55 research outputs found
Understanding the properties and dynamics of digitally fabricated replicas in cultural heritage experiences for different audience groups
No full textΚατανόηση των δυνατοτήτων και της δυναμικής των ψηφιακά κατασκευασμένων αντιγράφων σε εμπειρίες πολιτιστικής κληρονομιάς για διαφορετικές ομάδες κοινού
No full textThis thesis explores digitally fabricated artefacts or replicas and investigates their contribution as novel interpretative means in cultural heritage (CH) experiences for different audience groups. The research adds to a novel body of knowledge and practice that intersects cultural heritage, computing, product design and their related disciplines, as well as the actual process of making as facilitated by digital fabrication. Given the popularity and increasing accessibility to 3D imaging and 3D printing, replicas are being deployed more to support audience interpretation through multisensorial interactions with physical artefacts, which sometimes act as physical interfaces triggering digital content. However, a lack of understanding of the different factors which define the adoption of replicas for such purposes still exists. This research systematically addresses this gap by introducing the Replica Experience Framework (RXF), which “breaks down” replicas and “decodes” their role within CH experiences. By employing the RXF and by adopting the case study approach, three digitally fabricated replicas were developed in collaboration with the Royal Pavilion and Museums, Brighton & Hove. These were “tested” with three audience groups: visually impaired people, random adult visitors and families. Both qualitative and quantitative methods were used, including creative methods, to gather visitors’ feedback. The findings of the research suggest that not only should replicas feel as close as possible to their original artefacts, but they also need to be contextually informed, honestly exhibited and interpreted too, in order to maximise their potential. The research argues that digitally fabricated artefacts deformalise, add significant value, and contribute to “authentic” CH experiences; while enabling audiences to develop a deeper understanding and establish new relationships with CH collections. Yet, in order to successfully integrate replicas in CH interpretation, stakeholders should take into account some of the main contributions of this thesis: the concept of the RXF and guidance on how to deploy it; recommendations for designing, incorporating and researching digitally fabricated artefacts; as well as a well-rounded set of methods as demonstrated by the research to holistically evaluate replicas within CH experiences.Αυτή η διδακτορική διατριβή εξετάζει τα ψηφιακά κατασκευασμένα τεχνουργήματα ή αντίγραφα και διερευνά τη συμβολή τους ως νέα ερμηνευτικά μέσα στις εμπειρίες πολιτιστικής κληρονομιάς για διαφορετικές ομάδες κοινού. Η έρευνα συμβάλλει σε ένα νέο σύνολο γνώσης και πρακτικής που διασταυρώνει την πολιτιστική κληρονομιά, την πληροφορική, τον σχεδιασμό προϊόντων και άλλες συναφείς επιστήμες, καθώς και τη διαδικασία κατασκευής όπως πραγματοποιείται με την ψηφιακή κατασκευή. Δεδομένης της δημοτικότητας και της αυξανόμενης προσβασιμότητας στην τρισδιάστατη απεικόνιση και εκτύπωση, τα αντίγραφα χρησιμοποιούνται ολοένα και περισσότερο για να υποστηρίξουν την ερμηνεία της πολιτιστικής κληρονομιάς μέσω της πολυαισθητηριακής αλληλεπίδρασης του κοινού με τα μουσειακά αντικείμενα ή τεχνουργήματα, τα οποία συχνά λειτουργούν ως φυσικές διεπαφές που ενεργοποιούν ψηφιακό περιεχόμενο. Ωστόσο, εξακολουθεί να υπάρχει έλλειψη κατανόησης των παραγόντων που καθορίζουν την υιοθέτηση των αντιγράφων για τέτοιους σκοπούς. Η παρούσα έρευνα αντιμετωπίζει συστηματικά αυτό το κενό, εισάγοντας το Πλαίσιο Εμπειρίας Αντιγράφου (Replica Experience Framework - RXF), το οποίο «αναλύει» τα αντίγραφα και «αποκωδικοποιεί» τον ρόλο τους στις πολιτιστικές εμπειρίες. Με την εφαρμογή του Πλαισίου Εμπειρίας Αντιγράφου και την υιοθέτηση της μελέτης περίπτωσης (case studies) ως ερευνητικής μεθοδολογίας, αναπτύχθηκαν τρία ψηφιακά κατασκευασμένα αντίγραφα σε συνεργασία με το Royal Pavilion and Museums, Brighton & Hove. Αυτά «δοκιμάστηκαν» με τρεις ομάδες μουσειακού κοινού: άτομα με προβλήματα όρασης, ενήλικες επισκέπτες και οικογένειες. Ποιοτικές αλλά και ποσοτικές μέθοδοι, συμπεριλαμβανομένων δημιουργικών μεθόδων, υιοθετήθηκαν για τη συλλογή δεδομένων αξιολόγησης από τους επισκέπτες. Τα ευρήματα της έρευνας υποδεικνύουν ότι τα αντίγραφα δεν πρέπει μόνο να είναι πιστά με τα αυθεντικά αντικείμενα, αλλά πρέπει και να εντάσσονται σε ένα κατάλληλο πλαίσιο, να εκτίθενται με ειλικρίνεια και να συνοδεύονται από ερμηνευτικό υλικό, ώστε να μεγιστοποιείται η δυναμική τους. Η έρευνα υποστηρίζει ότι τα ψηφιακά κατασκευασμένα τεχνουργήματα καταργούν το φορμαλισμό, προσδίδουν σημαντική αξία και συμβάλλουν σε «αυθεντικές» πολιτιστικές εμπειρίες, ενώ επιτρέπουν στο κοινό να αναπτύξει βαθύτερη κατανόηση και να δημιουργήσει νέους συνεκτικούς δεσμούς με τις συλλογές πολιτιστικής κληρονομιάς. Ωστόσο, για την επιτυχή ενσωμάτωση των αντιγράφων στην ερμηνευτική πολιτιστική εμπειρία, οι εμπλεκόμενοι φορείς θα πρέπει να λάβουν υπόψη ορισμένες από τις βασικές συνεισφορές αυτής της διατριβής: την έννοια του Πλαισίου Εμπειρίας Αντιγράφου και τις οδηγίες για την εφαρμογή του. Αυτές περιλαμβάνουν: συστάσεις για τον σχεδιασμό, την ενσωμάτωση και τη μελέτη των ψηφιακά κατασκευασμένων τεχνουργημάτων, καθώς και ένα ολοκληρωμένο σύνολο μεθόδων για την ολιστική αξιολόγηση των αντιγράφων στο πλαίσιο πολιτιστικών εμπειριών
Digitally fabricated replicas as means to support cultural heritage interpretation
No full textDigitally fabricated replicas have entered the cultural heritage (CH) scenery over the last years as digital technologies for the acquisition and production of replicas have become popular, cheaper, more accurate and easier to use (Mota 2011). Many examples showcasing the use of technologies, such as 3D printers for producing artefacts as interpretative means in cultural heritage experiences, exist (Scopigno et al. 2014). However, these examples are mostly scattered and have not yet been examined or grouped with regard to their nature and function in CH scenarios.This presentation will provide an overview of the variety of applications of digitally fabricated replicas to serve different purposes and audiences’ needs in museums, CH events and organisations. Such applications -amongst others- include: educational activities for families and children, artistic and creative uses for artists and designers, programmes for disabled audiences and the elderly (Mullaney 2012; AMNH 2013; D’Agnano et al. 2015; Please Touch 2016). The breadth of these applications demonstrates the potential that replicas have in supporting interpretation and enhancing visitor experiences with respect to CH assets.To further investigate the prospective of digitally fabricated replicas for heritage audiences we present the development of three different case studies. All case studies concern artefacts whose shape and appearance information has been digitally captured, processed and 3d printed to produce replicas of the original artefacts. The replicas that have been produced are representing original artefacts that can be found in museums of the consortium of the Royal Pavilion & Museums, Brighton & Hove.An evaluation framework exploring the holistic contribution of digitally fabricated replicas in CH experiences is also introduced. This framework examines both the properties of the physical object (the replica) and its role in the visitor’s expression of a unique experience. This concept can serve as a reference guide when designing a replica, but it can also be used to decode the role of the replica itself as novel interpretative means in the context of a CH experience
Online documentation and preservation of cultural content in the “grico” speaking area of Magna Grecia (South Italy)
No full textDigital Workflow for Creating 3D Puzzles to Engage Audiences in the Interpretation of Archaeological Artefacts
No full text3D physical puzzles are typically used to engage audiences in the interpretation of archaeological artefacts in a museum exhibition. The reason for this is that a puzzle can be seen as a game but also as a complex activity that archaeologists undertake to re-assemble fragments. The contribution of this paper is a novel digital worfklow for the design and fabrication of 3D heritage puzzles. The input to the workflow is an authentic artefact from a heritage collection, which is then digitised using technologies such as 3D scanning and 3D modelling. Thereafter, a puzzle generator produces the 3D puzzle pieces using a cell fracture algorithm and generates a set of puzzle pieces (female) and a single core piece (male) for fabrication. Finally, the pieces are fabricated using 3D printing technology and post-processed to facilitate the puzzle assembly. To demonstrate the workflow, we deploy the proposed method to create a 3D puzzle of an artefact, the Saltdean urn, for the Archaeological Gallery of the Brighton Museum and Art Gallery. The significance of this research is that it eases the task of creating puzzle-like activities and maintaining them within a busy museum gallery.Eurographics Workshop on Graphics and Cultural Heritage3D Reconstruction for C
Experiencing Art by Means of 3D Printed Replicas: Enriching the Interpretation of Pot Oiseau
No full textDigitally fabricated artefacts or 3D replicas have the potential to enrich the interpretation of cultural assets by enhancing visitors' engagement with collections. However, it is still not well understood how replicas work as interpretative means and what are the actual visitors' attitudes towards them. The contribution of this paper is the development and evaluation of a 3D replica within a realistic interpretative scenario. This research deploys a case study focusing on a 3D printed pot representing an ''authentic'' reproduction of a pot made by Pablo Picasso, currently exhibited at the Brighton Museum and Art Gallery. By detailing the research processes and evaluation results, CH professionals can better perceive the dynamics of replicas as interpretative means within realistic situations; understand their positive contributions and weaknesses; and deploy methods and investigation themes, as presented in this paper. In this way, cultural heritage institutions and especially museums can be assisted when introducing replicas to support their audiences. The developments presented in this paper are part of a larger research project which proposes experience designs or experiential frameworks for the provision of 3D replicas to audiences. Our findings highlight that while there is enormous potential, there is also a need to re-educate people on how to engage with cultural heritage through new interpretative frameworks that are less rigid than those traditionally used in museums.Eurographics Workshop on Graphics and Cultural Heritage3D Reconstruction and Reproductio
Information kiosk design guidelines for the presentation of cultural audiovisual content
Full text linkInformation kiosk design guidelines for the presentation of cultural audiovisual content
Full text linkExpanding Perspectives to Improve Access to Visual Archives through Multimodal Image Enrichment
Full text linkThe research tackles key challenges for improving the discovery of large-scale visual collections within the Cultural Heritage (CH) domain, particularly in museums and archives. Its contribution is a multimodal content understanding approach designed for image collections that lack relevant metadata, hindering effective discovery. The proposed method utilises AI-assisted image classification and unified vision-language understanding, combining visual features with semantic context to generate rich and meaningful metadata. The proposed approach enables experts to enrich and visualise large-scale datasets of image collections by assigning both expert and non-expert labels, aligning with FAIR principles (Findable, Accessible, Interoperable, Reusable). Thus, the novel workflow broadens access to this visual material for diverse audiences through search and browse interfaces in a web browser. The proposed approach is demonstrated using the previously unclassified Design Archives’ glass plate negatives dataset, which consists of approximately 10,000 digitised images depicting 20th-century historical designs. Through an AI workflow, the dataset is enriched with expert and non-expert information. Users can search and browse results using 2D and 3D visualisations, as well as text-based search. The research also explores the advantages and current limitations of the proposed visualisation approach in creating more meaningful search and browsing functionalities for large-scale CH collections. The results demonstrate that while 3D visualisations offer more affordances than their 2D counterpart, users require further support to interact with the large-scale datasets meaningfully. Hence, there is a need for discovery interfaces that support interactivity, visual cues, and text-based search to enhance the users’ discovery journey
Copyright of 3D Data
No full textThis resource offers an introduction to copyright within the UK context when dealing with multidimensional media.Learning Outcomes:Outline the ways in which creative works, in particular images and visual material are protected, in the context of copyright law in the UK.Understand and discuss the impact of the copyright legislation on personal practice for collecting multidimensional data.Compare the types of licenses available to protect and use creative works.Trial and give examples of Creative Commons licenses that could be applied to your work
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