Dissertations / Theses on the topic 'Virtual cultural heritage'

The methods of preserving cultural heritage are becoming increasingly digital, and with this development it is becoming all the more open to public scrutiny. The field of virtual heritage and their applications, which digitally preserve cultural heritage using virtual reality, are struggling to live up to the expectations of the public. The virtual heritage field has begun to look for solutions to their problems in other fields, such as that of video games. This thesis identifies 17 elements which are sought after for incorporation in virtual heritage applications, by conducting a literature review of recent virtual heritage research and organizing the findings into a matrix. The occurrence of the identified elements in four different modern entertainment video games is further analyzed and described. The resulted element matrix and game reviews could be used in the future development of virtual heritage applications, and of cultural heritage or historical video games.

Orientador: Olga Rodrigues de Moraes von Simson
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: As possibilidades oferecidas pelas novas tecnologias de manipulação de imagens via computador viabilizam a criação de um banco de imagens digital, permitindo o acesso às obras do acervo do CMU sem a manipulação física das mesmas, o que agiliza a veiculação da informação para a produção de conhecimento, garante a preservação, bem como facilita a divulgação do acervo foco dessa pesquisa para um público muito mais amplo. Criou-se, para os objetivos desta pesquisa um Museu Virtual englobando quatro coleções (Coleção Theodoro de Souza Campos Junior; Coleção Fúlvia Gonçalves; Coleção Selma Simão e Coleção Silvia Matos) que integram o acervo artístico/histórico do Centro de Memória da Unicamp (CMU). O acervo, composto pelas coleções acima apresentadas, foi virtualizado, organizado e disponibilizado para a sua utilização sob o enfoque educativo não- formal em espaços museológicos contemporâneos.
Abstract: The possibilities offered by new technologies for manipulation of images via computer to enable creation of a bank of digital images, allowing access to works of the achievements of CMU without physical manipulation of them, which speeds up the delivery of information to produce knowledge guarantees the preservation and facilitates the divulgation of the focus acquits of this research to a much wider audience. It was created for the objectives of this research a museum Virtual comprising four collections (Collection Theodoro de Souza Campos Junior; Collection Fúlvia Gonçalves; Collection Selma Simon and Silvia Matos Collection) that integrate the artistical/ historical body of the Center for Memory the Unicamp (CMU). The collection, composed of the collections above, was virtualized, organized and made available for using under the non-formal educational approach in musicology contemporary spaces.
Mestrado
Ciencias Sociais na Educação
Mestre em Educação

L’obiettivo di questo lavoro di tesi è la ricerca e la definizione di un workflow che partendo dall’acquisizione e digitalizzazione del dato bi e tridimensionale di un Bene porti allo sviluppo di applicazioni di realtà virtuale e aumentata le quali, utilizzando le ultime tecnologie disponibili nel campo delle Information and Communication Technologies, permettano all’utente di fruire il patrimonio culturale secondo i linguaggi contemporanei. Seguendo il paradigma “learning by interacting” e utilizzando gli strumenti e le metodiche tipiche delle piattaforme di gaming, sono state sviluppate due applicazioni per la fruizione del Cultural Heritage: un’applicazione di realtà aumentata che permette di vedere, camminando direttamente sui resti del sito archeologico di Forum Sempronii, le principali architetture come erano un tempo e un’applicazione di realtà virtuale immersiva attraverso la quale è possibile navigare all’interno della ricostruzione del foro romano di Fanum Fortunae, vivendo una vera e propria esperienza interattiva e didattica. I principali temi trattati in questo lavoro sono stati quelli della digitalizzazione e della modellazione tridimensionale dei beni culturali in genere, volte da un lato alla tutela e preservazione del patrimonio culturale, dall’altro alla fruizione dello stesso tramite l’utilizzo delle più recenti tecnologie disponibili nel campo delle ICT. Un ruolo centrale in queste tematiche viene rivestito dal facsimile digitale: oggi la copia digitale è essa stessa patrimonio culturale. Questo lavoro inoltre mostra e sottolinea l’importanza della collaborazione tra diverse figure professionali (archeologi, architetti, informatici, grafici). Il risultato di questo lavoro è infatti costituito da diverse applicazioni dal forte carattere interdisciplinare, come auspicato dalle ultime direttive della Commissione Europea nell’anno europeo del patrimonio culturale.
The aim of this thesis is the research and the definition of a workflow that starting from the acquisition and digitization of bi and three-dimensional data of a cultural object leads to the development of virtual and augmented reality applications. These applications allow the user to exploit Cultural Heritage according to contemporary languages using the latest available Information and Communication Technologies. Two applications have been developed for the exploitation of Cultural Heritage, following the “learning by interacting” paradigm and using the tools and methods typical of gaming platforms: an augmented reality application that allows the user to see the main architectures as they were once, walking on the remains of the archaeological site of Forum Sempronii, and an immersive virtual reality application that allows the user to navigate within the virtual reconstruction of the Roman forum of Fanum Fortunae, experiencing a real interactive and didactic experience. The main themes faced in this work are the digitization and three-dimensional modeling of cultural heritage, aimed on the one hand at protecting and preserving cultural heritage and on the other on its exploitation through the use of the latest available technologies in the field of ICT. A central role in these issues is played by the digital facsimile: today the digital copy is itself cultural heritage. This work also shows and underlines the importance of collaboration between different professional figures (archaeologists, architects, informatics, graphic designers). The result of this work is in fact made up of different applications with a strong interdisciplinary character, as desired by the latest directives of the European Commission in the European Year of Cultural Heritage.

It is defined in international charters that presentation is one of the main responsibilities of conservation policies. The consicousness on cultural heritages and their conservation leads to related disciplines to prepare efficient presentations. Traditional presentations cannot bear to constitute a medium where different types of information and mulitple techniques can be integrated in a single medium. This thesis considers Virtual Environment as a multi-layered medium for such a need and uses it on the presentation of a Architectural Cultural Heritage that has a very important place in the foundation of Turkish Republic. The study proposes a scheme for the process with respect to the author&
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s technical capabilities and literature surveys on the examples that are prepared in VE and searches the advantages or disadvantages, sufficiencies or insufficiencies. The system runs through a CD that is attached to back of the text, has an interactive virtual tour and internet pages that are all prepared by the author.

Includes bibliographical references (leaves 166-170).
This dissertation explores virtual storytelling for conveying cultural stories effectively. We set out to investigate: (1) the strengths and/or weaknesses of VR as a storytelling medium; (2) the use of a culturally familiar introductory VB to preface a VB presenting traditional storytelling; (3) the relationship between presence and story experience. We conducted two studies to pursue these aims. Our aims were stated in terms of effective story experience, in the realm of cultural heritage. This was conceptualised as a story experience where story comprehension, interest in the story's cultural context and story enjoyment were achieved, and where boredom and confusion in the story were low. This conceptualisation was empirically validated by our studies. Three storytelling scenarios were created to tell a traditional San story: text (T); a storytelling VB with no introductory VB (VR+NI); a storytelling VB with a hip-hop themed introductory VB (VR+I). These scenarios comprised our experimental conditions. Questionnaires, measuring interest in hip-hop and the story experience aspects identified above, were developed and psychometrically validated. Study 1 was conducted with a sample of 44 high-schoolleamers and Study 2 with 98 university students. Both studies used a between-subjects design. Study 2 was a refined version of Study 1, improving Study 1's questionnaires for use in Study 2 and considering two additional variables: attention to the story and perceived strangeness of the story. For our first aim, story experience in the text and VR storytelling scenarios were compared. In Study 1 and 2, comprehension was significantly higher in the T condition than in the two VR conditions combined and attention was higher in Study 2's T condition. Therefore, we conclude that text is better for achieving story comprehension. In Study 1, interest and enjoyment were significantly higher in the VR condition, while boredom was higher in the T condition. But, no significant differences between text and VR were noted for these variables in Study 2. Comparisons of the T and VR conditions across Study 1 and 2 showed a particularly poor story experience in Study 1's T group; we speculate that this was due to differences in Study 1 and 2's samples and procedures. Barring this, there were no interest, enjoyment or boredom differences between T and VR across Study 1 and 2. Thus, we conclude, conservatively, that text and VR are equally good in terms of interest enjoyment and boredom. Confusion was higher in Study 1's T condition, but this result was counter-intuitive since this condition had also shown higher comprehension. In contrast, Study 2's VR condition showed significantly higher confusion and lower strangeness. We conclude that Study 1's participants had reported strangeness rather than confusion and, while virtual storytelling resulted in more confusion, it also resulted in less perceived strangeness of the story. Presence and story experience in the VR+NI and VR+I storytelling scenarios were compared for our second aim. The introductory VB only had an effect for participants who showed a pre-existing interest in hip-hop. In Study 1's VR+I condition, hip-hop interest was a significant predictor of enjoyment. In Study 2's VR+I condition, those who identified hip-hop as a favourite music genre showed significantly higher presence than those who identified other genres as a favourite. This suggests that strongly themed introductory VB's do not benefit virtual storytelling, and that content familiarity and preference interact with VB content to influence virtual experiences. Regarding our third aim; we did not find strong evidence of a relationship between presence and story experience since presence only correlated significantly with interest in Study 1.

The thesis is focused on the design and the comparison of a number of interaction techniques for VR, applied to a scenario characterized by a number of tasks that are representative of a 3D immersive experience, like the navigation and the interaction with the scene’s objects. The interaction techniques will be applied to an experience designed for the cultural heritage domain and that will involve the exploration of a theater and the selection of sceneries. The interaction techniques will be evaluated with a group of users in relation to different parameters, including embodiment, presence, engagement, immersion, perceived workload.

Tese de Doutoramento em Design, com a especialização em Design apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor.
Atualmente, procuramos constantemente por informação, pois queremos estar informados para conseguirmos tomar decisões mais acertadas. Somos, contudo, cada vez mais exigentes com o modo como acedemos à informação. No caso específico do Património Natural e Cultural, em que a forma como a informação é apresentada, revela-se essencial para que uma visita física ou online seja efetuada de um modo mais qualitativo, este requisito torna-se fundamental para um público que anseia por obter informação acerca de um determinado local patrimonial e que por vezes, a encontra desorganizada ou dispersa. Considerando a apresentação da informação de forma visual, constatou-se que não existe um local físico ou virtual nacional, que compile e que permita o seu acesso de um modo organizado, direto e integrado, permitindo a ligação entre todas as partes caracterizantes do Património de uma região, contribuindo para um conhecimento mais acessível e estruturado. Assim, procuraram-se aferir que métodos e procedimentos podemos adotar, para que, a partir de um concelho selecionado (Aljezur), se possa concretizar e comunicar o projeto infográfico INFOSPOT.PT – Diretório infográfico para o Património Natural e Cultural Português, um projeto para apresentação de informação visual, de modo a contribuir para uma exploração multidimensional do Património, num contexto virtual, objetivando a transmissão e partilha da informação de uma forma mais inteligível, visual e memorável. Deste modo, objetivando-se a realização de uma componente prática, a investigação foi baseada numa aprofundada revisão literária nas áreas do Design de Informação, do Património e do Turismo Cultural, assim como, numa pesquisa visual estruturada, interligando o Design de Informação nas suas variadas expressões e a apresentação do Património. Posteriormente, aplicou-se o método de estudo de casos múltiplos, a vários exemplos de infografias selecionadas, representativas de aspetos patrimoniais, o que se revelou essencial para aferir métodos e procedimentos, no tratamento de conjuntos de informação patrimonial gerais e particulares, para aplicação direta na consecução do projeto proposto. Ensaiou-se o protótipo do projeto e as infografias realizadas no utilizador final, através da aplicação de testes de usabilidade e, por fim, propôs-se um fluxograma para adaptação do projeto a outros contextos. A utilização da informação visual revela-se muito eficaz, pois é o procedimento mais memorável e inteligível de reter informação, permitindo-nos detetar padrões e relações, que de outro modo (por exemplo, só com texto) não seria possível, justificando a sua utilização na apresentação de uma informação que é complexa, como é o caso da informação patrimonial. O Design de Informação quando praticado de acordo com certos princípios, essenciais para a perceção visual, revela-se fundamental para organizar, selecionar e apresentar essa informação, contribuindo inteiramente para o processo de codificação e descodificação da mensagem informativa. Assim, o projeto proposto pretendeu reunir e apresentar informação patrimonial, somente através da informação visual, objetivando demarcar-se dos materiais existentes mais convencionais e ser uma solução importante para a apresentação do Património nacional, contribuindo para a preservação da sua memória, interpretação e disseminação.
ABSTRACT: We are constantly looking for information because we want to be informed so that we can make better decisions. We are, however, increasingly demanding about how we access information. In the specific case of Natural and Cultural Heritage, where the way in which information is presented is essential for a physical or online visit to be carried out in a more qualitative way, this requirement becomes fundamental for an audience that longs for obtaining information about a particular heritage place and that sometimes finds it disorganized or dispersed. Considering the presentation of information in a visual way, we verified that there is no national physical or virtual place, which compiles and allows its access in an organized, direct and integrated way, allowing connection between all the characteristic parts of the Heritage of a region, contributing to a more accessible and structured knowledge. Thus, we tried to achieve what methods and procedures we can adopt, so that, from a selected municipality (Aljezur), we can concretize and communicate the infographic project INFOSPOT.PT - Infographic Directory for Portuguese Natural and Cultural Heritage, a project for presentation of visual information, in order to contribute to a multidimensional exploration of Heritage, in a virtual context, aiming the transmission and sharing of information in a more intelligible, visual and memorable way. Thus, in order to carry out a practical component, research was based on an in-depth literary review in fields of Information Design, Heritage and Cultural Tourism, as well as through a structured visual research, interconnecting Information Design in its various expressions and presentation of Heritage. Consequently, a multiple case study method was applied to several examples of selected infographics, representing heritage features, which proved to be essential for measuring methods and procedures for treatment of general and particular sets of heritage information for direct application in achieving the proposed project. Prototype of the project and infographics performed were tested in end user through application of usability tests. Finally, a flowchart was proposed to adapt the project to other contexts. Use of visual information is very effective because it is the most memorable and intelligible procedure of retaining information, allowing us to detect patterns and relationships, which otherwise (for example, with text only) would not be possible, justifying its use in presentation of information that is complex, as is the case with the heritage information. Information Design when practiced according to certain principles, essential for visual perception, is fundamental to organize, select and present this information, contributing entirely to the process of codification and decoding of the informational message. Therefore, the proposed project sought to gather and present heritage information, only through visual information, aiming to distinguish the most conventional existing materials and being an important solution for presentation of national Heritage, contributing to preservation of its memory, interpretation and dissemination.
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Financiadora de Estudos e Projetos
The present days are characterized by the increasingly volume of information available on different kinds of media, and proportionally by the increasingly need to think, create and evaluate methodologies and tools that deal with the processing and dissemination of relevant information to users' satisfaction. In this context, the objective of this research was to identify in what proportion some of the online systems available for organizing and retrieving photos include in their search interfaces for the user some of the major categories related to thematic processing of photographs, as surveyed and reported in the literature of Information Science. Among these systems, special attention was given to the analysis of Virtual Memory, software that has been developed within the project "Criteria and Methodologies for conducting an inventory for Rural Heritage", funded by FAPESP and coordinated by Professor Luzia Fernandes Sigoli Costa, from Federal University of São Carlos, which proposes the construction of a standard description of informational goods for the software. Methodologically, this paper is configured as an exploratory, bibliographic and documentary research, also developing actions of intervention research and using participant observation to collect data. The results indicate that relevant practices have been developed for online information systems regarding the organization of photographs and confirmation of the use of resources for social indexing as means of organization and information retrieval. Finally, it is hoped that this study can contribute to CTS field presenting what scientific literature has to offer regarding image organization, assisting in future research and suggesting ways for the construction or improvement of technological tools that give support to the imagery processing and dissemination of information to society, such as the Virtual Memory software, contributing to the process of memory and heritage of humanity.
Os dias atuais caracterizam-se pelo volume cada vez maior de informação disponibilizada em diferentes suportes e, proporcionalmente, pela necessidade cada vez maior de se pensar, criar e avaliar metodologias e ferramentas que deem conta do processamento e disseminação de informação relevante para a satisfação dos usuários. Nesse contexto, o objetivo desta pesquisa foi o de identificar em que medida alguns dos sistemas online disponíveis para organização e recuperação de fotografias contemplam, em sua interface de busca para o usuário, algumas das principais categorias relacionadas ao tratamento temático de fotografias, tal como pesquisados e indicados na literatura da Ciência da informação. Dentre estes sistemas, especial atenção foi dada à análise do Memória Virtual, software que tem sido desenvolvido no bojo do Projeto Critérios e Metodologias para a realização de inventário do Patrimônio Cultural Rural Paulista , financiado pela FAPESP e coordenado pela Profa. Dra. Luzia Sigoli Fernandes Costa, da Universidade Federal de São Carlos, que propõe a construção de um padrão de descrição da informação contemplando campos específicos para os processos de indexação de bens patrimoniais. Metodologicamente, o trabalho configurou-se enquanto pesquisa exploratória, bibliográfica e documental, desenvolvendo em parte ações de pesquisa-intervenção e utilizando-se de observação participante para a coleta de dados. Os resultados sinalizam que práticas relevantes têm sido desenvolvidas por sistemas de informação online no que diz respeito à organização de fotografias e confirmam ainda o uso de recursos de Indexação Social como meio de organização e recuperação da informação. Espera-se, por fim, que este trabalho possa contribuir para o campo CTS por meio do levantamento do que a literatura científica tem a oferecer no que diz respeito à organização de imagens, auxiliando em pesquisas futuras e sugerindo aspectos para a construção ou aperfeiçoamento de ferramentas tecnológicas que deem suporte para o tratamento e disseminação da informação imagética para a sociedade, como no caso do software Memória Virtual, contribuindo para o processo de memória e patrimônio da humanidade.

Alternate realities have fascinated mankind since early prehistory and with the advent of the computer and the smartphone we have seen the rise of many different categories of alternate reality that seek to augment, diminish, mix with or ultimately replace our familiar real world in order to expand our capabilities and our understanding. This thesis presents parallel reality as a new category of alternate reality which further addresses the vacancy problem that manifests in many previous alternate reality experiences. Parallel reality describes systems comprising two environments that the user may freely switch between, one real and the other virtual, both complete unto themselves. Parallel reality is framed within the larger ecosystem of previously explored alternate realities through a thorough review of existing categorisation techniques and taxonomies, leading to the introduction of the combined Milgram/Waterworth model and an extended definition of the vacancy problem for better visualising experience in alternate reality systems. Investigation into whether an existing state of the art alternate reality modality (Situated Simulations) could allow for parallel reality investigation via the Virtual Time Windows project was followed by the development of a bespoke parallel reality platform called Mirrorshades, which combined the modern virtual reality hardware of the Oculus Rift with the novel indoor positioning system of IndoorAtlas. Users were thereby granted the ability to walk through their real environment and to at any point switch their view to the equivalent vantage point within an immersive virtual environment. The benefits that such a system provides by granting users the ability to mitigate the effects of the extended vacancy problem and explore parallel real and virtual environments in tandem was experimentally shown through application to a use case within the realm of cultural heritage at a 15th century chapel. Evaluation of these user studies lead to the establishment of a number of best practice recommendations for future parallel reality endeavours.

A pesquisa observa as novas relações de produção e difusão da arte que surgiram com a utilização da internet e das novas tecnologias, pelas instituições culturais, para a expansão de suas atividades. A investigação propõe que essa nova forma de comunicação pode unir o alcance das plataformas virtuais, a credibilidade de grandes centros artísticos e a força dos processos colaborativos de criação em rede para ampliar a propagação da arte e da cultura. O estudo pretende mostrar como museus, galerias e instituições culturais em geral, têm desenvolvido trabalhos na world wide web, desde o começo dos anos 90, de forma a ampliar o acesso do público, não apenas a seus acervos e exposições, mas também à possibilidade de criação conjunta do conhecimento museológico e de nossa herança cultural. Através da observação dos conteúdos disponibilizados na rede por museus variados, nacionais e internacionais, relacionados a artigos sobre questões contemporâneas da museologia, são analisados como os objetivos das instituições artísticas quanto ao uso do ciberespaço têm evoluído. Há um crescente esforço em suprir as necessidades culturais dos novos espectadores da era conectada da internet. Hoje, modelos de exposições virtuais permitem que formatos de arte efêmera, como performances ou intervenções, possam efetivamente fazer parte dos espaços museológicos. Foi criada uma nova ligação com o visitante do museu, que pode estar em qualquer lugar do mundo e, utilizando redes sociais e mídias móveis, passa a ser criador e difusor de conteúdo, além de receptor. Por fim, há a reflexão sobre como, enquanto se adéquam às novas relações do homem com a arte e a cultura através do mundo virtual, as instituições devem se preocupar com a responsabilidade social e a democratização do acesso aos bens culturais por aqueles que ainda não tem contato frequente com as novas tecnologias.
The research points the new relations of production and dissemination of art that emerge with the use of the Internet and new technologies, by cultural institutions to expand their activities. The research suggests that this new form of communication can put together the reach of virtual platforms, the credibility of major artistic centers and the strength of networks for collaborative creation processes, to enlarge the propagation of art and culture. The study aims to show how museums, galleries and cultural institutions in general, have developed activities on the world wide web since the early \'90s, in order to increase public access, not only to their collections and exhibitions, but also to the possibility of joint creation of the museological knowledge and cultural heritage. How the goals of art institutions in the use of cyberspace have evolved are analyzed through observation of the content provided on the net by various museums, national and international, related with articles about issues on contemporary museology. There is a growing effort to meet the cultural needs of the new spectators of internet connected age. Nowadays, virtual exhibitions models allow ephemeral art formats, such as performances or interventions, to effectively be part of the museum spaces. A new connection was created with the museum visitor, who can be anywhere in the world and, using social networks and mobile media, becomes a creator and disseminator of content, as well as a receiver. Finally, there is the observation on how, while adapting with the man\'s new relationship with art and culture through the virtual world, institutions should concern also about social responsibility and democratic access to culture for those who do not have frequent contact with new technologies.

Nowadays, the improvement in Computer Graphics has benefited fields such as Cultural Heritage, where the main efforts have focused on the digital preservation of historic buildings or urban structures. In this thesis, we have developed a technique to procedurally model ancient stone buildings combined with structural simulation and we have demonstrated its viability based on non-specialized tools designed for cultural heritage users. On the other hand, some historical events involving natural phenomena, such as earthquakes, determined the evolution of the city urban infrastructure. In this thesis, we present a low-cost tool that allows the reproduction of an earthquake on old stone buildings. Furthermore, in this thesis, we have also designed a virtual reality pipeline compatible with low-cost smart-phones that allows the recreation of historical events
Avui dia, les millores en Gràfics per Computador ha beneficiat camps com el Patrimoni Cultural, on els esforços principals s’han centrat en la preservació digital d’edificis històrics o estructures urbanes. En aquesta tesi hem desenvolupat una tècnica per modelar de manera procedural edificis antics, combinant-la amb simulació estructural, i hem demostrat la seva viabilitat basada en eines no especialitzades dissenyades per a usuaris de patrimoni cultural. D’altra banda, alguns esdeveniments històrics relacionats amb fenòmens naturals, com terratrèmols, van determinar l’evolució urbana d’una ciutat. En aquesta tesi presentem una eina de baix cost que permet la reproducció d’un terratrèmol en edificis antics. A més a més, en aquesta tesi hem dissenyat un sistema de realitat virtual adequat i compatible amb telèfons intel·ligents de baix cost que permet la recreació d’esdeveniments històrics

Aborda o desenvolvimento do Website da Memória Virtual da produção científica do curso de Geologia do Instituto de Geociências da Universidade Federal do Rio Grande do Sul (IGeo/UFRGS), sob o ponto de vista da socialização e da divulgação da informação em ambiente de comunicação digital. O objetivo geral deste estudo é disponibilizar a memória da produção científica do curso de Geologia constituída pelo acervo documental publicado pelo IGeo/UFRGS, armazenado na Biblioteca, em ambiente Web. A pesquisa tem caráter quali-quantitativo caracterizada pela fundamentação teórica em fontes de informações bibliográficas, na seleção dos documentos que integram o inventário analítico, na análise do resultado estatístico da avaliação do Website da Memória Virtual e na compilação estatística do levantamento da literatura sobre acervos documentais científicos. As fases metodológicas do estudo foram a pesquisa bibliográfica, o inventário documental, métodos de digitalização de documentos, adoção de padrões internacionais de interoperabilidade entre bases de dados – aponta o uso do Open Archive Iniciative Protocol for Metadata Harvesting (OAI-PMH) e aplicação de técnicas de design de informação no processo de desenvolvimento do Website. Conclui-se com os seguintes resultados: inventário dos 50 anos de produção científica do curso de Geologia do Instituto de Geociências da Universidade Federal do Rio Grande do Sul, compreendendo o período de 1957-2007, identifica os principais temas, autores e tipos documentais produzidos e publicação do Website da Memória Virtual, disponível em .
Addresses the development of the Website of Virtual Memory of the Scientific Production from the Geology undergraduate course of the Institute of Geosciences from the Federal University of Rio Grande do Sul (IGeo/UFRGS), from the point of view of socialization and dissemination of the information in the digital communication environment. The aim of this study is to provide the memory of the scientific production of the Geology course of the collection of documents published by Igeo/UFRGS stored in the Library, in a Web environment. The research is of qualitative and quantitative nature and it is characterized by the theoretical sources of bibliographic information, the selection of documents that make up the analytical inventory, the analysis of the statistical outcome of the evaluation of the Website of Virtual Memory, and compiling statistical survey of the literature on scientific document collections. The methodological steps of the study were: a literature review, inventory of the documents, document scanning methods, adoption of international standards for interoperability between databases - focused on the Open Archive Initiative Protocol for Metadata Harvesting (OAI-PMH) and application of techniques of information design in the process of the website development. In conclusion we have the following results: inventory of the 50 years of scientific production in the course of the Geosciences Institute of Geology, Federal University of Rio Grande do Sul, including the period 1957-2007, identifing the main topics, authors and type of documents produced and the publication of the Virtual Memory Website, available at .

I musei oggi hanno assunto un nuovo significato, non sono più solo luoghi dediti alla conservazione ed esposizione di collezioni e opere d’arte, ma rappresentano uno dei mezzi di comunicazione privilegiati per diffondere la cultura e renderla accessibile ad un pubblico più vasto possibile. Grazie all’emergere della filosofia della “nuova museologia”, il rapporto tra i musei, i luoghi d’arte, la società e la comunità, è profondamente cambiato, riducendo via via la divisione presente tra cultura trattata in modo classico e nuovi canali di comunicazione introdotti con la diffusione delle tecnologie. Numerosi sono gli interventi volti a creare strategie e strumenti per conservare e diffondere l’intero patrimonio, soprattutto laddove esso risulti fragile e deteriorabile, ma fino ad ora non è stato sviluppato un approccio metodologico strutturato, volto alla gestione efficiente del patrimonio culturale. Infatti, i profondi cambiamenti dovuti alla trasformazione digitale ed alla rinnovata centralità dell’utente devono essere affrontati con un approccio razionalmente e compiutamente organizzato, che consideri il reperto storico in tutte le fasi del suo ciclo di vita, dal ritrovamento alla conservazione all’interno di un museo e dalla digitalizzazione alla fruizione, considerando il reperto come un prodotto fisico che passa attraverso l'elaborazione e la conservazione digitale. Grazie al Prototipo Virtuale e all’Eco-Sistema del Bene Culturale, tutto questo è possibile. Gli studi condotti hanno permesso di porre al centro il reperto storico e il visitatore, permettendo a entrambi di usufruire di tutti gli strumenti a disposizione per valorizzarsi reciprocamente all’interno del nuovo ambiente: l’Eco-Sistema del Bene Culturale. Questo lavoro di tesi, grazie agli studi svolti sulla digitalizzazione ed alle varie installazioni create e testate con gli utenti avvalendosi dell’intera metodologia sviluppata, ha permesso di ottenere risultati innovativi, soprattutto nell’utilizzo delle tecnologie per garantire, dal punto di vista del reperto, la valorizzazione, preservazione, conservazione, che si riflettono in engagement, accessibilità, interattività a visitatori di diversa formazione socio-culturale e contesto.
Museums today have taken on a new meaning, they are no longer just places dedicated to the conservation and exhibition of collections and artworks, but represent one of the privileged means of communication to spread culture and make it accessible to the widest possible public. Thanks to the emergence of the philosophy of the "new museology", the relationship between museums, places of art, society and the community has profoundly changed, gradually reducing the present division between culture treated in a classical way and new channels of communication introduced with the spread of technology. There are numerous interventions aimed at creating strategies and tools to preserve and disseminate the entire heritage, especially where it is fragile and deteriorable, but so far no structured methodological approach has been developed for the efficient management of cultural heritage. In fact, the profound changes due to the digital transformation and the renewed centrality of the user must be tackled with a rationally and fully organized approach, which considers the historical find in all phases of its life cycle, from discovery to conservation within a museum and from digitization to fruition, considering the find as a physical product that passes through digital processing and preservation. Thanks to the Virtual Prototype and the Eco-System of Cultural Heritage, all this is possible. The studies carried out have made it possible to place the historical find and the visitor at the centre, allowing both to take advantage of all the tools available to enhance each other within the new environment: the Eco-System of Cultural Heritage. This thesis work, thanks to the studies carried out on digitization and the various installations created and tested with the users using the entire methodology developed, has allowed to obtain innovative results, especially in the use of technologies to ensure from the point of view of the find enhancement, preservation, conservation, which are reflected in engagement, accessibility, interactivity to visitors of different socio-cultural training and context.

The thesis presents a multidisciplinary analysis, both theoretical and practical, on the application of digital technologies to cultural heritage, in terms of study, preservation, valorization and dissemination, including, for this last aspect, a special focus on accessibility. Specific attention is given to the incredibly rich universitarian cultural heritage. The technical partnership with a digital industry permitted experimentation and implementation of a variety of different state of the art techniques, and even to develop specific purpose oriented solutions on a case by case basis. In the end a product is developed that integrates together digital techniques such as 3d reconstruction, 2d and 3d virtual restoration and digitization into a single platform that offers a possible unified model for the management, enhancement and communication of cultural heritage to the public.

L’obiettivo di questo lavoro di tesi è la ricerca e la definizione di un workflow che partendo dall’acquisizione e digitalizzazione del dato bi e tridimensionale di un Bene porti allo sviluppo di applicazioni di realtà virtuale e aumentata le quali, utilizzando le ultime tecnologie disponibili nel campo delle Information and Communication Technologies, permettano all’utente di fruire il patrimonio culturale secondo i linguaggi contemporanei. Seguendo il paradigma “learning by interacting” e utilizzando gli strumenti e le metodiche tipiche delle piattaforme di gaming, sono state sviluppate due applicazioni per la fruizione del Cultural Heritage: un’applicazione di realtà aumentata che permette di vedere, camminando direttamente sui resti del sito archeologico di Forum Sempronii, le principali architetture come erano un tempo e un’applicazione di realtà virtuale immersiva attraverso la quale è possibile navigare all’interno della ricostruzione del foro romano di Fanum Fortunae, vivendo una vera e propria esperienza interattiva e didattica. I principali temi trattati in questo lavoro sono stati quelli della digitalizzazione e della modellazione tridimensionale dei beni culturali in genere, volte da un lato alla tutela e preservazione del patrimonio culturale, dall’altro alla fruizione dello stesso tramite l’utilizzo delle più recenti tecnologie disponibili nel campo delle ICT. Un ruolo centrale in queste tematiche viene rivestito dal facsimile digitale: oggi la copia digitale è essa stessa patrimonio culturale. Questo lavoro inoltre mostra e sottolinea l’importanza della collaborazione tra diverse figure professionali (archeologi, architetti, informatici, grafici). Il risultato di questo lavoro è infatti costituito da diverse applicazioni dal forte carattere interdisciplinare, come auspicato dalle ultime direttive della Commissione Europea nell’anno europeo del patrimonio culturale.
The aim of this thesis is the research and the definition of a workflow that starting from the acquisition and digitization of bi and three-dimensional data of a cultural object leads to the development of virtual and augmented reality applications. These applications allow the user to exploit Cultural Heritage according to contemporary languages using the latest available Information and Communication Technologies. Two applications have been developed for the exploitation of Cultural Heritage, following the “learning by interacting” paradigm and using the tools and methods typical of gaming platforms: an augmented reality application that allows the user to see the main architectures as they were once, walking on the remains of the archaeological site of Forum Sempronii, and an immersive virtual reality application that allows the user to navigate within the virtual reconstruction of the Roman forum of Fanum Fortunae, experiencing a real interactive and didactic experience. The main themes faced in this work are the digitization and three-dimensional modeling of cultural heritage, aimed on the one hand at protecting and preserving cultural heritage and on the other on its exploitation through the use of the latest available technologies in the field of ICT. A central role in these issues is played by the digital facsimile: today the digital copy is itself cultural heritage. This work also shows and underlines the importance of collaboration between different professional figures (archaeologists, architects, informatics, graphic designers). The result of this work is in fact made up of different applications with a strong interdisciplinary character, as desired by the latest directives of the European Commission in the European Year of Cultural Heritage.

Discute, tendo como cenário o atual ambiente tecnológico baseado na mídia digital, as potencialidades do emprego das chamadas tecnologias de informação e comunicação na preservação do patrimônio cultural e no desenvolvimento da memória coletiva contemporânea, além de contribuir para a construção de um referencial teórico sobre o tema. Inicialmente conceitua patrimônio, memória e mídia, fazendo uma ligação entre eles. Em um segundo momento, aprofunda na discussão sobre modos de tradução de bens culturais para ambientes virtuais, estabelecendo possíveis critérios de abordagens de projetos dessa natureza, que serão aplicados, ao final da dissertação, na análise de uma dessas experiências.
It is discussed, in the scenery of the actual technological environment based on the digital media, the potencials of the so called information and communications technology in the cultural heritage preservation and in the contemporary collective memory developing, and also contributes to a theoretical referencing construction about the theme. First heritage, memory and media is contextualized, establishing relations between them. In a second moment, a discussion about translation forms of cultural goods to virtual environments is realized, establishing possible criterias for approaching projects of this nature that will be applied, at the end of this dissertation, in the analysis of one of these experiences.

L'Alsace a été profondément marquée par l'industrie textile. Depuis près de deux siècles, cet héritage se compose, se transmet puis se démantèle avec les taux de croissance structurels et conjoncturels de l'économie et les crises industrielles. Puis, il se recompose de manières arbitraire, hasardeuse, voire opportune (au-delà de la rationalité plus ou moins assurée de stratégie(s) à court terme), pour former de ce fait un paysage culturel, scientifique, technique et industriel unique à chaque instant. Il est alors tout à fait légitime de se demander comment mettre en mémoire l'évolution de ce tissu industriel ans toute sa complexité ? Trois modes de conservation sont potentiellement exploitables : matérielle (concept de la rétro-présence à la néo-présence), immatérielle (concept de mémo-rétroconstruction) et virtuelle (concept d'aréel, favorisant clairement la prise de position sur des contenus matériels e immatériels à sauvegarder). Même si toutes ces possibilités coexistent, un problème reste entier : quelle trajectoire se dessine pour la conservation du patrimoine de l'industrie textile en Alsace ? La littérature sur la conservation du patrimoine industriel existante depuis les années 1970 tend à délaisser les relations d'interdépendances existantes entre ces trois modes de conservation. Le peu de résultats disponibles ne permet pas d'apprécier ce que pourrait nous apporter une bonne gestion de ces trois modes de conservation combinés. Ce travail de recherche s'est donné comme objectif de proposer des schémas possibles pour définir un nouveau modèle de conservation, basé sur l'exemple du patrimoine industriel textile en Alsace. La première partie de cette étude explique les processus qui ont permis le passage de l'industrie textile en Alsace au statut de patrimoine. Des choix guidés par des pouvoirs discrétionnaires, des logiques de conservation opposables, une discontinuité de ligne de conduite sur des courtes et longues périodes, de réoccupations parfois plus électoralistes que scientifiques, des désengagements d'hommes de responsabilités ou encore le manque de cohérence entre les acteurs ou les institutions... ont orienté la stratégie de la politique de conservation d'une région. Quel état des lieux peut-on dresser aujourd'hui grâce aux sources historiques ? Quels enjeux se profilent à court, moyen et long terme ? La seconde partie pose les mêmes questions, mais cette fois-ci en recherchant les réponses par l'exploitation exclusive de sources médiatiques. Elle interroge la pertinence des processus actuels de conservation du patrimoine de l'industrie textile, qu'ils soient matériel, immatériel ou virtuel avec un regard complémentaire à la première partie de cette étude, celui des journalistes, de la représentation publique et politique. Les sciences de l'information et de la communication apportent-elles de nouveaux horizons à la conservation de patrimoine ? Oui, mais pas seulement. Elles ne se limitent pas au rôle d'outils, mais nous verrons comment elles ont un rôle déterminant dans la reconstruction un patrimoine : elles se mettent collectivement en mouvement avec la société pour la définir, en exploitant tous les sens accumulés dans les sèmes liés au patrimoine industriel textile. Elles reconstituent ainsi une référence collective et formulent des hypothèses de transformation, d'adaptation et de projections futures. Nous verrons alors s'il est envisageable de leur réserver un rôle dans la conservation du patrimoine.La troisième partie met en évidence des convergences et les divergences des trois modes de conservation. Elle propose des solutions concrètes pour l'Alsace, puis des concepts transposables pour ouvrir ce nouveaux processus de conservation vers d'autres régions françaises ou pourquoi pas vers d'autre thématiques
Alsace has been profoundly marked by the textile industry. For two centuries, its textile heritage has experienced numerous fluctuations, rising and falling according to the structural and cyclical growth rate of the economy and to industrial crises. Fluctuations that, though completely random and uncontrollable (strategies, even short-term, cannot be implemented), have occurred in a timely manner, thus giving rise to constantly changing unique cultural, scientific, technical and industrial landscape.It is thus only right to wonder how the memory of the development of this industrial fabric can be preserved in all its complexity? There are three possible means of preservation: material (retro-presence to neo presence concept), immaterial (concept of memo-retroconstruction) and virtual (concept of what is "areal", clearly promoting position take-up on material and immaterial concepts to be protected). Even if all these possibilities exist side by side, one problem remains unanswered, namely what is the outlook for the preservation of the textile heritage in Alsace? The literature on preservation of industrial heritage available since the 1970s tends to overlook the existing relationships of interdependence between these three modes of preservation. The shortage of results does not allow us to appraise the potential offered by proper management of a combination of these three modes of preservation. This research work thus aims to propose some possible schemes to define a new preservation model, based on the example of the textile industrial heritage in Alsace. The first part of this study explains the processes that have allowed the textile industry in Alsace to accede to heritage status some 200 years ago. Choices guided by discretionary powers, opposable preservation logics, discontinuity in course of action over short and long periods alike, reclaiming more often oriented by lections rather than of a scientific nature, opting-out of those with responsibilities, not to mention the lack of coherence between players and institutions: these are all factors that will guide a Region's preservation policy strategy. What state of affairs can be drawn up today by historical sources? What is the outlook for the future? The second part asks the same questions, but this time seeks for the answers based only on media sources. It questions the pertinence of the current textile heritage preservation processes, material, immaterial and virtual alike, but from a viewpoint different from and complementary to the first part, namely the viewpoint of journalists and public and political contributors. Do communication sciences offer heritage reservation new horizons? Yes they do, but that is not all they offer. We shall see that, far from being mere tool, they play a decisive role in the reconstruction of a heritage, grouping themselves to move with society in order to define it by using all the meanings accumulated in the semes relating to the textile industrial heritage. Through this they form a collective reference, formulating hypotheses for future transformation, adaptation and projections. We shall then see whether it is possible for them to play a role in heritage preservation.The third part highlights the convergences and divergences of the three preservation modes. lt suggest concrete solutions for Alsace, followed by transposable concepts to extend these new preservation processes to other regions in France and, why not, to other areas

Ce travail de recherche porte sur la numérisation du patrimoine culturel dans les musées nationaux coréens en nous interrogeant sur les différents types de dispositifs qui s’adaptent à la tendance actuelle du tout digital, tout en redéfinissant la médiation numérique. Afin d’aborder la particularité de la numérisation dans un contexte coréen, nous mettons en évidence d’une part un paysage global de l’évolution des musées nationaux ainsi qu’une analyse de la mise en application de la technologique numérique dans les institutions culturelles, et d’autre part les actions de médiation culturelle réalisées selon deux principes : démocratisation de la culture au sens global et démocratie culturelle dans le cadre du bien-être culturel et de médiation numérique au sein des musées nationaux coréens. Au-delà de ces recherches préalables indispensables, nous analysons des dispositifs numériques proposés par le musée national de Corée, ainsi que le comportement du public coréen, largement composé de ‘ressourceurs’ depuis des années, à l’égard des institutions muséales. Nous examinons la nouvelle tendance actuelle de la numérisation dans la société coréenne : l’établissement du nouveau concept de musée numérique constitué principalement d’une base de données sans objets réels, ainsi que la diffusion de l’exposition numérique utilisant essentiellement des supports digitaux pour mettre en avant et reproduire des œuvres. Dans cette perspective, nous évaluons un état des lieux actuel de la numérisation des institutions muséales coréennes selon les fonctions du musée. Cette thèse apporte des éléments de réflexion sur la numérisation pour développer la médiation numérique muséale tout comme elle se sert d’un modèle permettant aux institutions muséales d’évaluer l’état et l’utilité de la numérisation en fonction de leur situation propre
This research work focuses on the digitization of cultural heritage in Korean National Museums by asking different types of devices that adapt to the current trend in the digital age by redefining a digital interpretation. In order to approach the particularity of digitization in a Korean context, we emphasis on a global view of the evolution of national museums as we analyze the application of digital technology in cultural institutions on one hand, the cultural interpretation’s actions carried out by two principles on the other hand: democratization of Culture in a large sense and Cultural Democracy in the context of cultural well-being and digital interpretation in Korean National Museums. In addition to these indispensable preliminary researches, we analyze digital devices provided by the National Museum of Korea, as well as the behavior of the Korean audience towards museum institutions, which has been 'rechargers' for years for most of it. Also, we study the new trend of digitization in Korean society: the establishment of the new concept of a Digital Museum consisting mainly of a database without any actual object, as well as the diffusion of the digital exhibition using mostly a digital media for exhibiting and reproducing a work of art. In this perspective, we evaluate the present state of the digitization of Korean Museums according to museum functions. This thesis provides the elements of reflection on digitization in order to develop museum’s digital interpretation as it uses a model that allows museum institutions to assess their state and utility of digitization according to their own situation

The central theme of the thesis is the use of triangulation laser scanning and other optical three-dimensional surveying systems for the realization of 3D models of objects of historical and artistic interest - sculptures, archaeological finds, decorative elements in architecture. The subject is faced keeping in mind the purposes and needs the models should or could meet, and which are the challenging steps to become a more common tool. To name one, a fundamental aspect is bridging gaps between technology providers and Cultural Heritage practitioners. Research for new functional applications is directed, for instance, towards the development of models as visual reference bases for data of various provenance, or as part of more effective, interactional and/or immersive outreach programs. Technologies and procedures for data acquisition and processing are extensively analyzed both under a general view of the state of the art and of national and international authoritative undertakings, and within the scopes of two hands-on applications, planned and carried out during the PhD course, for documentation and communication in archaeological and art-curatorial panoramas: - The MUSINT project, which has reunited in a Web-based interactive exploration system several Aegean and Cypriot collections held by Tuscan archaeological museums, and has a strong point in the possibility of viewing a high number of 3D models; the other outcome is the prospect for specialists to examine off-line the high-resolution versions. - The Martelli project, which is aimed to support the visit to a distinguished Florentine house-museum and its art-collection with personalized multimedia itineraries and 3D engagement (with also a solid model), reconnecting threads between art-works belonged to the noble family and sources of historical evidence, and between both of them and real spaces. The projects described are presented after giving a detailed review of relevant and still open matters in the specific field of application, either practical or theoretical ones: orientation through suggested best practices and shared guidelines, definition of standards and validation procedures, sharing in / access to centralized archives of 3D data, archiving file formats and media, and so on. The case-studies have given the opportunity to apply referential principles and share an optimized methodology to create 3D content in similar projects, taking in account a great variety of objects and divergent interests. The many 3D models created for the above-mentioned projects are evaluated considering various criteria highlighted while going in-depth in the concept of “quality” (a few even diametrically different), as: the measurement performance of the surveying systems in relation to different shape features, sizes, materials, set conditions; the apparent trueness resulting from mesh and texture processing operations and from final adaptation in the visualization system; the level of information transparency given to the end-user through appropriate metadata; the long-term usability of data archived at intermediate stages; the easiness of use; the degree of interaction allowed by the final infrastructure, etc. These factors can change and, in different combinations, influence the assessment, depending on the end-user of the system the models are included in. Yet, quality can be consistently read as the extent to which models actually represent and convey what they claim to. Basically, a high-quality 3D model should improve the capability to study and work on an object for art-historical research and conservation purposes and also to communicate better all the information that a direct view can’t transmit, enhancing the user’s experience and participation. As all high-tech solutions, 3D model and interactive environments are to be preferred only to the extent they are efficient in conveying content, and not in themselves.

碩士
國立臺北教育大學
社會與區域發展學系碩士班
99
Owi, part of Yilan City, has been the political and cultural center since Qing dynasty. The government of Qing dynasty built city in Owi. However, the walls were removed, and the streets were extended during Japanese occupation. In the period of retrocession of Taiwan, the city moat were also instead of roads. Hence, the landscapes of ancient Yilan City almost disappear as time runs on. We only utilize literature and historical materials describe the landscapes. Only use 2D to present a region with timelines and spatiality is not good enough, and cannot convey both the realism of formerly bustling and the value. With the development of virtual reality, by applying 3D Sketch Up software to construct historical materials, using Google Earth as platform to display virtual reality, imitating historical space of ancient Yilan city, and materializing historical space. This research will be different from the historical materials which cannot acquire the sense of space. In virtual reality, space of ancient Yilan city will help people to abstract their curiosity of history of ancient Yilan city. In addition, this result can arouse the preservation of historic space in position attitude of people.

This dissertation explores virtual storytelling for conveying cultural stories effectively. We set out to investigate: (1) the strengths and/or weaknesses of VR as a storytelling medium; (2) the use of a culturally familiar introductory VE to preface a VE presenting traditional storytelling; (3) the relationship between presence and story experience. We conducted two studies to pursue these aims. Our aims were stated in terms of effective story experience, in the realm of cultural heritage. This was conceptualised as a story experience where story comprehension, interest in the story’s cultural context and story enjoyment were achieved, and where boredom and confusion in the story were low. This conceptualisation was empirically validated by our studies. Three storytelling scenarios were created to tell a traditional San story: text (T); a storytelling VE with no introductory VE (VR+NI); a storytelling VE with a hip-hop themed introductory VE (VR+I). These scenarios comprised our experimental conditions. Questionnaires, measuring interest in hip-hop and the story experience aspects identified above, were developed and psychometrically validated. Study 1 was conducted with a sample of 44 high-school learners and Study 2 with 98 university students. Both studies used a between-subjects design. Study 2 was a refined version of Study 1, improving Study 1’s questionnaires for use in Study 2 and considering two additional variables: attention to the story and perceived strangeness of the story. For our first aim, story experience in the text and VR storytelling scenarios were compared. In Study 1 and 2, comprehension was significantly higher in the T condition than in the two VR conditions combined and attention was higher in Study 2’s T condition. Therefore, we conclude that text is better for achieving story comprehension. In Study 1, interest and enjoyment were significantly higher in the VR condition, while boredom was higher in the T condition. But, no significant differences between text and VR were noted for these variables in Study 2. Comparisons of the T and VR conditions across Study 1 and 2 showed a particularly poor story experience in Study 1’s T group; we speculate that this was due to differences in Study 1 and 2’s samples and procedures. Barring this, there were no interest, enjoyment or boredom differences between T and VR across Study 1 and 2. Thus, we conclude, conservatively, that text and VR are equally good in terms of interest enjoyment and boredom. Confusion was higher in Study 1’s T condition, but this result was counter-intuitive since this condition had also shown higher comprehension. In contrast, Study 2’s VR condition showed significantly higher confusion and lower strangeness. We conclude that Study 1’s participants had reported strangeness rather than confusion and, while virtual storytelling resulted in more confusion, it also resulted in less perceived strangeness of the story. Presence and story experience in the VR+NI and VR+I storytelling scenarios were compared for our second aim. The introductory VE only had an effect for participants who showed a pre-existing interest in hip-hop. In Study 1’s VR+I condition, hip-hop interest was a significant predictor of enjoyment. In Study 2’s VR+I condition, those who identified hip-hop as a favourite music genre showed significantly higher presence than those who identified other genres as a favourite. This suggests that strongly themed introductory VE’s do not benefit virtual storytelling, and that content familiarity and preference interact with VE content to influence virtual experiences. Regarding our third aim; we did not find strong evidence of a relationship between presence and story experience since presence only correlated significantly with interest in Study 1.

The thesis discusses the role of Augmented and Virtual Reality technology for the promotion of the cultural heritage, considering both the museum mission and the visitor experience. The research framework represents an integration of the Contextual Model of Learning developed in the field of Museum Visitor Studies, and the cultural-historical Activity Theory, so to consider the different human, environmental and technological dimensions that determine the visitor experience. The research includes two studies. The first study is a qualitative investigation performed at the Ara Pacis Museum in Rome, in order to explore the "design for use" and the "design in use", by collecting data through ethnographic methods and analyzing data through the Service Design Thinking methodology. The second study is an investigation of the museum audience performed using an online questionnaire, to complement and validate the results from study 1. The thesis discusses the results related to the technology as engagement factor, the artifacts ecology and the social interaction among visitors.

Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e Tecnologia
A fotografia estereoscópica foi uma das principais formas de comunicação visual na segunda metade do século XIX, deixando ainda hoje um importante impacto na nossa cultura visual (Christie, 2018). Esta tecnologia, que ainda hoje existe através de pequenos grupos de entusiastas e coleccionadores, adaptou-se ao longo do tempo e partilha o seu espaço no universo tridimensional com a mais recente realidade virtual. Praticamente ao mesmo tempo que o aparecimento e a propagação da fotografia estereoscópica, em Coimbra, o Mosteiro de Santa Cruz é entregue ao Estado através da extinção de todas as ordens religiosas do país, sendo reutilizado para outras infra-estruturas. Hoje em dia, a fim de restaurar espacialmente este Mosteiro, a equipa do projecto CES de Santa Cruz modelou o espaço de forma super realista, tal como o era em 1834. Querendo expor o seu trabalho ao público tendo em conta a janela temporal destes eventos, fomos desafiados a criar um visor estereoscópico que estivesse à altura da tecnologia da Realidade Virtual de hoje, mas que conseguisse conter nela a experiência original da fotografia estereoscópica do século XIX. A fim de responder a este desafio, propomos a prototipagem de um dispositivo e software estereoscópico que repense e reinterprete a experiência original de visualização de uma fotografia estereoscópica. Nesta dissertação, descrevemos a criação e desenvolvimento de Spectare, um estereoscópio inspirado no final do século XIX, capaz de proporcionar Realidade Virtual e a sua utilização em cooperação com o trabalho realizado pelo Projecto Santa Cruz CES.
Stereoscopic photography was one of the main forms of visual communication in the second half of the 19th century, leaving even today an important impact on our visual culture(Christie, 2018). This technology, which still exists today through small groups of enthusiasts and collectors, has adapted over time and shares its space in the tridimensional universe with the latest virtual reality. Virtually at the same time as the appearance and propagation of stereoscopic photography, in Coimbra, the Santa Cruz Monastery is handed over to the State through the extinction of all religious orders in the country, being reused for other infrastructures. Nowadays, in order to spatially restore this Monastery, the Santa Cruz CES project team super realistically modelled the space as it was in 1834. Wanting to expose their work to the public taking into account the temporal window of these events, we were challenged to create a stereoscopic viewer that was up to the Virtual Reality technology of today, but that managed to contain in it the original experience of stereoscopic photography of the 19th century. In order to respond to this challenge we propose the prototyping of a stereoscopic device and software that rethinks and reinterprets the original experience of viewing a stereoscopic photograph. In this dissertation, we describe the creation and development of Spectare, a late 19th century inspired stereoscope capable of Virtual Reality and its usage in cooperation with the work made by Santa Cruz CES Project.
Outro - Ligação ao Projeto Santa Cruz

La tesi concerne lo studio archeologico, archeometrico e conservativo del lotto di ceramica argentata etrusca di ambito volsiniese conservata quasi totalmente nei magazzini del Museo Archeologico Nazionale di Firenze. Da un punto di vista archeologico l'obiettivo è stato l'identificazione e la documentazione (schede descrittive e documentazione fotografica) delle tipologie vascolari conservate. Da un punto di vista archeometrico le indagini si sono focalizzate sull'analisi della composizione chimica e mineralogica del rivestimento e sull'analisi della composizione geochimica e mineralogica del corpo ceramico dei manufatti. Da un punto di vista conservativo, infine, è stata effettuata la valutazione dell'attuale stato di conservazione della collezione e la conseguente pianificazione e messa in atto di interventi di restauro conservativi per la futura esposizione della classe all'interno dell'area espositiva museale. This PhD thesys deals with the archaeological, archaeometric and conservative study of an etruscan ceramic production (volsinian silvery-like ceramic) stored in the storage of the National Archaeological Museum of Florence. From an archaeological point of vue the goal was the identification and documentation of vessels typology preserved. From an archaeometric point of vue, investigations have focused on the analysis of the chemical and mineralogical composition of the coating and on the geochemical and mineralogical composition of the ceramic body. Finally, from a conservative point of vue, the current state of conservation of the collection was assessed. Then, some restorations were planned and implemented for a future ceramics exhibition inside the museum.

This thesis investigates the potential of narrative as a design generator and illustrates ways of extracting narratives from architecture through themed analyses of the proposed scheme. Discussions of cinematic and literary space — media traditionally dominated by narrative construction — augment discussions of architecture. The site, in both its formal and programmatic history, is discussed as the primary generator of both programme and form for the Narrative Factory. A critical stance is taken in order to respond to the material legacy of apartheid, which, it is argued, is a latent quality of much of Pretoria’s urban fabric. The use of lost space is discussed as points of departure from which to approach this legacy. Video: http://vimeo.com/81337714
Dissertation (MArch Prof)--University of Pretoria, 2014.
Architecture
MArch(Prof)
Unrestricted

Relatório de Estágio do Mestrado em Ensino de História no 3º ciclo do Ensino Básico e no Ensino Secundário apresentado à Faculdade de Letras
The introduction of the study of Local History and Historical-Cultural Heritage in the school context is quite relevant, demonstrating great potential in the development of historical understanding. Helping students better understand the space in which they are inserted, Heritage and Local History can and should unite contributions. The study presented was conducted with a class of the 7th grade of the College Bissaya Barreto, in Coimbra. It follows a qualitative line (Design Based Research (DBR) method, using an instrument for qualitative assessment of students perception of self-learning skills) and intends to understand "Can Local History and Historical-Cultural Heritage contribute to the motivation of students?" and "Will students be able to relate knowledge acquired in classes with the History and Historical-Cultural Heritage of their locality?". These are the research questions that guided the present work, in an attempt to understand whether the study of Local History and Historical-Cultural Heritage stimulates the motivation of students and whether they, when analyzing the Heritage sources and Local History, mobilize knowledge once acquired. Allied to these issues, objectives related to the application of the theme in the school context also arise. The didactic applications used in the context of bringing students closer to the Heritage and History of their city were: an on-site study visit to the Roman Cryptoporticus of the Machado de Castro National Museum and a virtual study visit to the ruins of the Roman city of Conímbriga, creating a flexible model that can be used in other school contexts. In both pedagogical and educational experiences most students indicated that they were motivating and contributed to their learning, helping them to better understand the themes addressed in class and to better know the environment in which they are inserted. The students demonstrated clear capacity to mobilize their knowledge and were aware of the responsibility for active learning they had during the activities, showing preference for on-site study visits, due to the possibility of being able to contact and interact with the site, to have a clearer notion of the size of the space and due to the conviviality among the whole class.
A introdução do estudo da História Local e do Património Histórico-Cultural em contexto escolar revela-se bastante pertinente, demonstrando grandes potencialidades no âmbito do desenvolvimento da compreensão histórica. Auxiliando os alunos a compreender melhor o espaço no qual estão inseridos, o Património e a História Local podem e devem unir contributos. O estudo apresentado foi realizado com uma turma do 7º ano de escolaridade do Colégio Bissaya Barreto, em Coimbra. O mesmo, segue uma linha qualitativa (método Design Based Research (DBR), com recurso a um instrumento de avaliação qualitativa da perceção dos alunos acerca das competências de autoaprendizagem) e pretende compreender se “Podem a História Local e o Património Histórico-Cultural contribuir para a motivação dos alunos?” e “Conseguirão os alunos relacionar conhecimentos adquiridos nas aulas com a História e o Património Histórico-Cultural da sua localidade?” Estas são as questões de investigação que orientaram o presente trabalho, na tentativa de compreender se o estudo da História Local e do Património Histórico-Cultural estimula a motivação dos alunos e se os mesmos, ao analisarem as fontes Patrimoniais e a História Local, mobilizam conhecimentos outrora adquiridos. Aliados a estas questões surgem igualmente objetivos relacionados com a aplicação da temática em contexto escolar. As aplicações didáticas realizadas utilizadas no âmbito de aproximar os alunos do Património Histórico-Cultural e da História da sua cidade foram: uma visita de estudo in loco ao Criptopórtico Romano do Museu Nacional Machado de Castro e uma visitas de estudo virtual às ruínas da cidade romana de Conímbriga, criando um modelo flexível que pode ser utilizado em outros contextos escolares. Em ambas as experiências pedagógico-didáticas a maioria dos alunos indicou que foram motivadoras e que contribuíram para a sua aprendizagem, auxiliando-os a compreender melhor as temáticas abordadas nas aulas e a conhecer melhor o meio no qual estão inseridos. Os alunos demonstraram claras capacidades de mobilizar os seus conhecimentos e revelaram-se conscientes da responsabilidade pela aprendizagem ativa que tiveram durante as atividades, mostrando preferência pelas visitas de estudo in loco, devido à possibilidade de poderem contactar e interagir com o local, ter uma noção mais clara da dimensão do espaço e devido ao convívio entre toda a turma.

Dissertação de mestrado em Engenharia Informática
This document presents the work developed to fulfill the requirements for a Master Thesis in Software Engineering, in the areas of Virtual Museums, and Ontologies for knowledge representation and exploration. The first objective of this thesis work was the creation of a specific ontology for the document repository of the Museum of the Person (Museu da Pessoa), using a standard for museums, CIDOC-CRM (Comit´e Internacional pour la Documentation - Conceptual Reference Model), complemented with FOAF (Friend-of-a-Friend) and DBpedia that provides specific concepts and relations to deal with persons. This abstract ontology was then populated with life stories collected previously through of interviews of common people. Two different approaches have be proposed to create the web pages for the Virtual Museum (VM), but only the approach 1 was implemented. A TripleStore was used as database to store all the information that constitutes the Museum assets; the VM was created consulting the datastore through SPARQL (SPARQL Protocol and RDF Query Language) queries. In the dissertation will be discussed the design decisions, and provided the technical details; the project outcomes will be illustrated. The npMP site created can be accessed at http://npmp.epl.di.uminho.pt/ and complements this reading.
Este documento apresenta o resultado do trabalho relativo a uma Tese de Mestrado em Informática, nas áreas dos Museus Virtuais (VM, Virtual Museum), e Ontologias para representação˜ do conhecimento e sua exploração. O primeiro objetivo desta tese foi a criação de uma ontologia específica para o repositório de documentos do Museu da Pessoa (MP, Museum of the Person), utilizando um padrão para museus, CIDOC-CRM (Comité Internacional pour la Documentation - Conceptual Reference Model), complementada com FOAF (Friend-of-a-Friend) e DBpedia as quais que fornecem conceitos e relações específicas para lidar com pessoas. Esta ontologia abstrata foi preenchida com histórias de vida recolhidas anteriormente através de entrevistas a pessoas comuns. Duas abordagens diferentes foram concebidas para criar as páginas Web para o Museu Virtual, mas apenas a primeira abordagem foi implementada. Um TripleStore foi usado como base de dados para armazenar todas as informações que constituem o património do Museu; as salas de exposição do museu foram criadas através de consultas SPARQL (SPARQL Protocol and RDF Query Language) enviadas a esse TripleStore. Na dissertação serão discutidas as decisões de design, e fornecidos os detalhes técnicos; os resultados do projeto serão também ilustrados. O site npMP criado, acessível em http: //npmp.epl.di.uminho.pt/, complementa esta leitura.

This work is focused the theme of the access to Cultural Heritage through the most recent digital technologies developed in last decades. The entertainment industry, and more specifically that concerning videogames, is now considered the most promising in order to bridge the gap, generated by the contemporary, between those who ‘create’ or preserve the Heritage and those who enjoy it. For this reason, a particular study is dedicated to the theme of serious games, a potential tool for the re-appropriation of museum spaces and all those places that no longer arouse the spontaneous interest of people. Starting from the definition of the notions of material and immaterial Heritage and investigating their evolution in the international debate, the theme of the use of the Heritage is addressed. Today there is a clear need to preserve the heritage from the test of time in order to ensure the preservation of the 'memory'. The museum structures, together with all the disciplines that regulate its functioning, have available 'new tools' to reach these purposes. Today, 3D models, as well as providing design support, are important for permanently recording the shape of existing architectural works and artifacts, in order to achieve the future generations. The 3D model therefore becomes an important 'tool' of the discipline of representation, useful for the construction of virtual scenarios for the use of the Heritage. Part of this work concerns the complex case study of the archaeological site of Masada in Israel, under UNESCO protection, and the construction of the digital archive obtained through the use of integrated digital survey methodologies and 3D modeling. The research presented aimed at the definition of a methodological process that, starting from a digital database, reach in information obtained by archival research, photographic and digital survey campaigns, allows to 'translate' this data and these 'materials' in contents accessible and usable by the general public. For this reason, within this research, a serious game called 'Masada Museum' was designed and partially developed as a potential tool in order to increase the potentiality of the current museum structure.

No presente trabalho, pretendemos lançar reflexões e contributos para a discussão de um novo conceito de plataforma multimédia, partindo da análise de diversos casos de referência. Deste modo, apresenta-se o estudo que conduziu ao desenvolvimento da proposta para a nova plataforma In2Museum para o Museu das Comunicações (MC). Este projecto fundamenta-se na oportunidade que a Internet, as redes sociais online e os novos media podem facultar a comunicação em rede, a expansão do espaço físico e a interacção com os públicos. A In2Museum tem como objectivo proporcionar à instituição uma comunicação mais eficiente e eficaz, que permita divulgar património cultural material e imaterial, promover a participação activa do público e aquisição do conhecimento através do saber/entretenimento. A In2Museum visa desenvolver sinergias entre o Museu das Comunicações e o Arquivo Municipal de Lisboa – Núcleo Fotográfico (AML), com novos parceiros e público(s). O elo de ligação e interacção entre eles é a colecção de desenhos a tinta-da-china de chafarizes de Lisboa, do Museu das Comunicações. Assim, o chafariz é o elemento chave, o qual permite desenvolver uma plataforma multimédia modular num ambiente comunicacional Web 2.0 com recurso a QR Code. Pretende-se que a evolução esteja sempre presente, bem como, a partilha de informação técnico-científica e/ou histórias sociais relevantes de forma a contribuir para a promoção universal do património cultural local através de uma divulgação global.
In the present work, we plan to launch reflections and contributions to the discussion of a new concept of multimedia platform, based on the analysis of several case studies. Thus, we present the study that led to the development of the proposal for the new platform In2Museum to the Communications Museum (MC). This project is based on the opportunity the Internet, online social networks and new media can provide to the network communication, the expansion of space and interaction with the public. The In2Museum aims to provide the institution with the means to communicate more efficiently and effectively, enabling discloser of material and immaterial cultural heritage, promote active public participation and acquisition of knowledge through learning / entertainment. The In2Museum aims to develop synergies between the Communications Museum and the Photo Centre of the Municipal Archive of Lisbon (AML), with new partners and audience(s). The liaison and interaction between them is a collection of china-ink drawings of Lisbon´s fountains, belonging to the Museum of Communications. Thus, the fountain is the key element, which allows developing a multimedia modular platform in a Web 2.0 communication environment using the QR Code. It is intended that the evolution is always present, as well as the sharing of scientific and technical information and / or relevant social stories that can contribute to the universal promotion of local cultural heritage through a global disclosure.