Digital Cultural Heritage Roadmap for Preservation

Abstract

The amount of data produced by the Cultural Heritage sector is continually increasing thanks to the numerous initiatives put in place by the cultural institutions for the digitization of their content. This process has also been accelerated by the emergence of cultural portals including regional, national and thematic portals and the European cultural portal Europeana. The Digital Cultural Heritage (DCH) sector also has the challenge of the complexity of the information itself. This is because of the relationship that each cultural object has with the collections it is part of, with the memory institutions where it is held, with the other objects of the same nature and/or culturally connected with it, and the many other types of relationships that represent the real scientific value of the digitised cultural object (be it a book, an archival record, an artefact from a museum, a sound recording or a video). Further, the investment in the production of the digital cultural heritage data is extremely high because the description of each object requires the human intervention of experts in the sector in order to associate the necessary metadata. Automatic extraction of knowledge (metadata) from the digital representation of cultural items is still far from being at a production level. It is not yet commonly available or seamless to the cultural institutions that are engaged in the digitisation of their collections. In addition to the DCH content that derive from digitisation processes applied to the tangible heritage, also born digital cultural heritage is more and more a reality, particularly in the artistic scenario. Plastic artists are commonly using 3D modelling for their studies. Architects, writers, multimedia artists, graphic designers and almost all other artistic expressions produce data that need to be preserved for the researchers of today and for the future generations. Digital cultural data is therefore extremely precious and its preservation is more and

Diachronic and Synchronic Analysis for Knowledge Creation: Architectural Representation Geared to XR Building Archaeology (Claudius-Anio Novus Aqueduct in Tor Fiscale, the Appia Antica Archaeological Park)

“…We have seen how architectural design and representation have evolved from manual drawing, passing to the advent of CAD vector drawing, which replaced the drafting machine in the blink of an eye, up to the more complex forms of BIM projects capable of managing buildings in different time phases and erecting dimensional calculations with a single click of the mouse. The advantages that BIM bring throughout the long-life cycle of building (LLCB) have now been found and confirmed [27][28][29][30][31][32][33][34][35][36]. The software manufacturers have progressively changed and improved their software interface to propose and define the market in support of existing buildings and not just new ones [29].…”

Cocurated Digital Culture: Machinima

“…Despite the recognition of the heritage value of user-generated digital artifacts, there is no formalized policy consensus on how to deal with the curation of the content held on corporate servers, which represents significant cultural phenomena such as the machinima movement. For example, Fresa [6] reports only around half of cultural institutions surveyed within Europe are prepared for digital preservation. With the growth in online information, which some estimates suggest will reach around 3.3 zettabytes annual global traffic by 2021 [7], there has been a growing recognition of the importance of curation as personal, social and professional practice.…”

The Evolution of Interactivity, Immersion and Interoperability in HBIM: Digital Model Uses, VR and AR for Built Cultural Heritage

“…CH exists in digital forms, both tangible and intangible [8,9]. Tangible heritage includes artefacts, buildings, structures, infrastructure and archaeological sites related to the natural environment and the materials from which all of these are made.…”