Digital Techniques for Documenting and Preserving Cultural Heritage

In this unique collection the authors present a wide range of interdisciplinary methods to study, document, and conserve material cultural heritage. The methods used serve as exemplars of best practice with a wide variety of cultural heritage objects having been recorded, examined, and visualised. The objects range in date, scale, materials, and state of preservation and so pose different research questions and challenges for digitization, conservation, and ontological representation of knowledge. Heritage science and specialist digital technologies are presented in a way approachable to non-scientists, while a separate technical section provides details of methods and techniques, alongside examples of notable applications of spatial and spectral documentation of material cultural heritage, with selected literature and identification of future research. This book is an outcome of interdisciplinary research and debates conducted by the participants of the COST Action TD1201, Colour and Space in Cultural Heritage, 2012–16 and is an Open Access publication available under a CC BY-NC-ND licence.https://scholarworks.wmich.edu/mip_arc_cdh/1000/thumbnail.jp

Digital Techniques for Documenting and Preserving Cultural Heritage

This book presents interdisciplinary approaches to the examination and documentation of material cultural heritage, using non-invasive spatial and spectral optical technologies

Web based 3D graphics using Dart : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Computer Science at Massey University, Albany, New Zealand

The proportion of the population that has grown up with unlimited access to the internet and portable digital devices is ever increasing. Accompanying this growth are advances in web-based and mobile technologies that make platform independent applications more viable. Graphical applications, in particular, are popular with users but as of yet have remained relatively underdeveloped for platform independence due to their complex nature, and device requirements. This research combines web-based technologies to create a framework for developing scalable graphical environments while ensuring a suitable level of performance across all device types. The web programming language Dart provides a method for achieving execution across a range of devices with a single implementation. Working alongside Dart, WebGL manages the processing needs for the graphical elements, which are provided by content generative algorithms: the diamond square algorithm, Perlin noise, and the shallow water simulation. The content algorithms allow for some exibility in the scale of the application, which is expanded upon by benchmarking device performance and the inclusion of the asset controller that manages what algorithm is used to generate content, and at what quality and size. This allows the application to achieve optimal performance on a range of devices from low-end mobile devices to high-end PCs. An input controller further supports platform independence by allowing for a range of input types and the addition of new input types as technology develops. The combination of these technologies and functionalities result in a framework that generates 3d scenes on any given device, and can alter automatically for optimal performance, or according to prede ned developer metrics for emphasis on particular criteria. Input management functionality and web-based computing mean that as technology advances and new devices are developed and improved, applications do not need redevelopment, and compromises in features and functionality are only limited by device processing power and on an individual basis. This framework serves as an example of how a range of technologies and algorithms can be knitted together to design performant solutions for platform independent applications

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

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

Full Proceedings, 2018

Full conference proceedings for the 2018 International Building Physics Association Conference hosted at Syracuse University