Search

The paper describes the project #iziTRAVELSicilia which is using digital storytelling for engaging heritage communities. The objective of the project was to bridge the Sicilian gap in cultural heritage communication using a participatory approach with the local communities, in the framework defined by the Faro Convention. The paper evidences the digital storytelling role in engaging communities to promote their heritage, promoting new partnership with local cultural heritage institutions. The positive impact of digital storytelling in cultural heritage promotion in Sicily is evidenced by the quantitative results achieved and by the feedback collected by a survey. [ABSTRACT FROM AUTHOR]

This paper espouses the importance of enriching digital information objects with descriptions pertaining the about-ness of information objects. Such richness and diversity of description, it is argued, could chiefly be achieved by involving users in the metadata creation process. This paper presents the importance of the participatory paradigm for metadata enriching and metadata filtering for the cultural heritage domain. Metadata enriching states that a priori metadata that is instantiated and granularly structured by metadata experts is continually enriched through socially-constructed (post-hoc) metadata, whereby users are pro-actively engaged in co-creating metadata. The principle also states that metadata that is enriched is also contextually and semantically linked and openly accessible. In addition, metadata filtering states that metadata resulting from implementing the principle of enriching should be displayed for users in line with their needs and convenience. In both enriching and filtering, users should be considered as prosumers, resulting in what is called collective metadata intelligence. [ABSTRACT FROM AUTHOR]

The “Digital Heritage: Spotlight on Europe” column examines technological advances internal and external to cultural institutions. The digital shift changed radically how cultural heritage is made, disseminated, distributed, accessed, consumed, and monetized. One of the most important revolutions is that the user's role changed dramatically, shifting from passive observers to active participants and content producers with many new and exciting opportunities for engagement, creative use, and access. The strength of the column is its broad, international focus, and contributors are encouraged to explore issues and recent advances in digital heritage theories, methodologies, standards relevant to the European region, as well as the larger, global audience. Interested authors are invited to submit proposals and articles to the column editor atannamaria.tammaro@unipr.it. Please include “ILLR submission” in the subject line of the e-mail. Cultural heritage is co-created by users engaging with virtual museum applications and operates in dialog with the landscapes, cities, and people that have produced it. The two case studies presented here attempt to close an epistemological and methodological gap in this sector by outlining development paths for a virtual museum of the landscape. The first example is a digital humanities initiative, “Visualizing Venice,” which began in 2009 as a collaboration between Duke University, the University IUAV of Venice, and the University of Padua. The second example is the virtual museum of Dolomites landscape, co-created by students and community members in the Belluno province. These are two independent projects, developed in different contexts of each other, though the organizers share common interests and experiences. Through our collective work and study, we have identified three key common features of the “virtual museum” of the landscape: A museum that (1) involves diverse communities in the digital co-creation of cultural content, (2) provides a holistic interpretation of a place using augmented reality technologies, and (3) combines different kinds of cultural resources, artifacts, and archives. [ABSTRACT FROM AUTHOR]

The “Digital Heritage: Spotlight on Europe” column examines technological advances internal and external to cultural institutions. The digital shift radically changed how cultural heritage is made, disseminated, distributed, accessed, consumed, and monetized. One of the most important revolutions is that the user's role changed dramatically, shifting from passive observers to active participants and content producers with many new and exciting opportunities for engagement, creative use, and access. [ABSTRACT FROM AUTHOR]