Knowledge management for industrial heritage

All along history, humans have always invented, created to improve their standard of liv-ing. Many machines have been built, sometimes simple and others very complex. In order to achieve the best results for customers, machines, industrial plants and humans are moved, displaced and replaced. It is the global humanity technical knowledge that dis-appears. Indeed, there is a lack in the actually conservation methods: sciences and technologies have to be considered and not only architecture. Our heritage research focuses on the mechanical and technical point of view. For instance, in a factory, there is the building but also actua-tors, motors and machines that produce product: taking into account the technical point of view can reach to a better understanding of the past. That's why preserving the national technical patrimony has now become the priority of governments and world organizations. Our approach proposes a new kind of finality: as saving and maintaining physical object cost a lot for museums, and sometimes dismantling is impossible as the machine falls in ruin, we propose to preserve it as a numerical object. The aim of this research is to define the global process and technologies used for imple-menting a numerical model of old machines. The final aim is to constitute a new reference for museologic actors, using actual techniques and methods for putting old machines and technical means in “virtual use”, taking into account the working situation including human being at work. This process is illustrated by an example we performed: a steam engine

De la Métaphore à la tâche (une bibliothèque de concepts métaphoriques pour le prototypage de techniques d'interactions.)

Nous présentons dans cette thèse les bases d un dialogue entre le modèle cognitif dit incarné et le développement de styles et techniques d interaction pour les interfaces graphiques en 3 dimensions. Ce modèle cognitif, structuré entre autres par Lakoff et Johnson, décrit les correspondances métaphoriques que nous construisons naturellement entre des idées abstraites et les modèles mentaux provenant de notre expérience perceptive. Dortier résume la cognition incarnée en disant que les idées ont des formes, des couleurs, suscitent des goûts et des dégoûts. Cette vision intégrée des systèmes perceptifs et cognitifs s applique non seulement à la représentation mentale des objets ou des personnes, mais aussi aux idées abstraites quelles soient morales, philosophiques ou scientifiques.Ce modèle met en évidence le rôle de ces corrélations en tant que source de compréhension et d action et a fait émerger le concept d interfaces énactives. Aujourd hui elles se présentent comme un regard commun sur les projets émergents d interfaces homme-machine. Des projets, tels que les interfaces tangibles, les systèmes de capture de gestes et d autres solutions logicielles et matérielles multimodales, se servent de notre aptitude à structurer métaphoriquement l information produite par notre action sur le monde, pour créer des interfaces universellement appréhendables.Nous avons illustré l application de ce modèle sur des projets d interfaces graphiques pour la réalisation de tâches dans des contextes hétérogènes. Nous avons ciblé les dispositifs multimédia pour le grand public et les stratégies pour la réussite de ces interfaces en tant qu outil pédagogique pour les musées, expositions et outils de travail collaboratifs. Notre première application est le projet de médiation graphique pour accéder à une base de données d'objets numérisés en 3D pour le Musée des Arts et Métiers. Dans ce projet les objets numérisés sont affichés selon une métaphore de fluides et particules dotés d électromagnétisme. La navigation dans ce catalogue se veut claire et pervasive. Nous avons analysons la capacité des métaphores de construire des ponts cohérents entre les diverses plateformes d accès au catalogue. Dans une seconde implémentation nous employons les métaphores liés à la notion visuelle de profondeur et de densité pour proposer une ligne du temps en 3 dimensions pour la visualisation de donnés temporelles pour EDF. Finalement nos synthétisons les relations entre les ensembles de métaphores pour les appliquer aux composantes d interaction. La structure résultante se présente sous forme d un Framework conceptuel d agents et styles d interaction qui peut servir en tant qu outil de prototypage mais aussi comme catalyseur pour la conception d interfaces innovantes.Embodied cognition has emerged over the last decades as a new paradigm of the human reasoning system. Large numbers of researchers agree on the influences of perceptual and motor activity on our thinking and representational mechanisms. The importance of embodied mind theory is growing in the field of cognitive science. It is now the conceptual support for innovative projects in human computer interaction (HCI). The new paradigms of HCI are shifting towards the venue of natural, invisible and pervasive interfaces. Office tasks of the 80s and their related interfaces are now being replaced by multimodal commands (gesture, voice) and contextual or social inputs. From graphical user interfaces to tangible and multimodal devices, new sets of innovative interaction techniques are emerging and these can no longer rely on classic metaphors and visual analogies. To increase the meaning of new commands and representations of post-wimp interaction techniques and to build coherent and consistent metaphors between different platforms and embedded devices in our environment, researchers have turned their attention to the embodied vision of the cognitive system.We present in this thesis the embodied cognitive paradigm and how it has been adopted by the HCI community. We illustrate this model by analyzing several tasks carried out in heterogeneous environments. Thereafter, proposals are made on how museums, exhibitions and collaboration tools may use embodied metaphors as a design strategy to produce innovative multimedia devices. The first application was one of mediating access to a database of digitized 3D objects for the Museum of Arts and Crafts in Paris. In this project the digitized objects are displayed in a metaphor of fluids and particles managed by electromagnetic forces that guide the semantics of the user s search. Browsing tasks in this catalog are intended to be clear and coherent between different platforms in order to respect the user s levels of desired engagement. An analysis is made of the ability of metaphors to build bridges between the various platform interfaces. In the second application, metaphors related to the concept of visual depth and density was used to propose a 3D timeline so as to visualize temporal data. Finally, the framework synthesizes the embodied metaphorical mappings in a large set of components which will be applied as building blocks when prototyping interaction techniques. This structure takes the form of a conceptual Framework of interaction agents which might serve not only as a tool for prototyping interfaces but also as a catalyst for generating innovative ideas.PARIS-CNAM (751032301) / SudocSudocFranceF

A new approach for preserving the technical heritage

International audienceAll along history, humans have always invented, created to improve their standard of living. Many machines have been built, sometimes simple and others very complex. In order to achieve the best results for customers, machines, industrial plants and humans are moved, displaced and replaced. It is the global humanity technical knowledge that disappears. Indeed, there is a lack in the actually conservation methods: sciences and technologies have to be considered and not only architecture. Our heritage research focuses on the mechanical and technical point of view. For instance, in a factory, there is the building but also actuators, motors and machines that produce product: taking into account the technical point of view can reach to a better understanding of the past. That's why preserving the national technical patrimony has now become the priority of governments and world organizations. Our approach proposes a new kind of finality: as saving and maintaining physical object cost a lot for museums, and sometimes dismantling is impossible as the machine falls in ruin, we propose to preserve it as a numerical object. The aim of this research is to define the global process and technologies used for implementing a numerical model of old machines. All along the global numerical chain, we will present the different technologies used illustrating them by examples we performed; those examples were experiences realized in France with museums and students in order to sensitize them to a new approach for old technical objects and machines. The global aim is to constitute a new reference for museologic actors, using actual techniques and methods for putting old machines and technical means in “virtual use”, taking into account the working situation including human being at work. From the digitalization of the physical object to its valorization with virtual reality technologies, we present a state of the art of the possibilities offered for creating digital products in a context of technical history and patrimony. According to this inventory, we give the methodology we are developing for preserving technical heritage in a virtual way. This process is illustrated by an example we performed: a steam engine

Digital rebirth of the greatest church of Cluny Maior Ecclesia: From optronic surveys to real time use of the digital Model

Our multidisciplinary team has virtually reconstructed the greatest church of the Romanesque period in Europe. The third church of the Abbey of Cluny (12th c.) has been destroyed after the French Revolution, leaving only 8% of the building standing. Many documents have been studied, to include the latest archaeological knowledge in the virtual model. Most remains have been scanned for CAD restitution. The mock-up of the church needed 1600 different numerical files, including the scanned pieces and the anastylosis of a Romanesque portal, a Gothic façade and a mosaic pavement. We faced various difficulties to assemble the different elements of the huge building, and to include the digitized parts. Our workflow consisted in generating geometrical shapes of the church, enriched with metadata such as texture, material... The whole mock up was finally exported to dedicated software to run the rendering step. Our work consisted in creating a whole database of 3D models as well as 2D sources (plans, engravings, pictures...) accessible by the scientific community. The scientific perspectives focus on a representation in virtual immersion of the grand church at scale 1 and an access to the digital mock-up through Augmented Reality.Gunzo projec

Space and time scaling issues in data management: the virtual restitution of Cluniac heritage

Recent research projects led in Cluny have focused on interoperability issues between computer-aided design (CAD) and geographic information system (GIS). In one of these projects, the Gunzo project went through a complete digital restitution of what was the largest church in the world during five centuries. In another project, a 3D GIS of the Cluny region was set up and led to the idea of designing an online historical and archaeological 3D database. This involves the development of time-based 3D data management functionalities in which both CAD and GIS could exchange information. Thanks to the close collaboration between interdisciplinary fields, the team managed to formulate the basis of a joint workflow. These steps are promising and could meet in the future this long-time dream of the scientific community: to be able to tie together CAD and GIS models with temporality on a single georeferenced collaborative platform, so closely that it will be possible to navigate through the history of a city in 3D.Conseil Régional de Bourgogne, FEDER, ENSAM, Conseil Général de Saône et Loir

From Silk to Digital Technologies: A Gateway to New Opportunities for Creative Industries, Traditional Crafts and Designers. The SILKNOW Case

Nowadays, cultural heritage is more than ever linked to the present. It links us to our cultural past through the conscious act of preserving and bequeathing to future generations, turning society into its custodian. The appreciation of cultural heritage happens not only because of its communicative power, but also because of its economic power, through sustainable development and the promotion of creative industries. This paper presents SILKNOW, an EU-H2002 funded project and its application to cultural heritage, as well as to creative industries and design innovation. To this end, it presents the use of image recognition tools applied to cultural heritage, through the interoperability of data in the open-access registers of silk museums and its presentation, analysis and creative process carried out by the design students of EASD Valencia as a case study, in the branches of jewellery and fashion project, inspired by the heritage of silk

L’impact du numérique : textes/images en littérature et dans les arts

Les nouveaux outils numériques continuent de transformer la pensée des artistes et auteur.es, ainsi que leur façon de s’engager dans la création. Au cours des dernières décennies, les avancées technologiques ont permis de concevoir et de développer de nouvelles pratiques en littérature et dans les arts, avec pour résultat d’innombrables créations innovantes. Les outils numériques rendent possible un meilleur accès aux textes littéraires et facilitent des interactions complexes entre la littérature et les autres arts. De même, les arts visuels et autres ont conçu de nouvelles intégrations du texte dans leurs réalisations. Ces nouvelles pratiques ont changé notre discours visuel et textuel. New digital tools continue to transform the way artists and writers think about, engage with, and create works. In the last decades, advances in technology have facilitated the design and writing process, allowing the creation of countless virtual renditions of concepts or works. Digital tools have impacted the traditional literary world, opening access to a variety of digitized texts and enabling increased interactions with other art forms. In turn, visual and other creative arts have conceived new integrations of text within their medium, all of which has impacted and changed our visual and written discourse

Share - Publish - Store - Preserve. Methodologies, Tools and Challenges for 3D Use in Social Sciences and Humanities

Through this White Paper, which gathers contributions from experts of 3D data as well as professionals concerned with the interoperability and sustainability of 3D research data, the PARTHENOS project aims at highlighting some of the current issues they have to face, with possible specific points according to the discipline, and potential practices and methodologies to deal with these issues. During the workshop, several tools to deal with these issues have been introduced and confronted with the participants experiences, this White Paper now intends to go further by also integrating participants feedbacks and suggestions of potential improvements. Therefore, even if the focus is put on specific tools, the main goal is to contribute to the development of standardized good practices related to the sharing, publication, storage and long-term preservation of 3D data