Digital Cultural Heritage

Virtual tours using drones enhance the experience the users perceive from a place with cultural interest. Drones equipped with 360o cameras perform real-time video streaming of the cultural sites. The user preferences about each monument type should be considered in order to decide the appropriate flying route for the drone. This article describes a scheme for supporting personalized real-time virtual tours at sites with cultural interest using drones. The user preferences are modeled using the MPEG-21 and the MPEG-7 standards, while Web Ontology Language (OWL) ontologies are used for metadata structure and semantics. The Metadata-Aware Analytic Network Process (MANP) algorithm is proposed in order to weigh the user preferences for each monument type. Subsequently, the Trapezoidal Fuzzy Topsis for Heritage Route Selection (TFT-HRS) algorithm ranks the candidate heritage routes. Finally, after each virtual tour, the user preferences metadata are updated in order in order the scheme to continuously learn about the user preferences.

Research on the use of digital fabrication tools in restoration applications has mostly focused on automating the form  generation processes.  We suggest a  more integrated computational approach for analyzing and reconstructing handcrafted works with digital fabrication tools. The study involves a select group of carved stone geometric patterns in Anatolia from the Seljuk-period. The study explores the parameters of making in the design generation of the patterns. The method is based on constructing possible scenarios of the making processes by exploring the formal relations between the geometric shapes and their making.  Possible material transformations by particular parameters of making such as physical properties of the tools and carving paths have been formalized within visual rules that can be translated into the machine language used for 3-Axis CNC machining. The approach is an integrated one to enhance our understanding of the diversity in the design ideation process of  Seljuk stone carving craft as cultural heritage. The results of the experiments show that the knowledge of design forms alone is not sufficient for either the analog or the computer-aided making of the  Seljuk geometric patterns.  The use of different parameters of making digital fabrication tools will result in various material outcomes.

Bodie’s iconic buildings are showing signs of stress due to age and harsh weather conditions. Drought has exacerbated the sustainability and resilience of Bodie accelerating the degradation of its historic fabric and cultural landscape.  Parks and UC Merced are working on a multi-year project to preserve Bodie by capturing digital data using terrestrial laser scanning and 3D mapping obtained by close-range airborne and ground photography, generating ultra-precise measurements and 3D models of its structures that may be used for future conservation efforts or physical reconstruction of the site. Adequate documentation will allow us to efficiently obtain information on the buildings including construction techniques, materials used, geometry, interior design elements and state of decay. This paper will present our early findings and evaluate current strategies to improve future work.

In the last ten years, 3D technologies have proliferated in archaeology with multiple applications, both in the field and the lab. The pace of development is very rapid and constitutes a paradigm shift. 3D modeling is becoming an indispensable tool and is transforming the field. So far, analysis of artifacts has relied on direct physical access to objects, 2D representations (photographs and drawings), and written descriptions. However, the growing popularity of 3D technology has established that a 3D model of an artifact provides a superior record, compared to 2D products. The 3D model closely approximates the experience of the original (Payne in Necrocorinthia. A study of Corinthian Art in the Archaic period, Oxford, [1]). High-fidelity 3D digital artifacts can bridge the gap in quality of data available to researchers. Also, they can be disseminated widely, which facilitates and encourages scholarly collaboration. Here, we will explore the application of 3D modeling to a particular category of artifacts, terracotta figurines of the Archaic period (7th–6th centuries BCE) from the site of Plakomenos, in Greece.

本研究旨在以互通性的視野，探究如何運用知識本體及國際圖像互通架構於數位人文學。以文字型圖像材料為對象，中國漢代簡牘文書「居延漢簡」的文字釋讀及簡冊復原研究為個案，結合人文學者的簡牘研究需求，探索並建構數位研究環境的工作任務，以及其涉及的學術原語及互通性機制。首先，採用訪談法建立史學研究者進行簡牘整理的主要流程，並識別出10項學術資訊活動的功能原語；接續提出由「簡牘知識本體」、「漢字知識本體」以及「標註知識本體」等三個知識本體整合而成「簡牘學知識本體」，彼此相互關聯以支援漢簡研究的數位學術工作，以及跨機構間的漢字聯
合檢索。最後，本文以「簡牘字典」及「歷史文字資料庫統合檢索系統」，展示互通性的設計如何運用於圖像數位人文研究平台。
This study explores the use of ontologies and the International Image Interoperability Framework (IIIF) in digital humanities from the perspective of interoperability. Focusing on imaged texts, it takes as its case study the text interpretation and slip restoration of the “Juyan Han Wooden Slips,” integrating the demands of humanities scholars in wooden slip research, and exploring and establishing the basic tasks, scholarly primitives, and interoperability mechanisms of this digital environment. The study first determines historical researchers’ basic procedure when investigating wooden slips, and discerns 10 functional primitives for these scholarly activities. It then proposes “Wooden Slip Research Ontologies” composed of interrelated “Wooden Slip,” “Chinese Character,” and “Annotation” ontologies to support digital wooden slip research and enable the cross-institutional search for Chinese characters. Finally, the integration of the Wooden Slip Dictionary and the Multidatabase Search System for Historical Chinese Characters demonstrates how interoperable design applies to digital humanities image platforms.

Erfolge der Provenienzforschung bemessen sich nicht nur an der Zahl der Restitutionen, sondern auch an der Zahl der untersuchten Kulturgüter. Bundesdeutsche Museen stellen diese Zahlen aber nur selten zur Verfügung. Dabei könnte ein offensiver, transparenter Umgang mit den Forschungsergebnissen die öffentliche Kritik reduzieren. Die künftige Forschungsdatenbank des Deutschen Zentrums Kulturgutverluste, die in Teilen öffentlich zu konsultieren sein wird, soll diesem Mangel abhelfen. Daneben stellen zunehmend auch Museen, Archive und Bibliotheken ihre Ergebnisse online, zum Teil in Printform, zum Teil direkt in den Datensätzen ihrer Online-Collections. Der Beitrag stellt die o. g. Pläne wie auch exemplarisch bereits verfügbare Ressourcen und Ergebnisse vor, zeigt gelungene Beispiele und rät zu mehr Mut und Offenheit.

TTHIS CHAPTER OUTLINES an open curatorial design
project in Australia which has engaged local communities,
organisations and museums in Liverpool
(NSW) – a municipality within the Greater Sydney
metropolitan area – using spatial practices and digital
mediation of the area’s rich and diverse cultural heritage.
The chapter reflects on the role of digital technologies
in renegotiating cultural heritage practices
through sensorial knowing and participatory experiences.
Museums, heritage sites and landscapes can all
be considered part of an electronic ecology – the pervasive
and networked technological world in which
we are immersed. Digital technology is transforming
all aspects of collecting, access, interpreting, engaging,
learning and sharing. An “ecological” approach
to curatorial design entails reflecting on the impact
of digital technologies on the artistry of experiencemaking
within collecting and exhibiting practices
and the devising of integrated strategies that enable
encounter, intimacy and embodied interactions
between people, places, memory and the things we
preserve from the past for the benefit of the future
generations.

According to eCAADe's mission, the exchange and collaboration within the area of computer aided architectural design education and research, while respecting the pedagogical approaches in the different schools and countries, can be regarded as a core activity. The current session follows up on the first Contextualised Digital Heritage Workshop (CDHW) held on the occasion of eCAADe 2016 in Oulu (D. di Mascio et.al.) This event was thought to represent the first of a series of future contextualized digital heritage workshops and hence, the name Oulu interchangeable with the name of any other city or place. The second CDHW took place in the framework of CAADRIA 2017 in Suzhou (D. di Mascio & M.A. Schnabel) and focussed on sharing and dissemination of heritage information and personal experiences, such as narratives.The primary objective for the 2018 digital heritage session is to engage participants in an active discussion, not the longer format presentation of prepared positions. The round table itself is limited to short opening statements so as to ensure time is allowed for viewpoints to be exchanged and for the conference attendees to join in on the issues discussed. The panel will review past practices with the potential for guiding future direction.

Originally built during the Ayyubid era by the son of Saladin, al-Malik al-Zahir Ghazi (1186–1216), and rebuilt throughout the Mamluk era (1260–1516), the entrance to the citadel of Aleppo was particularly affected by an earthquake in 1822, bombings during the Battle of Aleppo in August 2012, and a collapse of ramparts due to an explosion in July 2015. Even if compared to other Syrian sites, there are still enough vestiges to grasp the initial architecture, the civil war situation makes extremely difficult any “classic” process of digitization by photogrammetry or laser scanning. On this basis, we propose a process to produce a 3D model “as relevant as possible” only from a few sightseeing photographs. This process combines fast 3D sketching by photogrammetry, 3D modeling, texture mapping and relies on a corpus based on pictures available on the net. Furthermore, it has the advantage to be applicable to destroyed monuments if sufficient pictures are available. Five photos taken in 2...

The Future of Digital Data, Heritage and Curation critiques digital cultural heritage concepts and their application to data, developing new theories, curatorial practices and a more-than-human museology for a contemporary and future world. Presenting a diverse range of case examples from around the globe, Cameron offers a critical and philosophical reflection on the ways in which digital cultural heritage is currently framed as societal data worth passing on to future generations in two distinct forms: digitally born and digitizations. Demonstrating that most perceptions of digital cultural heritage are distinctly western in nature, the book also examines the complicity of such heritage in climate change, and environmental destruction and injustice. Going further still, the book theorizes the future of digital data, heritage, curation and the notion of the human in the context of the profusion of new types of societal data and production processes driven by the intensification of data economies and through the emergence of new technologies. In so doing, the book makes a case for the development of new types of heritage that comprise AI, automated systems, biological entities, infrastructures, minerals and chemicalsall of which have their own forms of agency, intelligence and cognition. The Future of Digital Data, Heritage and Curation is essential reading for academics and students engaged in the study of museums, archives, libraries, galleries, archaeology, cultural heritage management, information management, curatorial studies and digital humanities.

During the war with Russia, Ukrainian cultural institutions, museums, and galleries challenge problems of preserving the national heritage, protecting against destruction, and further restoration processes. Various organisations around the world have experience in preserving and restoring cultural heritage in the face of active fighting, and the practice gained in Ukraine should be fixed for us and our descendants. Therefore, the editors of the Text and Image journal call for papers, essays, and reviews for a special issue (June 2022) that may relate to
• preservation of cultural heritage during the war;
• assessment of damage to cultural heritage during conflicts;
• the historical experience of preservation of cultural values in the conditions of war;
• restoration and reconstruction of heritage;
• relocation of heritage and restitution of valuables;
• electronic systems and databases for heritage preservation;
• the role of culture in the conditions of war, generalized reviews of exhibitions, concerts, and actions in support of Ukraine during the Russian-Ukrainian war.

Please send your materials through the website of the magazine https://txim.history.knu.ua/ in accordance with the requirements by May 31, 2022.

How museums see digital has changed and, as a result, museum design practices have changed. In a world in which digital dimensions have become naturalized in our way of thinking, digital and physical dimensions are intertwining. Professor Ross Parry describes this key moment with the concept of the post-digital museum, defined as: a transformation that sees digitality becoming bounded into museums' missions, structures, and practices. It is a new paradigm that does not separate the digital experience into something different from the overall museum experience. The term "post-digital" can be defined as a response to the entanglements of media, approaching the design of digital as indistinct from other, non-digital aspects. In the last decade the interest has increasingly shifted toward communication projects designed to enhance the museum visit through hybrid digital/physical experiences. This article takes part in the discussion by exploring how the integration of different design elements can support the design of museum information spaces in which digital and physical dimensions are intertwined. Through the analysis of exhibition projects, we propose a conceptual tool that integrates a series of design elements that are articulated by interrelated areas, which are located at different "levels of design"-from the more abstract level of experience design, to interaction design and information architecture and to the granular level of interface design. The contribution of the conceptual tool we propose lies in the fact that designing the visitor experience for hybrid exhibition spaces entails a complexity that requires the orchestration of different elements. By considering various design elements and their relationships, our framework can facilitate design decisions by systematically integrating analogical and digital dimensions through a common conceptual tool as a frame of reference for all the relevant elements involved in the design.

Cultural presence is a term used to explain and evaluate cultural learning in virtual heritage projects but is less frequently used for video games. Given the increasing importance of video games to cultural heritage, this paper investigates explanations of cultural presence that could be communicated by games, especially concerning UNESCO and ICOMOS definitions of cultural significance. The aim is to determine if cultural presence can be communicated via video games and across a range of game genres. Observations derived from game prototyping workshops for history and heritage aided the development of a teachable list of desirable game elements. To distinguish itself from the vagueness surrounding theories of cultural presence, a theory of culturally significant presence is proposed. Culturally significant presence requires three components: culturally significant artifacts and practices; an overarching framework of a singular, identifiable cultural viewpoint; and awareness by the participant of both the culturally significant and the overarching cultural framework and perspective (which gives sites, artifacts, and practices their cultural significance and relational value). As awareness of cultural presence requires time for reflection, single-player games were chosen that were not completely dependent on time-based challenges. Another criterion was cultural heritage content, they must simulate aspects of heritage and history, communicate a specific cultural framework, or explore and reconstruct a past culture. Four games were chosen that simulate a culture, explain archaeological methods, portray indigenous intangible heritage, or explain historical-based ecosystems of the past based on educational guidelines. The games are Assassin's Creed: Origins; Heaven's Vault; Never Alone; and a Ph.D. project: Saxon. Their genres could be described as first-person shooter/open world/virtual tour; dialogue-based puzzle game; 2D platform game; and turn-based strategy game. The aim is not to evaluate the entire range of interactive virtual environments and games, but to examine the applicability and relevance of the new theory, and to ascertain whether the four games provided useful feedback on the concept and usefulness of culturally significant presence. A more clearly demarcated theory may not only help focus evaluation studies but also encourage game developers to modify or allow modification of commercial games for classroom teaching of digital heritage. CCS CONCEPTS •Applied computing~Education~E-learning•Human-centered computing~Human computer interaction (HCI)~HCI theory, concepts and models•Human-centered computing•Human-centered computing~Human computer interaction (HCI)~Interaction paradigms•Applied computing~Education~Interactive learning environments

Digital heritage projects remain descriptive despite diverse objectives with the assumption that technology will deliver greater interpretation. The use of new and high technology may emphasise the experience and provide visual fidelity but only produce limited interpretation as technology is insufficient to provide the past from multiple perspectives. Those projects provide linear narratives developed through a top-down approach that assumes the end-users as an individual entity and limits heritage as a consumable product. This research will probe the circumstances of this emergent technology and practice, examining issues, challenges & new opportunities. It hopes to uncover for better experience of digital heritage architecture where interpretation is an evolving 'process' that is participatory and contributory that allows public participation, together with effective presentation, cultural learning and embodiment, to enhance the end-users' interpretation of digital heritage architecture. Additionally, this research seeks to establish an inventory in the form of a digital platform that adopts the Historic Urban Landscape (HUL) to better and deepen the understandings of the public towards architectural as well as cultural heritage through an intercultural and intergenerational dialogue. Through the dialogue, this research hopes that it will better shape conservation strategies and urban planning.

The aim of this paper is to form an analytical and critical framework to consider the uses of digital platforms in heritage field and practices and to provide methodologies for user profiling based on the identification of local stakeholders and their needs. Within the context of the EU H2020 research project RURITAGE, a resource ecosystem (RRE) of various integrated tools was created for shaping and addressing heritage-led knowledge and bottom-up strategies of local regeneration. More specifically, the RRE was conceived to provide local stakeholders with new methodologies and user-friendly tools based on bottom-up processes for identifying and actioning heritage and territorial features and turning these cultural natural values—as well as the gaps—into opportunities. This paper undertakes a comparative analysis of the integration of tools in other digital platforms for heritage practices and/or regeneration processes to explore the holistic approach to heritage knowledge and the effectiveness in engaging local stakeholders. In addition, it frames methodologies for local stakeholder and related needs identification. Through this comparative analysis among digital heritage platforms and through user profiling to target the needs of users by using the RRE as a case study, the paper explores the challenge of helping communities to shape a local heritage-led collaborative knowledge supported by integrated and user-friendly digital tools and to activate them in preserving and exploiting their territories and building shared and plural cultural heritage understandings, considering cultural heritage as a social need.

Рассматриваются информационные системы и их возможности в сохранении и репрезентации историко-культурного наследия. Дается определение понятия «виртуальный музей», выделяются основные типы виртуального музея. Анализируются возможности расширения доступа к предметам историко-культурного наследия посредством сохранения и репрезентации электронных копий и их коллекций и метаданных к ним, представления объемных моделей предметов историко-культурного наследия, восстановления облика утерянных фрагментов и полностью утраченных в реальности предметов. Информационные ресурсы виртуальных музеев рассматриваются как часть цифрового культурного наследия.

This 19th-century nautical chart of the East Indian Archipelago written in Buginese is an excellent example of indigenous cartography with European influences. Buginese (Basa Ugi) is an Austronesian language spoken in the southern part of the Indonesian island Celebes. The Dutch colonisation led to a proportion of the Buginese population fleeing to other parts of Indonesia.

The essay analyses conceptual models, open practices and applied frameworks of linked data in connection to digital cultural heritage. Following a data-centered approach, it reviews linked data working models and metadata schemas focusing on Intangible Cultural Heritage (ICH), a topic with limited contributions in academic literature so far. The essay includes innovative examples and discussions on open data standards, challenges and new concepts for future research on the topic.

Art provenance databases: Are they fulfilling their promise? Comparative evaluation of ten major museum databases in the USA and the UK

Nearly twenty years ago, Museums committed to making Nazi-era provenance information more transparent and accessible. This paper applies the method of IT user tests to assess progress in collections databases. Findings include compliance statistics, best and worst practices observed, and recommendations. Testing focused on museums with the most NEPIP-listed items (Annex 1); museums mentioned in WJRO’s June 25, 2015 report (Annex 2); and two major UK museums as well as the UK Collections Trust (Annex 3). Provenance information was tested for: access, search, display, download, traceability and integration. (Quality as in accuracy of the provenance information content was not assessed.) Key findings: Of the 30 museums accounting for 75% of items on the AAM NEPIP list, more than half offered no provenance information search functionality for internet users. Various obstacles to search and display were observed, with Best Practices and Worst Practices showing a wide gap, despite similar technical platforms. Download functions and audit trail were not available for internet users. Little integration was observed, either between the NEPIP and member databases; or between collections databases and looted art data bases, such as stolen items, lists of victims, lists of red-flagged dealers, or dealer records; or between collections records and original source documents. Centralized progress reporting appeared to be publicly accessible in the UK but not in the US. Recommendations include implementing Best Practices across all collections, reevaluating integration goals to better target Nazi-era provenance needs, and systematizing regular evaluations and progress reporting.

Laurel Zuckerman  is an author based in Bry sur Marne, France. Zuckerman was introduced to provenance research techniques and museum practices when she began making inquiries about the ownership history of a painting that later became the subject of a Nazi-era restitution claim. A graduate of France’s HEC business school with more than a decade of professional experience in large scale information systems projects, she is exploring the potential benefits of applying techniques from domains outside art history to the challenges of Nazi-era provenance research

Tomando como punto de partida la revisión que la museología crítica opera sobre el
concepto de museo, sus discursos y narrativas, este texto explora las posibilidades
que al respecto ofrece el medio digital, así como los discursos que actualmente se
están desarrollando en este nuevo escenario

In the Twenty-first century, museums' mobile digital technology has a prominent role in communication and interpretation thanks to its characteristics of multimodality, handiness, ubiquity, accessibility, and social networking. Digital technology had been a central topic of design discourse in museums up until the recent years. In recent years the attention has shifted from technology to visitor experience. Nowadays the innovative character of mobile devices depends not so much on technology per se as on socio-technical system that now, more than ever before, put visitor's needs and museum environment at the core of the design. Designing mobile apps with the visitor experience as an explicit outcome means looking beyond functionality: we should take into account visitors' expectations, motivations, and behaviors, above and beyond interface usability, and then extend this understanding to the context of the use of the device and to the whole experience of the visit. Any design effort should go in the direction of integrating all of these dimensions. This paper's contribution comes from answering the following question: what are the " dimensions of the context " of mobile-media-enhanced visitor experience? In investigating recent studies and analyzing recent projects on mobile media for museums we have classified three main domains – museum, visitor, and mobile technology. From these domains we have identified fundamental dimensions that can help designers and museum practitioners to better understand the context in which visitors use a mobile app and, in turn, enable them to make more informed design decisions.

In today's Digital Age, onsite digital interpretation is expected. Set within the context of the proliferation of mobile devices, wearable technology and increased connectivity, this paper will identify the latest onsite digital interpretation initiatives with a specific international focus on current uses at World Heritage Sites (WHS). The paper concludes by discussing the future application of onsite digital interpretation at Durham WHS, both its possibilities and barriers. Specific technologies discussed and evaluated include Quick Response (QR) codes, Near Field Communications (NFC) technology, iBeacons, iBeaken, Apps and Augmented Reality. The paper aims to highlight the gap between the theory and practice, and how onsite interpretation (outdoor) is slow to take advantage and integrate this new technology in contrast to museums. It is hoped that this research will provide an important resource for WHSs to make informed decisions about future investment in onsite interpretation, which will fulfill their obligation for the 'transmission to future generations of the cultural and natural heritage' (UNESCO 1972:Article 4).

The article considers experience of using digital technologies in the projects of virtual reconstruction of historical urban landscapes and lost objects of historical urban environment. The possibilities of 3D modeling, virtual and augmented reality, GIS technologies are considered in the context of new approaches of historical urban studies, using the example of research projects aimed at the virtual reconstruction of landscape evolution and urban environment of the center of Moscow in the 16th — 19th centuries. Particular attention is paid to the formation of historical source base of virtual reconstruction and its verification. The paper observes the relationship of approaches developing in the framework of Digital Cultural Heritage and Digital Humanities. In this regard, new approaches to research on the virtual reconstruction of historical urban landscapes are discussed.

Στις 25 Ιουνίου 2014 εγκαινιάστηκε το «Μουσείο των Μαριανών Αδελφών και του Λεοντείου Λυκείου» (Musée des Frères Maristes & du Lycée Léonin) στο κτήριο του Λεοντείου Λυκείου Πατησίων .
Βασική πτυχή των στόχων του μουσείου, όπως αυτοί τέθηκαν από την υπεύθυνη μουσειολόγο, ήταν η σύνδεση των εκθεμάτων και των εγκαταστάσεων, αφενός με τον ίδιο τον μικρόκοσμο του σχολείου και αφετέρου με την ιστορία και την εξέλιξη της αστικής -και όχι μόνο- Αθήνας .
Στο πλαίσιο της κατασκευής του μουσείου προτάθηκε από τον γράφοντα η προσθήκη στο οπτικό υλικό, τριών βίντεο με αναπαραστάσεις των εγκαταστάσεων των τριών κτηριακών συγκροτημάτων που στέγασαν και στεγάζουν το Λεόντειο Λύκειο. Αυτό κρίθηκε απαραίτητο, καθώς η ιστορία ενός σχολείου συνδέεται άρρηκτα με τις εγκαταστάσεις και τα βιώματα των μαθητών μέσα σε αυτά.
Σε αυτό εδώ το κείμενο θα ασχοληθούμε με ένα από τα τρία βίντεο, το σχετικό με την αναπαράσταση του Λεοντείου Λυκείου «Άγιος Διονύσιος» της οδού Σίνα, το οποίο, σε αντίθεση με τα άλλα δύο συγκροτήματα, δεν υφίσταται πλέον, καθώς κατεδαφίστηκε τη δεκαετία του 1970.
Στις επόμενες παραγράφους θα αναλυθούν οι τρόποι και η μεθοδολογία που ακολουθήθηκε για την πραγματοποίηση μιας ψηφιακής αναπαράστασης ενός κτηρίου που δεν έχει αφήσει κανένα φυσικό κατάλοιπο ή ίχνος, με τη χρήση αρχειακού υλικού.
Επιπροσθέτως, με την ευκαιρία δημοσίευσης αυτού του έργου, θα γίνει μία παράθεση νέων ιστορικών στοιχείων για το σχολικό αυτό συγκρότημα, τα οποία ήρθαν στο φως κατά τη διάρκεια της έρευνας για τη δημιουργία της αναπαράστασης.
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In June 25th 2014 the “Museum of the Marist Brothers and the Lycée Léonin” (Musée des Frères Maristes & du Lycée Léonin) was inaugurated in the school complex of the Leonteio Lykeio Patision in Athens.
The key aspect of the Museum's objectives -as these were set by the responsible museologist- was the connection of the exhibits and the school facilities, both with the microcosm of the school itself, but also with the history and development of bourgeois (and not only) Athens.
Within the framework of the Museum’s preparation, the author proposed an addition to the visual material, consisting of videos with representations of the three school complexes which housed and house the Lycée Léonin. This was considered necessary, as the history of a school is inextricably linked with the facilities and the students’ experiences within them.
Here in this text, we will deal with one of the three videos, the one concerning the school complex of “Lycée Léonin St. Denis” of Sina street, which, unlike the other two complexes, no longer exists as it was demolished the 1970s. We will analyze the ways and the methodology used to carry out a digital represen-tation of a building which has left no physical remains, by the use of archival material.
In addition, the publication of this work will present new historical facts about this school complex, which came to light during the research for this recostruction.

Digital visualisation technologies have huge potential in the field of the enhancement of the cultural heritage. This is particularly relevant for those artefacts that have been altered, dismembered, or dispersed over the course of the centuries. This paper examines the case study of the detached medieval frescoes of Santa Maria Novella in Florence, recently rediscovered and recontextualised within the church, as a methodological paradigm to experiment a fruitful application of the Augmented Reality (AR) technology. In particular, videomappings and hand-held AR devices could be the optimal technical solution to be applied to the chosen context. This multimedia interactive approach could ensure the enjoyment of these artworks, offering at the same time an effective digital medium for the dissemination of art historical research and conservation analysis.

Το κείμενο αυτό επιχειρεί να εξετάσει το πώς διαμορφώνονται σήμερα η συζήτηση και οι πρακτικές γύρω από τη χρησιμότητα, τη χρήση, την επίδραση και τις προκλήσεις των ψηφιακών τεχνολογιών πληροφορίας και επικοινωνίας στα μουσεία. Μέσα από την αναφορά σε σχετικές μουσειολογικές θέσεις και παραδείγματα εφαρμογών, το κείμενο θα θέσει το ερώτημα κατά πόσο οι ψηφιακές τεχνολογίες είναι ενσωματωμένες σήμερα στη μουσειολογία και μουσειογραφία του μουσείου. Θα υποστηρίξει ότι μια τέτοια ενσωμάτωση απαιτεί και αναζητεί το άνοιγμα των μουσείων όχι μόνο στη χρήση διαφορετικών τεχνολογιών, αλλά και στις ιδέες και προτάσεις που οι εφαρμογές τους φέρνουν για την οργάνωση και παραγωγή γνώσης και επικοινωνίας. Η συλλογιστική αυτή θα ολοκληρωθεί με την πρόταση ότι εφαρμογές και προσαρμογές παλαιών, νέων και αναδυόμενων τεχνολογιών σε μουσεία διαμορφώνουν μια (νέα) μουσειολογία της τεχνολογίας.

The meme is an idea, element of culture or behavior passed down from one person to another through imitation. A more specific form of meme is the internet meme, which involves images, videos, text, or other content rapidly spread, and often modified, over the internet, and sometimes transcending the mere digital into the material world. Internet memes are often global and therefore help establish commonality between people across cultures, oceans, and national boundaries. They also can help further knit together particular communities already bonded through digital interaction. Yet, despite the cultural impact and pervasiveness of these virtual memes and artifacts in the late-20th and early-21st century, the heritage field has only just begun to recognize the importance and impact of online sub-cultures and viral phenomenon, and the future heritage value that these sub-cultures and phenomenon will hold. Meme historians are few and meme museums even more scarce. Because internet memes and cultures evolve so rapidly, and website links often move or expire, many, probably most, of these virtual objects and intangible heritages, are in danger of being forgotten and lost over the long term. Compounding this difficulty is the sheer volume of memes and artifacts to curate and sift through for selective preservation. This thesis explores the research question of how to select internet memes for preservation as virtual tangible and intangible heritage, and postulates that participatory, community-based efforts could prove invaluable to developing and implementing selection strategies.

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 research project, as a case in point, it investigates ways in which new information and communication technologies have been used to serve heritage documentation and learning. The main argument unfolds along the themes of inventories, virtual learning and community participation. First, the paper looks at the concept of inventorying by examining digital repositories of cultural expressions and how they ascribe meaning and value to intangible heritage. It then explores how documentation recordings and data are used in virtual learning environments and create online engagements with heritage expressions. The third part examines how digital technologies inform relations between communities and intangible heritage. What are the implications in terms of access and participation to the heritage experience and how does this affect the uses and meanings of intangible heritage by (local and virtual) practicing communities and heritage professionals? By focusing on the i-Treasures web platform, the paper aims to raise questions about how intangible heritage is defined and performed digitally and how this relates to issues of participation in the safeguarding process.

Videogames are the most successful entertainment industry today, but before they entered the “mainstream”, they were targeted at children and addressed by the traditional media as a bad influence. During the early 2000s, we started to see a growing acceptance of videogames as a cultural product and not merely as a toy. Academic journals started to explore videogames, and preservation efforts, previously restricted to fan initiatives, began to be undertaken in institutions such as the Computerspielemuseum in Germany and The Strong in the USA. Today, game studies are established as a discipline in universities, and new institutions and projects have joined the preservation efforts. Nevertheless, the nature of videogames as a primarily commercial product has presented some issues to museums, particularly if the aim is to preserve the game in playable form. Publishers and developers are afraid to share their work with institutions, and for that reason, alternatives to traditional techniques have been developed, such as emulation and migration. This dissertation will study the videogame as a museum object, the initiatives being taken to preserve it, and the challenges inherent in doing so.

The development of Information Technology and Digital Humanities has brought numerous significant changes to the Cultural Heritage domain. The Digital Humanities has become a dynamic and fertile research field, and new projects and opportunities are constantly flourishing. The BYZART project perfectly fits this context. This project is coordinated by the Department of History and Cultures of the University of Bologna, embracing a wide consortium of partners from Bulgaria, Greece and Italy. It aims at enhancing Byzantine and Post-Byzantine artistic and cultural heritage within the Europeana platform. This project will enrich the existing Europeanacollections with about 75,000 new cultural and artistic multimedia objects relevant to Byzantine history and culture, including collections of digitized photos, video and audio content, and 3-D surveys and reconstructions. We have also established a liaison between the new materials and Byzantine-related content already existing on Europeana...

Technology today has an active place in all areas of our lives. Information and communication technology is a good example with its widespread expression in the tourism industry. Technology is mostly conceived to provide communication between product or service producers and their consumers. Specialized sources of secondary data from technology and tourism papers indexed mainly in Scopus around the theme of tourism have been studied and the theoretical framework has been structured in terms of archaeological tourism. In the fourth industrial revolution, while its most prominent features in information and communication technology in the form of artificial intelligence, cyber-physical systems, big data, robotics, internet of things, and smart tourism have developed at a bewildering pace, the technological potential of archaeotoursim and its capacity to commence a new paradigm shift in the tourism industry is mostly neglected. Most of the studies regard technology as an auxiliary tool to serve for the developments in tourism destinations in one way or another. This theoretical paper conceptualizes the role of up-to-date technology in facilitating archaeotoursim experiences through adopting it as a reference for bringing tangible archaeological heritage to everyone's home with its unique interpretation by archaeologists at the excavation sites. The purpose of this paper is to highlight the gaps and offer the rethinking of the archaeotoursim framework proposing a new level of efficiency; digital archaeotourism via reengineering of main organizational and operational processes to create a form where technology itself forms e-destinations.