A testing procedure to characterize color and spatial quality of digital cameras used to image cultural heritage

A testing procedure for characterizing both the color and spatial image quality of trichromatic digital cameras, which are used to photograph paintings in cultural heritage institutions, is described. This testing procedure is target-based, thus providing objective measures of quality. The majority of the testing procedure followed current standards from national and international organizations such as ANSI, ISO, and IEC. The procedure was developed in an academic research laboratory and used to benchmark four representative American museum’s digital-camera systems and workflows. The quality parameters tested included system spatial uniformity, tone reproduction, color reproduction accuracy, noise, dynamic range, spatial cross-talk, spatial frequency response, color-channel registration, and depth of field. In addition, two paintings were imaged and processed through each museum’s normal digital workflow. The results of the four case studies showed many dissimilarities among the digital-camera systems and workflows of American museums, which causes a significant range in the archival quality of their digital masters

CHARTER Project Plan

At the end of CHARTER, the new repository will hold a critical mass of 4000+ digital image surrogates (and associate metadata) all with a popular culture subject theme. The 2000 new items selected for digitisation through CHARTER will have a focus on the long-nineteenth-century, 1800-1914, and will be drawn from across the University’s special collections (Bill Douglas Centre, plus Archives & Rare Books). One of the selection criteria will be that there are no IPR issues associated with these items. The 2000+ existing images transferred from EVE through CHARTER all relate to popular culture but a proportion have dates post-1914. All will be transferred to the new repository to aid their long-term preservation. As summarised in the Risk Log, there are IPR issues associated with a small proportion of these images, but these were cleared and/or have not been challenged during the 5 years the EVE facility has been available online. Evidence already exists as to the underlying quality, significance and demand for Exeter’s research collections: ‘The Bill Douglas Centre is recognised as one of the most important resources anywhere in the world […] As the numerous conferences on visual culture, Victorian studies and popular entertainment in the region attest, Devon has become the international locus for historical visualist research’ (Professor Dennis Denisoff, Ryerson University, 2007). On the strength of its collections, the Bill Douglas Centre will be submitting an application to the MLA’s Designation scheme in 2009. The testimonials in support of this application attest to the international significance of its holdings which, alongside other rare and unique special collections, CHARTER will make more widely available. The artefacts selected for digitisation from the Bill Douglas Centre and supporting special collections of archives and rare books will be chosen by an interdisciplinary team of leading academics (English, Geography, History) with a view to ensuring the critical mass of popular culture digital content captured through CHARTER has the broadest possible appeal. The original artefacts will be in a range of media (lantern slide, prints, books, stereocards, playbills, optical toys etc) which in themselves tell part of the story of the dissemination and experience of popular culture. There are three inter-related narrative themes to guide the six selection panels: Empire and Imperialism; Science, Spectacle and Magic; Work, Home and Leisure.JOINT INFORMATION SYSTEMS COMMITTEE (JISC

Using WordPress as Content Management System for Community Newspaper Websites

This project examines how WordPress, a weblog publishing platform, can be used as a content management system for community newspaper websites. Because it is free and open source, WordPress has emerged as a viable alternative to its commercial counterparts. This paper documents the planning, design, development and proposed implementation procedures of "Citizen Press", a newspaper-style WordPress website layout, or theme. The launch user of Citizen Press, The Carrboro Citizen, is a weekly newspaper covering the town of Carrboro, North Carolina. The Carrboro Citizen will test Citizen Press for several months to uncover bugs and usability issues. Later, a generic version of Citizen Press will be released to the WordPress community so that similar newspapers may use it. Citizen Press was designed with attention to web standards, information architecture, usability, accessibility, cross-browser compatibility and search engine optimization

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Multimedia Forensics

This book is open access. Media forensics has never been more relevant to societal life. Not only media content represents an ever-increasing share of the data traveling on the net and the preferred communications means for most users, it has also become integral part of most innovative applications in the digital information ecosystem that serves various sectors of society, from the entertainment, to journalism, to politics. Undoubtedly, the advances in deep learning and computational imaging contributed significantly to this outcome. The underlying technologies that drive this trend, however, also pose a profound challenge in establishing trust in what we see, hear, and read, and make media content the preferred target of malicious attacks. In this new threat landscape powered by innovative imaging technologies and sophisticated tools, based on autoencoders and generative adversarial networks, this book fills an important gap. It presents a comprehensive review of state-of-the-art forensics capabilities that relate to media attribution, integrity and authenticity verification, and counter forensics. Its content is developed to provide practitioners, researchers, photo and video enthusiasts, and students a holistic view of the field

Digital Image Users and Reuse: Enhancing practitioner discoverability of digital library reuse based on user file naming behavior

Diese Dissertation untersucht Geräte, die Praktiker verwenden, um die Wiederverwendung von digitalen Bibliotheksmaterialien zu entdecken. Der Autor führt zwei Verifikationsstudien durch, in denen zwei zuvor angewandte Strategien untersucht werden, die Praktiker verwenden, um die Wiederverwendung digitaler Objekte zu identifizieren, insbesondere Google Images Reverse Image Lookup (RIL) und eingebettete Metadaten. Es beschreibt diese Strategiebeschränkungen und bietet einen neuen, einzigartigen Ansatz zur Verfolgung der Wiederverwendung, indem der Suchansatz des Autors basierend auf dem Benennungsverhalten von Benutzerdateien verwendet wird. Bei der Untersuchung des Nutzens und der Einschränkungen von Google Images und eingebetteten Metadaten beobachtet und dokumentiert der Autor ein Muster des Benennungsverhaltens von Benutzerdateien, das vielversprechend ist, die Wiederverwendung durch den Praktiker zu verbessern. Der Autor führt eine Untersuchung zur Bewertung der Dateibenennung durch, um dieses Muster des Verhaltens der Benutzerdateibenennung und die Auswirkungen der Dateibenennung auf die Suchmaschinenoptimierung zu untersuchen. Der Autor leitet mehrere signifikante Ergebnisse ab, während er diese Studie fertigstellt. Der Autor stellt fest, dass Google Bilder aufgrund der Änderung des Algorithmus kein brauchbares Werkzeug mehr ist, um die Wiederverwendung durch die breite Öffentlichkeit oder andere Benutzer zu entdecken, mit Ausnahme von Benutzern aus der Industrie. Eingebettete Metadaten sind aufgrund der nicht persistenten Natur eingebetteter Metadaten kein zuverlässiges Bewertungsinstrument. Der Autor stellt fest, dass viele Benutzer ihre eigenen Dateinamen generieren, die beim Speichern und Teilen von digitalen Bildern fast ausschließlich für Menschen lesbar sind. Der Autor argumentiert, dass, wenn Praktiker Suchbegriffe nach den "aggregierten Dateinamen" modellieren, sie ihre Entdeckung wiederverwendeter digitaler Objekte erhöhen.This dissertation explores devices practitioners utilize to discover the reuse of digital library materials. The author performs two verification studies investigating two previously employed strategies that practitioners use to identify digital object reuse, specifically Google Images reverse image lookup (RIL) and embedded metadata. It describes these strategy limitations and offers a new, unique approach for tracking reuse by employing the author's search approach based on user file naming behavior. While exploring the utility and limitations of Google Images and embedded metadata, the author observes and documents a pattern of user file naming behavior that exhibits promise for improving practitioner's discoverability of reuse. The author conducts a file naming assessment investigation to examine this pattern of user file naming behavior and the impact of file naming on search engine optimization. The author derives several significant findings while completing this study. The author establishes that Google Images is no longer a viable tool to discover reuse by the general public or other users except for industry users because of its algorithm change. Embedded metadata is not a reliable assessment tool because of the non-persistent nature of embedded metadata. The author finds that many users generate their own file names, almost exclusively human-readable when saving and sharing digital images. The author argues that when practitioners model search terms after the "aggregated file names" they increase their discovery of reused digital objects

The shifting surface in digital photography

Alison Bennett investigated the complex presence of surface in digital photography through the creation of a series of innovative artistic works that extended the use of scanography, photogrammetry, augmented reality and virtual reality as forms of expanded photography. The project had international impact through viral media coverage and touring exhibitions.<br /

The feasibility of using virtual prototyping technologies for product evaluation

With the continuous development in computer and communications technology the use of computer aided design in design processes is becoming more commonplace. A wide range of virtual prototyping technologies are currently in development, some of which are commercially viable for use within a product design process. These virtual prototyping technologies range from graphics tablets to haptic devices. With the compression of design cycles the feasibility of using these technologies for product evaluation is becoming an ever more important consideration. This thesis begins by presenting the findings of a comprehensive literature review defining product design with a focus on product evaluation and a discussion of current virtual prototyping technologies. From the literature review it was clear that user involvement in the product evaluation process is critical. The literature review was followed by a series of interconnected studies starting with an investigation into design consultancies' access and use of prototyping technologies and their evaluation methods. Although design consultancies are already using photo-realistic renderings, animations and sometimes 3600 view CAD models for their virtual product evaluations, current virtual prototyping hardware and software is often unsatisfactory for their needs. Some emergent technologies such as haptic interfaces are currently not commonly used in industry. This study was followed by an investigation into users' psychological acceptance and physiological discomfort when using a variety of virtual prototyping tools for product evaluation compared with using physical prototypes, ranging from on-screen photo-realistic renderings to 3D 3600 view models developed using a range of design software. The third study then went on to explore the feasibility of using these virtual prototyping tools and the effect on product preference when compared to using physical prototypes. The forth study looked at the designer's requirements for current and future virtual prototyping tools, design tools and evaluation methods. In the final chapters of the thesis the relative strengths and weaknesses of these technologies were re-evaluated and a definitive set of user requirements based on the documentary evidence of the previous studies was produced. This was followed by the development of a speculative series of scenarios for the next generation of virtual prototyping technologies ranging from improvements to existing technologies through to blue sky concepts. These scenarios were then evaluated by designers and consumers to produce documentary evidence and recommendations for preferred and suitable combinations of virtual prototyping technologies. Such hardware and software will require a user interface that is intuitive, simple, easy to use and suitable for both the designers who create the virtual prototypes and the consumers who evaluate them