An adaptation framework for new media artworks

In this paper, we are interested in adaptation mechanisms for the design, creation and experimentation of adaptive and interactive new media artworks. Through a concrete case study, we propose an adaptation framework that combines semantic and physical adaptation and that can be specialized to the specific needs of various new media artists. This adaptation framework is supported by an adaptation engine, the kernel of the software architecture we are currently building. We have validated our adaptation framework through the implementation of a prototype of the adaptation engine. This prototype integrates the management of various types of metadata and allows a representation of adaptation scenarios as policies of the form event-condition-action. \ud We present how we used our adaptation engine to reconstruct and experiment the adaptation model of The Man of the Crowd, an existing adaptive new media installation, where the artist introduces a semantic adaptation of the video content displayed on four screens, according to the relative position of the viewer in the artistic installation

Process modeling for new media artworks

Practices in new media art pose very interesting challenges to the multimedia research community in terms of software tools development, usage of media technologies or documentation and conservation of new meda artworks. In this paper, we present the different stages in the life cycle of new media artworks and we illustrate the use of the canonical processes of media production in this context. This work is a first step towards a process modeling framework for the description and documentation of new media artworks

Personalization in cultural heritage: the road travelled and the one ahead

Over the last 20 years, cultural heritage has been a favored domain for personalization research. For years, researchers have experimented with the cutting edge technology of the day; now, with the convergence of internet and wireless technology, and the increasing adoption of the Web as a platform for the publication of information, the visitor is able to exploit cultural heritage material before, during and after the visit, having different goals and requirements in each phase. However, cultural heritage sites have a huge amount of information to present, which must be filtered and personalized in order to enable the individual user to easily access it. Personalization of cultural heritage information requires a system that is able to model the user (e.g., interest, knowledge and other personal characteristics), as well as contextual aspects, select the most appropriate content, and deliver it in the most suitable way. It should be noted that achieving this result is extremely challenging in the case of first-time users, such as tourists who visit a cultural heritage site for the first time (and maybe the only time in their life). In addition, as tourism is a social activity, adapting to the individual is not enough because groups and communities have to be modeled and supported as well, taking into account their mutual interests, previous mutual experience, and requirements. How to model and represent the user(s) and the context of the visit and how to reason with regard to the information that is available are the challenges faced by researchers in personalization of cultural heritage. Notwithstanding the effort invested so far, a definite solution is far from being reached, mainly because new technology and new aspects of personalization are constantly being introduced. This article surveys the research in this area. Starting from the earlier systems, which presented cultural heritage information in kiosks, it summarizes the evolution of personalization techniques in museum web sites, virtual collections and mobile guides, until recent extension of cultural heritage toward the semantic and social web. The paper concludes with current challenges and points out areas where future research is needed

Design and production of new media artworks

New media artists today take advantage of, and are influenced by, the many possibilities offered by new digital technologies. They are very demanding users and a detailed examination of their practices and approaches will provide a better understanding of the usage of multimedia technologies. In this paper, we are interested in the design and creation of new media artworks. Through a concrete example, we present the different stages in the life cycle of an adaptive new media artwork and we identify the corresponding canonical processes

Copyright law, designs law, and the protection of public art and works on public display

Artworks, designs and architectural forms situated in public places implicate a number of interests. There is a public interest, which arises simply by virtue of situating a work in a public place. More broadly, there is a public interest that arises from the public investment in the work – investment both in terms of money and investment in terms of meaning as people identify with and relate to a particular work. Public works can become important to individuals as landmarks, icons, or locations for significant public or personal events

History of art paintings through the lens of entropy and complexity

Art is the ultimate expression of human creativity that is deeply influenced by the philosophy and culture of the corresponding historical epoch. The quantitative analysis of art is therefore essential for better understanding human cultural evolution. Here we present a large-scale quantitative analysis of almost 140 thousand paintings, spanning nearly a millennium of art history. Based on the local spatial patterns in the images of these paintings, we estimate the permutation entropy and the statistical complexity of each painting. These measures map the degree of visual order of artworks into a scale of order-disorder and simplicity-complexity that locally reflects qualitative categories proposed by art historians. The dynamical behavior of these measures reveals a clear temporal evolution of art, marked by transitions that agree with the main historical periods of art. Our research shows that different artistic styles have a distinct average degree of entropy and complexity, thus allowing a hierarchical organization and clustering of styles according to these metrics. We have further verified that the identified groups correspond well with the textual content used to qualitatively describe the styles, and that the employed complexity-entropy measures can be used for an effective classification of artworks.Comment: 10 two-column pages, 5 figures; accepted for publication in PNAS [supplementary information available at http://www.pnas.org/highwire/filestream/824089/field_highwire_adjunct_files/0/pnas.1800083115.sapp.pdf

1001stories+: An effective and affordable multi-media, multi-format communication framework for cultural heritage institutions

Over the last decade, there has been an increasing number of technologies and devices (including smartphones, tablets and alike) able to provide new perspectives for the use of multimedia applications in the field of Cultural Heritage. This work arises from the interest in providing better authoring/delivery possibilities to cultural heritage institutions (small and medium sized in particular). Indeed, often medium and small sized museums do not have the necessary resources to create high quality multimedia productions. Not only have they faced short time and low budget, but a shortage of dedicated staff. Based on an interdisciplinary approach, this thesis focuses on the development of an effective and affordable multi-media, multi-format communication framework. The framework provides institutions with guidelines and methodologies and it is based on an innovative authoring tools (not developed in this thesis, but available). Specific concerns of the framework are: developing multimedia content within a short time span, developing multimedia content with a limited, low-budget, adapting multimedia content to different technologies and to different user experiences, making possible to “reuse multimedia content” (e.g. from websites, to audio guides, to multimedia guides, to YouTube or to paper brochures) This research has been conducted throughout parallel and intertwined processes, requiring a take of perspective. One the one hand, a general investigation (about multimedia formats, technologies and methodologies for production) has been conducted. On the other hand, an empirical work on real-life multimedia productions has been undergone. Indeed, the merging of theoretical knowledge and real fieldwork remains the main characteristic of this study’s methodological approach and of its strength. Its overall result is a fully developed framework (named 1001stories +), providing: multi-media, content information is presented throughout different media, including images, text, audio, and video; effective, the content can have the desired impact on the audience; affordable, content can be created in a short time, within low budget, and can be reused; multi-technology, content is available on different channels (web, smart phones, tablets, You tube, etc…); multi-format, content can be reorganized into various solutions, generating different formats for different user experiences. A more conceptual contribution of this thesis is about consideration of what communication in the Cultural Heritage domain is about, what its purposes are, and what the most appropriate means to reach the potential audience may be