DigitalHeritageExpo is the largest exhibition on Digital Heritage ever organised. Spread over more than 700 sqm of space, the exhibition is divided into 6 unique categories: Immersive Environments, DigitalHeritage @ Work, Virtual Museums, Edutainment, Art and Creativity, Multivision.
Supported by BMTA’s Archeovirtual and ETH’s Digital Art Weeks, the Expo is hosted in the astonishing location of the Villa Mediterranée in Marseille from the 28th of October until the 1st of November 2013. Selected by a Program Committee composed of Arts, Heritage and Information and Communication Technologies experts, the best exhibitions proposals not only be accessible for hundreds of participants of the DigitalHeritage2013 International Congress, but will also for the thousands of visitors that the new waterfront museum area has been attracting to its exhibits. Visitors to the exhibition will travel through time and space, reaching diverse countries from around the world from Jordan to Indonesia, from China to America, from Spain to Island, covering an historical timespan of over 5000 years, the exhibitions lets visitors explore archaeological sites and monuments, get immersed in musical environments and enter virtual artworks, listen to stories from our past, interact with a wide range of digital heritage and science applications using hands, bodies, heads, brains, and finally to connect “digital” with “heritage” and to see how creativity takes one to new future perspectives.
Organized by CNRS (French National Center for Scientific Research) on behalf of the MAP Laboratory and local research institutions Provence (Aix-Marseille University, Arts et Métiers ParisTech, CICRP, School of Architecture and INRIA Méditerranée) and by CNR ITABC (Italian National Research Council, Institute of Technologies Applied to Cultural Heritage), in cooperation with ETH (Swiss Federal Institute of Technology).
Supported by Archeovirtual and Digital Art Weeks
Sponsored by Digital Projection
OPENING TIMES
Monday, october 28 : 9 a.m. to 19 p.m. / only for congress attendees
IMMERSIVE ENVIRONMENTS
DIGITALHERITAGE @ WORK
VIRTUAL MUSEUMS
Tangible geographical interface
EDUTAINMENT
ART AND CREATIVITY
Raffaello Madonna of the Goldfinch
MULTIVISION
Creating the missing link. How to connect the workflow of 7000 cultural institutes into a dynamic network for reuse
Marco Streefkerk and Roxanne Wyns
For heritage to remain of value in the digital, networked society, combined reuse of distributed collections is crucial. However delivering content and metadata of cultural artifacts from their internal knowledge repositories, into public and open content aggregators such as Europeana, is still a major challenge for cultural organizations throughout Europe and worldwide.
Automation of their workflow as well as providing them with supporting knowledge and tools can remove or diminish existing barriers (organisation, legal, technical) for content providers, like museums. Especially for smaller organisations, the commercial vendors of their collection management systems are essential in making this possible. Europeana Inside, co-funded by the European Union under the CIP-ICT-PSP program to support the Digital Agenda for Europe, is unique as collaborative project of public memory organisations and commercial companies. When successful the project can set a best practice for potential 7000 memory institutions to achieve a lasting transformation in the quantity, scope and usability of the content available for distributed re-use. As the result these organisations will prove a strong foundation for the value network of digital cultural heritage.
During the first months of the project, dedicated to defining specifications, some major challenges were identified. Finding answers to these challenges, acceptable to all stakeholder (heritage institutions, service providers, creative industry, national and European government) is crucial to the success, not only of the project but also to the Europeana Network and indeed the international ecosystem for digital heritage. For the Europeana Inside consortium Digital Heritage 2013 provides an unique opportunity to validate the direction of the project against an audience of researchers and practitioners on digital heritage and make some final adjustments if necessary and define the outcomes in detail to be most valuable to the digital heritage domain.
The topic arises from an ongoing European research program (FEDER-SUDOE) called TRANSCREATIVA, dealing with creative industries development in France/Spain/Portugal. One part of the program deals with cross-fertilization between digital industry and heritage industry.
The panel introduces this research in progress on the use of digital technologies in the Southern Europe heritage sector. Specific questions are raised such as: What is the learning process of digital technologies in the Southern Europe heritage sector? Which steps and practices in this process could we observe? What are the good and bad heritage practices for digital use?
The discussion is contextualized with the characteristics of Southern Europe heritage regions. Various case studies from France, Spain, Portugal, are introduced and presented by panelist speakers from the cultural and regional economics, cultural management, psychology and social fields).
Panel format invites the audience to share knowledge during the panel and to suggest future lines of research for the panel topic.
Proposers and moderators :
Anne Gombault, Professor of Management, Head of the Research Cluster "Culture, Sports, Tourism", KEDGE Business School, Bordeaux-Marseille, anne.gombault@kedgebs.com
Aurélien Decamps, Professor of Regional Economics, Research Cluster "Culture, Sports, Tourism", KEDGE Business School, Bordeaux-Marseille, aurelien.decamps@kedgebs.com
Guest Speakers :
Maria Teresa Moreno Valdés, Social Innovation Consultant and senior researcher in R&D projects, Tecnalia, Bilbao, Spain, maria.moreno@tecnalia.com
Françoise Lacotte, Project Manager at the Cultural & Heritage Industries Cluster, Arles, France, flacotte@industries-culturelles-patrimoine.fr
The workshop is thus aimed to any staff member, professional, amateur, as – according to the Digital Invasions format - co-creation of cultural value is something that each individual is called (and willing) to take part into.
The first part of the workshop will present the ‘Digital Invasion’ format, explain it as everchanging format by nature, due to its bottom-up, fully crowd-generated approach, and show results of the Italian edition (april 2013)
The second part of the workshop will involve participants in practicing their role of ‘co-creators’ and their interpretation and communication skills during a dedicated event: the ‘Digital Invasion’ of the Conference premises.
After a due briefing, and under the watchful eye of the coordinators, participants – in groups - will literally ‘invade’ the MuCEM Museum, La Villa Mediterranee and the Fort Saint Jean, and digitally (story)tell what they see, feel, like by using their smartphone to post on major social media (Facebook, Pinterest, Twitter, Google+)
11:20 - 11:40
33 - Peter Ferschin, Monika Di Angelo and Galina Paskaleva
Parametric Balinese Rumah
11:40 - 12:00
225 - Mamata Rao and Pallavi Thakur
Reconstruction of Virupaksha Bazaar Street of Hampi
12:00 - 12:20
170 - Francesco Gabellone, Maria Teresa Giannotta, Ivan Ferrari and Maria Antonietta Dell'Aglio
From museum to original site: 3D environment for the virtual visit of finds re-contextualized in their original provenance
12:20 - 12:40
313 - Eva Pietroni, Augusto Palombini, Antonia Arnoldus Huyzendveld, Marco Di Ioia and Valentina Sanna
Tiber Valley Virtual Museum: 3D landscape reconstruction in the Orientalising period, North of Rome. A methodological approach proposal
12:40 - 13:00
279 - Nicola Lercari, Maurizio Forte, Llonel Onsurez and Joe Schultz
Multimodal Reconstruction of Landscape in Serious Games for Heritage
GALA workshop: learning Cultural Heritage by Serious Games
Michela Mortara and Chiara Eva Catalano
Immersive technologies such as virtual environments and augmented reality have a clear potential to support the experiencing of Cultural Heritage (CH) by the large public, complementing the current tools and practices based on tangible goods such as museums, exhibitions, books and visual content. Serious Games (SGs) - videogames designed for educational objectives - appear as a new tool to learn cultural content in an engaging way. In this workshop supported by the EU Network of Excellence “GALA: Games and Learning Alliance” (www.galanoe.eu) we will portray the current proposition of serious games in the cultural sector, which is intrinsically multi-disciplinary. In fact, the diversity and the complexity of the field have to be matched with the new technologies and the pedagogical aspects. In a half-day, we will consider these three perspectives and discuss together with domain experts, researchers and game developers how they can be integrated to enhance the cultural dissemination. On the one side, the contribution of academy on pedagogical and psychological theories able to drive the game design and maximise the learning impact will be outlined. On the other side, the ICT perspective on the numerous technologies (e.g. game mechanics, virtual reality, geometric modelling, HCI) involved in the faithful and effective representation and consumption of heritage contents will be faced both from the research and industry point of view. These aspects will be discussed in the light of the requirements of the specific learning experience to be realised by a SG.The last part of the workshop will be devoted to a round table where the most significant challenges in the design and adoption of educational games in CH will be identified and discussed with the panellists.
Michela Mortara, CNR IMATI-Ge, Genova, Italy
Title: Current proposition of serious games for humanities and heritage
Abstract: In this talk the current proposition of SGs in the cultural sector will be reviewed and analysed according to the learning objectives, the genre and the context of use.
Panagiotis Petridis, Coventry University, UK
Title: Promoting experiential learning through the use of games
Abstract: This talk will explore how experiential learning can be supported by games towards promoting active reflection within the domain of cultural heritage.
Pernille Korzon-Dunweber, Serious Game Interactive, Copenhagen, Denmark
Title: Sharing Historical & Cultural Heritage in a fun Interactive way
Chiara Eva Catalano, CNR IMATI-Ge, Genova, Italy
Title: Computer Graphics recipes for modelling smart virtual environments
Abstract: The recent research outcomes of Computer Graphics devoted to shape modelling and understanding will be presented in the perspective of creating smart virtual objects and characters.
Jean-Pierre Jessel, IRIT, Université Paul Sabatier, Toulose, France
Title: New approaches, more interaction and more fun for a better understanding of archaeology
Abstract: We will show the different attempts to provide new ways of interaction in order to offer a better experience and a better understanding of cultural messages for the visitor.
Jannicke Baalsrud Hauge, BIBA, Bremen, Germany
Title: A roadmap for effective and integrated SGs: from requirements to solutions
Abstract: The advances in this field are undergoing fast changes, but what are the trends and needs for SGs? What the specific requirements from the cultural heritage sector?
Roundtable, Discussion with the panelists on the challenges in the design and adoption of Serious Games in Cultural Heritage
21st c. Data, 21st c. Publications. 3D Model Publication and building the Peer Reviewer Community + Digital Applications in Archaeology and Cultural Heritage
Rachel Opitz, Nicola Terrenato, Ilaria Meliconi and Bernard Frischer
21st c. Data, 21st c. Publications. 3D Model Publication and building the Peer Reviewer Community
The preservation and dissemination of 3D archaeological data, and theadaptation of peer review toaccommodate publications based on complex digital data and models, arekey emergent issues in 21st-c.archaeology and related fields. A growing cadre of archaeologicalprojects are producing rich, born-digital archives incorporating datafrom technologies like 3D modeling, laserscanning, image based modeling,and photogrammetric survey, which they are preparing for publication.The Gabii Project (University of Michigan) is embarking on a new digitalheritage effort, supported by the NEH, to develop a peer review processand support the building of a community of reviewers for complex 3D,digital content.
Participants in this workshop will have the opportunity to interact withsample 3D digital content of the kind that could potentially appear inGabii Project publications, alongside relevant narrative text andarchaeological arguments. They will be asked to work in groups tocritique the digital content in terms of interface, information content,and integration with the narrative and argument.
This critique exercise will act as a springboard for open discussion, inwhich participants will define key issues in developing a process forthe peer reviewed publication of the kinds of digital 3D models andcomplex, interactive datasets archaeological projects are now producing.Taking advantage of the wide range of participants brought together bythe Digital Heritage conference, this workshop will act as a startingpoint, launching the effort to build a community of peer reviewers withthe necessary skills and shared standards to evaluate these kinds ofpublications. During the workshop, participants will also have theopportunity to register interest for continuing participation in theGabii Goes Digital project, and identify opportunities for futuremeetings, training sessions, and knowledge transfer.
Digital Applications in Archaeology and Cultural Heritage
We plan to discuss a new, innovative publication peer reviewing and publishing 3D models of objects in archaeology and cultural heritage as well as virtual environments. The Editor in Chief, Bernie Frischer, will explain his vision for the journal and will be able to answer queries from potential authors. The journal aims both to preserve digital cultural heritage models and to provide access to them for the scholarly community to facilitate the academic debate, offering scholars the opportunity of publishing their models online with full interactivity so that users can explore them at will. DAACH provides full peer-review for all 3D models, not just the text, 2D renderings or video fly-throughs, and requires all models to be accompanied by metadata, documentation, and a related article, explaining the history of the subject and its state of preservation, as well as an account of the modeling project itself. The journal focuses on scholarship that either promotes the application of 3D technologies to the fields of archaeology, art and architectural history, and palaeoanthropology or uses 3D technology to make a significant contribution to the study of built structures, works of art or palaeoanthropological remains. Digital Applications in Archaeology and Cultural Heritage will also consider papers dealing with processing of digital data acquired by geophysical prospection in archaeological sites (eg applications of 3D or 2D mapping of buried monuments), digital signals from luminescence measurements, multispectral imaging techniques and processing of atomic force microscopic data applied to archaeomaterials. The provision of a 3D model is not compulsory for an article to be published in this journal.
Agenda
Workshop 1
14:00 -14:10 Welcome and Joint introduction to the combined Workshop - Bernie Frischer, Ilaria Meliconi, Rachel Opitz
14:10 -15:00 Digital Applications in Archaeology and Cultural Heritage: A Publisher and Editor’s Perspective on the challenges of 3D model peer review and publication -Bernie Frischer, Ilaria Meliconi
15:00 -15:50 21st c. Data, 21st c. Publications. A workshop on 3D Model Publication and building the Peer Reviewer Community: An Author and Reviewer’s Perspective on the challenges of 3D model peer review and publication -Rachel Opitz
15:50 -16:10 Coffee Break
Workshop 2
16:10 -16:20 Welcome and Joint introduction to the combined workshop -Bernie Frischer, Ilaria Meliconi, Rachel Opitz
16:20 -17:10 Digital Applications in Archaeology and Cultural Heritage: A Publisher and Editor’s Perspective on the challenges of 3D model peer review and publication -Bernie Frischer, Ilaria Meliconi
17:10 -18:00 21st c. Data, 21st c. Publications. A workshop on 3D Model Publication and building the Peer Reviewer Community: An Author and Reviewer’s Perspective on the challenges of 3D model peer review and publication -Rachel Opitz
It is no longer possible to see records as a by-product of our activities. The production, management and use of information has become an issue discussed in boardrooms. The world begins to apprehend that sustainable access to information is a matter of government and policy.
The government of information transcends the span of control of heritage institutions. Government, industry and civil society need each other’s help. If we want to secure long term preservation of information, we need to be able to influence the design of our digital infrastructure and architecture in the short term.
UNESCO’s Charter for the Digital Heritage highlighted the need for cooperation amongst many different stakeholders in order to overcome the specific challenges that digital heritage poses already in 2003:
Preservation of the digital heritage requires sustained efforts on the part of governments, creators, publishers, relevant industries and heritage institutions. In the face of the current digital divide, it is necessary to reinforce international cooperation and solidarity to enable all countries to ensure creation, dissemination, preservation and continued accessibility of their digital heritage. Industries, publishers and mass communication media are urged to promote and share knowledge and technical expertise.
At the first UNESCO International Conference on Memory of the World in the Digital Age (Vancouver, 2012), Martin Berendse argued for ‘an international coalition to realize a Roadmap for the Digital Preservation of the Memory of the World’. At a meeting in The Hague (Netherlands) on 5 and 6 December 2013, high-level representatives from heritage institutions, industry and government are invited to agree upon such a coalition.
As a preparation for the Hague ‘meeting, this preparatory workshop will collect feedback from the global heritage community on this initiative and gain up to date information on issues that the platform should tackle.
AGENDA
The Old Leading the New – Driving Technology through Digital Heritage
Reality capture technologies are now reaching a level of maturity that allows digitizing any object, building or site to the finest possible level of detail and texture quality. Digital heritage is benefiting from all these new technologies, mostly driven from laser scanning and photogrammetry requirements of the industrial, consumer goods or entertainment industries. But what if Digital Heritage could not only be a follower but a real driver for these new developments? Preservation of our cultural heritage brings challenges that are similar to the ones found in many other industries as well, such as architecture, construction, civil engineering, manufacturing, video games, film production or multimedia:
- Scalability: high volume of objects must be digitized, which requires cheaper and simpler devices for crowd scanning;
- Dissemination and storytelling: the digitized data must be available through attractive stories to engage with the masses;
- Sustainability: digitized content must not only be used to preserve and document, but also to maintain and improve.
The Digital Heritage community has the know-how and expertise to make all this happen. By connecting more to the needs of those business-driven industries, the Digital Heritage community will contribute to a much wider ecosystem, driving more resources and opportunities to expand. Are you willing to lead?
DigitalHeritageExpo is the largest exhibition on Digital Heritage ever organised. Spread over more than 700 sqm of space, the exhibition is divided into 6 unique categories: Immersive Environments, DigitalHeritage @ Work, Virtual Museums, Edutainment, Art and Creativity, Multivision.
Supported by BMTA’s Archeovirtual and ETH’s Digital Art Weeks, the Expo is hosted in the astonishing location of the Villa Mediterranée in Marseille from the 28th of October until the 1st of November 2013. Selected by a Program Committee composed of Arts, Heritage and Information and Communication Technologies experts, the best exhibitions proposals not only be accessible for hundreds of participants of the DigitalHeritage2013 International Congress, but will also for the thousands of visitors that the new waterfront museum area has been attracting to its exhibits. Visitors to the exhibition will travel through time and space, reaching diverse countries from around the world from Jordan to Indonesia, from China to America, from Spain to Island, covering an historical timespan of over 5000 years, the exhibitions lets visitors explore archaeological sites and monuments, get immersed in musical environments and enter virtual artworks, listen to stories from our past, interact with a wide range of digital heritage and science applications using hands, bodies, heads, brains, and finally to connect “digital” with “heritage” and to see how creativity takes one to new future perspectives.
Organized by CNRS (French National Center for Scientific Research) on behalf of the MAP Laboratory and local research institutions Provence (Aix-Marseille University, Arts et Métiers ParisTech, CICRP, School of Architecture and INRIA Méditerranée) and by CNR ITABC (Italian National Research Council, Institute of Technologies Applied to Cultural Heritage), in cooperation with ETH (Swiss Federal Institute of Technology).
Supported by Archeovirtual and Digital Art Weeks
Sponsored by Digital Projection
OPENING TIMES
Tuesday, october 29 :
9 a.m. to 12 p.m. / only for congress attendees
12 p.m. to 7 p.m. / free admission
IMMERSIVE ENVIRONMENTS
DIGITALHERITAGE @ WORK
VIRTUAL MUSEUMS
Tangible geographical interface
EDUTAINMENT
ART AND CREATIVITY
Raffaello Madonna of the Goldfinch
MULTIVISION
Digitization project to enrich Europeana with historical pictures of early photography
Sophie Taes
Moreover, several partners, which have never been involved into an EU project, will contribute for the first time to Europeana; some of them come from European countries - such as Bulgaria, Slovakia, Lithuania and Denmark - that still are rather under-represented in Europeana, thus enlarging and enriching the pan-European approach of Europeana.
Project’s objectives:EuropeanaPhotography will digitize, enrich and then contribute to Europeana over 430.000 ancient photographs.
Content selection and digitization are the preliminary operation that are the basis of the work. Further steps are the multilingual enrichment (through the EuropeanaPhotography multilingual vocabulary, expressly designed for the needs and specifics of EuropeanaPhotography consortium), and the aggregation of metadata in the MINT system, which allows the metadata mapping and the final ingestion of the digital content into the Europeana system.
To support the consortium and to develop a safe and valuable environment for both public and private bodies, the project foresees very strong functions related to IPR issues and sustainability. Within the project, moreover, the commercial benefits of working with Europeana will be highlighted and clarified, in order to attract new content providers also from the private sector.
The project is structured in 7 WPs, led by different partners.
Project Website: http://www.europeana-photography.eu
Project’s showcase:http://www.digitalmeetsculture.net/heritage-showcases/europeana-photography/
European and national projects on the use of ICT in cultural heritage build up a lot of know-how within the consortium and develop new tools and workflows. The European Commission therefore stimulates the creation of Competence Centres to continue providing access to the know-how and tools of past projects. Also on a national level, national centres are being created to support the activities of creative industries and digitisation in cultural heritage.
In most cases, the activities of these Competence Centres however do not automatically rely on funding, so the question arises how sustainability can be created from the consolidated competence and developments in a certain project. One key issue in creating sustainable activities is to create on one hand income from the acquired knowledge and developed tools, and to secure on the other hand further funding to continue to expand and update the knowledge of the consortium. Another key issue is how to create and foster a community that is closely related to this Competence Centre, supports it and uses it. It is this relationship that makes the Competence Centre useful and even necessary.
It is important also to define how a Competence Centre translates the available research into high quality services and products that can be used by the community. Can this step be taken without additional funding? What are the options?
In this workshop, we look at different operational competence centres and analyse how they create sustainability. We also look towards the future and look at new initiatives and new co-operations between existing competence centres and potential partners.
10:00 Welcome and introduction
Daniel Pletinckx
Coordinator V-MusT Competence Centre
Visual Dimension bvba, Belgium
10:10 Designing Digital Heritage Competence Centres – a Swedish model
Halina Gottlieb
NODEM – Nordic Digital Excellence in Museums
Swedish ICT and Digital Heritage Centre, Interactive Institute, Sweden
This presentation aims to explore the activities and processes at the Digital Heritage Centre in Stockholm in Sweden, which supports advancement within the digital heritage sector as well as communication between cultural heritage institutions and its participants. What is of key importance in this area is how to stimulate collaboration between professionals and researchers at universities and R&D institutions working in the field of cultural heritage, the IT industry and the creative industry. Several of our initiatives have focused on enabling this type of collaboration and the implementation of new technologies in the service of cultural heritage. This includes a Visitor-Study Lab, a Nordic conference, vocational training packages, know-how books and thematic clusters and the development of interface prototypes for interpretative use. The initiatives were conducted primarily in the context of museums, but have attempted to identify general principles that apply to cultural heritage as a whole.
10:35 The future of European Centres of Competence in digitisation and digital preservation: challenges and opportunities
Rafael C. Carrasco
DLSI & Impact Centre of Competence
Universidad de Alicante, Spain
The recently established European Centres of Competence in digitisation and digital preservation are conceived as hubs disseminating expertise to a wide community of stakeholders. However, the centres face a number of challenges related to the stability of their funding, the management of staff, the internationalisation costs and to some unsolved legal issues, among others. In contrast, they can play an effective role in the promotion of open standards, resources and interoperable tools, as well as in the creation of benchmarking services and professional training, in the harmonisation of licensing schemes or tracking innovative usages and their requirements.
A more intense cooperation between the existing centres can contribute to the minimisation of some risks and to the implementation of comprehensive services.
11:00 Coffee break
11:20 Competence as a product – how to build sustainable organisations on it
Mohamed Farouk
Deputy Director & Head of IT Department
Center for Documentation of Cultural and Natural Heritage (CultNat)
Daniel Pletinckx
Coordinator V-MusT Competence Centre
Visual Dimension bvba, Belgium
Digital Heritage is a domain that combines a lot of knowledge, ranging from ICT, digital technologies over psychology, usability, digitisation and digital preservation to a wide range of heritage skills. Most museums and cultural heritage institutions are highly interested in what digital heritage can offer them in their communication with the general public but also in their research and the management of their heritage assets. Competence in digital heritage therefore is a very valuable asset that should allow creating high quality products and services that can sustain the organisation that is centralising and maintaining this competence. Each of the current and emerging Competence Centres however is struggling with the question how to do this, how to start it up and how to sustain it on the longer term.
V-MusT, the Network of Excellence on digital and virtual museums, works on a business model based on delivering competence as high quality services for the museum and cultural heritage domain. This business model will allow not only to support the organisation and a community of experts that use digital heritage, but also to invest in training of the partners of the centre and in further development of the competence of the centre.
12:00 Discussion
The participants to the workshop can discuss the approaches of the different competence centres, the services such competence centres should offer and their potential involvement and cooperation with these centres.
13:00 End
La politique du ministère de la culture et de la communication pour le patrimoine et le numérique: expérimentations et perspectives
À l'aune des évolutions les plus récentes en matière de technologies numériques, la session organisée par le ministère de la culture et de la communication (MCC) a pour ambition de présenter et d'examiner les réalisations et les projets les plus innovants pour la connaissance, la conservation et la valorisation des patrimoines. Ces opérations, qu'elles soient portées par la direction générale des patrimoines (DGP) et ses établissements publics ou par le secrétariat général dans le cadre du plan de numérisation du ministère, reflètent l'action volontariste de l'État dans ce domaine et dessinent les contours d'une politique active au service des patrimoines, des chercheurs et des publics dans leur diversité.
Une quinzaine de communications permettront d'appréhender concrètement les résultats de cette politique par des exemples couvrant l'ensemble des domaines patrimoniaux, archives, archéologie, musées, objets et monuments, et traitant d'éléments patrimoniaux extrêmement divers, de l'objet au site, en passant par le document d'archive. Elles feront intervenir tout à la fois des experts des technologies numériques et des professionnels du patrimoine, dans un dialogue fécond.
The Ministry of Culture and Communication’s policies for the heritage and digital technologies, experiments and perspectives
In view of recent developments in the field of digital technologies, the session organised by the French Ministry of Culture and Communication (MCC) sets out to describe and examine various projects which seem to be the most innovatory where the understanding, conservation and promotion of the heritage is concerned. Some of the operations presented have been undertaken directly by the Heritage Directorate at the ministry (Direction générale des patrimoines, DGP), others by public cultural institutions or by the Ministry’s general secretariat within its overall plans for digitalisation. All reflect the State’s voluntary actions in this domain, and delineate the contours of a dynamic policy in the service of not only of the heritage, but also researchers and the general public.
Fifteen papers will be presented giving an overview of the results so far achieved by this policy, with examples covering all the heritage fields, archives, archaeology, museums, artefacts and monuments. The heritage presented will be extremely varied, from objects to sites and including archival documents. The communications will bring together experts in digital technologies and heritage professionals for a lively dialogue.
Programme
Matin
10h-11h
Introduction: La politique du ministère de la culture et de ses établissements en matière de nouvelles technologies appliquées au patrimoine (Pascal Liévaux, MCC/DGP, et Sonia Zillhardt, MCC/SG)
Première partie/First sequence: archives et documentation/Archives and documentation
-Consolider le système d'archivage électronique des Archives nationales de France : le programme interministériel VITAM (Marie Laperdrix, Archives nationales)
-Construire un système documentaire global, ouvert et inter-opérant, l'expérience du MuCEM (Pascal Presle, MuCEM)
-AVEL : archives virtuelles en ligne du patrimoine maritime (Laurent Lescop, Ecole nationale d'Architecture de Nantes)
11h-11h20 Pause
11h20-13h
Deuxième partie/Second sequence: De nouveaux outils pour la connaissance/New tools for understanding
- L'archéologie marine des grandes profondeurs: une nouvelle frontière (Michel L'Hour et Denis Degez, MCC, Département des recherches archéologiques subaquatiques et sous-marines)
- Valls : Fondements territoriaux de l'approche spatiale en milieu rural (Danielle Orliac, Guillaume Bounoure, Conseil d'architecture, d'urbanisme et de l'environnement, Pyrénées orientales)
- Projet Fondation Vasarely 3D: Méthodologies et étapes pour la construction du Bâtiment de la Fondation Vasarely en trois dimensions ( Stéphane Kyles - Perspective(S) )
- Réparer l'irréparable, la reconstruction du décor dispersé de la chapelle d'Ecouen au XVIe siècle (Thierry Crépin-Leblond, Musée national de la Renaissance, Julien Roger, On Situ)
- Les publications multimédia du ministère de la culture (Martine Tayeb, MCC, Secrétariat général)
- Les épaves corsaires de la Natière, publication multimédia
- Les abris sculptés de la Préhistoire (Geneviève Pinçon, MCC, DGP)
Après-midi
14h-15h50
Troisième partie/Third sequence: Médiations numériques innovantes/Innovatory digital mediation
- Locus Imaginis (David Kolin, CMN)
-Les merveilles du monde antique en animation dans la galerie de la Méditerranée (Isabelle Marquette et Karine Bonjour, MuCEM)
-Le vase qui parle (Isabelle Westeel, Université de Lille 3)
-Simulex'Archeo (Jean-Pierre Girard, MSH Maison de l'Orient et de la Méditerranée, Lyon)
Quatrième partie/Fourth sequence: Des projets nationaux agrégateurs/Unifying national projects
-Le moteur de recherche Collections, agrégateur pour Europeana (Jean-Luc Biscop, MCC, DGP)
- Le programme HADOC : une démarche d'amélioration de la qualité des données culturelles (Katell Briatte, MCC, DGP)
-L'Atlas des patrimoines (Jean-Luc Biscop, Geneviève Pinçon, MCC, DGP)
Introduction: Computer Applications in Archaeology
Jeffrey Clark and Axel Poluschny
SENSING ARCHAEOLOGICAL LANDSCAPES & SITES
Changing visual networks around Besançon: Combining intervisibility and vegetation modeling
284 - Rachel Opitz, Laure Nuninger and Catherine Fruchart
Ground Based Lidar of Ancient Andean Agricultural Systems
261- Ana Cristina Londono, Megan L. Hart, Patrick Ryan Williams and Megan Hente
11:00a COFFEE
Visualizing the Invisible: Digital Reconstruction from an Integrated Archaeological Remote Sensing and Geophysical Research of a Late Roman Villa in Dürres (ALBANIA)
250 - Daniele Malfitana, Giuseppe Cacciaguerra, Giovanni Fragalà, Giovanni Leucci, Nicola Masini, Cettina Santagati, Giuseppe Scardozzi and Eduard Shehi
From Mounds to Maps to Models: Visualizing Ancient Architecture across Landscapes
413- Heather Richards-Rissetto
The Research on the Road System of the Hittite Empire
439 - İbrahim Murat Ozulu, Esma Reyhan, Fazlı Engin Tombuş and Mustafa Coşar
ROUNDTABLE DISCUSSION
1:00p LUNCH
ARCHAEOLOGICAL INFORMATION SYSTEMS
REVEAL: one future for heritage documentation
18 - Donald Sanders
Mobile Analysis of Large Temporal Datasets for Exploration and Discovery
119 - Andrew Huynh and Albert Lin
OpenDig: In-Field Data Recording for Archaeology and Cultural Heritage
328 - Matthew Vincent
Open Data Kit: Mobile Data Collection for Cultural Heritage
274 - Edward Fitzgerald
From tablet to website: using FAIMS and Heurist to collect and publish field data
286 - Ian Johnson
Construction of an archaeology and cultural heritage oriented GIS in order to document an ancient city. Case study of the archaelogical site of Grand (France).
296 - Anaïs Guillem, Alain Fuchs, Thierry Dechezleprêtre and Gilles Halin
3:50p COFFEE BREAK
COMMUNICATING ARCHAEOLOGY: THEORY & PRACTICE
RevQuest: The Black Chambers: Bringing together Technology and Gaming at a Historical Site
482 - Lisa Fischer
3D Documentation at Çatalhöyük: New Perspectives for Digital Archaeology
93 - Maurizio Forte, Nicolo Dell'Unto, Scott Haddow and Nicola Lercari
Gavrinis : the raising of digital stones
412 - Laurent Lescop, Serge Cassen and Valentin Grimaud
Digital Archaeological Landscapes & Replicated Artifacts: Questions of Analytical & Phenomenological Authenticity & Ethical Policies in CyberArchaeology
202 - Ashley Richter, Vid Petrovic and David Vanoni
ROUNDTABLE DISCUSSION
EAGLE - Europeana Network of Ancient and Greek Epigraphy. Making ancient inscriptions accessibile
Silvia Orlandi, Raffaella Santucci, Antonella Fresa and Claudio Prandoni
The cultural identity of the entire western world is rooted in the Greco-Latin tradition; from philosophy to architecture, geometry to law, rhetoric to literature, there remains the presence of the ancients in the way we think, live, and express ourselves. Only a small fraction of all ancient Greco-Roman texts has survived to modern times, leaving sizeable gaps in the historiographic record. An invaluable alternative source of historical evidence can be found in the form of ancient inscriptions. These are invaluable ‘time capsules’ that provide a myriad of useful facts, allowing us to cast light on otherwise undocumented historical events, laws and customs.
EAGLE – The Europeana network of Ancient Greek and Latin Epigraphy is a best-practice network co-funded by the European Commission, which will allow for the virtual reconstruction of the inscriptions’ original archaeological and historical context. EAGLE, as a part of the Europeana family, will collect, in a single readily-searchable database, more than 1.5 million items, today scattered across 25 European countries, as well as the east and south Mediterranean. It will make accessible the vast majority of the surviving inscriptions of the Greco-Roman world, complete with the essential information about them and, for all the most important, a translation into English and other modern languages. The technology that will support the EAGLE project is state-of-the-art and tailored to provide the user with the best and most intuitive possible experience. Thanks to the EAGLE’s massive digital undertaking, private enthusiasts and academics alike will be able to make “virtual visits” to the project’s website in which they can access updated information not only regarding the most important inscriptions that are normally on display, but also the materials preserved in storages and places not open to the public.
Giving Users What They Want: Bringing Audiovisual Sources Online
Erwin Verbruggen and Johan Oomen
Non-professional audiovisual archive users are requesting higher access, higher quality, higher independence to do with materials what they want. Granting them that freedom can create remarkable outcomes: remix videos, additional descriptions, revived interest, reuse in mobile applications or putting new life in previously unknown and unloved content. Yet more is needed to bring our audiovisual heritage to this level. This panel discusses the bumps and strains for audiovisual archives to get the materials they carefully preserve out in the world. it will discuss the status of publishing audiovisual heritage online and the policy changes that archives, funding bodies and law makers alike could adapt to make this possible.
This panel includes participants from audiovisual heritage institutions, broadcasters and the academic domain who take part to discuss possible solutions to these dilemmas. We will discuss how the EUscreenXL project, which takes the assembled collections from 19 European broadcasting archives in EUscreen in a new direction, the Med-mem project, which has created an entry portal for broadcasters from the mediterranean and the European Film Gateway, the portal for film archives, have envisioned public access to audiovisual heritage. In the panel, 3 heritage project members (Erwin Verbruggen, Netherlands Institute for Sound and Vision; Mireille Maurice, INA; Georg Eckes; Deutsches Film Institute) will discuss the pitfalls and necessary policy recommendations with 2 academic participants: Susanna Kleeman from Royal Holloway, University of London, who has worked on BBC's iPlayer and Motion Gallery and conducts market research for EUscreenXL, and Andreas Fickers, Maastricht University, who is leading research into platforms for cross-media storytelling and is editor-in-chief for the journal of European television history and culture VIEW.
Image based modeling for cultural heritage, processing tools and acquisition protocol
Marc Pierrot Deseilligny and Nicolas Martin-Beaumont
Morning theoreticall session :
- presentation of modern automatic pipeline for image based modelisation
- presentation of acquisition protocols for stantdard cases of cultural heritage
Afternoon practical session on ortho-photo generation using the IGN's open source photogrammetric tools (Apero-MicMac) :
- process an existing data set following a precise road map
- attendee try to run a second data set autonomously (but with help of the team when required …)
The objective is that at the end of this tutorial the attendees have understood the general principle of image based pipeline and are aware of the potential and limitation of these techniques.
We would like you to come with a computer and to have installed MICMAC on it.
You can download it here : http://logiciels.ign.fr/?-Micmac,3- (under the link "téléchargement")
and follow the instructions here : http://forum-micmac.forumprod.com/tuto-install-t518.html.
A Joint Heritage: Where Science and Culture Meet
Elizabeth Griffin
The Natural Sciences and the Arts are often perceived as two contrasting strands of the human environment: the factual versus the fanciful, the technological versus the intangible. However, in the realm of historic scientific observations, the two disciplines share more than is usually credited. Historic observations constitute an invaluable resource for understanding the natural world, but their management requires not only scientific acumen but also considerable assistance from archivists, librarians, the general public and even the media.
Historic data are fundamental for measuring change. Most changes - in the atmosphere, the land and the oceans, and in what lives and grows there - are gradual, so data that span many decades are required to inform models adequately. But though the world is rich in such historic data, is it poor in its ability to access them. Researchers need their data in digital form, but most historic data are non-digital so they are effectively unuseable, and it is our basic scientific knowledge which suffers. Born-digital data are at most only 20-30 years old; without access to older data, forecasts of change must involve some guesswork, and we cannot afford to guess when so much is at stake. Historic data are also virgin sources for cultural research: how observations were made and stored, by whom, their context, precision, and technical limitations.
We are conducting a Panel Discussion on this topic, organized and introduced by the CODATA Task Group, "Data At Risk" (which also has UNESCO's support). It will address cultural challenges in engaging help from the public, and include up to 5 10-minute contributions describing European-based programmes to recover and digitize non-digital data. It will conclude with a general discussion of ways to expand the schemes, emphasising both efficiency and breadth of impact.
Improving your Digital Activities with Business Model Innovation
Marco De Niet and Harry Verwayen
In this workshop we will present and put into practice two BMI tools that can help both managers and researchers in the area of digital heritage to assess the value of a digital heritage service they are involved in. The first tool is the Business Model Canvas, as developed by Osterwalder & Pigneur. The moderators of this workshop have analysed this model specifically for digital cultural heritage services and the findings of this analysis will be shared, discussed and tested in the workshop. The second tool is a roadmap that each individual participant can use to analyse a specific service with digital cultural heritage. With this tool, you can reach conclusions on how to improve the set-up, management, impact and/or sustainability of the service and support further innovation. In the workshop we will take the participants step by step through the roadmap and provide opportunity for the participants to present the problems they encounter during their own analysis and discuss strategic options how to improve them or indeed come up with new concepts and business models for new services
This workshop is proposed to the conference as a contribution on behalf of the organisers of the conference Digital Strategies for Heritage (DISH). With this workshop DISH would like to support the ambition of DH2013 to organise the biggest European digital heritage congress. Contentwise, the workshop brings one of the key themes of DISH to the conference, Business Model Innovation.
Giza 3D: Digital Archaeology and Scholarly Access to the Giza Pyramids
Based on more than a decade’s work, the Giza Project at Harvard is blending older traditional archives (excavation photos, archaeological drawings, object metadata) with extremely realistic 3D visualization of the famous Pyramids, Sphinx, and surrounding tombs and temples just west of modern Cairo (3rd millennium BC). This seamless marriage of old and new provides revolutionary access to Giza, its statues, hieroglyphic inscriptions, architecture, and wall decoration. These are the primary sources for all aspects of ancient Egyptian civilization, cross-referenced and accessible, for scholars, teachers, students, and the world community. Real-time immersive models allow us to pose new research questions, provide revolutionary and interactive classroom instruction, and investigate diachronic approaches to Giza’s evolution over several millennia. The computer models provide unique perspectives that no archaeologist has previously enjoyed, such as from below ground, or soaring high above the Pyramids of the pharaohs. Finds are returned to their findspots virtually from collections the world over, for we can now restore their archaeological context. And simulations, from the sun’s interaction with the ancient monuments, to the scale of royal statuary adorning the temples, help us to understand the choices the Egyptians made in constructing this vast archaeological site. Whether over the web, or on large screens in university visualization centers, Giza 3D can resolve archaeological problems that were previously unsolvable even out at the site itself. This online digital “publication” serves as a heritage management resource, a unique teaching tool, and an archaeological repository. The Giza models and website illustrate the best practices for the recreation and exploration of ancient Egyptian culture during one of its most critical periods.
Alez Culture! Past, present and Future of Europeana
For the past 5 years Europeana has developed from a political aspiration to unite Europe in diversity, to a full- blown operation, servicing a network of thousands of institutions accross Europe. The most tangible expression of this endeavour is a portal, which allows users to discover material from every member state and every domain in Europe. However, this represents only a small portion of all the treasures that have been digitized or should be digitized in the future. Europeana is now entering a new phase of its existence, where the focus will be even more than in the past on the contribution to the Creative Economy and Social Innovation. In this presentation we will explore the past, present and future scenarios of Europeana.
Creating interactive 3D WebApps using X3DOM
Holger Graf and Yvonne Jung
The Cultural & Heritage Industries Cluster, a French organisation dedicated to the promotion of culture and heritage
Françoise LacotteThe Heritage Cluster is a French competitiveness Cluster founded in 2007 in Arles (France) and dedicated to the promotion of culture and heritage. The Cluster brings together more than a hundred companies, organizations, foundations, R&D laboratories, training and resources centers mainly situated in Provence and involved in: preserving, restoring, and promoting heritage, whether it is natural, built, cultural (movable) or intangible.
by Jean-Bernard Memet, Vice-President
II. what we do - Presenting our activitiesAs an economic network the cluster organizes special events for its members enhancing cross-disciplinary partnerships, and provides organizational support in their respective range of expertise. It also provides support in monitoring and implementing innovative projects, particularly in the digital area, in order to respond to Bids for Tenders in the Research and Development sector.
by Françoise Lacotte, Project Manager
III. How we do it – a panel of 6 collaborative innovative digital projects on heritageDidier Happe, Associated CEO of Art Graphique et Patrimoine (France) and Romain Raffin, Assistant Professor in Computer Science at the LSIS Research Unit will be presenting Ephèbe, a project on the 12th century Saint-Trophime Cloister (inscribed as World Heritage at UNESCO) based on the use of a 3D mock-up for the development of a 3D-referenced document data base on the Internet and a presentation film to the public involving also the Heritage Dpt of the City of Arles.
Frédérique Bertrand, DPLG Architect specialized in modeling and computer graphics applied to architecture and urban design, Marseille (France), will be presenting Imago Urbis, a virtual augmented-reality sensitive visit of urban and natural heritage sites.
Bruno Roux, founder and associate CEO of L’Avion Jaune, Montpellier (France), will be presenting Yellowscan, a compact and light LIDAR for aerial topography. A LiDAR (Light Detection And Ranging) can be installed in an airplane to obtain ground and canopy topography; it may apply for instance to archeology and forest management. The Yellowscan project consists in proposing a very small and light LiDAR (2kg) suitable for a UAV or an ultra-light airplane.
Nathalie Casanova, Project Manager at the Conservation Center for Book, Arles (France), will be presenting E-corpus - a collective and heritage-centered digital library which indexes and disseminates numerous documents belonging to the Euro-Mediterranean written and linguistic heritage: manuscript pages, antique books, archives, newspapers, photography, maps, prints, sound recordings, and videos. To this day, E-corpus offers direct access to more than two million documents, available through cooperation with more than 250 institutions worldwide. Based on cutting edge technologies, E-corpus offers a simple multimedia and multilingual interface.
Frédéric Mougenot, Curator and Karine Bonjour, Head of Digital Dpt at the the Museum of European and Mediterranean Civilizations (MuCEM), along with Isabelle Aubin and Julien Deparis, CEO and Director of Studies at Supinfocom Arles (France) and Marc Rius CEO of Tu Nous ZA Pas Vus Production, Arles (France) will be presenting Wonders of the world, 7 animated films created by Supinfocom Arles’ 4th-year students through an educational partnership with the MuCEM and produced by Tu Nous ZA Pas Vus Production. History have been reinterpreted through a scientific approach of documentation, reinventing archeological approach and changing the audience relationship to museums through artistic computer-generated images.
Marie Cambone, PhD candidate in Information and Communication Sciences at the University of Avignon (France) and in Museum Sciences at the University of Quebec in Montréal (Canada), will be presenting her research work Writing stories on interactive maps: Take over the city and become heritage, aimed at analysing interactive cultural maps through an innovative methodology. These maps bear a common objective of cultural mediation of urban spaces and result mostly from visiting experiences shared online (each user adding photos, videos, comments, etc).
Download the detailed program and speakers’ bio here
DigitalHeritageExpo is the largest exhibition on Digital Heritage ever organised. Spread over more than 700 sqm of space, the exhibition is divided into 6 unique categories: Immersive Environments, DigitalHeritage @ Work, Virtual Museums, Edutainment, Art and Creativity, Multivision.
Supported by BMTA’s Archeovirtual and ETH’s Digital Art Weeks, the Expo is hosted in the astonishing location of the Villa Mediterranée in Marseille from the 28th of October until the 1st of November 2013. Selected by a Program Committee composed of Arts, Heritage and Information and Communication Technologies experts, the best exhibitions proposals not only be accessible for hundreds of participants of the DigitalHeritage2013 International Congress, but will also for the thousands of visitors that the new waterfront museum area has been attracting to its exhibits. Visitors to the exhibition will travel through time and space, reaching diverse countries from around the world from Jordan to Indonesia, from China to America, from Spain to Island, covering an historical timespan of over 5000 years, the exhibitions lets visitors explore archaeological sites and monuments, get immersed in musical environments and enter virtual artworks, listen to stories from our past, interact with a wide range of digital heritage and science applications using hands, bodies, heads, brains, and finally to connect “digital” with “heritage” and to see how creativity takes one to new future perspectives.
Organized by CNRS (French National Center for Scientific Research) on behalf of the MAP Laboratory and local research institutions Provence (Aix-Marseille University, Arts et Métiers ParisTech, CICRP, School of Architecture and INRIA Méditerranée) and by CNR ITABC (Italian National Research Council, Institute of Technologies Applied to Cultural Heritage), in cooperation with ETH (Swiss Federal Institute of Technology).
Supported by Archeovirtual and Digital Art Weeks
Sponsored by Digital Projection
OPENING TIMES
Wednesday, october 30 :
12 p.m. to 7 p.m. / free admission
IMMERSIVE ENVIRONMENTS
DIGITALHERITAGE @ WORK
VIRTUAL MUSEUMS
Tangible geographical interface
EDUTAINMENT
ART AND CREATIVITY
Raffaello Madonna of the Goldfinch
MULTIVISION
In order to support interaction with colleagues, there are cultural tours on Wednesday and Thursday afternoons
CityPass 48H
Wednesday October 30th and Thursday October 31th (included in Full Registration and Student Registration)
Pôle ICP (Arles)
Organized visit on Wednesday October 30th (included in Full Registration and Student Registration)
MMSH (Aix-en-Provence)
Organized visit on Wednesday October 30th (included in Full Registration and Student Registration)
CICRP (Marseille)
Organized visit on Thursday October 31th (included in Full Registration and Student Registration)
Computational companionship for large-scale digitization efforts
The Digital Age has brought with it large-scale digitization of historical records. The modern scholar of history or of other disciplines is often faced today with hundreds of thousands of readily-available and potentially-relevant full or fragmentary documents, but without computer aids that would make it possible to find the sought-after needles in the proverbial haystack of online images. The problems are even more acute when documents are handwritten, since optical character recognition does not provide quality searchable texts.
In this talk I will describe our experience working with digitized images of the Cairo Genizah manuscripts. Using computer-vision and machine-learning algorithms, we have been able to automatically classify Genizah manuscripts (which are spread out in more than seventy collections worldwide) by script style and thus identify tens of thousands of new “joins,” that is, matches between leaves in the same hand that were originally part of the same manuscript. This has led to the uncovering of numerous new humanities research directions concerning this collection, thus revolutionizing Genizah studies -- this despite the fact that these documents and fragments have already been extensively studied throughout the twentieth century.
The developed tools are applicable to other collections as well and I will also present results obtained with images of the Dead Sea Scrolls, and Tibetan Buddhist texts and manuscripts.
This panel aims at discussing the criteria to be used when evaluating scientific achievements in the field of digital heritage.
MeshLab: what's new and hands-on
Matteo Dellepiane, Marco Callieri, Guido Ranzuglia
The tutorial will be focused on MeshLab, an open source mesh processing tool. In particular, the first part of the tutorial will be devoted to the presentation of the new features of release 1.3.3, which is expected to be out on September 2013. The main changes and bug fixes w.r.t. the previous releases will be illustrated, with the help of practical example. In the second part of the tutorial, a few real case studies will be analyzed, in order to show how MeshLab functionalities can fulfill peculiar needs. The case studies will be selected among the ones proposed by the audience. A "call for case studies" will be circulated in the community during September and October, in order to be able to select and show the most paradigmatic examples. Finally, the tutorial will be open to requests by the audience, in order to show further functionalities and possibly spot the main needs from the community.
The 3D-ICONS project aims to digitise a series of architectural and archaeological masterpieces of world and European cultural significance and provide 3D models and related digital content to Europeana, contributing to the critical mass of highly engaging content available to users. The digital content includes overall 3D models and reconstructions, enlarged models of important details, images, texts, videos. It also includes and re-contextualizes in 3D, objects belonging to a monument but presently located elsewhere. This workshop explores the digitisation pipeline; a fundamental component 3D-ICONS project. This pipeline exploits and integrates existing tools and methods. The workshop will be divided into 5 sessions which follow the pipeline process sequentially.
AGENDA
10:00 - 10:15 Introduction to 3D-ICONS Project (A. Corns)
Monuments
10:15 - 10:30 Case Study 1: The Tomb of King David Hall (S. Hermon & K. Yiakoupi)
10:30 - 10:45 Case Study 2: 3D Monument recording using multiple digitization techniques (L. De Luca)
10:45 - 11:00 Case Study 3: Recording Ireland’s Early Christian monuments using aerial and terrestrial laser scanning (R. Shaw)
Artefact& Detail
11:00 - 10:15 Case Study 1: artefacts and architectural detail of St. Michael Romano-Catholic Cathedral (M. Bozgan, N. Maria-Corina)
11:15 - 11:30 Case Study 2: Iberian sculptures from the Museum of Jaen using 3D scanning and photography (A. Sánchez)
11:30 - 11:45 Case Study 3: Quick museum artefacts digitization in 3D-ICONS (G. Guidi & M.Russo)
Metadata
11:45 - 12:00 Quality control: Paradata within the 3D-ICONS project (F. Remondino)
12:00 - 12:15 Developing and applying the CARARE metadata schema for 3D documentation (K. Fernie & A. D'Andrea)
Use & Reuse
12:15 - 12:30 3D World Heritage at your fingertips: what to expect? Online solutions to the delivery of 3D data in cultural heritage (D. Pletinckx)
12:30 - 12:45 Potential usage of 3D data and IPR issues (S. Basset)
12:45 - 13:00 General Discussion
DigitalHeritageExpo is the largest exhibition on Digital Heritage ever organised. Spread over more than 700 sqm of space, the exhibition is divided into 6 unique categories: Immersive Environments, DigitalHeritage @ Work, Virtual Museums, Edutainment, Art and Creativity, Multivision.
Supported by BMTA’s Archeovirtual and ETH’s Digital Art Weeks, the Expo is hosted in the astonishing location of the Villa Mediterranée in Marseille from the 28th of October until the 1st of November 2013. Selected by a Program Committee composed of Arts, Heritage and Information and Communication Technologies experts, the best exhibitions proposals not only be accessible for hundreds of participants of the DigitalHeritage2013 International Congress, but will also for the thousands of visitors that the new waterfront museum area has been attracting to its exhibits. Visitors to the exhibition will travel through time and space, reaching diverse countries from around the world from Jordan to Indonesia, from China to America, from Spain to Island, covering an historical timespan of over 5000 years, the exhibitions lets visitors explore archaeological sites and monuments, get immersed in musical environments and enter virtual artworks, listen to stories from our past, interact with a wide range of digital heritage and science applications using hands, bodies, heads, brains, and finally to connect “digital” with “heritage” and to see how creativity takes one to new future perspectives.
Organized by CNRS (French National Center for Scientific Research) on behalf of the MAP Laboratory and local research institutions Provence (Aix-Marseille University, Arts et Métiers ParisTech, CICRP, School of Architecture and INRIA Méditerranée) and by CNR ITABC (Italian National Research Council, Institute of Technologies Applied to Cultural Heritage), in cooperation with ETH (Swiss Federal Institute of Technology).
Supported by Archeovirtual and Digital Art Weeks
Sponsored by Digital Projection
OPENING TIMES
Thursday, october 31 :
12 p.m. to 7 p.m. / free admission
IMMERSIVE ENVIRONMENTS
DIGITALHERITAGE @ WORK
VIRTUAL MUSEUMS
Tangible geographical interface
EDUTAINMENT
ART AND CREATIVITY
Raffaello Madonna of the Goldfinch
MULTIVISION
In order to support interaction with colleagues, there are cultural tours on Wednesday and Thursday afternoons
CityPass 48H
Wednesday October 30th and Thursday October 31th (included in Full Registration and Student Registration)
Pôle ICP (Arles)
Organized visit on Wednesday October 30th (included in Full Registration and Student Registration)
MMSH (Aix-en-Provence)
Organized visit on Wednesday October 30th (included in Full Registration and Student Registration)
CICRP (Marseille)
Organized visit on Thursday October 31th (included in Full Registration and Student Registration)
Moving Towards The Ultimate Reproduction - Scanning And Printing of Paintings in High Resolution, Full-Color 3-D.
Paintings are versatile near-planar objects with material characteristics that vary widely. The fact that like sculptures, paint itself also has an important material presence is often overlooked. This is because we have become used to enjoying these artworks through two dimensional media like prints and computer screens. The capture of the topography of the paint in 3-D is not only interesting for study, restoration and conservation, but it also facilitates making three dimensional reproductions through state-of-the-art 3-D printing methods. The design of a 3-D imaging device for paintings is challenging because of their varying material characteristics and subtle depth difference as opposed to the size of the canvas. No single imaging method is ideally suited for this task and each have specific drawbacks.
We propose a hybrid design consisting out of normal studio equipment, where stereo imaging (two cameras) is aided by the fringe projection technique (1 projector). Fringe projection is aided by sparse stereo matching to serve as an image encoder. The encoded images then aid the stereo cameras triangulate each pixel they observe. In this manner, we simultaneously capture both the color and depth, yielding perfect image registration. Through high-end camera's, special lenses and filters we capture a surface area of 170 square centimeters per capture with an in-plane effective resolution of 50 micron and a depth precision of 9 micron. Semi-automated positioning makes the capture possible of paintings like the 2 square meter big Jewish Bride by Rembrandt, yielding a billion points point-cloud, all labeled with their correct color. Another self-portrait by Rembrandt and work of Van Gogh were also captured to test the performance of the system.
This data is then immediately ready for 3-D printing (the easiest way to visualize huge 3-D models). This was done through a specialized high resolution full color 3-D printer, yielding a very convincing reproduction by accurately portraying the topography.
9:20 – 9:45
Rethinking the Virtual Museum - FP 48 t3
S. Hermon, S. Hazan
9:45 – 10:00
Suggestion of RFID Technology for Tracking Museum Objects in Turkey - SP 420 t6
Hakan Melih Aygün, Nurdan Atalan Çayırezmez and Levent Boz
10:00 – 10:20
The Last Supper Interactive. Stereoscopic and ultra-high resolution 4K 3D HD for immersive real-time virtual narrative in Italian Renaissance Art - FP 8 t6
F. Fischnaller
10:20 – 10:40
Design and use of CALM : an ubiquitous environment for learning guidance during museum visit - FP 475 t2
P.-Y. Gicquel, D. Lenne, C. Moulin
10:40 – 11:00
The Etruscanning Project: gesture-based interaction and user experience in the virtual reconstruction of the Regolini Galassi tomb - FP 104 t2
E. Pietroni, A. Pagano, C. Rufa
11:00 – 11:20 coffee break
11:20 – 11:40
The Etruscan grave n.5 of Monte Michele in Veii: from digital documentation to virtual reconstruction and communication - FP 126 t1 + exhibit
A. Adami, C. Capurro, E. Pietroni, D. Pletinckx
11:40 – 12:00
Flying a drone in a museum, an augmented-reality cultural serious game in Provence - FP 270 t6
S. Thon, D. Serena, C. Salvetat, F. Lacotte
12:00 – 12:20
Smart architectural models: spatial projection based augmented mock-up - FP 333 t2 + exhibit
D. Rossi
12:20 - 13:00
A digital look at physical museum exhibits - Designing personalized Stories with handheld Augmented Reality in Museums - SP 211 t2 + exhibit
J. Keil, L. Pujol, T. Engelke, M. Schmitt
Lunch
14:00 – 14:15
"Excavate and Learn": Enhance Visitor’s Experience with Touch and NFC - SP 178 t6 + exhibit
E. Di Rosa, F. Benente
14:15 – 14:35
The reconstructive study of Greek colony of Syracuse in a 3d stereoscopic movie for tourists and scholars - FP 143 t6 + exhibit
F. Gabellone, D. Tanasi, I. Ferrari
14:35 – 14:50
Towards an Integrative approach to Interactive Museum Installations - SP 107 t6
C. A. Ray, M. van der Vaart
14:50 – 15:00
A Piece of Peace in sWARajevo -The Craft of Locally and Globally Interesting Stories for Virtual Museums - P 431 t6
Selma Rizvic, Andrej Ferko, Aida Sadzak
15:00 – 15:15
Home, sense of place and visitors’ interpretation of digital cultural immersive experiences in museums - SP 338 t3
P. Schettino
15:15 – 15:30
X3D/X3DOM, Blender Game Engine and Osg4Web: open source visualisation of queryable cultural heritage virtual environments. Opportunities and shortcomings - FP 66 t2
A. Baglivo, F. Delli Ponti, D. De Luca, B. Fanini, A. Guidazzoli, M. C. Liguori
15:30 – 15:50
Distributed 3D Model Optimization for the Web with the Common Implementation Framework for Online Virtual Museums - FP 320 t6 + exhibit
A. Aderhold, K. Wilkosinska, Y. Jung, D. Fellner
15:50 – 16:10 Coffee break
DigitalHeritageExpo is the largest exhibition on Digital Heritage ever organised. Spread over more than 700 sqm of space, the exhibition is divided into 6 unique categories: Immersive Environments, DigitalHeritage @ Work, Virtual Museums, Edutainment, Art and Creativity, Multivision.
Supported by BMTA’s Archeovirtual and ETH’s Digital Art Weeks, the Expo is hosted in the astonishing location of the Villa Mediterranée in Marseille from the 28th of October until the 1st of November 2013. Selected by a Program Committee composed of Arts, Heritage and Information and Communication Technologies experts, the best exhibitions proposals not only be accessible for hundreds of participants of the DigitalHeritage2013 International Congress, but will also for the thousands of visitors that the new waterfront museum area has been attracting to its exhibits. Visitors to the exhibition will travel through time and space, reaching diverse countries from around the world from Jordan to Indonesia, from China to America, from Spain to Island, covering an historical timespan of over 5000 years, the exhibitions lets visitors explore archaeological sites and monuments, get immersed in musical environments and enter virtual artworks, listen to stories from our past, interact with a wide range of digital heritage and science applications using hands, bodies, heads, brains, and finally to connect “digital” with “heritage” and to see how creativity takes one to new future perspectives.
Organized by CNRS (French National Center for Scientific Research) on behalf of the MAP Laboratory and local research institutions Provence (Aix-Marseille University, Arts et Métiers ParisTech, CICRP, School of Architecture and INRIA Méditerranée) and by CNR ITABC (Italian National Research Council, Institute of Technologies Applied to Cultural Heritage), in cooperation with ETH (Swiss Federal Institute of Technology).
Supported by Archeovirtual and Digital Art Weeks
Sponsored by Digital Projection
OPENING TIMES
Friday, november 1 :
9 a.m. to 12 p.m. / only for congress attendees
12 p.m. to 7 p.m. / free admission
IMMERSIVE ENVIRONMENTS
DIGITALHERITAGE @ WORK
VIRTUAL MUSEUMS
Tangible geographical interface
EDUTAINMENT
ART AND CREATIVITY
Raffaello Madonna of the Goldfinch
MULTIVISION
Strategies for user generated content and crowdsourcing in museums and cultural heritage
Lars Wieneke, Susan Hazan, Nikolaos Maniatis, Ad Pollé, Marie-Hélène Serra, Christine Sauter, Stuart Dunn, James Brusuelas, Erwin Verbruggen, Roei Amit, Marion Dupeyrat and Christian Bajomi
User-generated content has become part and parcel of the mainstream Internet experience. Services like YouTube, Flickr or the Wikipedia provide platforms that encourage, enable and build on the creation of millions of users. Today, museums and memory institutions actively explore the inherent potential of user-generated content both to collect and share content with and from their audiences but also as a new tool for museum mediation.
This workshop aims at bringing together the dispersed knowledge of practitioners from the digital heritage community as well as researchers from neighboring disciplines to exchange best practices in engaging audiences, managing contributions and creating sustainable platforms for user-generated content.
Presentations are 15 min followed by 5 min q&a
10:00 Introduction (10 min)
10:10 Stuart Dunn: An emerging field: defining the fundamentals of humanities crowdsourcing
10:30 James Brusuelas : Ancient Lives
10:50 Erwin Verbruggen: Waisda Making videos findable with Crowdsourced annotations
11:10 N.N: Legal aspects of UGC
11:30 Coffee break
12:00 Cristine Sauter: Results of the Europeana taskforce
12:20 Ad Pollé: Europeana 1914-18
12:40 Ad Pollé: Europeana 1989
13:00 Roei Amit: "Engage the exhibitions audience with the use of photography", Case studies around several events (Dynamo, Grand Atelier du midi and Braque exhibitions)
13:20. Marion Dupeyrat: Interacting with audiences: overview of participatory practices implemented by memory institutions
13:40 Conclusion and final discussion
Adventures in Embodiment: Panoramic, Panoptic & Hemispheric Immersion
Sarah Kenderdine
This workshop invites attendees to explore and evaluate a series of cultural heritage experiences developed for nine large-scale digital immersive, interactive, visualization systems. Dr. Sarah Kenderdine is Director of Research at the Applied Laboratory for Interactive Visualization and Embodiment (ALiVE) an interdisciplinary research initiative, City University of Hong Kong. She will introduce and describe the content production for both panoramic, panoptic, hemispheric, linear and augmented viewing paradigms including:
- Interactive 3D panoramic 360-degree and wide screen displays (PLACE; AVIE; CLOUD)
- Hemispherical domes (Dome; iDome)
- Panoptic hexagonal and octagonal viewing systems (Re-Actor; The Virtual Room)
- Linear navigators
- Augmented reality
These platforms offer new paradigms for creating access to cultural heritage archives as embodied museum experiences.
PRIMARY LINK: http://alive.scm.cityu.edu.hk/projects
Examples discussed will include:
1. Pure Land: Inside the Mogao Grottoes at Dunhuang (2012), a project in collaboration with the Dunhuang Academy has been described as “the exhibition experience of the future” by Julian Raby, director of the Smithsonian’s Freer & Sacker galleries. Philip Kennicott for the Washington Post (Nov 30, 2012) wrote, “. . . at last we have a virtual reality system that is worthy of inclusion in a museum devoted to the real stuff of art.” <http://alive.scm.cityu.edu.hk/projects/alive/pure-land-inside-the-mogao-grottoes-at-dunhuang-2012/>
2. ECLOUD WW1 (2012), a 3D interactive archive unleashes the potential of Internet data for situated museums experiences using the crowd-sourced data from Europeana’s 1914-1918 projects <http://alive.scm.cityu.edu.hk/projects/alive/ecloud-2012/>
3. PLACE-Hampi (2006) and the Museum at Kaladham (2012) recently received the International Council of Museums (Australia) Award 2013 for International relations. A PDF description of the works
http://icom.org.au/userfiles/file/Activities/IAAIR/2013%20IAAIR%20Testimony-MoV%20JSWF-2.pdf
4. Museum Victoria’s WILD panoramic navigators received the MUSE award in 2010 < http://museumvictoria.com.au/melbournemuseum/discoverycentre/wild/virtual-exhibition/>; and the 360-degree 3D system showing Dynamic Earth received the MUSE Award 2011 < http://museumvictoria.com.au/about/media-centre/media-releases/archive/museum-victoria-wins-gold-in-houston/>.
Participants will learn how to work with scientific, natural and cultural collections, archaeological documentation, panoramic photographic and video recordings, ambisonic acoustic data, high resolution optical scans and web-based archives—to create transformative museum experiences.
EU projects - sharing knowledge in an European context
Sorin Hermon
The aim of the session is to find common paths of interaction among major EU funded projects on Cultural Heritage. Representatives of projects covering a wide range of interests, such as virtual museums, digital libraries, archaeological research, epigraphy and recent history, representing major EU funding programs such as FP7-IST, Culture and Education or CIP, etc.
Discussion will focus on defining a common research agenda, shared information on activities, joint organization of events, summer schools and training courses and dissemination activities.
Projects presented at the meeting:
v-must, eagle, archaeolandscapes, athena plus, 3dicons, europeana photography, 3nCult, emap, LoCloud
WebApp Development for Enhanced Cultural Heritage Experience through mobile Augmented Reality
Timo Engelke and Jens Keil
The use of mobile devices in cultural heritage is still a new field of research, while the amount of potential applications grows from day to day. Due to the enormous increase of technological capabilities, mobile devices are suitable for performing Augmented Reality in cultural heritage applications.
During the last 10 years, Fraunhofer IGD has developed the mobile application framework “instantAR” for iOS and Android devices enabling high-level development of Augmented Reality solutions. It provides an efficient environment for the development of AR applications on mobile devices based on common standards like HTML, Javascript and X3D. While providing convenient interfaces and abstractions it maintains great flexibility in order to also realise advanced interaction paradigms for AR.
The full day tutorial will introduce into the concepts of the "instantAR" framework, its provided development environment, discuss the possibilities for deploying standards in AR-Systems, demonstrate its capabilities and present the full range of potentials for a deployment in research and commercial environments targeting diverse stakeholders in the cultural heritage domain. Attendees will learn basics and advanced solutions for tracking technologies, how to use them and add advanced interaction capabilities supporting not only single- but also multi-touch gestures in order to create a higher user experience. The authoring environment will provide an ideal platform to integrate several technological building blocks into one coherent application by allowing an integration of user driven content.
The target audience is not restricted to research and development but also addresses designers, web developers, education, curatorship and managers of cultural heritage institutions.
