Digital archiving of manuscripts and other heritage items for conservation and information retrieval

Expression of cultural heritage looking from the informatics angle falls into text, images, video and sound categories. ICT can be used to conserve all these heritage items like; the text information consisting of palm leaf manuscripts, stone tablets, handwritten paper documents, old printed records, books, microfilms, fiche etc, images including paintings, drawings, photographs and the like, sound items which includes musical concerts, poetry recitations, chanting of mantras, talks of important persons etc, and video items like archival films historical importance. To retrieve required information from such a large mass of materials in different formats and to transmit them across space and time, there are several limitations. Digital technology allows hitherto unavailable facilities for durable storage and speedy and efficient transmission / retrieval of information contained in all the above formats. Hypertext and hypermedia features of digital media enable integrating text with graphics, sound, video and animation. This paper discusses the international and national efforts for digitizing heritage items, digital archiving solutions available, the possibilities of the media, and the need to follow standards prescribed by organizations like UNESCO to enable easy exchange and pooling of information and documents generated in digital archiving systems at national and international level. The need to develop language technology for local scripts for organizing and preserving our cultural heritage is also stressed

Reflections on preserving the state of new media art

As part of its work to explore emerging issues associated with characterisation of digital materials, Planets has explored vocabularies and information structures for expressing the properties integral to the value of digital art. Value encompasses those qualities that must be understood and captured in order to ensure that art works’ sensory, emotional, mental and spiritual resonance remain. Facets of interactivity, modularity and temporality associated with digital art present some critical questions that the preservation community must increasingly be equipped to answer. Because digital art materials exhibit fundamental multidimensionality, validating the successful preservation of creative experience demands the explication of more than just file characteristics. Understanding relationships between objects also implies an understanding of their respective functional qualities. This paper presents a Planets’ vocabulary for encapsulating contextual and implicit characteristics of digital art, optimised for preservation planning and validation

Implementation of Augmented Reality Application and Computer Graphics: The Case of the Stolen Paintings

This paper addresses the issue of reconstructing digital paintings and making them visible with the use of an augmented reality application. It contributes through raising awareness of stolen heritage due to a necessity to ensure digital copies and provide better safety for works of art, paintings, historical objects etc. The paper presents a novel method for bringing the lost museum artifacts back to public eyes by using AR in a simple and intuitive way, as well as model for archiving existence of 2D or 3D form. The implementation of the whole process has a methodological approach which is introduced in three phases. The first one consists of painting reconstruction, second relies on marker selection while the third one is based on creating the android-based AR app itself. The results of this implementation show that AR should be used extensively, not only for audio guidance or for additional information, but moreover for raising awareness of the need for digitalization of the arts and heritage in general

Qualitative archives and biographical research methods. An introduction to the FQS special issue

The use of archival materials as a point of departure when designing and launching social research takes for granted that a culture of archiving (for sharing and re-use) has rooted time ago in our complex societies. This mentality and research practice first flourished and is fairly well installed in the case of statistics, surveys and certain other primary or secondary documents. On the contrary, it is less frequent and certainly not a routine activity for qualitative data. Only some of the raw and elaborated materials gathered during qualitative research become part of an archive for further reanalysis. These can include the backstage practices and experiences of a project, raw materials such as field notes, audio and visual recordings, and other documents produced during the research process. This issue presents a colorful range of articles that deal with experiences, challenges and opportunities of archiving and re-using qualitative material, particularly under the umbrella of biographical and narrative research. It aims to raise awareness of the importance of archiving in qualitative social research and highlights some of the new methodological reflections and approaches that have been and that are being developed within the European landscape. We hope that the articles in this issue will help promote further communication and exchange among qualitative archival practitioners from different countries and with different sensitivities and conceptual horizons. © 2011 FQS

Audit and Certification of Digital Repositories: Creating a Mandate for the Digital Curation Centre (DCC)

The article examines the issues surrounding the audit and certification of digital repositories in light of the work that the RLG/NARA Task Force did to draw up guidelines and the need for these guidelines to be validated.

To Archive or Not to Archive: The Resistant Potential of Digital Poetry

This essay addresses the much discussed problem of archiving digital poetry. Digital media are labile, and several writers of digital poetry are incorporating the media’s ephemerality into their poetics. Rather than rehash arguments that have been taking place within the field of digital media and digital poetics for years, I turn to the field of contemporary art curation and preservation, a field in which curators and archivists are struggling with the very immediate concerns, ethical and otherwise, related to archiving works that are made from ephemeral media. One particular digital poem that has recently broken, has recently become unreadable, is Talan Memmott’s Lexia to Perplexia. Memmott composed the poem in 2000, and he incorporated the poem’s inevitable obsolescence into the text of the poem itself. He has since refused to “fix” or “update” the poem, because he contends that that would make it something other than what it was intended to be. Rather, he is choosing to let the poem die because that is what the poem is supposed to do. This essay concludes with a discussion of the political implications of acknowledging the ephemerality of digital media, the resistant potential of the poem when its ephemerality is embraced, and some ways in which archivists can preserve the memory of the poem without necessarily preserving the poem itself

LDL (Landscape Digital Library) : A Digital Photographic Database of a Case Study Area in the River Po Valley, Northern Italy

Landscapes are both a synthesis and an expression of national, regional and local cultural heritages. It is therefore very important to develop techniques aimed at cataloguing and archiving their forms. This paper discusses the LDL (Landscape Digital Library) project, a Web accessible database that can present the landscapes of a territory with documentary evidence in a new format and from a new perspective. The method was tested in a case study area of the river Po valley (Northern Italy). The LDL is based on a collection of photographs taken following a systematic grid of survey points identified through topographic cartography; the camera level is that of the human eye. This methodology leads to an innovative landscape archive that differs from surveys carried out through aerial photographs or campaigns aimed at selecting "relevant" points of interest. Further developments and possible uses of the LDL are also discussed

The Unending Lives of Net-Based Artworks: Web Archives, Browser Emulators, and New Conceptual Frameworks

Research into net-based artworks is an undertaking divergent from much prior art historical scholarship. While most objects of art history are stable analog works, largely in museum collections, net-based artworks are vital and complex entities, existing on artists’ websites alongside older versions captured in web archives. Scholars can profitably use web archives, browser emulators, and other digital methods to study the history of these works, but these new methods raise critical methodological issues. Art historians must contend with how the artwork changes over time, as well as the ever-evolving environment of the web itself. Probing the piece Homework by Alexei Shulgin as a test case, I investigate the methodological issues that arise when conducting art history research using web archives. In applying these methods, scholars must also attend to the evolving and multiple nature of these artworks. Drawing on the archival theory of Wolfgang Ernst and the records continuum model developed by Frank Upward and Sue McKemmish, I present a framework for conceptualising net-based artworks as plural and heterogeneous archives. This framework is generative of new readings of net-based artworks, accommodates new methods, and can also usefully equip scholars approaching dynamic cultural heritage objects in web archives more broadly

Evaluation and improvement of the workflow of digital imaging of fine art reproduction in museums

Fine arts refer to a broad spectrum of art formats, ie~painting, calligraphy, photography, architecture, and so forth. Fine art reproductions are to create surrogates of the original artwork that are able to faithfully deliver the aesthetics and feelings of the original. Traditionally, reproductions of fine art are made in the form of catalogs, postcards or books by museums, libraries, archives, and so on (hereafter called museums for simplicity). With the widespread adoption of digital archiving in museums, more and more artwork is reproduced to be viewed on a display. For example, artwork collections are made available through museum websites and Google Art Project for art lovers to view on their own displays. In the thesis, we study the fine art reproduction of paintings in the form of soft copy viewed on displays by answering four questions: (1) what is the impact of the viewing condition and original on image quality evaluation? (2) can image quality be improved by avoiding visual editing in current workflows of fine art reproduction? (3) can lightweight spectral imaging be used for fine art reproduction? and (4) what is the performance of spectral reproductions compared with reproductions by current workflows? We started with evaluating the perceived image quality of fine art reproduction created by representative museums in the United States under controlled and uncontrolled environments with and without the presence of the original artwork. The experimental results suggest that the image quality is highly correlated with the color accuracy of the reproduction only when the original is present and the reproduction is evaluated on a characterized display. We then examined the workflows to create these reproductions, and found that current workflows rely heavily on visual editing and retouching (global and local color adjustments on the digital reproduction) to improve the color accuracy of the reproduction. Visual editing and retouching can be both time-consuming and subjective in nature (depending on experts\u27 own experience and understanding of the artwork) lowering the efficiency of artwork digitization considerably. We therefore propose to improve the workflow of fine art reproduction by (1) automating the process of visual editing and retouching in current workflows based on RGB acquisition systems and by (2) recovering the spectral reflectance of the painting with off-the-shelf equipment under commonly available lighting conditions. Finally, we studied the perceived image quality of reproductions created by current three-channel (RGB) workflows with those by spectral imaging and those based on an exemplar-based method