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Since the 2010s, various national and pan-European public infrastructures have been emerging around aggregation, viewing, and 3D heritage model collection. The purpose of this article is to focus on the current state and ecosystem for 3D models in Europe through (a) a review of published studies on users, objects, and demands (b) and an overview of the ecosystem for 3D heritage data. As part of the German distributed infrastructure, the DFG 3D Viewer Jena experimental repository serves as a testbed for technology prototyping and testing. Based on the findings of the European ecosystem, we used this repository to test a prototypic approach to (c) acquiring 3D data from multiple sources, (d) enriching data quality, and (e) enabling indexing, searching, and viewing functionalities. [ABSTRACT FROM AUTHOR]

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

Besides the main mission of spreading cultural heritage knowledge, Europeana as well as many GLAMs are very engaged in developing new strategies in order to make digital contents reusable for creative industry. Nevertheless, these actions have been successful just only in sporadic cases. A wrong approach to communication often undermines efforts. This paper particularly describes a case study including proposals for an effective connection among Europeana, GLAMs and Creative Industry in the framework of Food and Drink digital heritage enhancement and promotion. [ABSTRACT FROM AUTHOR]

The subject of this article is the Europeana Fashion project, an EU-funded project that deals with digital fashion heritage. The project consortium consisted of 22 partners from 12 European countries and included the Victoria and Albert Museum, Les Arts Décoratifs, MoMu, the archives of brands, such as Missoni and Pucci, as well as the Museum of Applied Art in Belgrade. The main goal of Europeana Fashion was to harvest the digital collections of fashion institutions and to represent them in a uniform way on a specialized fashion portal. This article outlines the origins of the project, focusing on its main achievements, and offers to the reader a look into the future of europeanafashion.eu. [ABSTRACT FROM AUTHOR]