34,503 research outputs found
Pattern-based design applied to cultural heritage knowledge graphs
Ontology Design Patterns (ODPs) have become an established and recognised
practice for guaranteeing good quality ontology engineering. There are several
ODP repositories where ODPs are shared as well as ontology design methodologies
recommending their reuse. Performing rigorous testing is recommended as well
for supporting ontology maintenance and validating the resulting resource
against its motivating requirements. Nevertheless, it is less than
straightforward to find guidelines on how to apply such methodologies for
developing domain-specific knowledge graphs. ArCo is the knowledge graph of
Italian Cultural Heritage and has been developed by using eXtreme Design (XD),
an ODP- and test-driven methodology. During its development, XD has been
adapted to the need of the CH domain e.g. gathering requirements from an open,
diverse community of consumers, a new ODP has been defined and many have been
specialised to address specific CH requirements. This paper presents ArCo and
describes how to apply XD to the development and validation of a CH knowledge
graph, also detailing the (intellectual) process implemented for matching the
encountered modelling problems to ODPs. Relevant contributions also include a
novel web tool for supporting unit-testing of knowledge graphs, a rigorous
evaluation of ArCo, and a discussion of methodological lessons learned during
ArCo development
ArCo: the Italian Cultural Heritage Knowledge Graph
ArCo is the Italian Cultural Heritage knowledge graph, consisting of a
network of seven vocabularies and 169 million triples about 820 thousand
cultural entities. It is distributed jointly with a SPARQL endpoint, a software
for converting catalogue records to RDF, and a rich suite of documentation
material (testing, evaluation, how-to, examples, etc.). ArCo is based on the
official General Catalogue of the Italian Ministry of Cultural Heritage and
Activities (MiBAC) - and its associated encoding regulations - which collects
and validates the catalogue records of (ideally) all Italian Cultural Heritage
properties (excluding libraries and archives), contributed by CH administrators
from all over Italy. We present its structure, design methods and tools, its
growing community, and delineate its importance, quality, and impact
Craquelure as a Graph: Application of Image Processing and Graph Neural Networks to the Description of Fracture Patterns
Cracks on a painting is not a defect but an inimitable signature of an
artwork which can be used for origin examination, aging monitoring, damage
identification, and even forgery detection. This work presents the development
of a new methodology and corresponding toolbox for the extraction and
characterization of information from an image of a craquelure pattern.
The proposed approach processes craquelure network as a graph. The graph
representation captures the network structure via mutual organization of
junctions and fractures. Furthermore, it is invariant to any geometrical
distortions. At the same time, our tool extracts the properties of each node
and edge individually, which allows to characterize the pattern statistically.
We illustrate benefits from the graph representation and statistical features
individually using novel Graph Neural Network and hand-crafted descriptors
correspondingly. However, we also show that the best performance is achieved
when both techniques are merged into one framework. We perform experiments on
the dataset for paintings' origin classification and demonstrate that our
approach outperforms existing techniques by a large margin.Comment: Published in ICCV 2019 Workshop
An Integrated Content and Metadata based Retrieval System for Art
In this paper we describe aspects of the Artiste project to develop a distributed content and metadata based analysis, retrieval and navigation system for a number of major European Museums. In particular, after a brief overview of the complete system, we describe the design and evaluation of some of the image analysis algorithms developed to meet the specific requirements of the users from the museums. These include a method for retrievals based on sub images, retrievals based on very low quality images and retrieval using craquelure type
Machine Hyperconsciousness
Individual animal consciousness appears limited to a single giant component of interacting cognitive modules, instantiating a shifting, highly tunable, Global Workspace. Human institutions, by contrast, can support several, often many, such giant components simultaneously, although they generally function far more slowly than the minds of the individuals who compose them. Machines having multiple global workspaces -- hyperconscious machines -- should, however, be able to operate at the few hundred milliseconds characteistic of individual consciousness. Such multitasking -- machine or institutional -- while clearly limiting the phenomenon of inattentional blindness, does not eliminate it, and introduces characteristic failure modes involving the distortion of information sent between global workspaces. This suggests that machines explicitly designed along these principles, while highly efficient at certain sets of tasks, remain subject to canonical and idiosyncratic failure patterns analogous to, but more complicated than, those explored in Wallace (2006a). By contrast, institutions, facing similar challenges, are usually deeply embedded in a highly stabilizing cultural matrix of law, custom, and tradition which has evolved over many centuries. Parallel development of analogous engineering strategies, directed toward ensuring an 'ethical' device, would seem requisite to the sucessful application of any form of hyperconscious machine technology
The Development of a Methodology to Understand Climate-induced Damage in Decorated Oak Wood Panels
Climate-induced damage in decorated oak wood panels is considered to be a high risk for pre-eminent museum collections. To advise museums on the development of sustainable future preservation strategies and rational guidelines for indoor climate specifications, the risk of this type of damage – physical and mechanical is analysed in full depth in this research. A
comprehensive methodology is required that meets the requests of the conservation community and also helps to bridge the gap between scientists and conservators. Therefore, this research couples an extensive examination of empirical data obtained from naturally aged museum objects, i.e. a collection analysis, with numerical modelling and experimental testing. A multidisciplinary collaboration has been initiated, whereby conservators and scientists are working together to fulfil the common objectives of sustainable and low-risk preservation of valuable museum collections. In this paper, the methodology is outlined and some results are presented
Report on shape analysis and matching and on semantic matching
In GRAVITATE, two disparate specialities will come together in one working platform for the archaeologist: the fields of shape analysis, and of metadata search. These fields are relatively disjoint at the moment, and the research and development challenge of GRAVITATE is precisely to merge them for our chosen tasks. As shown in chapter 7 the small amount of literature that already attempts join 3D geometry and semantics is not related to the cultural heritage domain. Therefore, after the project is done, there should be a clear ‘before-GRAVITATE’ and ‘after-GRAVITATE’ split in how these two aspects of a cultural heritage artefact are treated.This state of the art report (SOTA) is ‘before-GRAVITATE’. Shape analysis and metadata description are described separately, as currently in the literature and we end the report with common recommendations in chapter 8 on possible or plausible cross-connections that suggest themselves. These considerations will be refined for the Roadmap for Research deliverable.Within the project, a jargon is developing in which ‘geometry’ stands for the physical properties of an artefact (not only its shape, but also its colour and material) and ‘metadata’ is used as a general shorthand for the semantic description of the provenance, location, ownership, classification, use etc. of the artefact. As we proceed in the project, we will find a need to refine those broad divisions, and find intermediate classes (such as a semantic description of certain colour patterns), but for now the terminology is convenient – not least because it highlights the interesting area where both aspects meet.On the ‘geometry’ side, the GRAVITATE partners are UVA, Technion, CNR/IMATI; on the metadata side, IT Innovation, British Museum and Cyprus Institute; the latter two of course also playing the role of internal users, and representatives of the Cultural Heritage (CH) data and target user’s group. CNR/IMATI’s experience in shape analysis and similarity will be an important bridge between the two worlds for geometry and metadata. The authorship and styles of this SOTA reflect these specialisms: the first part (chapters 3 and 4) purely by the geometry partners (mostly IMATI and UVA), the second part (chapters 5 and 6) by the metadata partners, especially IT Innovation while the joint overview on 3D geometry and semantics is mainly by IT Innovation and IMATI. The common section on Perspectives was written with the contribution of all
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