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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 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.

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

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...

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.

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.

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

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 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.

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.

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.

In the field of digital cultural heritage (DCH), 2D/3D digitization strategies are becoming more and more complex. The emerging trend of multimodal imaging (i.e., data acquisition campaigns aiming to put in cooperation multi-sensor, multi-scale, multi-band and/or multi-epochs concurrently) implies several challenges in term of data provenance, data fusion and data analysis. Making the assumption that the current usability of multi-source 3D models could be more meaningful than millions of aggregated points, this work explores a “reduce to understand” approach to increase the interpretative value of multimodal point clouds. Starting from several years of accumulated digitizations on a single use-case, we define a method based on density estimation to compute a Multimodal Enhancement Fusion Index (MEFI) revealing the intricate modality layers behind the 3D coordinates. Seamlessly stored into point cloud attributes, MEFI is able to be expressed as a heat-map if the underlying data are rather isolated and sparse or redundant and dense. Beyond the colour-coded quantitative features, a semantic layer is added to provide qualitative information from the data sources. Based on a versatile descriptive metadata schema (MEMoS), the 3D model resulting from the data fusion could therefore be semantically enriched by incorporating all the information concerning its digitization history. A customized 3D viewer is presented to explore this enhanced multimodal representation as a starting point for further 3D-based investigations.

Interfaces have partially replaced editors. They now administer and have industrialized the processes of content circulation. Web platforms mediatize cultural memory and one example of this is that of online audiovisual archives which are a paradigmatic case involving interfaces mediating our image of the past. Therefore, their role as an enunciative framework is clearly worthy of thought and study. We will thus use a semiotic approach based on the starting hypothesis that digital interfaces shape our belief systems through a discursive framing of content to which they give access. By analyzing two case studies, we will argue that the transparency of interfaces appears to recall the notion of “mechanical objectivity” and thus refashion the reliability of the archives. However, a final counter-analysis of a document read in the framework of an on-site consultation invites us to reshape our considerations and enlarge the perspective from semiotic visual analysis to include the social processes linked to the publication of digital heritage.

The research project “Mouseion Topos” (in English: “Museums Place”), focusing on traditional local settlements situated at three Aegean islands, aims to contribute to the promotion of their physiognomy and intangible cultural heritage by connecting regional museums with each settlement. The present article, part of the project’s initial phase, via the application of the HERMeS methodology (version 1 and 2) and the development of the associate digital documentation tools, identifies and records the architectural and urban elements influenced by each settlement’s intangible cultural heritage as listed by UNESCO and presented by their corresponding museums. The research findings revealed connections between the museums’ content and the documented tangible heritage based on the formulated conceptual and heatmaps, which can be used at the early design stages of the current project’s interactive applications, especially in mobile tours. Finally, the research findings verify that despite the limitations and issues for further research, the introduced HERMeS methodology and digital tools are reliable and contribute to the respective field’s theory. The paper also provides beneficial deliberation on digital architectural heritage documentation methods and interactive technologies, highlighting points and areas of interest that the tourist industry, technology designers, museum curators, and architects can employ.

This article deals with the application of serious games to cultural heritage. Through an overview of the growing importance of gamification in promoting cultural sites and museum collections, the ...

The impact of the COVID‐19 Crisis on museums and galleries has been paramount, with the sector taking on long‐term recovery plans. This paper examines this crisis in the context of temporary exhibition programmes of UK museums, studying online content for 21 museums with exhibitions due to open between March and June 2020. Analysis was conducted, noting how COVID was considered, how content was presented, and discussing the emerging themes of access, embodiment, and human connection. In considering these results in the context of wider digital heritage literature, several questions are raised in terms of how digital content is conceptualised, presented, and valued. At a crucial turning point in the sector, these aspects will need to be considered as museums and galleries continue to adapt in light of a post‐COVID world where practices, both digital and physical, will undoubtedly shift.

While for many projects digitalizing might be a goal in itself, it is important to frame it within a larger story, which could include access by different publics, with different purposes and usage practices. Based on the experiences of the UNESCO Chair in ICT to develop and promote sustainable tourism in World Heritage Sites, established at USI – Università della Svizzera italiana (Lugano, Switzerland), the presentation will sketch the role of digital media for Heritage and Tourism along the ‘ABCDE’ framework: Access, Better, Connect, Dis-intermediate, Educate. It will then provide cases from the tangible and the intangible cultural heritage, outlining their goals, processes, usages and evaluation criteria.

Digital heritage projects are an important tool in safeguarding cultural heritage and making it available to future generations. The work presented here synthesises 3D modelling techniques with the process of digitising artefacts. New digital reconstructions can be created based on authentic data. These are then implemented in various immersive learning opportunities, such as interactive activities and engaging virtual worlds. This is applied to the restoration of two Pictish symbol stones used in an online colour configurator tool and a virtual environment. Publisher PDF

With the inclusion of the digital in the suite of on-site interpretation experiences now available at many war memorials, long-standing tensions between education, commemoration and tourism are amp...

Virtual reality (VR), augmented reality (AR), and artificial intelligence (AI) are new ways to provoke an emotional response to heritage and culture. In a place of interest, augmented by technologies, visitors meet various stimuli. Consequently, the public activates complex neural responses in the brain. Neural responses will lead to specific actions, decision-making, and learning. Engaging an audience is desirable for institutions that organize exhibitions, as many people see museums and heritage as stagnant spaces. Museums and art galleries should use VR and AR facilities to develop creative thinking and to advance cultural context. Artists, on the other hand, may represent a sort of facilitator, helping to develop positive actions in the smart cities of the future or to educate the audience toward active citizenship.

Representation of architectural heritage artefacts with minimum risks to their authenticity has been advised by heritage guidelines; their transport for representation maximises the risk of destruction and questions the authenticity. Contemporary curators turn to Information and Communication Technology (ICT) and Mixed Reality for an improved representation but there are challenges related to audience accessibility, costs of asset transport to and lifecycle management with the museum platforms, and the potential threats to authenticity. Digital Twin (DT) as a revolutionary concept opens new doors to mitigate the challenges and may facilitate better access to the architectural heritage through digital experiences. In the long term, DT implementation costs may be offset by enabling wider access. This article presents the DT concept, the necessity of its adoption, the challenges of Digital Twining, benefits and opportunities, and reviews available curation practices of ‘digital asset’ production. The core contribution of this article is the comparative studies on two acquisition methods with two data streams presented as case studies. The two techniques, which engage hand recording and digital recording are detailed and compared in terms of construction time, tool requirements, representability, and the interoperability as well as extensibility of the models. This research is significant in two ways: 1) by presenting the analytic framework for adapting DT assets to the complex platforms in museums, and 2) by explicating the curatorial challenges for heritage assets including accessibility, implementation time, authenticity, and reliability of the 3D-documented models. Keywords: 3D Printing

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,...

Virtual Reflectance Transformation Imaging (V-RTI) is a hybrid method that combines 3D, Virtual Reality (VR) and 2D+ technologies into a rapid, lightweight, and user-friendly method of recording archaeological monuments in the field. The resultant image file can be interactively lit from various positions to highlight surface texture and detail not generally visible to the naked eye. In this article, we describe the V-RTI method and critically compare it to the current standard Highlight (H-RTI) method. We present results of a field trial of V-RTI in a challenging urban environment that yielded a new inscription, new readings, and epigraphic palimpsests that significantly change our understanding of the ancient Lycian city of Telmessos. We conclude that V-RTI is a valuable new tool for recording at-risk heritage worldwide and should be considered a default recording tool for field survey and conservation for many different classes of field monument.

Seeks to cover interdisciplinary research topics on book and digital media history and culture, including book history and historiography, traditional and digital publishing, research on media literacy and reading, printed and digital heritage etc. Indexed in the Scopus database from 2018.

Purpose: Digital tools have been used to document cultural heritage with high-quality imaging and metadata. However, some of the historical assets are totally or partially unlabeled and some are physically damaged, which decreases their attractiveness and induces loss of value. This paper introduces a new framework that aims at tackling the cultural data enrichment challenge using machine learning. Design/methodology/approach: This framework focuses on the automatic annotation and metadata completion through new deep learning classification and annotation methods. It also addresses issues related to physically damaged heritage objects through a new image reconstruction approach based on supervised and unsupervised learning. Findings: The authors evaluate approaches on a data set of cultural objects collected from various cultural institutions around the world. For annotation and classification part of this study, the authors proposed and implemented a hierarchical multimodal classifier that improves the quality of annotation and increases the accuracy of the model, thanks to the introduction of multitask multimodal learning. Regarding cultural data visual reconstruction, the proposed clustering-based method, which combines supervised and unsupervised learning is found to yield better quality completion than existing inpainting frameworks. Originality/value: This research work is original in sense that it proposes new approaches for the cultural data enrichment, and to the authors' knowledge, none of the existing enrichment approaches focus on providing an integrated framework based on machine learning to solve current challenges in cultural heritage. These challenges, which are identified by the authors are related to metadata annotation and visual reconstruction. 2020, Emerald Publishing Limited. The authors would also like to thank the Museum of Islamic Art (MIA), the MIA Multimedia team, Mr. Marc Pelletreau, the art curators and the management staff of the Museum of Islamic Art, Doha, Qatar, for their help and contribution in the data acquisition. This publication was made possible by NPRP grant 9-181-1-036 from the Qatar National Research Fund (a member of Qatar Foundation). The statements made herein are solely the responsibility of the authors ( www.ceproqha.qa ). Scopus

Photogrammetry and laser scanning, or combinations of the two, are increasingly used in cultural heritage settings to create three-dimensional digital replicas. Yet the technical production processes involved can sometimes result in undesirable outcomes – flattening shadows, light, and surface textural variations of original artifacts. Many of these important visual cues contribute to our understanding of digital models as ‘historical objects,’ and the resulting overly digitized photogrammetry – lacking visual context and depth – can impede user interactivity. Viewers of digital heritage can become deterred by the uncanny, static, or unreal aesthetic of some photogrammetric and laser scans. This article considers two digital heritage projects: “Emotions3D: Bringing Digital Heritage to Life,”and the Smithsonian Apollo 11 Command Module scans in order to explore how technical and curatorial decisions can address issues in photogrammetric and laser post-processing. While often subtle, different post-processing choices are perceived and deeply cognitively and emotionally internalized by viewers and users of digital cultural heritage. Therefore, this paper assesses the relevance of emotions studies, theories of the ‘uncanny’ and the ‘uncanny valley,’ and issues of authenticity and best-practice digital interventions to enhance user engagement and accessibility through digital post-processing techniques.

Numerous cultural assets host a great historical and moral value, but due to their degradation, this value is heavily affected as their attractiveness is lost. One of the solutions that most heritage organizations and museums currently choose is to leverage the knowledge of art and history experts in addition to curators to recover and restore the damaged assets. This process is labor-intensive, expensive and more often results in just an assumption over the damaged or missing region. In this work, we tackle the issue of completing missing regions in artwork through advanced deep learning and image reconstruction (inpainting) techniques. Following our analysis of different image completion and reconstruction approaches, we noticed that these methods suffer from various limitations such as lengthy processing times and hard generalization when trained with multiple visual contexts. Most of the existing learning-based image completion and reconstruction techniques are trained on large datasets with the objective of retrieving the original data distribution of the training samples. However, this distribution becomes more complex when the training data is diverse making the training process difficult and the reconstruction inefficient. Through this paper, we present a clustering-based low-delay image completion and reconstruction approach which combines supervised and unsupervised learning to address the highlighted issues. We compare our technique to the current state of the art using a real-world dataset of artwork collected from various cultural institutions. Our approach is evaluated using statistical methods and a surveyed audience to better interpret our results objectively and subjectively. 2020, Springer-Verlag GmbH Germany, part of Springer Nature. This publication was made possible by NPRP grant 9-181-1-036 from the Qatar National Research Fund (a member of Qatar Foundation). The statements made herein are solely the responsibility of the authors (www.ceproqha.qa ). The authors would also like to thank the Museum of Islamic Art (MIA), the MIA Multimedia team, Mr. Marc Pelletreau, the Art Curators and the management staff of the Museum of Islamic Art, Doha Qatar for their help and contribution in the data acquisition. Scopus

Teknologi terkini, seperti fotografi digital, pemindai 3D, dan augmented reality, memberikan alternatif dalam upaya pelestarian situs warisan budaya. Fokus pembahasan dalam artikel ini adalah kelanjutan wacana tentang manfaat pelestarian berbasis digital berdasarkan penerapan pada Proyek Depok Lama. Depok adalah kota yang terletak di Provinsi Jawa Barat yang memiliki beragam jenis bangunan masa kolonial, antara lain permukiman penduduk, gereja, dan jembatan. Namun, studi terbaru menunjukkan hampir 75% bangunan kolonial telah dihancurkan sepanjang satu dasawarsa terakhir akibat aktivitas pembangunan kota dan modernisasi yang cepat. Kami membangun proyek untuk melakukan digitalisasi sejumlah objek warisan budaya di Depok untuk mencegah perusakan lebih lanjut dan membangun informasi tentang pentingnya objek bangunan kolonial kepada publik melalui media digital. Proyek ini merupakan kegiatan multidisiplin yang melibatkan arkeolog, sejarawan, pakar IT, dan masyarakat setempat dalam menciptakan database sistem interaktif mengenai bangunan cagar budaya di Depok. Empat studi dilakukan untuk mengembangkan Proyek Depok Lama, yaitu studi informasi konten, studi perspektif pengguna, konstruksi kerangka desain situs web, dan studi evaluasi. Studi pertama dilakukan untuk mengumpulkan informasi mengenai bangunan bersejarah di Depok Lama. Studi kedua dilakukan untuk menyelidiki presentasi informasi yang disukai oleh pengguna. Studi ketiga berkaitan dengan pengembangan prototipe situs web berdasarkan data dari studi sebelumnya. Studi terakhir adalah untuk mengevaluasi dan meningkatkan prototipe situs web. Hasil menunjukkan bahwa digitalisasi warisan budaya tidak hanya berguna untuk pelestarian tetapi juga mendorong keterlibatan publik dan memfasilitasi materi pengetahuan budaya. New technologies, such as digital photography, 3D scanner, and augmented reality, provide an alternative to preserve heritage sites. The focal point for this article is to continue the discourse on the advantages of digital preservation based on our work in Depok, called Depok Lama Project. Depok is a city located in West Java Province that has many colonial buildings, such as residential settlements, churches, and bridges. However, a recent study shows almost 75% of colonial buildings have been demolished over the last decade due to city development and rapid modernization. We created a project to digitize the cultural heritage in Depok to prevent further destruction and encourage the importance of the buildings to the public through digital media. This project is a multidisciplinary project that involved archaeologists, historians, IT experts, and the local community in creating an interactive system database regarding heritage buildings in Depok. Four studies were carried out to develop the Depok Lama Project, namely content information study, end-user perspective study, website design framework construction, and evaluation study. The first study was used to collect information regarding the historical buildings at the Old Depok. The second study was conducted to investigate the information presentation preferred by the end-users. The third study concerned the development of a website prototype based on data from previous studies. The final study was to evaluate and enhance the website prototype. The results show that the cultural heritage digitization is not only useful for preservation but also for public engagement and facilitate cultural learning.

OverviewThe introduction of the smartphone into the private and professional lives of humans has provided a channel to real-time and place-specific information that can enhance (and disturb) day-to-day living. Given such impact, many museums and archaeological exhibitions have chosen to develop digital applications to enhance the visitor experience via accompanying the visitor through the exhibitions. Yet after a decade, these applications still seem understudied and, in practice, very undeveloped. This review aims to shed some light on the possibilities and shortcomings of museum apps. I discuss and critically evaluate the technical efficiency, practical utility, and user experience of the British Museum Guide (Museums Guide Ltd.) and My Visit to the Louvre (Musée du Louvre) applications. These two mobile apps represent the contemporary standard for museum apps, thereby allowing me to generalize about this genre of digital media.

Poor data acquisition from low-cost cameras, such as low-resolution depth maps or high level of noise or point clouds generated with insufficient information from an object, limits the use of such cameras for heritage artifacts 3D reconstruction. This work proposes to improve this depth low-cost acquisition by using a new approach based on the Super-Resolution technique. The proposed approach has been applied to several artifacts of the Federal University of Bahia Museum of Archaeology and Ethnology (MAE/UFBA). As shown in the results, our approach improved the quality of point clouds generated from tested heritage artifacts. Results indicate that whenever artifact geometry is gained via our method there is actual reconstruction of detail or accuracy improvements, whereas a reduction in number of points of the clouds, if any, would indicate the removal of inconsistencies or noise from the input data without loss of detail.

In this paper I will discuss key parameters of the politics of digitisation within a broader historical and global context with the aim to encourage further debate on its implications for historical research. In the first part, I will outline the global dimensions of the politics of digital cultural heritage with a particular focus on developments within and between Europe and Africa, framed within the broader context of the politics of heritage and its preservation and recent debates about 'postcolonial digital humanities'. In the second part, I will discuss the history and current state of digitisation in Europe and Africa. Here I will partly draw upon the web archive of the IFLA/Unesco Directory of Digitised Library Collections (2002-2006) and recent global and European digitisation surveys. The paper will conclude by highlighting the paradoxical situation we currently face with regard to digitisation and the state of 'memory' in both the global North and South. Ein Beitrag zur 8. Tagung des Verbands "Digital Humanities im deutschsprachigen Raum" - DHd 2022 Kulturen des digitalen Gedächtnisses.

As part of the culturally focused direction of travel surrounding Gothenburg’s fourth centenary, several departments of the municipality have collaborated to produce a virtual model of Gothenburg a...

his thesis describes research into the creative use of digital three-dimensional (3D) technologies in museums. It examines how digital 3D reproductions of museum artefacts support creative engagement and enhance museum experience. Digital 3D models of museum artefacts are malleable; they allow users to create new artworks through digital manipulation and transformation. 3D printing technologies enable users to translate digital 3D models directly into physical forms. This research investigates how these technologies can impact on museum engagement and makes recommendations for museums exploring the possible uses of digital 3D technologies. A contextual review, informed by ongoing developments in the field of digital heritage and a critical review of published literature, identifies key issues examined in the research. These include the ways in which reproductive digital 3D technologies can foster unprecedented audience access to museum collections, democratise art interventions in museums and engage with the museum ‘dream space’. The rationale for the use of qualitative research methods in the study is explained and the case studies undertaken during the research are described.The investigation of artworks created by participants in the case studies; data from interviews with artists, museum staff and museum visitors, provide insights into how digital 3D reproductions foster new experiences with museum artefacts. In this research, reproductive digital 3D technologies are shown to support creative forms of museum engagement, to democratise museum interventions and increase public access to museum collections. They engage users with personal and subrational forms of museum experience. Furthermore, the use of digital technologies in museums has been shown, in this research, to trigger learning experiences and increase historical awareness and digital literacy. Recommendations are made for institutional approaches to the use of digital 3D technologies and for future research in the area of creative engagement with digital heritage.Thesis completed in 2015.

https://australian.museum/learn/cultures/international-collection/ancient-egyptian/funerary-egyptian-masks/ The Australian Museum acquired three cartonnage masks and a foot-case in the early 20th century. The cartonnage pieces have been recently restored and they are ready for display. Quite fragile compared to wooden coffins or stone sarcophagi, many cartonnage masks survived surprisingly well preserved for some millennia. They proliferated in the Greco-Roman period of Egyptian history and hundreds were recovered from ancient cemeteries. Relatively little research was completed on these funerary accessories but in recent times scholars have begun to show more interest, as is attested by a study conducted by Dr. Carlo Rindi Nuzzolo who examined our masks in April 2022. Cartonnage (cardboard) - a word derived from French – describes a material made of layers of linen or papyrus covered with plaster and used in ancient Egyptian funerary masks and full-body casing from the First Intermediate Period (c. 2181–2055 BCE) to the Roman era (332 BC -395 AD). https://australian.museum/learn/cultures/international-collection/ancient-egyptian/funerary-egyptian-masks/ https://youtu.be/7FPiqHvlMxY

We report on the outcomes of a large multi-disciplinary project targeting the physical reproduction and virtual documentation and exploration of the Olivetti sandcast, a monumental (over 100m2) semi-abstract frieze by the Italian sculptor Costantino Nivola. After summarizing the goal and motivation of the project, we provide details on the acquisition and processing steps that led to the creation of a 3D digital model. We then discuss the technical details and the challenges that we have faced for the physical fabrication process of a massive physical replica, which was the centerpiece of a recent exhibition. We finally discuss the design and application of an interactive web-based tool for the exploration of an annotated virtual replica. The main components of the tool will be released as open source., Session 5, Moonisa Ahsan, Giuliana Altea, Fabio Bettio, Marco Callieri, Antonella Camarda, Paolo Cignoni, Enrico Gobbetti, Paolo Ledda, Alessandro Lutzu, Fabio Marton, Giuseppe Mignemi, and Federico Ponchio

Early career postdoctoral research opportunities in Europe As part of the activities of the PASAP MED Doctoral Program, CNR Institute researchers talked about the opportunities Europe offers to those who have completed their doctorate in the Cultural Heritage sector. Monday 11 April 2022, 3:00 pm Vania Virgilio, ISPC-CNR, Naples Licia Cutroni, ISPC-CNR, Catania Cristina Massi Benedetti, ISPC-CNR, Naples Angela Bellia, ISPC-CNR, Naples Carlo Rindi Nuzzolo, ISPC-CNR, Catania Tuesday 12 April 2022, 3:00 pm Juan Francisco Gibaja Bao, EEHAR-CSIC, Spain Maja Gori, ISPC-CNR, Rome Alice Leplongeon, KU Leuven, Belgium CNR National Research Council National Research Council - Communication PASAP_Med Paola di Giuseppantonio di Franco, University of Essex, United Kingdom Cycle of seminars introduced by Giulio Lucarini