Study on quality in 3D digitisation of tangible cultural heritage: mapping parameters, formats, standards, benchmarks, methodologies and guidelines: final study report.

This study was commissioned by the Commission to help advance 3D digitisation across Europe and thereby to support the objectives of the Recommendation on a common European data space for cultural heritage (C(2021) 7953 final), adopted on 10 November 2021. The Recommendation encourages Member States to set up digital strategies for cultural heritage, which sets clear digitisation and digital preservation goals aiming at higher quality through the use of advanced technologies, notably 3D. The aim of the study is to map the parameters, formats, standards, benchmarks, methodologies and guidelines relating to 3D digitisation of tangible cultural heritage. The overall objective is to further the quality of 3D digitisation projects by enabling cultural heritage professionals, institutions, content-developers, stakeholders and academics to define and produce high-quality digitisation standards for tangible cultural heritage. This unique study identifies key parameters of the digitisation process, estimates the relative complexity and how it is linked to technology, its impact on quality and its various factors. It also identifies standards and formats used for 3D digitisation, including data types, data formats and metadata schemas for 3D structures. Finally, the study forecasts the potential impacts of future technological advances on 3D digitisation

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

A metadata enriched system for the documentation of multi-modal digital imaging surveys

In the field of Digital Heritage Studies, data provenance has always been an open and challenging issue. As Cultural Heritage objects are unique by definition, the methods, the practices and the strategies to build digital documentation are not homogeneous, universal or standardized. Metadata is a minimalistic  yet powerful form to source and describe a digital document. They are often required or mandatory at an advanced stage of a Digital Heritage project. Our approach is to integrate since data capture steps meaningful information to document a Digital Heritage asset as it is moreover being composed nowadays from multiple sources or multimodal imaging surveys. This article exposes the methodological and technical aspects related to the ongoing development of MEMoS; standing for Metadata Enriched Multimodal documentation System. MEMoS aims to contribute to data provenance issues in current multimodal imaging surveys. It explores a way to document CH oriented capture data sets with a versatile descriptive metadata scheme inspired from the W7 ontological model. In addition, an experiment illustrated by several case studies, explores the possibility to integrate those metadata encoded into 2D barcodes directly to the captured image set. The article lays the foundation of a three parted methodology namely describe - encode and display toward metadata enriched documentation of CH objects

Electronic Imaging & the Visual Arts. EVA 2012 Florence

The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented

NFDI4Culture - Consortium for research data on material and immaterial cultural heritage

Digital data on tangible and intangible cultural assets is an essential part of daily life, communication and experience. It has a lasting influence on the perception of cultural identity as well as on the interactions between research, the cultural economy and society. Throughout the last three decades, many cultural heritage institutions have contributed a wealth of digital representations of cultural assets (2D digital reproductions of paintings, sheet music, 3D digital models of sculptures, monuments, rooms, buildings), audio-visual data (music, film, stage performances), and procedural research data such as encoding and annotation formats. The long-term preservation and FAIR availability of research data from the cultural heritage domain is fundamentally important, not only for future academic success in the humanities but also for the cultural identity of individuals and society as a whole. Up to now, no coordinated effort for professional research data management on a national level exists in Germany. NFDI4Culture aims to fill this gap and create a usercentered, research-driven infrastructure that will cover a broad range of research domains from musicology, art history and architecture to performance, theatre, film, and media studies. The research landscape addressed by the consortium is characterized by strong institutional differentiation. Research units in the consortium's community of interest comprise university institutes, art colleges, academies, galleries, libraries, archives and museums. This diverse landscape is also characterized by an abundance of research objects, methodologies and a great potential for data-driven research. In a unique effort carried out by the applicant and co-applicants of this proposal and ten academic societies, this community is interconnected for the first time through a federated approach that is ideally suited to the needs of the participating researchers. To promote collaboration within the NFDI, to share knowledge and technology and to provide extensive support for its users have been the guiding principles of the consortium from the beginning and will be at the heart of all workflows and decision-making processes. Thanks to these principles, NFDI4Culture has gathered strong support ranging from individual researchers to highlevel cultural heritage organizations such as the UNESCO, the International Council of Museums, the Open Knowledge Foundation and Wikimedia. On this basis, NFDI4Culture will take innovative measures that promote a cultural change towards a more reflective and sustainable handling of research data and at the same time boost qualification and professionalization in data-driven research in the domain of cultural heritage. This will create a long-lasting impact on science, cultural economy and society as a whole

A Digital Registry for Archaeological Find Spots and Excavation Documentation in IANUS

Grey literature (site notebooks, reports etc.) and research data in archaeology are invaluable sources of information currently lacking a central reference registry in Germany. This paper discusses requirements and the underlying data model of a registry to be developed for find spots and archaeological excavation data within the IANUS project at the German Archaeological Institute. This registry is to collect information on archaeological investigations data for a finding aid service. The focus for this registry will be based on the collection of metadata about primary data and grey literature, not on secondary data or on publications. Starting with the acquisition of basic metadata needs drawn from the IANUS mission and project charter. A review of already existing projects and initiatives in this field (EDNA, tDAR, ADS, Open Context) provides more details about which information should be captured during a registration of research data for a long term digital preservation archive. Finally recommendations for the data model of this registry are drawn from the evaluation of existing generic and archaeology-specific metadata standards (Dublin Core, EDM, LIDO, ADeX, CARARE)

A 3D Digital Approach to the Stylistic and Typo-Technological Study of Small Figurines from Ayia Irini, Cyprus

The thesis aims to develop a 3D digital approach to the stylistic and typo-technological study of coroplastic, focusing on small figurines. The case study to test the method is a sample of terracotta statuettes from an assemblage of approximately 2000 statues and figurines found at the beginning of the 20th century in a rural open-air sanctuary at Ayia Irini (Cyprus) by the archaeologists of the Swedish Cyprus Expedition. The excavators identified continuity of worship at the sanctuary from the Late Cypriot III (circa 1200 BC) to the end of the Cypro-Archaic II period (ca. 475 BC). They attributed the small figurines to the Cypro-Archaic I-II. Although the excavation was one of the first performed through the newly established stratigraphic method, the archaeologists studied the site and its material following a traditional, merely qualitative approach. Theanalysis of the published results identified a classification of the material with no-clear-cut criteria, and their overlap between types highlights ambiguities in creating groups and classes. Similarly, stratigraphic arguments and different opinions among archaeologists highlight the need for revising. Moreover, pastlegislation allowed the excavators to export half of the excavated antiquities, creating a dispersion of the assemblage. Today, the assemblage is still partly exhibited at the Cyprus Museum in Nicosia and in four different museums in Sweden. Such a setting prevents to study, analyse and interpret the assemblageholistically. This research proposes a 3D chaîne opératoire methodology to study the collection’s small terracotta figurines, aiming to understand the context’s function and social role as reflected by the classification obtained with the 3D digital approach. The integration proposed in this research of traditional archaeological studies, and computer-assisted investigation based on quantitative criteria, identified and defined with 3D measurements and analytical investigations, is adopted as a solution to the biases of a solely qualitative approach. The 3D geometric analysis of the figurines focuses on the objects’ shape and components, mode of manufacture, level of expertise, specialisation or skills of the craftsman and production techniques. The analysis leads to the creation of classes of artefacts which allow archaeologists to formulate hypotheses on the production process, identify a common production (e.g., same hand, same workshop) and establish a relative chronological sequence. 3D reconstruction of the excavation’s area contributes to the virtual re-unification of the assemblage for its holistic study, the relative chronological dating of the figurines and the interpretation of their social and ritual purposes. The results obtained from the selected sample prove the efficacy of the proposed 3D approach and support the expansion of the analysis to the whole assemblage, and possibly initiate quantitative and systematic studies on Cypriot coroplastic production

ネットワーク情報環境における不均質な文化遺産情報の組織化に関する研究

筑波大学 (University of Tsukuba)201