Detection of dirt impairments from archived film sequences : survey and evaluations

Film dirt is the most commonly encountered artifact in archive restoration applications. Since dirt usually appears as a temporally impulsive event, motion-compensated interframe processing is widely applied for its detection. However, motion-compensated prediction requires a high degree of complexity and can be unreliable when motion estimation fails. Consequently, many techniques using spatial or spatiotemporal filtering without motion were also been proposed as alternatives. A comprehensive survey and evaluation of existing methods is presented, in which both qualitative and quantitative performances are compared in terms of accuracy, robustness, and complexity. After analyzing these algorithms and identifying their limitations, we conclude with guidance in choosing from these algorithms and promising directions for future research

Aproximación virtual y didáctica al patrimonio defensivo de la fortaleza del siglo XVI de la Trinitat (Rosas, Girona)

[EN] The Trinitat Fort, built in the mid-16th century, is an extraordinary example of European military architecture from the mid-16th century, conceived as an artillery machine, whose mission was to protect the natural port of Roses (Girona, Spain). The fortification had a long history of warfare that ended with the Peninsular War (1808–1814), which turned it into ruins. In 2002, the Roses city council planned an ambitious architectural intervention to recover the fortification. The works restored the overall exterior volumetry, with current construction materials. The large interior spaces resulting from the intervention had little in common with the original structures. Starting in 2016, the museum projected to open the fort to the public. The strategy focused on 3D works, which were used to plan museographic proposals and to make an interior space understandable, with an aspect very distant from that of the original construction. It entailed extensive fieldwork analyzing the sources and structural remains that were preserved and surmising the possible architectural solutions the fortress originally contained. Based on evidence and hypotheses, the group carried out a reconstruction from virtual archeology, and it developed a didactic iconography to explain the artifact to a broad spectrum of visitors and students. This iconography was applied on the panels, in the scenography and audiovisuals of the museum, and in the dissemination materials. The museography was implemented between 2019 and 2021. Considering the variables and comprehensive needs for a wide range of users and visitors, we completed the virtual archeology proposal based on realistic criteria, giving importance in 3D to textures and colors. It incorporated the anthropic and movable factors through matte painting techniques and images obtained with the support of re-enactment groups.Highlights: - The Fort of the Trinitat, built in the middle of the 16th century, is an extraordinary poliorcetic piece, conceived as an artillery machine, whose mission was to protect the natural port of Roses (Girona, Spain). - Between 2019 and 2021, an ambitious reconstruction of virtual archaeology has been carried out, developing a didactic iconography aimed at broad-spectrum visitors and formal education students. - The didactic iconography proposal developed in the Fort of the Trinitat does not try to compete with the large market productions, but it does try to explore sustainable intervention models to make the past and its heritage known.[ES] El Fuerte de la Trinitat, construido a mediados del siglo XVI, es un extraordinario ejemplo de arquitectura militar europea de mediados del siglo XVI, concebido como una máquina de artillería, y con la misión de proteger el puerto natural de Roses (Girona, España). La fortificación tuvo dilatado historial bélico que terminó durante la Guerra de la Independencia (1808-1814), convirtiéndose en un montón de ruinas. En 2002, el ayuntamiento de Roses planificó una ambiciosa intervención arquitectónica para recuperar la fortificación. Las obras restauraron la volumetría exterior en su conjunto, con materiales de construcción actuales. Los grandes espacios interiores resultantes de la intervención tenían poco en común con las estructuras originales. A partir de 2016, se inició el proyecto de museografía con el objetivo de abrir el fuerte al público. La estrategia se centró en la realización de un 3D, utilizado para planificar propuestas las museográficas y hacer comprensible un espacio interior, que presentaba un aspecto muy distante al de la construcción original. Se procedió a la realización de un laborioso trabajo de campo, analizando las fuentes y los restos estructurales que se conservaban, y aventurando las posibles soluciones arquitectónicas que en su día tuvo la fortaleza. A partir de las evidencias y las hipótesis se procedió a realizar una reconstrucción de arqueología virtual y se desarrolló una iconografía didáctica para explicar el fuerte a un público visitante de amplio espectro, y a estudiantes de enseñanza reglada. La museografía comenzó a implementarse entre los años 2019 y 2021. Teniendo en cuenta variables y necesidades comprensivas de los usuarios y visitantes la propuesta de arqueología virtual se planteó a partir de criterios realistas, basándose en el 3D, en las texturas y en los colores. El factor humano y mueble se incorpora a partir de técnicas matte painting con el apoyo de grupos de recreación histórica.This work was supported by the Bosch Gimpera Foundation Project no. 309824 (2018): Advice and coordination of the museography works of the permanent exhibition of the castle of the Trinity of Roses. Barcelona: Bosch i Gimpera Foundation (University of Barcelona); Roses City Council.Hernàndez-Cardona, FX.; Sospedra-Roca, R.; Casals-Ausió, JR. (2022). Virtual and didactic approach to the defensive heritage of the 16th century Fort of the Trinitat (Roses, Girona). Virtual Archaeology Review. 13(26):103-115. https://doi.org/10.4995/var.2022.15733OJS1031151326Aguiló, M. (2006). Los ingenieros en la construcción del Mediterráneo. In C. de Seta (Coord.), España en el Mediterráneo. La construcción del espacio (pp.18-41). Madrid, Spain: Centro de Estudios y Experimentación de Obras Publicas.Ainaud, J. (1965). La plaza fuerte de Rosas. Revista de Gerona, (31), 38-42. https://revistes.udg.edu/revista-girona/article/view/21685/25483Aparicio-Resco, P. (2021). Guía para la documentación de reconstrucciones virtuales de bienes patrimoniales. Revista Schema, (2), 129-146.Aparicio-Resco, P., García Álvarez-Busto, A., Muñiz-López, I., & Fernández-Calderón, N. (2021). 3D virtual reconstruction of the Gauzón Castle (Castrillón, Principado de Asturias). Virtual Archaeology Review, 12(25), 158-176. https://doi.org/10.4995/var.2021.14940Baig i Aleu, M. (1988). La vila de Roses en els segles XVI i XVII. Annals de l'Institut d'Estudis Empordanesos, 21, 135-206. https://raco.cat/index.php/AnnalsEmpordanesos/article/view/92992/171337Barreau, J. B., Esnault, E., Foucher, J., Six, M., & Le Faou, C. (2020). 3D modelling of a 15th century city gate of Rennes: Portes Mordelaises. Virtual Archaeology Review, 11(22), 41-55. https://doi.org/10.4995/var.2020.12653Benito, J. (1926). El diario de un sitiado: relación histórica de los sucesos ocurridos en Rosas con motivo del sitio y rendición de la plaza a los franceses en el año 1808. Figueres, Spain: Tipografía La Comarca.Brusaporci, S. (2010). Sperimentazione di modelli tridimensionali nello studio dell'architettura storica. In: Brusaporci S (ed) Sistemi Informativi Integrati per la tutela la conservazione e la valorizzazione del patrimonio architettonico e urbano (pp.58-64). Roma, Italy: Gangemi.Burch, J., & Palahí, Ll. (2019). El castell de la Trinitat. Guies del patrimoni cultural de Roses, 2. Girona, Spain: Documenta Universitaria.Cabezas, M., & Montes, F. P. (2019). Reconstrucción virtual de la fortaleza bajomedieval de Aguilar de la Frontera. EGA Expresión Gráfica Arquitectónica, 24(35), 236-247. https://doi.org/10.4995/ega.2019.10200Cámara, A. (Coord.) (2005). Los ingenieros militares de la monarquía hispánica en los siglos XVII y XVIII. Madrid, Spain: Ministerio de Defensa / Asociación Española de Amigos de los Castillos.Capdevila, M., Roca, N. (2013). Consolidació del Castell de la Trinitat (Roses): reconstrucció i restauració. Jornadas Internacionales sobre la intervención en el Patrimonio Arquitectónico. Actas (pp. 285-289). Barcelona, Spain: Ministerio de Educación Cultura y Deporte; Col·legi d'Arquitectes de Catalunya; Agrupació d'Arquitectectes per la defensa i la intervenció en el patrimoni arquitectònic.Carnevali, L., & Cundari, C. (2010). Modello materiale e modello digitale a supporto della didattica della rappresentazione. In X Congreso Internacional de Expresión Gráfica aplicada a la Edificación. Nuevas líneas de investigación en Ingeniería de Edificación (pp. 1019-1026). Alacant, Spain: Servei de Publicacions. Universitat d'Alacant.Centofanti, M., Brusaporci, S., & Lucchese, V. (2014). Architectural Heritage and 3D Models. In P. Di Giamberardino, D. Iacoviello, R. Natal Jorge, J. M. R. S. Tavares (Eds), Computational Modeling of Objects Presented in Images Computational Modeling of Objects Presented in Images. Lecture Notes in Computational Vision and Biomechanics (15, pp. 31-49). Cham, Switzerland: Springer. https://doi.org/10.1007/978-3-319-04039-4_2Cobos, F. (Coord.) (2004). La artillería de los Reyes Católicos. Valladolid, Spain: Junta de Castilla y León.de la Fuente, P. (2002). Aigua, ciutat i territori a la Roses renaixentista. Annals de l'Institut d'Estudis Empordanesos, 35, 351-372.de la Fuente, P. (1994). La fortaleza de Roses i els engiyers de Lluís XIV: una aportació al coneixement de la seva actuació (1693-1714). Annals de l'Institut d'Estudis Empordanesos, 27, 117-148.de la Fuente, P. (1998). Les fortificacions reials del golf de Roses en l'època moderna. Figueres, Spain: El Brau.de Groot, J. (2016). Consuming History. Historians and Heritage in Contemporary Popular Culture. Oxon/New York, EEUU: Rouletge. https://doi.org/10.4324/9781315640754de Sojo, F. (1927). El Capitán Luis Pizaño: estudio histórico-militar referente a la primera mitad del siglo XVI. Madrid, Spain: Imprenta del Memorial de Ingenieros del Ejército.Díaz, N. (1991). Roses una vila amb història. Barcelona, Spain: Tec, S.A.Díaz, C., Pedler, R., & Reay, J. (2008). El setge de Roses de 1808: Tres visions de la guerra del Francès. Roses, Spain: Fundació Roses Història i Natura.Duffy, Ch. (1997). Siege warfare: The fortress in the Early Modern World 1494-1660. Oxon/New York, EEUU: Routledge.Elsaesser, Th. (2019). Film History as Media Archaeology: Tracking Digital Cinema (pp. 229-266). Amsterdam, Netherlands: Amsterdam University Press.Evans, T. L., & Daly, P. (Eds.) (2006). Digital Archaeology. Bridging Method and Theory. London, UK: Routledge.Flynn, B. (2007). The morphology of space in virtual heritage. In F. Cameron, S. Kenderdine (Eds.), Theorizing digital cultural heritage: a critical discourse (pp. 349-368). Cambridge, EEUU: MIT Press Scholarship Online. https://doi.org/10.7551/mitpress/9780262033534.003.0018Forte, M. (1997). Virtual Archaeology: Re-creating Ancient Worlds. New York, EEUU: H.N. Abrams.Georgopoulos, A. (2014). 3D virtual reconstruction of archaeological monuments. Mediterranean Archaeology and Archaeometry, 14(4), 155-164.Geroimenko, V. (Ed.) (2021). Augmented Reality in Tourism, Museums and Heritage: A New Technology to Inform and Entertain. Cham, Switzerland: Springer Nature. https://doi.org/10.1007/978-3-030-70198-7_1Hermon, S., & Kalisperis, L. (2011). Between the real and the virtual: 3D visualization in the cultural heritage domain-expectations and prospects. Virtual Archaeology Review, 2(4), 59-63. https://doi.org/10.4995/var.2011.4556Hernàndez-Cardona, F. X., & Sospedra-Roca, R. (2018). Castell de la Trinitat de Roses. Proposta de Museografía Didáctica. Barcelona, Spain: Fundació Bosch i Gimpera / Ajuntament de Roses.Hernàndez-Cardona, F. X. (2005). Renaissance fortifications in the Mediterranean. Barcelona, Spain: Taller de Projectes. Universitat de Barcelona.Hernàndez-Cardona, F. X., Feliu-Torruella, M., Sospedra-Roca, R., González-Sanz, M., & Wilson-Daily, A. (2019). Generación de iconografía didáctica a partir de recreación histórica y 3D. El caso de la Guerra Civil Española. Ensayos. Revista de la Facultad de Educación de Albacete, 34, 67-82.Hernàndez-Cardona, F. X. (2021). Les armes de foc a Catalunya. Manufactura i Indústria. Barcelona, Spain: Rafael Dalmau Editor.Hernàndez-Cardona, F. X., & Rojo, M. C. (Eds.) (2012). Museografía didáctica e interpretación de espacios arqueológicos. Gijón, Spain: Trea.Hernando, C. J. (Coord.) (2000). Las fortificaciones de Carlos V. Madrid, Spain: Ediciones del Umbral.Hughes, B. P. (1976). La puissance de Feu. L'efficacité des armes sur le champ de bataille de 1630 à 1850. Lausanne, Switzerland: Edita-Vilo.ICOMOS (2017). Los Principios de Sevilla. Principios internacionales de la Arqueologia Virtual. 19ª Asamblea General de ICOMOS, Nueva Delhi. Retrieved December 17, 2020, from https://icomos.es/wp-content/uploads/2020/06/Seville-Principles-IN-ES-FR.pdfLiarokapis, F., Voulodimos, A., Doulamis, N., & Doulamis, A. (2020). Visual Computing for Cultural Heritage. Cham, Switzerland: Springer International Publishing. https://doi.org/10.1007/978-3-030-37191-3López-Menchero, V. M., & Grande, A. (2011). Hacia una Carta Internacional de Arqueología Virtual. El borrador SEAV. Virtual Archaeology Review, 2(4), 71-75. https://doi.org/10.4995/var.2011.4558López-Menchero, V. M., Maschner, G., McLeod, J. B., Du Vernay, J., & Hervás, M. A. (2020). The work of Global Digital Heritage for the massive digitization of fortifications in Spain. In J. Navarro Palazón, L. J. García-Pulido, (Eds.), FORTMED 2020 - Defensive Architecture of the Mediterranean (pp. 330-340). Valencia, Spain: Universitat Politècnica de València. https://doi.org/10.4995/FORTMED2020.2020.11415López Sopeña, A. (1792). Plano y perfiles del fuerte de la Trinidad llamado Botón de Rosas, 28 de marzo de 1792. Madrid, Spain: Archivo General Militar de Madrid (IHCM), SH. GE-20/6.McManamon, F. (2014). Digital Archaeological Data: Ensuring Acces, Use, and Preservation. In Smith, C. (Ed.). Encyclopedia of Global Archaeology (pp. 23-82). Berlin, Germany: Springer. https://doi.org/10.1007/978-1-4419-0465-2_1219Pujol, L. (2011). Realism in virtual reality applications for cultural heritage. International Journal of Virtual Reality, 10(3), 41-49.Parry, R. (2013). Museums in a Digital Age. London, UK; New York, EEUU: Routledge. https://doi.org/10.4324/9780203716083Rahaman, H., & Champion, E. (2019). The Scholarly Rewards and Tragic Irony of 3D Models in Virtual Heritage Discourse. In Haeusler, M. (Eds.), Proceedings of the 24th Annual Conference of the Association for Computer-Aided Architectural Design Research in Asia (CAADRIA) (2, pp.695-704). Wellington, New Zealand: Victoria University of Wellington.Tarrus, J., Martin, A., & Nieto, X. (1989). La Ciutadella de Roses. Annals de l'Institut d'estudis Empordanesos, 22, 315-331.von Lünen, A., Lewis, K. J., Litherland B., & Cullum, P. (2019). Historia Ludens: The Playing Historian. Oxon/New York, EEUU: Rouletge. https://doi.org/10.4324/978042934561

MULTI-SCALE SEMI-TRANSPARENT BLOTCH REMOVAL ON ARCHIVED PHOTOGRAPHS USING BAYESIAN MATTING TECHNIQUES AND VISIBILITY LAWS

ABSTRACT This paper presents an automatic technique to remove semitransparent blotches (due to moisture) from archived photographs and documents. Blotches are processed in the HSV space. While chroma components are processed using a simple texture synthesis method, the intensity component is split into an over-complete wavelet representation. In the approximation band, the blotch is modelled as an alpha matte which reduces the intensity of the image in a non-uniform yet smooth manner. The alpha matte is estimated using a Bayesian approach and its effect reversed. Wavelet details are left unchanged in the case of perfect semi-transparency or attenuated using visibility laws whenever dirt and dust cause spurious edges. Experimental results achieved on many historical photographs show the effectiveness of the proposed approach

Aviation Archaeology: History, Theory, Practice and Direction

Aviation archaeology as a field of study has struggled with competing academic, professional, and public definitions and priorities since its establishment. In some ways, this sub-discipline of historical or underwater archaeology mirrors the development of nautical archaeology. Like nautical archaeologists who overcame the barrier of the oceans and pioneered methodology to suit, the proponents of aviation archaeology have also used the discipline to overcome a barrier of historical perception and tradition. The practice of aviation archaeology, however, has been characterized by opposing viewpoints and stakeholders often exhibit a non-collaborative attitude towards other groups and sometimes their own colleagues. These stakeholder groups are each focused on their own priorities, be they theory, methodology, conservation, exhibition, or re-use, and each group is arguably attempting to shape the future of aviation archaeology through their projects or publications. This dissertation is a critical evaluation of the current state of aviation archaeology, including its history, stakeholders, literature, and defining projects. This leads to the identification of a series of best practices in aviation archaeology and a theory of interpretation and display of recovered aircraft

The Brave New Virtual Art World The Evolution of Digital Art: NFTs and their Effects on the Art Market in 2021

The first half of 2021, NFT crypto art captured both the public’s attention and the art market due to the escalation of sales prices and the auction houses acceptance of cryptocurrencies. As an artform, digital art is not new. It began in the 1960s and 1970s with roots as early as the 1940s. During this evolution the lines between technology and art have intersected, often become blurred and in many cases have merged into new artforms. Even when scholars trace the origins of digital art to present day it is difficult to tell if scientists are influencing artists or artists shape technology. Crypto art comes with a unique set of benefits to both collectors and artists alike, but it also poses several new threats to the environment and the art economy. While museums, collectors and galleries are experimenting with best ways to store and display the crypto digital art, collectors and artists have the challenge to define how they would like to preserve and maintain the work whose technology is sure to be obsolete in the future

Town of Harrisville, NH annual report for the year ended December 31, 2020.

This is an annual report containing vital statistics for a town/city in the state of New Hampshire

November 1993

Vol. III, no. 6 featured Batesville, Arkansas, band Mutha\u27s Day Out.https://digitalcommons.memphis.edu/shake-rattle-roll/1029/thumbnail.jp