Relevant bibliographies by topics / Cataloging of photographs

Academic literature on the topic 'Cataloging of photographs'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Cataloging of photographs"

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Imada, Adria L. "Promiscuous Signification." Representations 138, no. 1 (2017): 1–36. http://dx.doi.org/10.1525/rep.2017.138.1.1.

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This essay assesses clinical photographs of leprosy patients created by the Hawai‘i Board of Health in the late nineteenth and early twentieth centuries, or what may be the most extensive visual cataloging of indigenous, Asian, and immigrant bodies in America’s Pacific empire. Building on theoretical and methodological approaches to archives as a process rather than a source, I follow the trail of these clinical images through time and space, from their emergence within a photographic practice of medical management and segregation in Hawai‘i to their prolific circulation in transnational political and medical arenas. Offering spectacular evidence of the racialized and sexualized pathology of colonial peoples, these photographs were tightly regulated but increasingly viewed as clinical erotica after the United States incorporated Hawai‘i as a territory in 1900. The essay further suggests the “affective excess” that can disrupt the photograph’s medical surveillance, as social intimacies and care between Hawaiian patients bloom within the frame.
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Armstrong, Helen Jane, and Jimmie Lundgren. "Cataloging Aerial Photographs and Other Remote-Sensing Materials." Cataloging & Classification Quarterly 27, no. 1-2 (November 19, 1999): 165–227. http://dx.doi.org/10.1300/j104v27n01_08.

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Loda, Liubov, Iryna Pigel, and Lesia Dzendzeluk. "A Study on the state of photographic documents in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 195–208. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-12.

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Collections of photographic documents constitute considerable information, document and art heritage. Photographs with non-existing today art and architectural objects are of particular importance. The task for their keepers is to save all visual information and to ensure accessibility to users. The paper’s purpose is to study the state of photographic documents kept in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. The article provides a profound analyze of damages’ types as well as factors that caused them and measures for their preservation. Authors highlighted the role of indoor climate’s stability for the safety of photographic documents. Photographs are multi-component objects and 208 consist of several layers, each carrying out certain functions. Photographic documents are of low light resistance, so their improper storage may cause irreversible fading. Damages may be caused by both physical, chemical and biological factors. Actually, their monitoring allows to record any injuries and to identify destructive processes that just begin. On the base of photographs dated back to 1860s – 1930s from museum collections of Shevchenko Scientific Society, Ossolinski National Institute and People’s House in Lviv, the state of paper base and clarity of images were assessed. The results of the study were registered in tables, where the state of their conservation was specified in details. Authors applied five-level system to assess injuries of photographic documents. The paper describes three kinds of damages, including mechanical injuries (loss, deformation, breakings), physical and chemical (fading, color changes, spots), biological (pigmentation, contamination by microorganism, insects etc.). The study and investigation made it possible to refine conservation measures, to develop means for minimizing the influence of harmful factors. Researchers’ growing interest to photographic documents increased their usage in the Library. Supporting safety conditions and accessibility to conducting researches allow to use photographic documents widely for history and art studies, cataloging and exhibitions. Keywords: photographical documents, photo collections, Shevchenko Scientific Society, People’s House, Petrushevych Museum, preservation, conservation.
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Shulman, James. "Words . . . will not stay in place: cataloging and sharing image collections." Art Libraries Journal 36, no. 2 (2011): 25–32. http://dx.doi.org/10.1017/s0307472200016886.

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Words have been affixed to still images for hundreds of years to describe who created a work or what it portrays. This paper examines the ways this process might evolve in an era where dissemination of knowledge is far less linear than it was in an age of print, and reviews two projects that ARTstor is pursuing with the art historical community. One captures users’ notes about 190,000 photographs of old master drawings that are in need of updated descriptive cataloging. The other will create a Built Works Registry through the use of a credentialed Wikipedia-like strategy.
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Levandowski, Mary. "Understanding wetland responses to climate change in the Greater Yellowstone Area." UW National Parks Service Research Station Annual Reports 40 (December 15, 2017): 57–60. http://dx.doi.org/10.13001/uwnpsrc.2017.5573.

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Wetlands in the Greater Yellowstone Area (GYA) support a high diversity of species. Increased temperatures associated with climate change are related to increased wetland drying in the GYA, potentially affecting the species using wetlands. The National Park Service Greater Yellowstone Inventory and Monitoring Network (GRYN) started monitoring wetlands in 2006, focusing on amphibian occupancy. Adding novel surveillance techniques to GRYN’s existing, long-term monitoring program offers an opportunity to observe more species. This may help us better understand how wetland species diversity may be affected by climate change and provide additional information to managers. In 2017, I outfitted four permanent wetlands with equipment collecting photographs, acoustic recordings, and ultrasonic recordings for approximately five days in June/July. When the equipment was deployed, I collected environmental DNA (eDNA) samples. Data from wildlife cameras, acoustic recorders, ultrasonic recorders, and eDNA for cataloging the biological diversity of wetlands is still being analyzed. Acoustic data and eDNA samples require additional processing; however, preliminary data is available for photographic data and ultrasonic data. Cameras detected elk at all sites, whereas bat detection varied by site. Featured photo by Neal Herbert on Flickr. https://flic.kr/p/2gv8cSh
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Dmitrieva, Alexandra I. "The Photo Fond of the State Archive of the Sverdlovsk Region: Issues of Acquisition, Systematization, Search, and Use of Photographic Documents." Herald of an archivist, no. 1 (2022): 154–63. http://dx.doi.org/10.28995/2073-0101-2022-1-154-163.

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The article analyzes the history of creation of the photo fond in the State Archive of Sverdlovsk Region (GASO), assesses its scientific reference apparatus, and evaluates the efficiency of search for photographic documents by their subject. There is a growing interest towards local history and history of urban environment, which increases demand for photographic documents stored in the archive. However, the use of these documents is limited due to low efficiency and arduousness of search. The author suggests several ways to increase the efficiency of search using modern computer technology. To achieve this goal, the legal frameworks on photographic documents processing in state archives have been analyzed. The unique sources used in the research are detailed interviews with the GASO staff, as well as annual reports on the work of the archive during 1961–72. During this period, much effort was put to creation of the scientific reference apparatus: description, systematization, and cataloging of photographic documents were conducted. The photo fond (fond 1) counts 62265 storage items. Photographs and albums are also stored in other GASO fonds. The acquisition sources were departmental archives of institutions and organizations, the GASO itself, as well as individuals. Photo documents were widely used in the GASO’s educational and popularization work and were available on request of organizations and citizens. The documents have research potential, and yet (according to archival staff and to research) the existing information retrieval systems do not provide complete and effective search due to their limitations. Relevance and fullness ratio of the information retrieval system have been calculated for publicly available electronic inventories of photographic documents. It has been established that search efficiency of highly specialized queries has precision score of 0,003, while noise ratio is 0,997.
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HUHÁK, Heléna, and Lóránt BÓDI. "The COURAGE Registry: A Gateway to the Cultural Heritage of Eastern European Nonconformism." Martor. The Museum of the Romanian Peasant Anthropology Review 26 (2021): 138–46. http://dx.doi.org/10.57225/martor.2021.26.09.

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The COURAGE Registry is a digital research tool that allows exploring the legacy of cultural opposition in former Eastern European socialist countries by cataloging and describing relevant collections on dissident culture across Eastern Europe and worldwide. The linked database reveals a great variety of nonconformist cultural practices that were formerly largely unknown and promotes comparative research of similar phenomena in Eastern European societies and cultures. The researchers on the project tended to treat visual sources as traces of the past equally as important as written documents. Images were not only illustrations of the given narratives but, in some cases, visual documents were the only sources that preserved the memory of the alternative or underground activity, while in other cases, it was the act of taking pictures that resulted in the confrontation with official cultural policy. This article aims to provide insight into the basic dilemmas and issues that the project faced dealing with images for the database through three examples. Firstly, we focus on the photo documentation of an exhibition of the Hungarian art group Inconnu that was made by the secret police following the destruction of the artworks. Secondly, we show how photos were also taken by official photographers who operated in the so-called “grey zone.” Finally, our third example refers to Fortepan, a unique public initiative that focuses on the digital preservation of private photographs created between 1900 and 1990.
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Glebova, E. V. "Review of the catalog «Ulchi» from the collection of the Khabarovsk Regional Museum n.a. N.I. Grodekov." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2 (49) (June 5, 2020): 173–79. http://dx.doi.org/10.20874/2071-0437-2020-49-2-16.

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The article presents the analysis of the catalog «Ulchi» by the Khabarovsk Regional Museum n.a. N.I. Gro-dekov. The performance of the local museum is considered in the context of all-Russian experience of cataloging of the museum collections, which is of a particular importance for historical science. The author examines the program of scientific cataloging of the museum collections, featuring the traditional culture of almost all indigenous peoples of the Russian Far East. We conclude that the series of ethnographic catalogues of the museum has made a significant contribution to the Far East museum studies and ethnography. The new catalog «Ulchi» pre-sents the largest ethnographic collection of the museum, which characterizes the material and spiritual culture of one of the eight indigenous populations of the Lower Amur River Region — the Ulchi. The catalog includes 808 ethnographic artifacts — household items, clothes, fishing and hunting equipment, items of ritual culture, shaman-ism and family relations of the Ulchi (19th–21st c.). Specific sections include more than 300 photographs and nega-tives (19th–20th c.), as well as detailed background information. Some artifacts, such as ritual sculptures, shaman clothing and attributes, utensils for ritual rites, ancient devices for fishing etc., are published for the first time. The catalog was prepared by a large team of authors involving Ulchi craftsmen and linguists. The catalog «Ulchi» introduces new materials into scientific discourse, and it can serve as a source for comparative ethnographic, historical and museum studies analysis. It has been emphasized that the newly published catalog of the Kha-barovsk Regional Museum n.a. N.I. Grodekov allows representatives of this people to connect with their own cul-tural heritage; it contributes to the formation of their historical memory and identity.
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De Fino, Melissa. "Cataloging & Digitizing Toolbox Website of the Prints and Photographs Division of the Library of Congress – http://www.loc.gov/rr/print/cataloging.html." Technical Services Quarterly 29, no. 3 (June 5, 2012): 239–40. http://dx.doi.org/10.1080/07317131.2012.682014.

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Jonge, Ingrid Fischer. "The National Museum of Photography at the Royal Library, Copenhagen." Art Libraries Journal 23, no. 1 (1998): 8–12. http://dx.doi.org/10.1017/s0307472200010750.

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The Royal Library, Copenhagen has made many attempts over the years to organise the huge collection of photographs held in its Department of Maps, Prints and Photographs into a formal museum of photography. Finally in 1996 the Royal Library created such a museum, and named it ‘The National Museum of Photography’. This museum within a library will be located in the new building at the City’s harbour front called The Black Diamond. The displays will show new as well as older photography from the collection, which is important both artistically and historically. Digitisation and cataloguing of the collection are under way, and the first couple of thousand items are already available to a wider public on the Internet.
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Dissertations / Theses on the topic "Cataloging of photographs"

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Stewart, Brian. "Pictures in words : indexing, folksonomy and representation of subject content in historic photographs." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/687.

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Subject access to images is a major issue for image collections. Research is needed to understand how indexing and tagging contribute to make the subjects of historic photographs accessible. This thesis firstly investigates the evidence of cognitive dissonance between indexers and users in the way they attribute subjects to historic photographs, and, secondly, how indexers and users might work together to enhance subject description. It analyses how current indexing and social tagging represent the subject content of historic photographs. It also suggests a practical way indexers can work with taggers to deal with the classic problem of resource constraints and to enhance metadata to make photo collections more accessible. In an original application of the Shatford/Panofsky classification matrix within the applications domain of historic images, patterns of subject attribution are explored between taggers and professional indexers. The study was conducted in two stages. The first stage (Studies A to D) investigated how professional indexers and taggers represent the subject content of historic photographs and revealed differences based on Shatford/Panofsky. The indexers (Study A) demonstrated a propensity for specific and generic subjects and almost complete avoidance of abstracts. In contrast, a pilot study with users (Study B) and with baseline taggers (Studies C and D) showed their propensity for generics and equal inclination to specifics and abstracts. The evidence supports the conclusion that indexers and users approach the subject content of historic photographs differently, demonstrating cognitive dissonance, a conflict between how they appear to think about and interpret images. The second stage (Study E) demonstrated that an online training intervention affected tagging behaviour. The intervention resulted in increased tagging and fuller representation of all subject facets according to the Shatford/Panofsky classification matrix. The evidence showed that trained taggers tagged more generic and abstract facets than untrained taggers. Importantly, this suggests that training supports the annotation of the higher levels of subject content and so potentially provides enhanced intellectual access. The research demonstrated a practical way institutions can work with taggers to extend the representation of subject content in historic photographs. Improved subject description is critical for intellectual access and retrieval in the cultural heritage space. Through systematic application of the training method a richer corpus of descriptors might be created that enhances machine based information retrieval via automatic extraction.
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Melin, Carl-Marcus. "Bland anonyma kvinnor, oidentifierade män och okända par : En studie om hur kön, genus och queer närvaro aktualiseras via bildkatalogiseringens praktik." Thesis, Uppsala universitet, Institutionen för ABM, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413948.

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The purpose of this thesis is to provide in-depth knowledge by exploring how image cataloguing provides a context for expressions related to sex, gender, and queerness through metadata and textual descriptions within library databases. This thesis examines how normative conceptions related to sex, gender, and queerness affect the praxis of image cataloguing and how the material’s retrievability is influenced by these aspects. To examine how biases and preconceptions about sex, gender, and queerness are expressed through metadata and descriptive cataloguing the study focuses on catalogued portrait photographs, especially images portraying unknown individuals. The conclusions of this study are that descriptions of images portraying unknown individuals are heavily characterised by a binary view of sex and gender. Unknown individuals are categorised as women or men based on outer appearances, and not in a sex/gender neutral way. Since interpretations are based on clothing, hairstyles, accessories et cetera and not the naked body it may be argued that gender is being categorised, and not necessarily sex. If gender is to be understood as a social construction not attached to any specific physicality it may be expressed in any way by anyone. The assumption of being able to place people in sexed categories based merely on their appearances may therefore be questioned. A further conclusion is that queerness isn’t included when images are being catalogued. The study however shows that heteronormative assumptions may be traced in the way images are described. It may also be concluded that describing portrait photographs mainly through aspects related to sex/gender ignores other informative aspects of them as images, making them less retrievable for users. This is a two years master's thesis in library and information science.
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Books on the topic "Cataloging of photographs"

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Organizing your photographs. New York: Amphoto, 1986.

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Indexing photographs and documents: A step-by-step guide. Pueblo West, CO: Group National Publishing, LLC, 2013.

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Krogh, Peter. The DAM book: Digital asset management for photographers. 2nd ed. Sebastopol, Calif: O'Reilly, 2009.

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The DAM book: Digital asset management for photographers. Beijing: O'Reilly, 2006.

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Roca, Lourdes, Andrew Green, and Felipe Morales Leal. Tejedores de imágenes: Propuestas metodológicas de investigación y gestión del patrimonio fotográfico y audivisual. México, D.F: Instituto de Investigaciones Dr. Jose Maria Luis Mora, 2014.

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Klijn, Edwin. Sepiades: Cataloguing photographic collections. Amsterdam: European Commission on Preservation and Access, 2004.

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Zannier, Italo. La fotografia in archivio. Firenze: Sansoni, 2000.

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Patrick, Escudero, ed. Barcelone et la Catalogne. [Paris]: Chêne, 2007.

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Williams, Sarah Bay. The digital shoebox: How to organize, find, and share your photos. Berkeley, CA: Peachpit Press, 2010.

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The digital shoebox: How to organize, find, and share your photos. Berkeley, CA: Peachpit Press, 2010.

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Book chapters on the topic "Cataloging of photographs"

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"Photographic Cataloguing." In Documenting the World, 200–223. University of Chicago Press, 2016. http://dx.doi.org/10.7208/chicago/9780226129259.003.0009.

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Guégan, Xavier. "Colonial Photography." In Postcolonial Realms of Memory, 360–70. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620665.003.0034.

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The succession of political regimes in post-1848 France was experienced in similar ways in post-conquest Algeria. The political, social and cultural ideologies that emerged during this period were mirrored in the North African départements, and therefore it is perhaps not surprising that connected events happened simultaneously in the métropole and Algeria. It was not only through its common events and political principles that the Algerian territories became French, but undoubtedly also as a result of the emergence of new cultural media and cultural political attitudes. Taking and viewing photographs were aligned with the new French paradigm of the modern Nation, its identity construction, and interconnection with Algeria. Up to the beginning of World War I there were two moments that connected the photographic visual imagery of Algeria as part of the creation of lieux de mémoire within the Second Empire and Third Republic regimes; the 1850s with its ‘cataloguing’ of the newly established French Algeria and the 1880s-1900s with its portraiture of ‘consumptions and ideologies’ of a French Republican Algeria.
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Präkel, David. "Basic workflow: Cataloguing and digital asset management." In The Fundamentals of Creative Photography, 186–87. Routledge, 2021. http://dx.doi.org/10.4324/9781003103943-58.

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Klamm, Stefanie. "Photographic practices in museum archaeology." In The Oxford Handbook of Museum Archaeology, 307—C15.P104. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198847526.013.32.

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Abstract This chapter highlights the role of photographs as working objects in archaeological museums by elaborating on practices with and on them in a historical focus. It explores these themes with reference to case studies of German (classical) archaeology, including the Antikensammlung (Collection of Classical Antiquities), Staatliche Museen zu Berlin. First, it will address the very physical engagement with photographs by annotating, retouching, and cutting. Further, it focuses on the functions of photographs in archaeological exhibition displays in the past and today. It discusses how photo archives in archaeology are by no means innocent places: naming and cataloguing of photographs give evidence of the contested history of archaeology and its difficult heritage—a concern which transfers to the digital realm. Colonial legacies, for instance in classifying artefacts and in reference systems, continue into a digital image file’s metadata. In conclusion, the chapter reflects what happens to those collections of analogue photographs nowadays if they are subject to historization and digitization.
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Zieger, Susan. "“Dreaming True”: Playback, Immediacy, and “Du Maurierness”." In The Mediated Mind, 129–65. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279821.003.0005.

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Chapter four explores the phenomenon of “playback,” emerging into 1880s culture through the phonograph, as a wider fantasy of consumer and personal mastery. This fantasy was rooted in the longstanding idea of the mind as palimpsest and photograph, recording every single perception and experience. If true, then how could these stored memories be accessed? The cartoonist, novelist, and nonce media theorist George Du Maurier offered a literary answer in his widely cherished first novel, Peter Ibbetson (1891). The protagonist’s lover teaches him how to “dream true” or revisit his past experiences, while he is sleeping; through their clairvoyant connection, all their consumer experiences of music, food, art, and travel can be played back on demand. The conceit of disembodied playback changes the nature of human memory, converting it into information. The chapter traces Du Maurier’s fantasy of cataloging and filing experience to his career as a cartoonist for Punch. Because his cartoon aesthetic described the new breadth and immediacy of public feeling brought about by mass print media in the 1890s, it anticipates the affects that attend our own versions of playback.
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Conference papers on the topic "Cataloging of photographs"

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Vasquez, Fernando, Alan Chavez, Ethan Depew, Aracely Garcia, Leslie Moreno, Daniella Orea, Jose Miguel Hurtado, Sara Schmidt, Mark Lambert, and Alex Stoken. "CATALOGING ASTRONAUT PHOTOGRAPHY FROM THE INTERNATIONAL SPACE STATION (ISS)." In GSA Connects 2022 meeting in Denver, Colorado. Geological Society of America, 2022. http://dx.doi.org/10.1130/abs/2022am-383066.

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Calisi, Daniele. "PHOTOGRAMMETRIC SURVEY AND 3D MODELING OF THE FUNERARY URN DEPICTING THE MYTH OF OENOMAUS, FOUND INSIDE THE TOMB OF THE ETRUSCAN FAMILY OF CACNI IN PERUGIA (III-I CENTURY BC)." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3318.

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The urn, recovered in 2013 by the Cultural Heritage's Police Command along with other 21 and with the funeral set of the tomb of the Cacni family at Perugia, was exhibited at the Quirinale and then moved to Perugia, at the National Archaeological Museum of Umbria. 2014. After a first attempt to survey the laser scanner, the survey, aimed at the graphic documentation and implementation of a virtual model for the study and dissemination, has been performed with photographic processed with software modeling structure from motion.3D model in mesh made with the appropriate software has been cleaned of all its impurities: holes, tips, noise and rough surfaces. To conclude the process, the mapping from photography, with high resolution textures, giving the mesh the appearance next to the real funerary urn. The survey work on the urn of Oenomaus is a case in point, both for research of best practices in the surveys of archaeological objects, both in the ultimate goal of the relief: not only cataloging and knowledge, but also of divulging to a wider public.
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Cipolletti, Sara. "A taxonomy of vernacular heritage in the mid-Adriatic. Landscape relations and architectural characteristics of the farmhouses in Tronto Valley (Italy)." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15673.

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The hilly area of Central Italy represents one of the most original characteristics of Italian agrarian system distinguished by a particular form and technique of land management, la Mezzadria (sharecropping), which was a contract stipulated between a landowner and the farmer, reflected in the construction of open space as well as artifacts. The structure of rural settlements typical of sharecropping is a mosaic of terrains with scattered farmhouses (case coloniche), connected by a dense road network. The architecture of these structures is always the same with only slight variations articulated by the form of the terrain and in relationship with their use and the road pathways, and is characterised by a rectangular plan with the rooms dispersed on two floors and an external staircase which is the prevalent distinguishing trait. Sharecropping rural heritage represents an important case study for the analysis and cataloguing of vernacular architecture since artifacts come from precise needs linked to the social and cultural life of the farming family. This paper investigates vernacular rural architecture in Central Italy, particularly in the mid-Adriatic in the southern Marche Region, by building up an investigative and categorization method: selecting precise geographical areas where the original farmhouses have first been identified by studying historical maps of the 19th century before moving on to in situ exploration. Photography has also been a useful instrument for constructing the taxonomy of rural ruins which today are in a state of total abandonment; showing the photographs next to each other allows us to more clearly identify and understand subtle differences and suggest a reuse of the buildings.
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Bertocci, Stefano, Giovanni Pancani, and Anastasia Cottini. "La cinta muraria di Lastra a Signa: metodologie di rilievo digitale integrato." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11498.

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The city wall of Lastra a Signa: integrated digital survey methodologiesThe survey of the Lastra a Signa city walls (built between the second half of 1300 and the first half of 1400) is the result of three different survey campaigns made in 2006-2007-2008 and of the following data processing carried out as part of a Master thesis. It is a paradigmatic example of the overcoming of the concept of “survey as a mere measurement and graphic representation of a certain element”, by using a methodology protocol. At that time, survey operations became more complex because it was necessary to coordinate with a scientific basis the different survey phases: preliminary documentation, data taking with several instruments, data processing, data filing and cataloguing, two-dimensional representation of plans, cross-sections and elevations, wall decay interpretation and building materials analysis. The survey subject became a dynamic and ever-changing process, thanks to the introduction of digital survey and the availability of new technologies. This paper describes the methodologies that were used in each different part of the survey campaign, of the data cataloguing operations and of the representation process, underlining the importance of the strict hierarchy of the acquired and rendered data. This hierarchy allowed to manage information obtained from topographic, laser, direct and photographic survey, and then to discretise, clean, georeference and make two-dimensional representations of the acquired data. Ultimately, it allowed creating a database that contains all these elements and ensures that the archived data can be updated in the future.
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