarrollado este tipo de aplicaciones en el yacimiento arqueológico romano que gestiona, el Portus Ilicitanus. The main objective of this research is to reflect on the effectiveness of virtual archaeology applications in school audiences for the understanding and learning of archaeological heritage. This is intended to appreciate how technologies such as Augmented Reality and Virtual Reality can add value to the educational proposals made by museums and archaeological sites that do not have this inclusion. The exploratory analysis of the case is carried out at the Santa Pola Sea Museum (Spain), which has developed this type of applications in the Roman archaeological site it manages, the Portus Ilicitanus.

This paper presents the results of a multidisciplinary research project carried on during the Covid-19 Pandemic and supported by TÜBİTAK (The Scientific and Technological Research Council of Turkey). The results are gathered from six months of field and office work, as the project was limited with this period. The archaeological site of Letoon in Muğla/Turkey has been chosen as the test area, specifically the triple temples of Leto, Apollo, and Artemis. Photogrammetric reconstruction of the current situation, as well as archaeologically accurate 3D models, have been created and converted into interactive immersive VR content to measure consumer behaviour and experience. These two different types of 3D content are integrated into the VR environment both separately and as a single content with switching from one to the other. After the creation process, the content was experienced by the visitors with different demographic characteristics and a survey was conducted to measure this experience.

The purpose of the article is to analyze the peculiarities of the formation of digital thanatology as one of the new areas of scientific research, to outline its subject field, to operationalize the basic concepts, to make some adjustments to the conceptual apparatus of traditional thanatology (“Death Studies”). The research methods are based on socio-communicative, systemic, historical and genetic approaches and the principles of digital humanities. The article also uses the methods of historiographical and source research, analysis of specialized publications on the research topic, descriptive approach, content analysis, etc. The scientific novelty of the work lies in the fact that one of the first attempts to explicate the problem of “digital death and immortality” and to analyze the peculiarities of the formation of digital thanatology was made in the Ukrainian scientific discourse. Against the backdrop of the Russian-Ukrainian war, the author distinguishes the conceptualization of Ukraine’s cultural memory, the subject of which is the current state of the memorial landscape of Ukrainian culture as a complex, multilayered, heterogeneous entity, of which the digital memorial landscape is a significant structural element. Conclusions. In digital reality, technologies create social relations, ranging from gadgets to nanotechnology, affecting both the process of dying and the ideas of death and immortality in their two modes – real and digital. It is about constructing common semantic boundaries within which not only death and immortality, the study of which is fundamentally impossible but also mediated relations, that is, the process of building relationships in collaboration with various fields of scientific knowledge. That is why “digital death and immortality” as a subject of study is a fundamentally interdisciplinary problem, and digital death studies are emerging as a specific cross-disciplinary field of research into the phenomenon of death in the digital environment. The overview of previous research on digital death and immortality provides an appropriate context for scientific work. It allows us to identify and develop promising areas for further studies, which are especially relevant against the backdrop of the Russian-Ukrainian war., Мета статті – проаналізувати особливості становлення цифрової танатології як одного з нових напрямів наукових досліджень, окреслити її предметне поле, здійснити операціоналізацію базових понять; провести деяку корекцію понятійного апарату традиційної танатології («Death Studies»). Методи дослідження базуються на соціокомунікативному, системному й історико-генетичному підходах, а також на принципах цифрової гуманітаристики. У статті також використано методи історіографічного та джерелознавчого пошуку, аналізу профільних публікацій з теми дослідження, дескриптивного підходу, контент-аналізу та ін. Наукова новизна роботи полягає в тому, що в українському науковому дискурсі здійснено одну з перших спроб експлікації проблеми «цифрової смерті та безсмертя», аналізу особливостей становлення цифрової танатології. На тлі російсько-української війни виокремлено концептуалізацію культурної пам’яті України, предметом якої є сучасний стан меморіального ландшафту української культури як складного, багатошарового, різнорідного утворення, вагомим структурним елементом якого є цифровий меморіальний ландшафт. Висновки. У цифровій реальності технології створюють соціальні відносини, починаючи від гаджетів та закінчуючи нанотехнологіями, що торкаються як процесу вмирання, так і уявлень про смерть і безсмертя у двох їхніх модусах – реальному та цифровому. Ідеться про конструювання загальних смислових меж, усередині яких не просто смерть і безсмертя, вивчення сутності яких є принципово неможливим, а опосередковані відносини, тобто процес побудови стосунків у колаборації з різними галузями наукового знання. І тому «цифрова смерть і безсмертя» як предмет досліджень – проблема принципово міждисциплінарна, а digital death studies формується як особливе міждисциплінарне поле дослідження феномена смерті в цифровому середовищі. Представлений огляд попередніх досліджень цифрової смерті і безсмертя забезпечує відповідний контекст для наукових робіт і дає змогу виявити та розробити перспективні напрями наступних досліджень, що є особливо актуальним на тлі російсько-української війни.

The purpose of the articleis to analyze the peculiarities of the formation of digital thanatology as one of the new areas of scientific research, to outline its subject field, to operationalize the basic concepts, to make some adjustments to the conceptual apparatus of traditional thanatology (“Death Studies”). The research methodsare based on socio-communicative, systemic, historical and genetic approaches and the principles of digital humanities. The article also uses the methods of historiographical and source research, analysis of specialized publications on the research topic, descriptive approach, content analysis, etc. The scientific noveltyof the work lies in the fact that one of the first attempts to explicate the problem of “digital death and immortality” and to analyze the peculiarities of the formation of digital thanatology was made in the Ukrainian scientific discourse. Against the backdrop of the Russian-Ukrainian war, the author distinguishes the conceptualization of Ukraine’s cultural memory, the subject of which is the current state of the memorial landscape of Ukrainian culture as a complex, multilayered, heterogeneous entity, of which the digital memorial landscape is a significant structural element. Conclusions.In digital reality, technologies create social relations, ranging from gadgets to nanotechnology, affecting both the process of dying and the ideas of death and immortality in their two modes – real and digital. It is about constructing common semantic boundaries within which not only death and immortality, the study of which is fundamentally impossible but also mediated relations, that is, the process of building relationships in collaboration with various fields of scientific knowledge. That is why “digital death and immortality” as a subject of study is a fundamentally interdisciplinary problem, and digital death studies are emerging as a specific cross-disciplinary field of research into the phenomenon of death in the digital environment. The overview of previous research on digital death and immortality provides an appropriate context for scientific work. It allows us to identify and develop promising areas for further studies, which are especially relevant against the backdrop of the Russian-Ukrainian war.

The collection of Fotopersbureau De Boer (Noord-Hollands Archief) is particularly notable for its abundance of subjects and size. It contains valuable material for research on current topics such as environment, energy, and social inequality, and provides a glimpse into the everyday lives of people. Although the collection is accessible at the archive's website, it cannot easily be used due to its lack of standardisation and the omission of external references. This project will enrich the metadata of the collection by linking them to thesauri of locations, persons, and keywords in order to further open up the collection for use in research and the cultural heritage sector. This newly added information will be stored back into the collection management system of the archive for sustainable storage. When completed, the project delivers a download of all the curated and enriched metadata as spreadsheet (CSV), as well as Linked Open Data (RDF). This poster was presented at the CLARIAH Tech & Data Day, June 29, 2023., This project is a collaboration between the University of Amsterdam (UvA) and the Noord-Hollands Archief (NHA). The research for this poster was made possible by the CLARIAH-PLUS project financed by NWO (Grant 184.034.023)

Digital Revolution is strongly impacting the safeguarding and enhancement of Cultural Heritage through the techniques and tools available for its documentation and communication. Specifically, modern heritage is a potentially fertile laboratory of work in this field because of the availability of the documental, physical, and oral sources required for its critical study and interpretation. This article aims to present an integrated methodology supported by combined techniques for the comprehensive digital documentation of modern architecture implemented on 18 buildings of Álvaro Siza included in the World Heritage Tentative List since 2017 supported on combined techniques: i) photogrammetry; ii) virtual tours through 360º photos; iii) didactic models in BIM iv) other digital tools, such as virtual reality. This holistic and integrated multi-methods approach provides better documentation and communication of the attributes of the Outstanding Universal Value (OUV), as well as of Alvaro Siza’s design principles as a guiding framework for the future management of change. info:eu-repo/semantics/publishedVersion

This paper addresses the concerns of the digital heritage field by setting out a series of recommendations for establishing a workflow for 3D objects, increasingly prevalent but still lacking a standardized process, in terms of long-term preservation and dissemination. We build our approach on interdisciplinary collaborations together with a comprehensive literature review. We provide a set of heuristics consisting of the following six components: data acquisition, data preservation, data description, data curation and processing, data dissemination, as well as data interoperability, analysis and exploration. Each component is supplemented by suggestions for standards and tools, which are either already common in 3D practices or represent a high potential component seeking consensus to formalize a 3D environment fit for the Humanities, such as efforts carried out by the International Image Interoperability Framework (IIIF). We then present a conceptual high-level 3D workflow which highly relies on standards adhering to the Linked Open Usable Data (LOUD) design principles.

The focus of the paper is on the digital transformation of the cultural heritage sector and the new opportunities for accessibility and democratisation. Using the MuseIT project as a case study, this paper explores the connection between inclusive cultural heritage and immersive technologies through the use of multisensory representations.

Presently, social cohesion (SC) is a priority at different levels. Cultural heritage is an ideal context to promote SC through interactive digital technologies designed to engage groups of visitors. The purpose of the present study is to identify how to design digital heritage applications for SC and how to measure it. The results are based on the design of a cultural probe kit used to identify the design elements on top of which a collaborative and hybrid prototype, the Brancacci POV, was developed. Here, we analysed the results of this prototype, which included 107 visitors with respective groups of 5 participants and guided by an expert. From this analysis, the possibility of strengthening SC when collaborative tasks are included emerged. Additionally, it appeared to be possible to shorten the distance between citizens and cultural institutions if “mediated dialogue” approaches were adopted and if focus, motivation, trust and “in-group” perception of inclusion emerge when digital heritage experiences were set in intimate and quiet environments.

dHUpla (Digital Humanities Platform)

La presentazione affronta le complessità del processo di digitizzazione finalizzataalla creazione del digital heritage, con riferimento alle attività correttamente eseguite, alle professionalità necessarie per svolgerle e al ruolo fondamentale dei metadati nella valorizzazione culturale delle risorse digitali. L'intervento si inserisce all'interno del webinarAIB:La digitalizzazione dei fondi speciali e di persona. Valorizzare la complessità,https://www.aib.it/struttura/sezioni/emilia-romagna/2023/104783-la-digitalizzazione-dei-fondi-speciali-e-di-persona-valorizzare-la-complessita-webinar/

Heritage is the physical evidence of human existence and expression with resounding benefits to society and communities. However, an ever-changing world presents constant threats, risking heritage’s destruction or loss. 3D digitisation preserves physical heritage through its reconstitution to digital, augmenting the potential for dissemination within the digital domain. A disconnect between museums and emergent technologies presents a challenge for democratised 3D digitisation and management. Yet, museums and their communities are agents for transformation invested in heritage permanence, with digital literacies to suggest synergies with adapted 3D processes and engagement. An opportunity for intervention to support preservation of heritage through 3D digitisation while facilitating its promotion through engagement with emergent and immersive technologies is investigated in this thesis. Unexpectedly, COVID-19 caused major global disruption, threatening to destabilise connections to heritage and undermine functionalities of museums within their communities. Response to COVID-19 initiated innovation, leading to modified design for applicable stakeholder response. This dissertation investigates how application of accessible strategies empowers communities to actively engage with their heritage as 3D digital assets in a time of disruption. Practice-based research methodologies informed collaborative innovation with stakeholders and end users at various intersections of 3D preservation and promotion. Design of infrastructures and processes aid in engagement through laboratory research, deployed prototypes, and recognition of demands from COVID-19. Strategies for Preserving Heritage through Engagement Representation and Archiving (SPHERA) supports engagement with 3D assets through its Pillars, including creation of digital content, digital skills development and knowledge exchange, and infrastructures to facilitate digital heritage curation and engagement. Guiding Principles and best Practice workflows support implementation of SPHERA as part of original contributions for this dissertation. Leveraging emergent technologies for communities and museums to preserve and promote heritage improves engagement and accessibility with consequential social benefits and wellbeing, and is an area of potential for the future.

Webinar May 9th 2023. Presentation of resultsfrom a research and development project byt the Swedish National Heritage Board aimed atinvestigating how to implement FAIR data processes in everyday practices at theHeritage Laboratory. Goals: Identifyrelevant controlled vocabularies forHeritage Science projects Curate a list with pre-selected options for common metadata and authorities based on this list Develop guidance to good practice for research data management, relevant to the Heritage Laboratory The presentation also discusses Open Science, FAIR and linked data, the intersection of research data and digitalisation of collections andissues facing researchers both within and ouside of Academia. The results have also been published in a report (in Swedish)

Este trabalho pretende evidenciar a linha tênue existente entre a sucessão de bens incorpóreos economicamente relevantes e daqueles que auferem de valor sentimental, face aos direitos inerentes à personalidade humana, defendida constitucionalmente. Essa temática alavancada pela revolução tecnológica, traço mais característico da contemporaneidade, se encontra desamparada pelo ordenamento jurídico brasileiro, no sentido de que, por se tratar de fatos sociais extremamente específicos esui generis, a eles seria ineficaz a aplicação das regras sucessórias vigentes. Acentua-se, no decorrer da pesquisa, a urgência de disposições legislativas que amparem o instituto da herança digital, diante da necessidade de normas que não deixem de observar o direito à personalidade do de cujus, garantindo maior segurança jurídica aos envolvidos na relação.&nbsp

This report aims to produce issue reports of how copyright exceptions and other permitted uses are understood and applied by documentary film makers and immersive digital heritage practitioners in the Netherlands and the UK. For this purpose, transcriptions or written accounts were made of the four online workshops that were undertaken for MS3. On the basis of these transcriptions and accounts, four issue reports were produced that describe the most pressing copyright issues that documentary film makers and immersive digital heritage practitioners face when making documentary films or creating immersive experiences, taken into account the existing copyright exceptions and other permitted uses in the Netherlands and the UK.

Sinds 2020 wordt bij het NIOD in het project ‘Oorlog uit Eerste Hand: Oorlogsbrieven (1935-1950) van het NIOD digitaal’ gewerkt aan de digitalisering van de bijzondere collectie handgeschreven brieven uit de periode voor, tijdens en na de Duitse bezetting van Nederland en de Onafhankelijkheidsoorlog in Indonesië. Het gaat binnen dit project om meer dan 160.000, vaak persoonlijke documenten die sinds de bevrijding in 1945 bij het NIOD zijn verzameld. Tijdens de campagneweek ‘Postbus NIOD’ (31 maart – 7 april 2023) roept het NIOD iedereen op om persoonlijke oorlogscorrespondentie die nog op zolders bij mensen thuis ligt te versloffen aan het NIOD te doneren.

With the advent of digital technology, emergent media such as smart tablets, immersive multi-projector installations, augmented reality, and virtual reality are increasingly integrated into museums...

As a result of the post-pandemic situation, enhancing digital heritage services has become one of the key issues for the recovery of tourism. Disruptive innovation in human–computer interaction technology has brought new opportunities for digitalization and intelligent transformation in the contemporary cultural tourism industry. Existing research on the adoption behavior of digital heritage services primarily focuses on users’ assessments of behavior results. There is a considerable gap in research about the interaction and value co-creation between users and digital intelligence services and users’ cognitive construction logic of digital heritage services. Following reciprocal determinism, we propose a conceptual model to deconstruct the detailed transmission path of interactive affordance and sensory affordance to digital heritage adoption. In Study 1, a lab experiment in an AI-assisted smart screen digital heritage service context revealed that interactive affordance and user adoption of digital heritage services were partially mediated by psychological distance. Findings from a between-subject online experiment in Study 2 confirmed that embodied cognition and psychological distance play a parallel intermediary role in the impact of sensory affordance on adoption. In Study 3, a lab experiment in a VR-based digital museum context further verified that information overload moderates the influence of embodied cognition on psychological distance. This research reveals the deep-bounded, rational decision-making logic of digital heritage service adoption and provides significant practical enlightenment for the optimization of the affordance experience.

We propose a semi-automatic Scan-to-BIM reconstruction approach, making the most of Artificial Intelligence (AI) techniques, for the classification of digital architectural heritage data. Nowadays, Heritage- or Historic-Building Information Modeling (H-BIM) reconstruction from laser scanning or photogrammetric surveys is a manual, time-consuming, overly subjective process, but the emergence of AI techniques, applied to the realm of existing architectural heritage, is offering new ways to interpret, process and elaborate raw digital surveying data, as point clouds. The proposed methodological approach for higher-level automation in Scan-to-BIM reconstruction is threaded as follows: (i) semantic segmentation via Random Forest and import of annotated data in 3D modeling environment, broken down class by class; (ii) reconstruction of template geometries of classes of architectural elements; (iii) propagation of template reconstructed geometries to all elements belonging to a typological class. Visual Programming Languages (VPLs) and reference to architectural treatises are leveraged for the Scan-to-BIM reconstruction. The approach is tested on several significant heritage sites in the Tuscan territory, including charterhouses and museums. The results suggest the replicability of the approach to other case studies, built in different periods, with different construction techniques or under different states of conservation.

Constructing the 3D objects based on geometric modelling and graphical techniques is a well-known research activity applied in computer graphics. Techniques to process graphical models are widely used in the field of digital heritage and 3D game. Virtual reality (VR) and Augmented Reality (AR) are technical trends nowadays that can be studied and used in digital high-tech fields like medical training, digital heritage, entertainment industry, digital tourism and museum, etc. In this research, we present a new proposed method for reconstructing the 3D objects of tangible cultural heritages in the virtual environment based on the combination of geometric modelling, computer graphics, VR and AR technologies. The method consists of the following steps: we first collect data of a real object by using a 3D scanner. After processing obtained data, the output is a 3D point cloud. In the next step, we remove noisy data and triangulate the object surface. The novelty point focuses on reconstructing the 3D object by filling the holes. At the end, we build VR and AR applications for visualizing a virtual museum. The contribution of this research leads to open the door for applying in other fields such as 3D Game industry or digital tourism.

Archive et numérique sont deux mots dont la conjonction est devenue presque un topique. Nous mesurons, au fil du temps, que le public se déplace moins dans les dépôts d’archives, la consultation d’un document se faisant à travers une application numérique. Pourtant la donnée numérique n’est pas l’archive, elle n’est qu’une représentation approchante. Autrement dit, la donnée numérique n’est qu’un artefact de la donnée archivistique. L’appréhension de ce lien distendu entre document archivistique et document numérique se manifeste à travers la « granularité des données ». D’un autre côté, la donnée archivistique est par nature beaucoup plus statique, car elle se trouve dans un entrepôt ou une bibliothèque, alors que, sans être volatile, la donnée numérique est interopérable, grâce aux métadonnées qui la caractérisent. À travers un cas concret d’archives judiciaires, le lecteur trouvera ici de quoi nourrir sa réflexion sur la granularité des données et les métadonnées. Archive and digital are two words whose conjunction has become almost topical. Over time, we are measuring that the public is moving less in repositories, as the consultation of a document is done through a digital application. Yet digital data is not the archive, it is only an approximate representation. In other words, digital data is only an artefact of the archival data. The apprehension of this distorted link between the archival record and the digital record is manifested through the "granularity of the data". On the other hand, archival data is by nature much more static, as it is located in a warehouse or library, whereas, without being volatile, digital data is interoperable, thanks to the metadata that characterizes it. Through a case study of court records, the reader will find here food for thought on data granularity and metadata.

I videogiochi possono essere uno strumento di conoscenza, valorizzazione e promozione del patrimonio culturale. Qual è la prospettiva dell'industria? Quale il contributo della ricerca scientifica? Cosa stanno facendo i musei? Questo volume è dedicato ad un'alleanza tra ricerca, istituzioni culturali e industria del videogioco. L'obiettivo di questo volume è quello di raccogliere esperienze/conoscenze e di aprire lo sguardo verso il futuro, Videogames, Ricerca, Patrimonio culturale / Pescarin, Sofia - Milano : Franco Angeli, 2020 - 314 p. - Educazione al patrimonio culturale e formazione dei saperi - ISBN: 9788835103004 - Permalink: http://digital.casalini.it/9788835103004 - Casalini id: 4925762

The objective of this article is to generate and validate a workflow that allows us to print physical twins (models) from digital twins obtained from unique buildings of our architectural heritage. These physical twins will guarantee the preservation and diffusion of the cultural asset, and will promote new pedagogical ways to spread the heritage. In addition, these physical cufflinks are an interesting tool to guarantee universal accessibility through low-cost and rapid distribution typological models. We can overcome physical barriers and reach many more users, regardless of their economic, physical, or location conditions. To obtain this workflow, digital twins of architectural elements of high cultural value obtained by photogrammetry or terrestrial laser scanner will be used. The digital twin will be optimized through different platforms, and an optimized exchange file will be generated for its dissemination and printing. A digital platform will be proposed that guarantees the free distribution of these digital twins to any user. Finally, the physical twins will be obtained. For the development of this work, we have chosen to use 3D resin printers with SLA technology (selective laser exposure to light by laser) due to their performance and high quality in the models obtained.

How to cite Rajeg, Gede Primahadi Wijaya; Paramartha, Cokorda Rai Adi; Arka, I Wayan; Dalrymple, Mary (2023): Retro-digitising the Enggano-German dictionary: Challenges and prospects. University of Oxford. Presentation. https://doi.org/10.25446/oxford.22141190 Overview This talk was presented at the Seminar Nasional Bahasa Ibu XV (Fifthteenth National Seminar on Mother Language) organised by the Linguistics Postgraduate Programs at the Faculty of Humanities, Udayana University, Bali, Indonesia (21 February 2023). The topic is also accepted for presentation at the Konferensi Linguistik Tahunan (KOLITA), the international, annual linguistics conference organised by Universitas Katolik Atma Jaya, Jakarta (20-22 June 2023). We talked about preliminary research on the structure and content of the Enggano-German Dictionary (Kähler 1987), the challenges they pose, and what we aim for in the digitisation process. The digitised dictionary will be incorporated as the Enggano lexical resources (project webpage), combining legacy materials of Enggano and the contemporary data (project webpage). Cited work Kähler, Hans. 1987. Enggano-Deutsches Wörterbuch (Veröffentlichungen Des Seminars Für Indonesische Und Südseesprachen Der Universität Hamburg 14). Berlin; Hamburg: Dietrich Reimer Verlag.

The reconstruction of 3D geometries starting from reality-based data is challenging and time-consuming due to the difficulties involved in modeling existing structures and the complex nature of built heritage. This paper presents a methodological approach for the automated segmentation and classification of surveying outputs to improve the interpretation and building information modeling from laser scanning and photogrammetric data. The research focused on the surveying of reticular, space grid structures of the late 19th–20th–21st centuries, as part of our architectural heritage, which might require monitoring maintenance activities, and relied on artificial intelligence (machine learning and deep learning) for: (i) the classification of 3D architectural components at multiple levels of detail and (ii) automated masking in standard photogrammetric processing. Focusing on the case study of the grid structure in steel named La Vela in Bologna, the work raises many critical issues in space grid structures in terms of data accuracy, geometric and spatial complexity, semantic classification, and component recognition.

Three reuse indicators for KB images in Wikipedia and Wikimedia Commons, in a historical perspective (2013-2022) - Wikipedia is a very effective channel to globally improve the findability, visibility and reusability of images from the heritage collections of KB, the national library of the Netherlands. In this article I will illustrate this, based on three reuse indicators (KPIs) that I measured in December 2022. I will also show that during the period 2013-2022 our image collections have reached ever-increasing global audiences. More detailed analyses and all underlying data used for this article can be found on the project pages of the KB on the Dutch Wikipedia: KPI 2: The number of KB images on Wikimedia Commons KPI 4: The number of unique Wikipedia articles using those images KPI 8: The number of requests for those Wikipedia articles per month, https://github.com/KBNLwikimedia/KB-Wiki-Stats-Graphs/blob/master/stories/Three%20reuse%20indicators%20for%20KB%20images%20in%20Wikipedia%20and%20Wikimedia%20Commons,%20in%20a%20historical%20perspective%20(2013-2022).md

The Space, Place, Sound, and Memory: Immersive Experiences of the Past project was led by Dr James Cook, in collaboration with the Digital Documentation and Innovation team at Historic Environment Scotland, Soluis Heritage, The Binchois Consort, and scholars at the universities of Birmingham and Melbourne. It used cutting-edge technology to reconstruct the visuals and acoustics of Linlithgow Palace chapel, before situating reconstructions of liturgical music within it. Beginning with HES’ 3D scan of the chapel, the project then used archival, archaeological, and musicological research to bring to life the sights and sounds of the 16th-century chapel. This chapter explores how Digital Documentation can be harnessed in the production of innovative interpretation and research material.

This booklet has been used to explore the complexity of Social Cohesion concept, providing it in its paper version to groups of potential users of interactive media applications in the field of Cultural Heritage. It has been alsoused by designers to explore cultural behaviours and needs of their audience, in the creation of digital applications. It includes an Activity Book (with 8 activities)and a Diary.

Although the voice of migrants and minorities has increasingly being heard in migration research, studies of past narratives of migration remain comparatively rare. The reason for this lies in the fact that accessing historical records of migrants’ personal accounts is technically difficult. Voicing the experiences and ‘inner life’ of migrants, the immigrant press represents a suitable compromise. This article presents ChroniclItaly (Viola 2018) and ChroniclItaly 2.0 (Viola 2019), two digital heritage collections of Italian immigrant newspapers published in the United States between 1898 and 1920. Both corpora include the digitized front pages of 4,810 issues of seven Italian newspapers’ titles and contain 16,624,571 words; ChroniclItaly 2.0, in particular, includes annotations for referential entities such as people, places and organizations. The material was collected from Chronicling America, an Internet-based directory of digitized newspapers published in the United States from 1789 to 1963. With their focus on the turn of the twentieth century, ChroniclItaly and ChroniclItaly 2.0 are valuable sources for studying past narratives of migration and for obtaining new insights into the migrants’ role in the history of modern states. This article describes the context, rationale, data design and accessibility of the archives as well as research applications.

The article analyzes the case of museum diplomacy during the Covid-19 global outbreak to illustrate two important trends that were reinforced in the condition of the pandemic. First, it argues that digital innovations achieved by cultural institutions in their international communication in the conditions of mass closures and national lockdowns significantly accelerated and even further legitimized digital diplomacy (Bjola et al. in Hague J Dipl 14(1–2):83–101, 2019). During the Covid-19 crisis, for instance, the volume of digital cultural production and its global consumption rate have dramatically increased (UNESCO in Report “Culture & COVID-19: Impact and Response Tracker.” https://bit.ly/3iQLN74 , 2020b), paving more reliable avenues for digital communication and even diplomacy. Second, the pandemics prompted cultural actors to take institutional initiatives and complement official cultural diplomacy exchanges, which due to the travel boundaries either temporarily ceased to exist or considerably slowed down.

The aim of this paper is to present the use of 3D models and augmented reality (AR) to study and communicate architectural and urban values and, therefore, favor the development of dedicated forms of “smart heritage”. The study rises from a reflection on the concept of “heritage”, as defined in the international documents, intended as an evolving idea that puts together tangible and intangible aspects. Moreover, digital technologies favor “phygital” applications where the digital dimension support the traditional ones. In this way, AR allows the superimposition of multimedia information to heritage, respecting the historical matter of the artefacts, and supporting a “smart heritage” application. In particular, mobile AR, with real-time and ubiquitous visualizations, offers the opportunity to show past urban and architectural configurations to investigate and describe the transformations that have led to the current configuration, and consequently highlighting the present historical and architectural values of the buildings. Two case studies are presented: the square of St. Basilio Monastery, with its historical transformations, and the Basilica of Collemaggio, a pivotal building in the rites of “Perdonanza Celestiniana”.

This paper presents some current results of the research, which proposes a virtual recreation of Reynaldo Dierberger original project for the Seropédica campus of UFRRJ, located in Rio de Janeiro State, Brazil. The gardens, as well as the original architectural ensemble, in neocolonial style, have been legally protected in 2001. The group of researchers faced a triple challenge to make the virtual recreation. The first one concerns the identification of what was designed and not built, based on original hand-made drawings filed in the Document Conservation Laboratory of UFRRJ (LabDOC) and other university departments. The second challenge concerns the interpretation of the elements from English Garden design principles that emerged in the 19th century and were developed in Brazil by European landscapers such as Glaziou (1828–1906). The third one concerns making design drawings digital to elaborate 3d models considering a group of digital graphic tools available and also the application of Sevilla Principles (2011). It is important to mention that some of the research activities were impaired by the COVID-19 pandemic.

Cultural heritage institutions, such as museums, libraries, archives, and historical societies, are increasingly using digital heritage initiatives and social media platforms to connect and interact with their heritage communities. This creates a new memory ecosystem whereby heritage communities are invited to contribute, participate with, and share more of what they are interested in collectively remembering, rather than simply accepting the authoritative narratives of heritage institutions, which raises questions about what this means for cultural heritage writ large and whose versions of the past these heritage communities will hold onto as their digital inheritance. The primary contributions of this article are to provide both an extended view of the issue by building on several qualitative studies involving in-depth interviews and digital observations with eight cultural heritage communities over a five-year period and to better understand how their digital heritage initiatives are creating a new ecosystem for cultural heritage and collective remembering.

Alongside established heritage institutions, family historians are central figures in the ecosystem of digital heritage, both as contributors to and users of digitized historical sources. With that in mind, this research aims for a wide examination of family historians' engagement with the broader selection of available digital platforms, providing knowledge about how and why they choose to use one platform over another. This knowledge is important for the future development of sustainable digital platforms in the heritage sector. With a large variety of digitized source providers, many with free access platforms, Denmark and Danish family historians make an excellent case for this study. Through both a questionnaire and focus group interviews, using a grounded theory approach, this study has developed a model of engagement with digital platforms, referred to as a buffet model. This model illustrates how family historians pick and choose from a selection of digital platforms throughout their search and management of information as well as their community interaction. Moreover, through the lens of the Serious Leisure Perspective we find that family history is often a life-long leisure activity and family historians’ usage of digital platforms support this finding.

Presentation slides for a long paper on preservation and digital scholarly edition of 1980's and 1990's Disk Magazines (electronic journals published on floppy) and related questions on TEI encoding practices.

Information and communication technologies are essential tools for the implementation of physical and virtual museums due to the advantages they provide to generate and transmit knowledge. This article shows the process for the implementation of an interactive didactic museum of the Valdivia, Puruhá and Upano III Cultures in Ecuador, for which the fundamentals and applications of the technological tools to be used were identified, the contents to be disseminated in the museum were designed, and the processes of technological implementation for interactive didactic museums were studied, using the methods of scientific induction, synthetic, analytical and scientific observation, in addition to the types of applied, exploratory, descriptive and explanatory research. Through which the IntiKilla museum was implemented using various technological tools such as Coespaces Edu, Blender 3D and Unitag QR, in order to offer enriched cultural experiences and permanent learning. Resumen Las tecnologías de la información y la comunicación son herramientas imprescindibles para la implementación de museos físicos y virtuales por las ventajas que brindan para generar y transmitir conocimiento. Este artículo muestra el proceso para la implementación de un museo didáctico interactivo de las Culturas Valdivia, Puruhá y Upano III en Ecuador, para lo cual se identificaron los fundamentos y aplicaciones de las herramientas tecnológicas a utilizar, se diseñaron los contenidos a ser difundidos en el museo, y se estudiaron los procesos de implementación tecnológica para museos didácticos interactivos, utilizando los métodos de inducción científica, sintético, analítico y de la observación científica, además de los tipos de investigación aplicada, exploratoria, descriptiva y explicativa. A través de lo cual se implementó el museo IntiKilla utilizando diversas herramientas tecnológicas como Coespaces Edu, Blender 3D y Unitag QR, con el fin de ofrecer enriquecidas experiencias culturales y aprendizaje permanente.

This study focuses on 3D acquisition and documentation procedures, innovating and implementing traditional survey methods to promote and increase the efficacy of the historical and archaeological heritage fruition. Especially within museum itineraries, modern digital technologies, if consistently applied, can promote a better interpretative reading, implementing the knowledge of scholars. Moreover, in coherence with the Horizon Europe “Cultural Heritage” area of intervention, for a new future inextricably linked to the history of Cultural Heritage, it is essential to experiment approaches that favor innovative mechanisms of fruition and promotion of works of art, based on the idea that the user is an active part of the experiential path. The study presents some acquisition experiences on different archaeological artifacts collected at the National Archaeological Museum of Crotone, applying integrated technologies and defining a rigorous methodological process of analysis and control.

Often in a virtual reconstruction process, the efforts are mainly addressed to obtain an excellent and photorealistic outcome, not taking care of the risk of dramatically losing all the intermediate data processed and the knowledge of the process itself, which we want to make consistent with the Findable, Accessible, Interoperable, and Re-usable (FAIR) principles1. Thus, we need to consider and overcome some general issues inherent in the processes of the virtual reconstruction of a cultural object. For example, raw data collected during the survey campaign are often stored on various media without creating a proper data structure to preserve their logic and semantic meaning over time. Furthermore, the entire reasoning process is often described in a single scientific publication, which, although of value, describes the decisions taken in a narrative and non-specific way. Recently, these ambitious challenges have been addressed within the Social Sciences & Humanities Open Cloud (SSHOC) project2 as a dedicated case study of the Roman Catania theatre, for which we made a new virtual reconstruction. Part of the data collected comes from earlier projects which provided a hypothetical reconstruction of the Roman theatre.

In this long paper, we introduce Ghent Mapped (2020-2023), a public history pilot project that (re)connects Ghent’s cultural heritage, its histories and historical maps with the city’s urban landscape and inhabitants. The project's premise is that cultural heritage has a spatial context that can be organised using the concept of place (Agnew, 2011; Tuan, 2002). A map-based history platform is being developed that provides users access to georeferenced historical maps, geotagged collection items and place information. Through this, the project investigates the intricacies and relations between the notions of space, place and heritage.

In recent decades, a growing number of museums have adopted digital media, both as an enhancement of exhibitions of real artifacts and as an alternative to traditional display methods. The digital acquisition of artifacts generates accurate 3D replicas that can be displayed via different digital media. With an increase in immersive technologies in the cultural heritage (CH) domain, it is common to see digital artifacts presented in Virtual Reality (VR) and Augmented Reality (AR). This paper presents two user studies conducted in different locations evaluating the use of an AR application in the portrayal of the Mjällby Crucifix artifact. This paper presents the overall results from both user studies evaluating and discussing the AR application on a number of different aspects on a 7-point Likert scale: (1) understanding the artifact, (2) ease of use, (3) object feeling part of reality, (4) perceived visual quality of the object, (5) overall satisfaction experience, and (6) willingness to download the AR application. The results have been compared between genders, age groups, and previous experience with AR. Potential benefits and disadvantages of AR experiences in the context of a museum exhibition were also gathered in free text from the visitors.

High-fidelity imaging methods such as laser scanning and digital photogrammetry have captured public and professional audiences in a flurry of optimistic discourse about their capacities as forms of preservation and of archaeological recording and interpretation. With technical finesse and mastery, endangered heritage can, it is argued, be captured, re-materialized, and recovered from the forces that threaten it. As the plot concerning our ‘digital futures’ thickens, we discuss here an experimental project that offers an oblique approach to the practice of 3D visualization, one that subverts the dominance of neutral, technical field engagements. We examine digital materiality by exploring digital heritage objects as both method and site of ethnographic encounter. Orbiting the ruins of Asinou, an abandoned village in the Troodos Mountains of Cyprus, with our ‘low-tech’ equipment, we sought to observe the conditions of the ‘in-between’ of two makeshift forms, each as ‘real’ as the other. We focus our thinking on the tensions of translation that play on the surface of our technically crude digital assemblages, as spaces of generative potential for speculations about encounters with emerging digital materialities, their affective capacities and status as future heritage objects.

Using insights gained from reflexive dyadic interviews undertaken as part of ongoing action research, this article positions memes as new and emerging objects of digital cultural heritage and begins to work through the implications of collecting them on museum acquisition practices. The article explores how Stockholm County Museum has collected memes as part of their digital photography collecting activities and draws out the challenges that a meme’s materiality and remix qualities present to provenance, Copyright and ownership. The article concludes that acquisition standards should be remixed to be more appropriate for the cultural contexts that memes sit within and offers some preliminary suggestions on the how tho of collecting. A key feature of those suggestions is my proposal that being more open to alternative approaches to ownership may be more appropriate for these new and emerging object types.

The process of “postcolonizing” continues in the former settler colony of Australia, entailing intense struggles over national identity and culture. Digital heritage plays a key role in these confl...

In March 1942, the Director of British Naval Intelligence, Admiral John Godfrey made a public appeal via the BBC Radio. Godfrey requested listeners to send in holiday photographs and postcards of E...

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link. This article explores the consequences of the digital heritagization of domestic photographs that the State of Israel has initiated as part of its aspiration to settle increasing tensions between traditional national values and modern identities in Israel’s Jewish hegemonic social sphere. The process has been realized through the implementation of the community-based crowdsourcing initiative Israel Revealed to the Eye. Launched in 2011, it was designed to identify valued expressions of perceived national heritage in the photographs kept in the households of Israeli citizens across the country, and incorporate them into a centralized database for their safeguarding, study and public deployment. The article opens with an investigation of the various circumstances that have officially led the state to consider domestic photographs as cultural resources of national significance. As well as examining whose heritage the digitized photographs effectively safeguard once absorbed into the database, it then analyzes how their collection through coordinated crowdsourcing activities has reconditioned definitions and understanding of national heritage in the country. In doing so, the article demonstrates that the digital heritagization of the photographs has assisted in mitigating citizens’ conflictual approaches to Israel’s national heritage without repressing contestations of the dominant cultural status quo.

Recent research has reported that two-thirds of American Generation Z has vague knowledge of the genocide of World War II. Twenty-two percent of millennials said that they have never heard of the Holocaust or were just not sure. Armed with this knowledge we set out to create a project, a documentary, to help students better understand this horrifying part of our history on terms that they can identify with. This documentary is about a young college student in the midst of war. By creating a documentary by college students, about a college student, for college students I set out to teach the Holocaust. Through digital heritage, experiential and project-based learning; we created a project to help Gen Z better understand history. We are using these approaches to give an understanding of the Holocaust through our journey to Finding Matilda. Key words: Digital media, teaching, experiential learning, project-based learning.

Our relationship with cultural heritage has been transformed by digital technologies. Opportunities have emerged to preserve and access cultural heritage material while engaging an audience at both regional and global level. Accessibility of technology has enabled audiences to participate in digital heritage curation process. Participatory practices and co-production methodologies have created new relationships between museums and communities, as they are engaged to become active participants in the co-design and co-creation of heritage material. Audiences are more interested in experiences vs services nowadays and museums and heritage organisations have potential to entertain while providing engaging experiences beyond their physical walls. Mixed reality is an emerging method of engagement that has allowed enhanced interaction beyond traditional 3D visualisation models into fully immersive worlds. There is potential to transport audiences to past worlds that enhance their experience and understanding of cultural heritage.