613 research outputs found
Repository Model for Intangible Heritage “The Malay Scenario”
Culture heritage is identity of country, community and group of people. Intangible culture is a common practice, in the community. Continuously  re-created and transmitted. However, culture can only have continuity if people enjoy the conditions to produce and re-created.  This paper try to identify the factor of contributing archiving intangible heritage before develop a model as a guideline to archive culture heritage especially intangible heritage via ICT exploitation. This standard model as a kick-start of intangible study and also as guidelines for culture institution in Malaysia to archiving their intangible heritage and make it available for other researcher and the future generation
Transforming Model to Meta Model for Knowledge Repository of Malay Intangible Culture Heritage of Malaysia
Intangible Culture Heritage is very important as national treasure for a country since it is a part of identity of the country. Rapid technology changed and globalization is one of the reasons why new generation less interested to involve in culture heritage sector. Without any drastic action to safeguard Intangible Culture Heritage for the country it will cause endanger to disappearance. In this study researcher introduce a model of factors that contributing in archiving Intangible Culture Heritage. By transform from the model to meta model it will be a guidelines, standard and base for developing a repository of Intangible Culture Heritage. The finding for this research is a vital and very fruitful for intangible study and archiving and also as a main contribution for this study.DOI:http://dx.doi.org/10.11591/ijece.v2i2.20
CICHMKG: a large-scale and comprehensive Chinese intangible cultural heritage multimodal knowledge graph
Intangible Cultural Heritage (ICH) witnesses human creativity and wisdom in long histories, composed of a variety of immaterial manifestations. The rapid development of digital technologies accelerates the record of ICH, generating a sheer number of heterogenous data but in a state of fragmentation. To resolve that, existing studies mainly adopt approaches of knowledge graphs (KGs) which can provide rich knowledge representation. However, most KGs are text-based and text-derived, and incapable to give related images and empower downstream multimodal tasks, which is also unbeneficial for the public to establish the visual perception and comprehend ICH completely especially when they do not have the related ICH knowledge. Hence, aimed at that, we propose to, taking the Chinese nation-level ICH list as an example, construct a large-scale and comprehensive Multimodal Knowledge Graph (CICHMKG) combining text and image entities from multiple data sources and give a practical construction framework. Additionally, in this paper, to select representative images for ICH entities, we propose a method composed of the denoising algorithm (CNIFA) and a series of criteria, utilizing global and local visual features of images and textual features of captions. Extensive empirical experiments demonstrate its effectiveness. Lastly, we construct the CICHMKG, consisting of 1,774,005 triples, and visualize it to facilitate the interactions and help the public dive into ICH deeply
Embodying Rhythm Nation: Multimodal Hip Hop Dance as a Site for Adolescent Social-Emotional and Political Development
This exploratory study employed qualitative methodology, specifically values analysis, to learn more about how being involved within Hip hop dance communities positively relates to adolescent development. Adolescence was defined herein as ages 13-23. The study investigated Hip hop dance communities in terms of cultural expertise (i.e. novice, intermediate and advanced/expert) to look specifically at dance narratives (i.e. peak experience narratives and “I dance because” essays) and hip hop dance performances. The primary purpose of this dissertation was to (1) explore how adolescents use multimodal Hip hop dance discourse for social-emotional development and critical consciousness, and to (2) understand how values of Hip hop dance history relate to adolescents’ uses of multimodal Hip hop dance discourses.
Social-emotional development is defined herein through intrapersonal and interpersonal processes which give a child the ability to establish positive and rewarding relationships with others; with which children experience, express, and manage their emotions (Cohen, Onunaku, Clothier, & Poppe 2005). Social-emotional development, according to the National Scientific Council on the Developing Child (2004), permits a child to have the ability to (1) identify and understand one’s own feelings, (2) to accurately read and comprehend emotional states in others, (3) to manage strong emotions and their expression in a constructive manner, (4) to regulate one’s own behavior, (5) to develop empathy for others, and (6) to establish and maintain relationships (National Scientific Council on the Developing Child, 2004).Critical consciousness is defined herein as a sociopolitical tool in education which engages learners to question the nature of their historical and social situation by providing learners with a critical lens for reading the world (Freire, 1970; Freire, 1973). Freire defined the goal of critical consciousness, to be that students act as subjects in the creation of a democratic society (Freire, 1970; Freire, 1973). Freire implies an intergenerational equity in education between students and teachers in which both learn, question, reflect and participate in meaning-making (Freire, 1970; Freire, 1973; Mustakova-Possardt, 2003). I used an activity-meaning system research design that involved sampling discourses across Hip hop dance history and sampling various discursive expressions by adolescents participating in different Hip hop programs.
This study sampled adolescents in a cross-sectional design sampling novice, intermediate and advanced dancers. Novice dancers were sampled from a large northeastern urban non-profit organization, intermediates were sampled from a public charter school in the American Southwest, and advanced dancers were sampled from a 2nd generation historic Hip hop dance crew in New York City. This activity meaning system design included Hip hop dance pledges. The written genre included both a peak dance moment in narrative format and an I dance because essay. Teams of dancers were prompted to choreograph a dance routine with a social justice theme for the United Nations as their audience. Dancers were asked to perform an evocative, political piece about a social justice issue of their choosing (i.e. poverty, domestic violence, abuse, trauma, discrimination and/or racism). This dissertation compares data collected from written genres and dance video recordings of the performed choreography in order to compare across the written and movement modes of dance expression and also between varying levels of cultural expertise. I analyzed this database of texts, videos, and transcripts with values analysis. Values are principles people strive to live by, enduring moral codes, norms or cultural cues that are believed (Daiute, 2014). Therefore, as a method of narrative inquiry, values analysis is a way to identify narrative meaning as guided by worldview and interaction in the environment (Daiute, 2014).
The major findings of this research are presented in three results chapters that describe and discuss values expressed across the activity meaning system, mode and genre, and level of expertise. I have also included a fourth chapter on preliminary results based on pilot data from the novice participants of this study. Values across participant discourses in the activity meaning system differed substantially, with major differences between global, institutional and individual stakeholders (Group A) in comparison to local stakeholders (Group B). Local stakeholders valued relationship skills, emotional expression, self-awareness, and preservation and development whereas the global, institutional and individual stakeholders (as measured in the pledges) valued preservation, critical consciousness and social-awareness. These differences showcase a distinction between dominant values of stakeholder Group A which values only socio-cultural values, in comparison to Group B which values both socio-cultural and social-emotional values.
Results also indicate discrepancies between value frequencies across genres: pledges, written and dance. Preservation was most dominant in the pledges, self-awareness was most dominant in the written genre, and relationship skills was most dominant in the dance genre. There was a difference between the dominant values across written modes with preservation being 14.9% more frequent in essays than narratives, and self-awareness being 15.2% more frequent in the narratives than essays. These differences are important to note since they explicate why Hip hop dance provides affordances through multimodal expression. Results mean that the various modes of Hip hop dance expression are multifaceted and that the complex meaning system permits the development of various capabilities and skills.
Results of the study by level of expertise were multifaceted with critical consciousness emerging across all levels of expertise only in the dance genre. Critical consciousness, defined above, consistently emerges across all dancers only in the dance genre. This results means that there is something about the activity of dancing in communities (i.e. the embodied act of performing dance captured in the video genre here) that stimulates critical consciousness among dancers. These findings have implications for educational, therapeutic and civic interventions with adolescent dance communities and also for the preservation and development of Hip hop dance culture
Nanostructures materials for protection and consolidation of ancient structures
The preservation and appreciation of the built cultural heritage is of particular interest, through researches and studies on innovative technologies. As evidenced by the good results obtained in some interventions both at national and international level, activities for the conservation of cultural heritage must be the result of synergies and collaboration of interdisciplinary groups, science and knowledge: architecture, engineering, technology, sociology, economics, urban planning, legislation must be managed and planned to work together. The theme of protection and consolidation of ancient structures, applying non-traditional technologies, requires a comprehensive overview of strategies for reliable interventions and a methodology to achieve goals that are consistent with the concept of sustainability
Digital Cultural Strategies Within the Context of Digital Humanities Economics
Staying sustainable in the world of cultural heritage is a major organizational challenge nationally and internationally. Due to the global financial crisis the funds available to sustain the operations of museums and libraries become difficult not only to obtain them but also to utilized them effectively and efficiently. The operational costs of museums increase over the time due to exhibit maintenance and acquisition costs. This cost is inversely proportional to the revenues that can be generated. Virtual reality, avatar technologies, virtual worlds, holograms, gaming and gamification can offer creative interactivity and unique experiences with low or no cost to the global visitor and introduce new revenue streams. This paper practically integrates the realization of digital cultural strategies and operations within the context of digital humanities economics that can turn museums and libraries from cost centres to profit centres for the benefit of the humanity and the society
Collaborative and Multi-Modal Mixed Reality for Enhancing Cultural Learning in Virtual Heritage
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A comparison of immersive realities and interaction methods: cultural learning in virtual heritage
In recent years, Augmented Reality (AR), Virtual Reality (VR), Augmented Virtuality
(AV), and Mixed Reality (MxR) have become popular immersive reality technologies
for cultural knowledge dissemination in Virtual Heritage (VH). These technologies have
been utilized for enriching museums with a personalized visiting experience and digital
content tailored to the historical and cultural context of the museums and heritage
sites. Various interaction methods, such as sensor-based, device-based, tangible,
collaborative, multimodal, and hybrid interaction methods, have also been employed by
these immersive reality technologies to enable interaction with the virtual environments.
However, the utilization of these technologies and interaction methods isn’t often
supported by a guideline that can assist Cultural Heritage Professionals (CHP) to
predetermine their relevance to attain the intended objectives of the VH applications.
In this regard, our paper attempts to compare the existing immersive reality technologies
and interaction methods against their potential to enhance cultural learning in VH
applications. To objectify the comparison, three factors have been borrowed from
existing scholarly arguments in the Cultural Heritage (CH) domain. These factors are the
technology’s or the interaction method’s potential and/or demonstrated capability to: (1)
establish a contextual relationship between users, virtual content, and cultural context, (2)
allow collaboration between users, and (3) enable engagement with the cultural context
in the virtual environments and the virtual environment itself. Following the comparison,
we have also proposed a specific integration of collaborative and multimodal interaction
methods into a Mixed Reality (MxR) scenario that can be applied to VH applications that
aim at enhancing cultural learning in situ
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