A modular methodology for converting large, complex books into usable, accessible and standards-compliant ebooks

This report describes the methodology used for ebook creation for the Glasgow Digital Library (GDL), and provides detailed instructions on how the same methodology could be used elsewhere. The document includes a description and explanation of the processes for ebook creation followed by a tutorial

Digital images forever: implementing an imaging system in a cultural institution

This paper deals with the decision-making and challenges that arose out of the implementation of a large-scale digital imaging project by the Powerhouse Museum. With the implementation of the Powerhouse's Imaging Project came the creation of its Image Centre. This paper discusses its role, the services provided, preparation of its equipment and the procedures developed for capturing, storing and retrieving images. Most importantly, the issues of technological change upon an image archive are discussed. The Powerhouse Museum's Imaging System, as it stands today, does what was intended. It delivers images and related data to staff and public for the purposes of research, promotion, education and more. The Museum's Image Centre was set up to scan, manipulate, print and archive images. This Centre has evolved into a high-resolution digital imaging service and continues to create and upload images to the Imaging System. However, without a plan for constant review and update, even archives of beautifully scanned images and comprehensive data are worthless if those archives cannot be reused because the mechanisms for accessing the media - or the applications that they run on, have become obsolete. The Museum's next step, therefore, is a policy for regular re-evaluation.Hosted by the Scholarly Text and Imaging Service (SETIS), the University of Sydney Library, and the Research Institute for Humanities and Social Sciences (RIHSS), the University of Sydney

Digital images forever: implementing an imaging system in a cultural institution

This paper deals with the decision-making and challenges that arose out of the implementation of a large-scale digital imaging project by the Powerhouse Museum. With the implementation of the Powerhouse's Imaging Project came the creation of its Image Centre. This paper discusses its role, the services provided, preparation of its equipment and the procedures developed for capturing, storing and retrieving images. Most importantly, the issues of technological change upon an image archive are discussed. The Powerhouse Museum's Imaging System, as it stands today, does what was intended. It delivers images and related data to staff and public for the purposes of research, promotion, education and more. The Museum's Image Centre was set up to scan, manipulate, print and archive images. This Centre has evolved into a high-resolution digital imaging service and continues to create and upload images to the Imaging System. However, without a plan for constant review and update, even archives of beautifully scanned images and comprehensive data are worthless if those archives cannot be reused because the mechanisms for accessing the media - or the applications that they run on, have become obsolete. The Museum's next step, therefore, is a policy for regular re-evaluation.Hosted by the Scholarly Text and Imaging Service (SETIS), the University of Sydney Library, and the Research Institute for Humanities and Social Sciences (RIHSS), the University of Sydney

Digital Image Access & Retrieval

The 33th Annual Clinic on Library Applications of Data Processing, held at the University of Illinois at Urbana-Champaign in March of 1996, addressed the theme of "Digital Image Access & Retrieval." The papers from this conference cover a wide range of topics concerning digital imaging technology for visual resource collections. Papers covered three general areas: (1) systems, planning, and implementation; (2) automatic and semi-automatic indexing; and (3) preservation with the bulk of the conference focusing on indexing and retrieval.published or submitted for publicatio

Cataloging Built Heritage: Methods of Recording Unit Masonry for the Future of Historic Preservation

There is a discrepancy between standardized and infield practices for documenting historic structures—from the surveyor’s intention of interpretation to how the project team chooses to adapt alongside a constantly evolving technology-dependent environment. A successful restoration project relies on comprehensive documentation and active communication among the entire project team including conservator, architect, engineer, contractor, (AEC), and client. If there is instability in creating a common language and method of disseminating information across these parties, the project suffers. The published literature on documentation techniques does not fully represent the work of practitioners on projects, specifically for unit masonry restoration. Recording a historic site is not static over time and should incorporate annotations of change. The standards in recording are not always suitable for the restoration contract and the project team is pressed to create their own standard of documentation. These proactive teams are turning to the advances in technology and digital collaboration (through tablets, mobile devices, databases, and scanners) to track the progress of each individual masonry unit from dismantlement to reinstallation, archive ongoing changes to conditions and site logistics, and reduce lag times in communication and review between project members. Should the restoration field choose to act now, they can have a voice in this technological transformation for recording historic sites. The ability to communicate within a unified platform for documenting and monitoring a restoration project from conditions survey through to cleaning and repairs and finally to project closeout will enrich the dialogue between the construction and conservation industries and ultimately save more cultural heritage sites

Identity verification using computer vision for automatic garage door opening

We present a novel system for automatic identification of vehicles as part of an intelligent access control system for a garage entrance. Using a camera in the door, cars are detected and matched to the database of authenticated cars. Once a car is detected, License Plate Recognition (LPR) is applied using character detection and recognition. The found license plate number is matched with the database of authenticated plates. If the car is allowed access, the door will open automatically. The recognition of both cars and characters (LPR) is performed using state-ofthe- art shape descriptors and a linear classifier. Experiments have revealed that 90% of all cars are correctly authenticated from a single image only. Analysis of the computational complexity shows that an embedded implementation allows user authentication within approximately 300ms, which is well within the application constraints

BCR’s CDP Digital Imaging Best Practices, Version 2.0

This is the published version.These Best Practices — also referred to as the CDP Best Practices -- have been created through the collaboration of working groups pulled from library, museum and archive practitioners. Version 1 was created through funding from the Institute for Museum and Library Services through a grant to the University of Denver and the Colorado Digitization Program in 2003. Version 2 of the guidelines were published by BCR in 2008 and represents a significant update of practices under the leadership of their CDP Digital Imaging Best Practices Working Group. The intent has been to help standardize and share protocols governing the implementation of digital projects. The result of these collaborations is a set of best practice documents that cover issues such as digital imaging, Dublin Core metadata and digital audio. These best practice documents are intended to help with the design and implementation of digitization projects. Because they were collaboratively designed by experts in the field, you can be certain they include the best possible information, in addition to having been field tested and proven in practice. These best practice documents are an ongoing collaborative project, and LYRASIS will add information and new documents as they are developed

New Opportunities in Digital Archaeology: The Use of Low-Cost Photogrammetry for 3D Documentation of Archaeological Objects from Banks Island, NWT

This thesis investigates the use of low-cost three-dimensional (3D) modelling programs (Agisoft Photoscan and 123D Catch) to create and disseminate digital replicas of archaeological features and artifacts in the context of the Ikaahuk Archaeology Project, a community-based archaeology project on Banks Island, Northwest Territories. It aims to 1) assess the benefits and challenges of low-cost photogrammetry for in-situ documentation of hunter-gatherer archaeological features; 2) determine the usefulness of low-cost photogrammetry for replicating small-scale artifacts in comparison to 3D scanning methods; and 3) explore how Internet media can be used to disseminate 3D models. This thesis demonstrates that low-cost methods of 3D modelling are sufficiently able to replicate many types of archaeological objects, and are accessible due to their low cost, ease of use, and compatibility with online dissemination. As a result low-cost 3D modelling has a promising future in archaeological documentation, conservation, and engagement with non-specialist audiences

Imagomachines

This thesis document was prepared in consideration for a degree of Master of Fine Arts in Fine Arts Studio from the College of Imaging Arts and Sciences. It describes the concepts within the body of the artist\u27s work that includes imagomachines, the name given to the thesis\u27 mixed media kinetic sculptures. Also included in the thesis are large-scale, non-toxic prints. This document describes the methods of printing, fabrication, and construction used to resolve the works and have them ready for their installation at the MFA exhibition in the Bevier Gallery at the Rochester Institute of Technology. Within the thesis, associations are drawn between the psychological activity of forming an imago or characterization and how this process influences and is affected by consumer culture. Art is held up to notions of consumer culture in order to show the ways in which it is often disenfranchised by trends and suggestions produced by that very culture