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UNCHARTED is a Research and Innovation Action funded by the Horizon 2020 Programme of the European Commission under the topic “The societal value of culture and the impact of cultural policies in Europe”. The project is led by the University of Barcelona with the participation of partners from seven European countries, representing eight academies and one professional company that supports communication, dissemination and exploitation planning. Society, culture and economy became intertwined in a complexity of values and roles. UNCHARTED project aims to explore the social values associated with culture, focusing on the valuation practices of the actors involved in cultural life.

© 2018, Springer Nature Switzerland AG. Digitization and crowdsourcing actions are fostered by the European Union for enhancing access and citizens’ participation in culture and research. Several experiences are demonstrating how tangible and intangible heritage is moving nowadays from the concept of representing objects to that of safeguarding memories and stories related to those objects. This process means to have richer, more complex and heterogeneous metadata associated to digital objects. To leverage on such richness of information, new approaches for improving searchability/retrievability of digital resources, storytelling and reuse are developing. Also, dealing with crowdsourced contributions of various types poses new challenges for curation and preservation methods in heritage institutions and across separated repositories, where linked objects and resources lie. PHOTOCONSORTIUM, the international consortium for photographic heritage, is exploring the potential of technologies, which can make possible to enrich metadata and utilize photographic heritage at best for different purposes in education, creative industry, and research. ispartof: pages:585-598 ispartof: Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection 7th International Conference, EuroMed 2018, Nicosia, Cyprus, October 29–November 3, 2018, Proceedings, Part I vol:11196 LNCS pages:585-598 ispartof: EuroMed 2018 location:Cyprus date:29 Oct - 3 Nov 2018 status: published

The central purpose of this collection of essays is to make a creative addition to the debates surrounding the cultural heritage domain. In the 21st century the world faces epochal changes which affect every part of society, including the arenas in which cultural heritage is made, held, collected, curated, exhibited, or simply exists. The book is about these changes; about the decentring of culture and cultural heritage away from institutional structures towards the individual; about the questions which the advent of digital technologies is demanding that we ask and answer in relation to how we understand, collect and make available Europe’s cultural heritage. Cultural heritage has enormous potential in terms of its contribution to improving the quality of life for people, understanding the past, assisting territorial cohesion, driving economic growth, opening up employment opportunities and supporting wider developments such as improvements in education and in artistic careers. Given that spectrum of possible benefits to society, the range of studies that follow here are intended to be a resource and stimulus to help inform not just professionals in the sector but all those with an interest in cultural heritage.

Is it possible to rethink the phenomenon of city and the policies that concern it according to the guidelines that the Rock project has attempted without also questioning the conceptual frameworks, or rather the practices and forms of habitual thought that have focused on it? The adequate answer, as far as the conceptual dimension and the reference framework of the theoretical-practical tools are concerned, seemed to be that of accompanying the research with a reflection and a redefinition of the categories through which it was interpreted, both in the sense of understanding and performing. In other words, it was necessary to shift the point of view, setting aside an ideational dimension placed before acknowledging reality and making the findings of the research feedback on its own modalities of detection, thus activating a self-reflective and recursive procedure, as Tim Ingold recently recommended in his reflection on making. Reflecting this methodology, here we chose to take up two notions that we have tried to formulate or redefine over the course of the research, those of "potential city" and "concrete utopia". In both cases we are dealing with a conception of effectuality that recalls what continues to act and to renew itself without exhausting itself because it exists only in the form of a process, only insofar as it is effective, it produces effects in time and in the world as opposed to the passive acceptance of empirical reality, the superficial level of events.

International audience; Additive technologies are increasingly used in Cultural Heritage process , for example in order to reproduce, complete, study or exhibit artefacts. 3D copies are based on digitization techniques such as laser scan or photogramme-try. In this case, the 3d copy remains limited to the external surface of objects. Medical images based digitization such as MRI or CT scan are also increasingly used in CH as they provide information on the internal structure of archaeological material. Different previous works illustrated the interest of combining 3D printing and CT scan in order to extract concealed artefacts from larger archaeological material. The method was based on 3D segmentation techniques within volume data obtained by CT scan to isolate nested objects. This approach was useful to perform a digital extraction, but in some case it is also interesting to observe the internal spatial organization of an intricate object in order to understand its production process. We propose a method for the representation of a complex internal structure based on a combination of CT scan and emerging 3D printing techniques mixing colored and transparent parts. This method was successfully applied to visualize the interior of a funeral urn and is currently applied on a set of tools agglomerated in a gangue of corrosion.

This paper addresses the problem of surveying illusory architectures painted on vaulted surfaces. The survey of a quadratura, or a painting in general, requires recording the metric and chromatic characteristics of the subject and the typical characteristics of the painted surfaces, such as soot, engravings, and giornate. Our goals are the proposal of an “optimum” quality standard for surveying curved painted surfaces and testing a method to acquire and render the data that allows those standards to be met. The test, conducted on the corridor of Saint Ignatius of Loyola rooms in Rome depicted by Andrea Pozzo, shows how the quality of the texture can be measured in terms of overall sharpness and average resolution. It is also shown how it is possible to identify some reference standards that allow the quality of the final result to be determined already in the photography phase of the project.