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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...

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”.

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.

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 issue of acquiring large amounts of data and creating large sets of digital data, and then processing and analyzing them (Big Data) for the needs of generating artificial intelligence (AI) solutions is one of the key challenges to the development of economy and national security. Data have become a resource that will determine the power and geopolitical and geoeconomic position of countries and regions in the 21st century.The layout of data storage and processing in distributed databases has changed in recent years. Since the appearance of hosting services in the range of ICT services, we are talking about a new type of ASP (Applications Service Providers) – provision of the ICT networks as part of an application). Cloud Computing is therefore one of the versions of the ASP services. The ASP guarantees the customer access to a dedicated application running on a server. Cloud Computing, on the other hand, gives the opportunity to use theresources of a shared infrastructure for many users simultaneously (Murphy n.d.). The use of the CC model is more effective in many aspects. Cloud Computing offers the opportunity to use three basic services: data storage in the cloud (cloud storage), applications in the cloud (cloud applications) and computing in the cloud (compute cloud). Website hosting and electronic mail are still the most frequently chosen services in Cloud Computing. The article attempts to explain the responsibility for content stored in the Cloud Computing.

Since the digital technologies emerge, digital heritage has become an integral part of the world's cultural heritage under the leadership of UNESCO. With the development of digitization and accumulation of data, the digital information processing system for cultural heritage keeps updating. However, there still exist the problems of low information integration degree and weak information sharing ability, severely restricting the promotion and integration of cultural heritage and society. This paper proposes a digital cultural heritage cloud platform, where basic data service, knowledge service, engineering application, visual exhibition were realized through HTTP request. This platform completely encapsulated a large number of cultural heritage data processing algorithms. Accordingly, a cultural heritage data management system, a cultural heritage knowledge construction and application system, a cultural heritage display, analysis and evaluation system, and a cultural heritage microenvironment index monitoring system were embedded in this platform. In addition, the platform provided API for professional customized development to provide effective support. This platform can be flexibly adapted and extended, laying solid foundation for digital information sharing of cultural heritage.

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

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

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.

This paper aims at proposing a model for virtual reality design studies by presenting the case of TeosVR, in which our interdisciplinary research group created a three-dimensional repository of the architectural heritage of the ancient city of Teos. It offers a three-dimensional modeling system with the capability of incorporating in situ data of archaeological remains and interpretative reconstructions for an excavation site with limited restitution data. Furthermore, the tools of the project go beyond traditional practices including data gathering, documenting, indexing, and analysis, and are also employed in generating virtual experience. Thus, the application created a platform to enhance interactions among experts of various disciplines.

In recent years, UK Higher Education Institutions (HEIs) and funding bodies have been increasingly championing the merits of co-production between academic researchers and non-HEIs, including community groups. However, these undertakings are often more complex than we are led to believe and the issues encountered are frequently downplayed in published outputs. In this article we review a selection of recent projects in which digital technologies have been used in heritage-led public engagement, including two of our own related projects at Park Hill flats in Sheffield. Digital technologies are the latest means by which HEIs are seeking to engage with the public, but it is becoming clear that there are significant impediments to undertaking this successfully. These include the short-term nature of the funding, the difficulties of maintaining digital outputs over time, and managing community expectation of what can be achieved in the time, and with the funding, available, alongside variable levels of familiarity with, and interest in, digital platforms by the public. Funding schemes often prioritise new consultation activities, and co-production with communities, over making use of archival community engagement materials. We suggest that academic engagement with the public needs to be sensitive to these issues, and to recognise that valuable digital heritage projects can emerge from diverse approaches to co-production.

We present four types of neural language models trained on a large historical dataset of books in English, published between 1760-1900 and comprised of ~5.1 billion tokens. The language model architectures include static (word2vec and fastText) and contextualized models (BERT and Flair). For each architecture, we trained a model instance using the whole dataset. Additionally, we trained separate instances on text published before 1850 for the two static models, and four instances considering different time slices for BERT. Our models have already been used in various downstream tasks where they consistently improved performance. In this paper, we describe how the models have been created and outline their reuse potential., Comment: 5 pages, 1 figure

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.

This paper will examine the current techniques available for recording of heritage sites and archaeological artifacts, that is: cultural heritage. Techniques include: digital freehand sketching, digital measurement, photographic techniques for generation of panoramas, 3D models and interactive tours, generation of 2D and 3D models to create interactive virtual tours, VR techniques and other trends. The paper will review the available hardware and software, the different workflows, processes, software, types of tools available for those interested in recording digital heritage. Future and expected trends will also be discussed.

The paper draws on debates about digital heritage and further examines the implications in terms of safeguarding intangible cultural heritage. Taking i-Treasures, an EU-funded FP7 collaborative res...

This paper examines the importance of the process of collaboration and community engagement in developing and applying digital heritage resources. It draws on case studies from the authors’ experiences building partnerships between a university’s anthropology undergraduate program and a provincial museum to teach community-engaged applied digital heritage. The process of creating and using digital technologies in heritage environments were transformative for not only students but also professional archaeologists and communities, highlighting the meaningful engagement and understandings that are developed through collaborative making. However, it also highlighted the challenges facing these types of collaborations, including academic and heritage structures, digital preservation/management, and ethics and inclusivity in digitization projects.

The recent “digital turn” in archaeology has driven methodological advances and opened new research avenues, with wide ranging impacts at multiple scales. The proliferation of methods such as 3D imaging, remote sensing, laser scanning and photogrammetry has led to the datafication of archaeology [Caraher 2016: 467, Mayer-Schönberger et al. 2013: 73]. This process is most evident in research on digital surveying, data visualization, digital archiving, mapping, and image processing, which prioritize the creation and manipulation of large digital datasets. These research avenues often generate more intellectual traffic than “slow archaeology” routes [Caraher 2016], which adopt a reflexive approach to knowledge production, embrace the inherent complexity of digital datasets, emphasize craft modes of archaeological documentation [Perry 2015], and “highlight the value of small and properly contextualized data” [Kansa 2016: 466]. Confronting the growing tension between big data and slow archaeology will be an iterative process. It will evolve as researchers and other stakeholder groups assess the value of digital approaches to preserving, communicating, and interpreting the past as it relates to the present. This special issue of Studies in Digital Heritage is the outcome of a symposium at the 2018 Society for American Archaeology (SAA) conference in Washington, D.C., entitled “Digital Heritage Technologies, Applications, and Impacts.” The articles within contribute to this dialogue by critically assessing the challenges and successes of recent digital heritage projects in museums, teaching and fieldwork contexts.

Today, the generation of smart models and digital archives able to accompany the management of architectural assets through the integration of advanced 3D survey techniques and Historic Building Information Modelling (HBIM) becomes an irremissible added value for the management of building life cycle. New international BIM standards are trying to give some guidelines to this new digital tool, which has demonstrated a wide range of potential applications in digital heritage, structural simulation, generative design, site management, restoration and daily maintenance activities. To manage a proper 3D reconstruction from point clouds, also known as Scan-to-BIM process, BIM experts typically use 3D application developed for the management of new buildings, which make it difficult to generate complex objects such as historic vaults and irregular and damaged walls. For these reasons, this study places the heart of its research in the integration of generative modelling in BIM application, proposing new Scan-to-BIM modelling requirements for complex vaulted systems and a novel add-in (a set of new functionalities for Autodesk Revit) able to improve the generation of complex elements from point cloud data. In particular, new modelling requirements such as novel grades of generation (GOG) and accuracy (GOA) are integrated within the Revit’s structure in order to improve the level of information connected to HBIM and consequently to support the decision making of restoration and rehabilitation projects of complex heritage structures.

This article begins with an attempt to contextualize the use of digital media and computation in works related to cultural heritage, in Portugal, in the frame of the regulations and policies that have been developed internationally and nationally. It then develops on the contextualization of the implementation of digitalization strategies regarding museum’s collections in Portugal and its struggles both to implement these strategies as well as to invest in the creation and implementation of applications of digital tools for audience’s engagement. Following some examples that have been developed for different purposes such as preservation, cataloguing, education and teaching, in different fields of cultural heritage such as archeology, ethnology, natural and historical sites, the article will then focus on the contributions of the more recent uses of technology to enhance or create interactive heritage experiences in cultural heritage, such as, photogrammetry, 3D modelling, and movement analysis. Finally, the last part of this article explores a proposal of gamification of intangible cultural heritage, portraying the winter festivity Carnival of Podence inscribed, in the Representative List of Intangible Cultural Heritage of Humanity, in December 2019. Financiado por fundos nacionais através da FCT – Fundação para a Ciência e a Tecnologia, I.P., no âmbito do projeto referência nº: UIDB/04470/2020. info:eu-repo/semantics/publishedVersion

Heritage management in Sweden has undergone a substantial transformation in recent decades. The process of monitoring and managing heritage information has become increasingly digital, relying on interconnected systems to monitor registered archaeological remains to manage investigations and contract archaeology excavations. This also has to work together with the digital systems of the County Administrative Boards that administer all permissions for excavations. Current developments deal with archiving and dissemination of reports, and documentation from fieldwork. Documentation of archaeological excavations has predominantly been digital for the past 20 years, which brings both possibilities and challenges in making sure the information will adhere to the FAIR Principles. This article outlines some of these developments and exemplifies the possibilities of reusing legacy data through the Urdar project.

Memory is a double bind: on the one side, memory making is a basic individual and social practice of creating cultural traditions, and on the other side, it is a technical model in computer technology. Both concepts are entangled with each other. Since the introduction of computer technology and digital infrastructures, the means and modalities for making memories have changed enormously for professionals in Galleries, Libraries, Archives and Museums (GLAMs) and also people and groups in everyday life. HCI thus plays a crucial role for shaping these modalities of memory making, for creating connectivities between human and non-human memories as well as for opening up cultural memory making for participation by diverse stakeholders.

In 2016, the University of Newcastle (UON) (Australia) Auchmuty Library established the GLAMx Living Histories Digitisation Lab to provide for placements for students in the UON’s Work Integrated Learning programmes. The lab provides a unique opportunity in the tertiary teaching and learning sphere for students to engage in practical education and learn the technical know–how to be able to transform any physical format into a digital object, and access to the entire gamut of GLAM professions across conservation and preservation, archival science, librarianship, digitisation, metadata and data management, curatorial work, three-dimensional (3D) scanning, virtual reality technologies and digital heritage skills. The two case studies discussed are quite specialised digitisation projects: the first is the Deep Time project requiring 3D scanning technology; and second the audio–visual digitisation of the NBN Television archive. Digital projects are curated and shared with a global audience on the UON Library’s Cultural Collections digital platform ‘Livinghistories@UON’.

This paper focuses on the project VR and AR in the valorisation of cultural and artistic heritage within the New Cinema History framework, aims to combine microhistory related to local cinema theatres and Cinema Heritage, and to investigate the possibilities that digital media – in this case Augmented and Virtual Reality – have in the valorisation and preservation of cultural heritage. The final output of the project is the Virtual Reality reconstruction of the Odeon cinema’s architecture and habits of cinemagoing that, thanks to an immersive experience via the Oculus Rift headset, could evoke and simulate historical spectatorship that dealt both with the moment of watching a movie and its peripheral practice. the development of the project, at least four different perspectives on the Odeon cinema converged to form the basis of the VR reconstruction: the literature on the topic, the consultation of public and private archives, the oral sources, and photographs taken on site. This paper focuses mostly on the documents and sources used in the VR project and it aims to investigate how various and heterogeneous documents can be woven together into a philologically reliable historical reconstruction, and how they can be used in 3D modelling and VR storytelling related to Cinema Heritage.

This paper explores the role of Application Programming Interface, (API), in Galleries, Libraries, Archives and Museums (GLAM) sector, and reflects on its role for opening up cultural digital heritage for inclusive future memory making. It also discusses possibilities of a participatory API ecosystem, going beyond high quality metadata and data interoperability. APIs are often seen as facilitators for opening up knowledge, but when it comes to future memory making, little is known with regards to the power relations that are constructed within the digital ecosystem and how does this influence the interplay. The paper proposes a contribution towards this domain, critically exploring aspects that are facilitating or hindering people’s participation for enabling future collective memory making.

Nowadays ICT and digital heritage play an essential role in accessing and understanding Europe’s cultural basis and history. Documentation, data processing and representation of Architectur...

Although Augmented Reality (AR) technology has entered many market and knowledge domains such as games and leisure activities, it remains rather limited in digital heritage. After studying the potentiality of using modern AR elements in a museum context, this paper proposes the use of additional game and educational elements in the core AR application in order to enhance the overall on-the-spot museum visitor&rsquo, s experience. An agile AR application design methodology was followed by taking into account the needs of small-to-medium sized real-world museums. Moreover, a heuristic evaluation protocol was applied by a group of experts in order to test the proof-of-concept AR application, in which some novel elements were proposed such as the AR quiz game. The main findings indicate that enhanced AR experiences in museum settings can make a nice fit with the user environment, physical and perceptual abilities, known metaphors, and user position and motion in 3D space. Moreover, AR services can be provided under a minimum distraction and physical effort. As a conclusion, AR technologies are mature enough to be standardized for museum usage, while the audience seems to be ready to take advantage of the related enhanced museum experiences to maximize both user satisfaction and learning outcomes.

[EN] The advent of information and communication technologies (ICTs) has had and is having a major impact on Indonesian cultural resource management, and on the safeguarding methods of its tangible and intangible cultural heritages. Despite varied levels and visible gaps between rural and urban regions in terms of technology usage, innovative initiatives have been created, which correspond to the needs and expectations of a technology-savvy public. As a starting point, a number of public institutions dealing with tangible cultural heritage (e.g. museums, palaces, temples, World Heritage Sites (WHS)) do use innovative digital tools in order to communicate to various audiences, as well as to enrich visitors’ experience, especially taking into consideration young generations. This paper will firstly examine the role of ICTs in intangible cultural heritage (ICH) (e.g. Batik, Wayang puppet theatre, etc.); secondly, the authors will explain how ICTs can help to communicate and promote the values, history, and significances of ICH products, both for locals and tourists, with the goal of raising awareness on cultural identity. However, the knowledge of ICH still requires contacts with its own communities and is vulnerable, as it can be exposed to excessive cultural commoditization through e-platforms. This study aims at giving an overview and some examples of digital interventions for cultural heritage communication implemented by various stakeholders in Indonesia. In addition, this paper analyses to what extent a participatory approach engaging local communities, academics, private sectors, NGOs and the government, can ensure higher levels of effectiveness and efficiency, hence supporting the conservation of UNESCO tangible/ICH in Indonesia. This paper aims at: (1) presenting the development of digital heritage platforms in Indonesia; (2) providing a grid of analysis of digital heritage knowledge platforms dedicated to UNESCO tangible and ICH in forms of websites and mobile apps., [ES] La aparición de las tecnologías de la información y la comunicación (TIC) ha tenido y está teniendo un gran impacto en la gestión de los recursos culturales indonesios y en los métodos de salvaguarda de sus patrimonios culturales materiales e inmateriales. A pesar de los distintos niveles y las brechas existentes entre las regiones rurales y urbanas en términos de uso de la tecnología, se han creado iniciativas innovadoras que corresponden a las necesidades y expectativas de un público experto en tecnología. Como punto de partida, algunas instituciones públicas que se ocupan del patrimonio cultural material (por ejemplo, museos, palacios, templos, sitios patrimonio de la humanidad (WHS)) implementan herramientas digitales innovadoras para comunicarse con diverso público y enriquecer la experiencia de los visitantes, especialmente teniendo en cuenta a las generaciones jóvenes. Este artículo examinará primeramente el papel de las TIC en el patrimonio cultural inmaterial (PCI) (por ejemplo, Batik, teatro de marionetas de Wayang, etc.); en segundo lugar, los autores explicarán cómo las TIC pueden ayudar a comunicar y promover los valores, la historia y el significado de los productos del PCI tanto al público local, como a los turistas, con el objetivo de crear conciencia sobre la identidad cultural. Sin embargo, el conocimiento del PCI todavía requiere contactos con sus propias comunidades y es vulnerable, ya que está expuesto a la excesiva mercantilización cultural a través de plataformas electrónicas. Este estudio tiene como objetivo proporcionar una visión general y algunos ejemplos de intervenciones digitales en la comunicación del patrimonio cultural adoptadas por diversos organismos interesados en Indonesia. Además, este documento explica en qué medida un enfoque participativo, que involucra a las comunidades locales, académicas, sectores privados, ONG y al gobierno, puede garantizar niveles más altos de efectividad y eficiencia, y, por tanto, apoyar la conservación del patrimonio cultural material/inmaterial de la UNESCO en Indonesia. Este documento tiene como objetivos: (1) presentar el desarrollo de plataformas de patrimonio digital en Indonesia; (2) proporcionar una matriz de análisis de plataformas de conocimiento del patrimonio digital dedicadas al patrimonio cultural material e inmaterial de la UNESCO en sitios web y aplicaciones móviles., Indonesian LPDP (Lembaga Pengelola Dana Pendidikan) Endowment Funds Scholarships, Ministry of Finance, Republic of Indonesia; UNESCO Chair in ICT to develop and promote sustainable tourism in World Heritage Sites USI - Università della Svizzera Italiana, Switzerland.

Interactive multimedia applications in museums generally aim at integrating into the exhibition complementary information delivered through engaging narratives. This article discusses a possible approach for effectively designing an interactive app for museum collections whose physical pieces are mutually related by multiple and articulated logical interconnections referring to elements of immaterial cultural heritage that would not be easy to bring to the public with traditional means. As proof of this concept, a specific case related to ancient Egyptian civilization has been developed. A collection of Egyptian artifacts such as mummies, coffins, and amulets, associated with symbols, divinities, and magic spells through the structured funerary ritual typical of that civilization, has been explained through a virtual application based on the concepts discussed in the methodological section.

This article provides the first theoretical treatment of the ontologies and epistemologies of digital heritage research at the time of the interconnected and social web, based on extensive ...

In this paper, I present a case for understanding exhibitionary practices as always experimental. I discuss here a study conducted on the McCord Museum’s MTL Urban Museum App, a digital display tha...

Archaeologists, preservationists, and many other researchers have increasingly turned to photogrammetry as an alternative to optical 3D-scanning hardware. The technology is sufficiently new that researchers have only begun to establish the protocols and standards. This article presents a simple yet rigorously controlled method for 3D modeling small artifacts ca. 5–10 cm across. The specimen is rotated on a turntable to facilitate photography, and artificial lighting creates an even illumination throughout the resulting models. A masking technique allows a full 360° view of the object to be restored simultaneously, eliminating the need for aligning and merging partial scans or other post-processing. Repeatability tests of the resulting models indicate high precisions and accuracies that exceed those reported previously for photogrammetric modeling in the literature. The method can match the accuracy typically attained by commercial optical scanning systems.

Understanding the issues in cultural heritage preservation and digital heritage begins with knowledge exchange and the education of present and future stakeholders in the sector. Therefore, an inno...

The enigmatic and gigantic Offa’s Dyke has long been understood as a demonstration of the power of the Mercian state in the long eighth century. Despite this, rarely have previous studies involved anything more than the visual observations of the earthwork. Moreover, ground-level perspectives cannot possibly contextualise its total breadth and character. The shortcomings in the resulting quality of data on the Dyke has led to uncertainties and debate over its route, extent, and placement in the landscape. With the application of lidar and other digital technologies, my ongoing doctoral research is providing a fresh understanding of the nature and original extent of Offa’s Dyke’s route by the creation of an accurate and empirical dataset. This digital dataset for Offa’s Dyke is identifying hitherto unknown sections of the monument. Furthermore, it is providing the foundation for new investigations of the nature of the frontier in the eighth century by creating the basis for new investigations into the placement and landscape context of the monument. This article presents interim results on the investigation of the Herefordshire section of Offa’s Dyke, a stretch that has been among the most problematic and poorly understood from all sections of the earthwork. This study thus provides fresh perspectives utilising digital heritage tools and data sources to examine and re-evaluate evidence of the nature and extent of the monument and the wider Mercian frontier.

During the years 2013-2016 a great number of buildings (medieval castles, churches and other monuments) in Slovakia were digitized. STUDIO 727 was the main provider of these digitalization works. The subject of our investigation was the most significant Slovakian historical objects. Within the digitalization project we have created 3D models of the most important Slovakian monuments, as e.g. Bojnice castle, gothic church in Spišský Štvrtok or Devin castle, where there are also artifacts from Roman period, La Tène era and Middle Ages. The aim of the project was to identify current technological possibilities for the creation of virtual presentations of real spaces. During the creation of the 3D models we used a combination of Photogrammetry and 3D space scanning by laser scanner LIDAR (Leica brand). Final modification of laser outputs was made using Cyclone software. Post processing was done with Capture Reality, Autodesk Maya and MeshLab software. 2D documentation was made using AutoCAD. The purpose of documentation was to capture the appearance of historical buildings and historical building technologies, to keep culture heritage for next generation. Some monuments, which have been falling apart progressively, were documented. The documentation created will contribute to culture heritage publicity and provides documentation for the future renovation of these particular monuments. The Entry of this project was the process of creating 3D virtual models and 2D documentation. Contribution was created thanks to EU project, within the Operational program Informatization of society. Project was supported by The Ministry of Culture of Slovak Republic and Government Office of Slovak Republic.

La tendencia a la desmaterialización del arte durante el siglo XX verá su culminación definitiva enel desarrollo de los nuevos medios digitales actuales. Con ellos las creaciones artísticas acentuarán la carga de la informacióncontenida sobre cualquier otro elemento físico. Los medios quedarán reducidos a materializadores circunstancialesde las obras. En este contexto, dominado por la rápida obsolescencia de las nuevas tecnologías, la cuestión serála de las posibles estrategias de conservación de las obras de cara al futuro. El patrimonio cultural digital producido ennuestros días corre un peligro constante de pérdida. Ante ello debe redifinirse el papel de la institución, un medio ya noalmacenador de creaciones moribundas, sino punto neurálgico que debe mantener abierto el proceso de comunicacióncon el público-usuario.

Purpose Fanfiction communities are actively engaged in creating cultural products. These large online communities have created and developed conventions that guide their solutions to gathering and presenting their work. The purpose of this paper is to investigate those conventions looking for evidence of information-related pursuits as serious leisure (SL) (Stebbins, 2007). Design/methodology/approach A diverse collection of fanfiction publishing platforms, blogs, and associated websites were subject to a qualitative inductive analysis (Lincoln and Guba, 1985). Platforms included both generalist sites like Archive of Our Own and more focused sites such as Teen Wolf Fic Finder. Findings Findings show significant information-related activities around collecting, wayfinding, and organizing. Collecting centers on platform policies focused on scope. Wayfinding relates to peer review as well as various reference-like work including reader’s advisory, reference questioning, and the creation of pathfinders. Organizing looks to the unique organizational schema created and used by the fanfiction communities. Research limitations/implications The authors explore implications of these activities in reference to the fanfiction community and the library and information science (LIS) discipline. The fanfiction community is shifting out of an ephemeral existence and into one of a more permanent digital heritage. Fanfiction is an SL pursuit that also has much to offer for consideration to the LIS discipline. Practical implications With respect to the wayfinding and organizing conventions of fanfiction communities, these activities provide librarianship with the opportunity to consider traditional activities in new ways. Originality/value Fanfiction is a little studied phenomenon in SL and in LIS. This research provides connections to both areas.

A internet é um lugar de memória? Tendo como ponto de partida essa indagação, o objetivo deste trabalho é apresentar discussões sobre a proliferação das narrativas nas redes sociais e como a memória que emerge dessas narrativas são parte do patrimônio digital de um determinado grupo social. Além disso, discutimos o conceito de patrimônio digital e suas implicações no panorama atual da memória social. As redes sociais, além de suas funções comunicativas e sociais, tornaram-se espaços de registro e preservação de memórias e armazenadoras dos rastros digitais memoriais. Dessa forma, o Facebook acaba reivindicando para si um “lugar de memórias” na internet., Is the internet a place of memory? Starting from this question, the objective of this work is to present discussions about the proliferation of narratives in social networks and how the memory that emerges from these narratives are part of the digital heritage of a certain social group. In addition, we discuss the concept of digital heritage and its implications in the current panorama of social memory. Social networks, in addition to their communicative and social functions, have become spaces for the recording and preservation of memories and storehouses of digital memorial trails. In this way, Facebook ends up claiming for itself a "place of memories" on the internet.&nbsp, ¿Internet es un espacio para las memorias? Usando esta cuestión como punto de partida, el objetivo de este trabajo es presentar discusiones sobre la proliferación de las narraciones en las redes sociales y como las memorias que surge de estas narraciones son parte del patrimonio digital de un determinado grupo social. Además, discutimos el concepto de patrimonio digital y sus implicaciones en el panorama actual de la memoria social. Las redes sociales, mas allá de sus funciones comunicativas y sociales, se han convertido en espacios de registro y preservación de memorias y almacenadoras de los rastros digitales de memorias. De esta forma, Facebook reinvindica su posición como "lugar de memorias" en internet.

Digital heritage comprises a broad variety of approaches and topics and involves researchers from multiple disciplines. While the use of digital methods in the text-oriented disciplines dealing with cultural heritage is widely discussed and canonized, an up-to-date investigation on cultural heritage as a scholarly field is currently missing. The extended abstract is about a three-stage investigation on standards, publications, disciplinary cultures as well as scholars in the field of digital heritage, carried out in 2016 and 2017. It includes results of a workshop-based survey involving 44 researchers, 15 qualitative interviews as well as an online survey with nearly 1000 participants. As an overall finding, a community is driven by researchers from European countries and especially Italy with a background in humanities, dealing with topics of data acquisition, data management and visualization. Moreover, conference series are most relevant for a scientific discourse, and especially EU projects set pace as most important research endeavours.

Annotations provide a valuable perspective on the semantic information present in digital heritage collections, and in recent years they've been employed in a number of innovative, user-centric techniques that can personalise a user's experience of heritage materials, such as by actively adapting exhibits as a user reveals their interests, or by guiding users to explore collections which are meaningfully linked to what they have previously encountered. Despite the captivating opportunities offered by these techniques, collecting annotations for a large heritage collection is no trivial task. A significant amount of work is required to manually annotate large quantities of heritage materials, and automated, computational approaches leave much to be desired regarding the level of insight and semantic richness that they can currently provide. By analysing the emergent relationships between the initial annotations in a collection, we propose a metadata-driven algorithm for assisting and augmenting the annotation process. This algorithm, called SAGA (Semantically-Annotated Graph Analysis), allows for semi-automatic annotation, which balances the value of the contributions of human annotators with the time and effort-saving benefits of an automatic, suggestion-driven process. SAGA uses an entity relationship-driven approach to make annotation suggestions. It is used in the context of a web-based infrastructure called SAGE (Semantic Annotation by Group Exploration), a multiagent environment which assists groups of experts in creating comprehensive annotation sets for heritage collections. SAGA and SAGE are evaluated from the perspectives of suggestion accuracy, explicit user acceptance and implicit user acceptance, and demonstrate strong results in each evaluation.

[EN] This paper presents a proposal for the use of digital resources to improve the university curriculum for historians in particular and heritage managers in general. It is possible to develop the sector, providing more employment and promoting theoretical and methodological changes conducive to mutual progress. To achieve this, the proposal takes into account the recent legal reforms in education and within the European Digital Single Market. However, although such changes are possible given that there is already extensive experience in heritage digitisation, they are hindered by the current curricula content and slow implementation of competency-based education. The desk research reported here focused on a Spanish context that could benefit from curriculum development implemented elsewhere, and the resulting proposal for positive action was explored in the context of history and heritage education at the University of Cadiz., [ES] Este artículo propone implementar el uso de los recursos digitales en el currículo de historiadores en particular, y de gestores del patrimonio en general. Es posible desarrollar el sector proporcionando más empleo y promoviendo cambios teóricos y metodológicos. Para alcanzar esta propuesta hay que tener en cuenta las recientes reformas legales en educación y en el Mercado Europeo Único Digital. Tales cambios son posibles porque hay una enorme experiencia en la digitalización del patrimonio. Pero los contenidos de los planes de estudio existentes en la actualidad, así como la lentitud en la implantación de la Educación por Competencias lo impiden. Esta investigación documental se basa en un contexto español que puede beneficiarse del desarrollo curricular implementado en otros lugares. Se plantea todo esto en el caso de los estudios de Historia y Patrimonio en la Universidad de Cádiz, así como una propuesta de acción favorable., This work was supported by the CEI PatrimoniUn10, the Seminario ‘Agustín de Horozco’, and the Grupo de Estudios de Historia Actual (GEHA) of the University of Cadiz.