Thèses sur le sujet « Cultural Heritage Documentation »

Drawing sketches is certainly one of the most important but at the same time elaborate parts of archaeological work. Currently, 3D scanning technology is affording a number of new applications, and only one of them is using virtual copies instead of the originals as the basis for documentation. Our major contribution are methods for automatically generating stylized images from 3D models. These are not only intuitive and easy to read but also more objective and accurate than traditional drawings. Besides some other useful tools we show several examples from our daily work proving that the system accelerates the whole documentation process considerably.

Aksum est la capitale de l'ancien royaume aksumite et l'un des sites archéologiques les plus importants d'Éthiopie. Il a été inscrit sur la liste du patrimoine mondial en 1980
Aksum is the capital of ancient Aksumite Kingdom and one of the most important archaeological site in Ethiopia. It has been registered on World Heritage List in 1980. Its archaeological and cultural heritage continues to be a victim of urbanization, development, erosion and deposition. Despite increased awareness and issues within the field of archaeology, the destruction of archaeological and cultural heritage sites of Aksum has been staggering. Although considered as an outstanding universal heritage site, very little focused cultural heritage management has been undertaken in Aksum. All archaeological excavations conducted thus far in Aksum focused on unearthing elite tombs and palaces. Both acts of destruction are relevant to current research on the cultural heritage management aspect in Aksum in general. This research provides an analysis of the destruction of the archaeological and heritage sites and monuments in Aksum based on ancient documents, archaeological excavations and field observation. It examines the extent the sites have been excavated, documented and preserved. Three sites have been selected for case study for the present research. The research revealed that the archaeological and heritage sites in Aksum have been deeply affected by urbanization in general. Evidently, the absence of integrated development planning by the municipality, lack of professionals in the field of archaeology and lack of public education have contributed significantly to the loss of the archaeological record. This thesis attempts to evaluate the current state of documentation and preservation of the cultural heritage resource in Aksum

Is there such a thing as unadulterated nature? All that surrounds us is culturally modified by man somewhere along our past. But culture is only a fictitious conception itself, created in an attempt to break the world into controllable objects.

So in what do we find culture? In everything? In the objects or the stories they embrace? Who chooses what’s worth saving and how to save? Choosing what is culture is made from personal, ingrained dichotomies of what’s important and what is not. A selective eye creates a distorted truth, which could have unintentional long-term effects.

This thesis will give a historical account of the archaeological discipline’s development in tending to our cultural heritage. By demonstrating its many complications, with examples of forest remains, I will argue for the need of innovation, communication and documentation. Only then can we get a broader, more varied and slightly less modified picture of the culture we choose to keep.

Dans le domaine de l’architecture et de la conservation du patrimoine historique, les technologies de l’information et de la communication permettent l’acquisition de grandes quantités de données introduisant des supports d’analyses pour différentes finalités et à différents niveaux de détails (photographies, nuages de points, imagerie scientifique, …). L’organisation et la structuration de ces ressources est aujourd’hui un problème majeur pour la description, l’analyse et la compréhension d’objets patrimoniaux. Cependant les solutions existantes d’annotations sémantiques d’images ou de modèle 3D se révèlent insuffisantes notamment sur l’aspect de mise en relation des différents supports d’analyse.Cette thèse propose une approche permettant de conduire des annotations sur les différents supports bidimensionnels tout en permettant la propagation de ces annotations entre les différentes représentations (2D ou 3D) de l’objet. L’objectif est d’identifier des solutions pour corréler (d’un point de vue spatial, temporel et sémantique) des jeux d’annotations au sein d’un jeu d’images. Ainsi le système repose sur le principe de spatialisation des données permettant d’établir une relation entre les représentations 3D, intégrant toute la complexité géométrique de l’objet et par conséquent permettant l’extraction d’informations métriques, et les représentations 2D de l’objet. L’approche cherche donc à la mise en place d’une continuité informationnelle depuis l’acquisition d’images jusqu’à la construction de représentations 3D sémantiquement enrichies en intégrant des aspects multi-supports et multi-temporels. Ce travail a abouti à la définition et le développement d’un ensemble de modules informatiques pouvant être utilisés par des spécialistes de la conservation d’un patrimoine architectural comme par le grand public
In the field of architecture and historic preservation , the information and communication technologies enable the acquisition of large amounts of data introducing analysis media for different purposes and at different levels of details ( photographs, point cloud, scientific imaging, ...). The organization and the structure of these resources is now a major problem for the description, the analysis and the understanding of cultural heritage objects. However the existing solutions in semantic annotations on images or on 3D model are insufficient, especially in the linking of different analysis media.This thesis proposes an approach for conducting annotations on different two-dimensional media while allowing the propagation of these annotations between different representations (2D or 3D) of the object. The objective is to identify solutions to correlate (from a spatial, temporal and semantic point of view) sets of annotations within sets of images. Thus, the system is based on the principle of data spatialization for establishing a relationship between the 3D representations, incorporating all the geometric complexity of the object and therefore to the metric information extraction, and 2D representations of object. The approach seeks to the establishment of an information continuity from the image acquisition to the construction of 3D representations semantically enhanced by incorporating multi-media and multi-temporal aspects. This work resulted in the definition and the development of a set of software modules that can be used by specialists of conservation of architectural heritage as by the general public

The research work was developed starting from the idea of an operational and practical use of remote sensing data from satellite, drone, and ground, as suggested by the title. “Towards an operational use of remote sensing data (satellite, drone, and ground) for Cultural Heritage: from discovery o documentation, monitoring and valorisation” was carried out as part of a PhD at the University of Basilicata, but a fundamental contribution was made by the possibility offered by the National Research Council (CNR) - Institute of Methodologies for Environmental Analysis (IMAA), and Institute of Heritage Sciences (ISPC) - to carry out the research as part of their projects. The CNR has been useful and fruitful for the development of new ideas, and access to otherwise inaccessible technologies and tools. Above all, the National Research Council was useful for the people and researchers who provided the author with expertise, advice, experience, and support in times of need. For this reason, the work proposed within the individual chapters follows the same idea and is the result of research carried out in Italy and all around the World, over the last three years. The main aim was to research methodologies, theories and tools useful for real case studies, which could support archaeological research both in its phases of discovery and knowledge, and in the phases of planning and prevention of events damaging the cultural and natural heritage. The activity focused on the predominant use of open source and freely accessible (open) and usable tools and data, where available. In particular, on the use of large databases and powerful calculation platforms made available online free of charge by large service providers such as Google, the European Space Agency, the Italian Space Agency and NASA (National Aeronautics and Space Administration). The choice of structuring methods and workflows based on opensource and open-data was also dictated by the desire to be able to reapply the same methodologies on a global scale to (i) test their robustness, and (ii) provide a reusable and replicable tool. The chapters focus on (i) the use of the ESA (European Space Agency) Copernicus Sentinel-2 and Sentinel-1 satellites, and NASA (National Aeronautics and Space Administration) Landsat-7 TM and Landsat-8 OLI satellites for the discovery of CH and preservation of the CNH; (ii) the use of tools for the management of Big and Open Data; (iii) the use of the new PRISMA (PRecursore IperSpettrale della Missione Applicativa) hyperspectral data of the ASI (Italian Space Agency) for the discovery of new archaeological sites; (iv) the use of close-range technologies such as UASs (Unmanned Aerial System) for the discovery of buried structures; (v) the integrated use of different RS technologies (satellite, UAS, and geophysics) for the discovery and reconstruction of ancient contexts; and, of course, on the use of the related pre- and post-processing methodologies. On the other hand, used methodologies and previous studies on specific topics are set out in more detail in the individual chapters. This choice has been made because it is considered more explanatory and didactic in the context of a global reading of the entire work. The chapters are structured in the form of a paper, some of which have already been published in peer-reviewed journals (e.g. Remote Sensing, IEEE Geoscience and Remote Sensing, etc.). The topics covered are Remote Sensing (RS) and Earth Observation (EO) applied to the discovery, protection, and safeguarding of Cultural and Natural Heritage, with several methodologies and different hardware and software tools.

This study approaches CERDOTOLA from a librarian perspective while looking at the introduction of digital libraries and possible issues that could arise during the development of a cultural digital repository. In spite of existing cooperation agreements between CERDOTOLA and various local, regional, and international organizations involved in cultural documentation, the present inter-institutional collaborations rarely reflect a level of involvement that brings direct input from stakeholders. This problem is set within normative institutionalism and reveals the difficulties in leveraging the technologies of digital libraries in order to effectively contribute to the development digital collections. This research is a qualitative case study that analyzes and discusses 10 individual interviews, 2 group interviews, 1 focus group discussion, and multiple site observations with critical discourse analysis. The analysis is based on Siegfried Jäger and Florentine Maier’s interpretation of Foucault’s critical discourse analysis and dispositive. A major finding of the study is that there is a lack of trust in and among institutions that impairs any collaboration is spite of the fact that digital libraries are valued and progressively accepted by the local LIS community. An organization such as the CERDOTOLA that tends to capitalize on alliances and inter-institutional collaborative agreements may need to re-conceptualize its view of stakeholders and reconcile the stakeholders’ understanding of digital libraries and digital libraries’ contents with its internal objectives. The conclusion of the study is that a redefinition of stakeholders’ roles and the direct involvement of the groups who own cultural materials could ease the documentation and digitalization process. Since the study mainly focuses on the opinion of LIS professionals and the example of one specific ethnic group, further research is recommended with additional groups using the same methodology.
Program: Masterprogram: Biblioteks- och informationsvetenskap, Digitala bibliotek och informationstjänster

The basics of visualisations in the context of Cultural Heritage are not broadly defined. But this is the precondition to find out suitable and practical strategies to document and manage the knowledge contained therein. For this, the paper focusses the properties, potentials and typologies of Cultural Heritage visualisations related to application fields and possibilities as well as documentation strategies, creation process and methodology. The paper starts with a theoretical overview of the properties and potential of visualisation related to the usability in the context of Cultural Heritage. On this basis the correlation between application possibilities and the three application fields - research, transfer of knowledge and preservation - will be discussed. In a second part, the paper identifies the similarities and differences of typical working processes and methodologies by the study “Investigation of 3D modelling workflows in CH with the object of development of key concepts and definitions”. This is a subproject of the project COSCH with the purpose to create a framework called COSCHKR as an international and interdisciplinary platform for state-of-the-art documentation of Cultural Heritage. For this, the main topic of the study was the analysis, evaluation and comparison of thirty different 3D projects of three institutes. It was possible to define different types of CH visualization and framework of a working process. Third topic is the documentation and management of knowledge of such visualisation in the field of Cultural Heritage. The paper compares three current research projects and points out commons and differences of the different strategies. At the end, a synthesis gives a first idea for common strategies and best practice guidelines of Cultural Heritage visualisation related to the process, methodology and documentation. Purpose – Find out general strategies to document and manage knowledge Design/methodology/approach – Based on investigation and evaluation of different projects. Originality/value – Most of the projects are a special application for one research question, this methodology raises a common claim. Practical implications – The outcomes of the investigation is a basis for further practical applications with a high range of usability.

This diploma thesis deals with the reconstruction and rehabilitation of a real cultural monument in Fulnek. It is a four-winged object with almost rectangular atrium. The main subject of the diploma thesis is the change in the use of the building and the proposals for remediation of damp walls. Knurr's palace has three above-ground floors and is non-decked, covered by a classic shell with fiber cement. The use of the object is mainly designed as a civic amenities, now the building is not used. The building is located in close proximity to the slope and the building is adjacent to the building. The project is solved at the level of the documentation for construction.

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 .

[ES] Las labores de documentación de arte rupestre son arduas y delicadas, donde el color desempeña un papel fundamental, proporcionando información vital a nivel descriptivo, técnico y cuantitativo . Tradicionalmente los métodos de documentación en arqueología quedaban restringidos a procedimientos estrictamente subjetivos. Sin embargo, esta metodología conlleva limitaciones prácticas y técnicas, afectando a los resultados obtenidos en la determinación del color. El empleo combinado de técnicas geomáticas, como la fotogrametría o el láser escáner, junto con técnicas de procesamiento de imágenes digitales, ha supuesto un notable avance. El problema es que, aunque las imágenes digitales permiten capturar el color de forma rápida, sencilla, y no invasiva, los datos RGB registrados por la cámara no tienen un sentido colorimétrico riguroso. Se requiere la aplicación de un proceso riguroso de tranformación que permita obtener datos fidedignos del color a través de imágenes digitales. En esta tesis se propone una solución científica novedosa y de vanguardia, en la que se persigue integrar el análisis espectrofotométrico y colorimétrico como complemento a técnicas fotogramétricas que permitan una mejora en la identificación del color y representación de pigmentos con máxima fiabilidad en levantamientos, modelos y reconstrucciones tridimensionales (3D). La metodología propuesta se basa en la caracterización colorimétrica de sensores digitales, que es de novel aplicación en pinturas rupestres. La caracterización pretende obtener las ecuaciones de transformación entre los datos de color registrados por la cámara, dependientes del dispositivo, y espacios de color independientes, de base física, como los establecidos por la Commission Internationale de l'Éclairage (CIE). Para el tratamiento de datos colorimétricos y espectrales se requiere disponer de un software de características técnicas muy específicas. Aunque existe software comercial, lo cierto es que realizan por separado el tratamiento digital de imágenes y las operaciones colorimétricas. No existe software que integre ambas, ni que además permita llevar a cabo la caracterización. Como aspecto fundamental, presentamos en esta tesis el software propio desarrollado, denominado pyColourimetry, siguiendo las recomendaciones publicadas por la CIE, de código abierto, y adaptado al flujo metodológico propuesto, de modo que facilite la independencia y el progreso científico sin ataduras comerciales, permitiendo el tratamiento de datos colorimétricos y espectrales, y confiriendo al usuario pleno control del proceso y la gestión de los datos obtenidos. Adicinalmente, en este estudio se expone el análisis de los principales factores que afectan a la caracterización tales como el sensor empleado, los parámetros de la cámara durante la toma, la iluminación, el modelo de regresión, y el conjunto de datos empleados como entrenamiento del modelo. Se ha aplicado un modelo de regresión basado en procesos Gaussianos, y se ha comparado con los resultados obtenidos mediante polinomios. También presentamos un nuevo esquema de trabajo que permite la selección automática de muestras de color, adaptado al rango cromático de la escena, que se ha denominado P-ASK, basado en el algoritmo de clasificación K-means. Los resultados obtenidos en esta tesis demuestran que el proceso metodológico de caracterización propuesto es altamente aplicable en tareas de documentación y preservación del patrimonio cultural en general, y en arte rupestre en particular. Se trata de una metodología de bajo coste, no invasiva, que permite obtener el registro colorimétrico de escenas completas. Una vez caracterizada, una cámara digital convencional puede emplearse para la determinación del color de forma rigurosa, simulando un colorímetro, lo que permitirá trabajar en un espacio de color de base física, independiente del dispositivo y comparable con
[CA] Les tasques de documentació gràfica d'art rupestre són àrdues i delicades, on el color compleix un paper fonamental, proporcionant informació vital a nivell descriptiu, t\`ecnic i quantitatiu.Tradicionalment els mètodes de documentació en arqueologia quedaven restringits a procediments estrictament subjectius, comportant limitacions pràctiques i tècniques, afectant els resultats obtinguts en la determinació de la color. L'ús combinat de tècniques geomàtiques, com la fotogrametria o el làser escàner, juntament amb tècniques de processament i realç d'imatges digitals, ha suposat un notable avanç. Tot i que les imatges digitals permeten capturar el color de forma ràpida, senzilla, i no invasiva, les dades RGB proporcionades per la càmera no tenen un sentit colorimètric rigorós. Es requereix l'aplicació d'un procés rigorós de transformació que permeti obtenir dades fidedignes de la color a través d'imatges digitals. En aquesta tesi es proposa una solució científica innovadora i d'avantguarda, en la qual es persegueix integrar l'anàlisi espectrofotomètric i colorimètric com a complement a tècniques fotogramètriques que permetin una millora en la identificació de la color i representació de pigments amb màxima fiabilitat en aixecaments, models i reconstruccions tridimensionals 3D. La metodologia proposada es basa en la caracterització colorimètrica de sensors digitals, que és de novell aplicació en pintures rupestres. La caracterització pretén obtenir les equacions de transformació entre les dades de color registrats per la càmera, dependents d'el dispositiu, i espais de color independents, de base física, com els establerts per la Commission Internationale de l'Éclairage (CIE). Per al tractament de dades colorimètriques i espectrals de forma rigorosa es requereix disposar d'un programari de característiques tècniques molt específiques. Encara que hi ha programari comercial, fan per separat el tractament digital d'imatges i les operacions colorimètriques. No hi ha programari que integri totes dues, ni que permeti dur a terme la caracterització. Com a aspecte addicional i fonamental, vam presentar el programari propi que s'ha desenvolupat, denominat pyColourimetry, segons les recomanacions publicades per la CIE, de codi obert, i adaptat al flux metodológic proposat, de manera que faciliti la independència i el progrés científic sense lligams comercials, permetent el tractament de dades colorimètriques i espectrals, i conferint a l'usuari ple control del procés i la gestió de les dades obtingudes. A més, s'exposa l'anàlisi dels principals factors que afecten la caracterització tals com el sensor emprat, els paràmetres de la càmera durant la presa, il¿luminació, el model de regressió, i el conjunt de dades emprades com a entrenament d'el model. S'ha aplicat un model de regressió basat en processos Gaussians, i s'han comparat els resultats obtinguts mitjançant polinomis. També vam presentar un nou esquema de treball que permet la selecció automàtica de mostres de color, adaptat a la franja cromàtica de l'escena, que s'ha anomenat P-ASK, basat en l'algoritme de classificació K-means. Els resultats obtinguts en aquesta tesi demostren que el procés metodològic de caracterització proposat és altament aplicable en tasques de documentació i preservació de el patrimoni cultural en general, i en art rupestre en particular. Es tracta d'una metodologia de baix cost, no invasiva, que permet obtenir el registre colorimètric d'escenes completes. Un cop caracteritzada, una càmera digital convencional pot emprar-se per a la determinació de la color de forma rigorosa, simulant un colorímetre, el que permetrà treballar en un espai de color de base física, independent d'el dispositiu i comparable amb dades obtingudes mitjançant altres càmeres que tambè estiguin caracteritzades.
[EN] Cultural heritage documentation and preservation is an arduous and delicate task in which color plays a fundamental role. The correct determination of color provides vital information on a descriptive, technical and quantitative level. Classical color documentation methods in archaeology were usually restricted to strictly subjective procedures. However, this methodology has practical and technical limitations, affecting the results obtained in the determination of color. Nowadays, it is frequent to support classical methods with geomatics techniques, such as photogrammetry or laser scanning, together with digital image processing. Although digital images allow color to be captured quickly, easily, and in a non-invasive way, the RGB data provided by the camera does not itself have a rigorous colorimetric sense. Therefore, a rigorous transformation process to obtain reliable color data from digital images is required. This thesis proposes a novel technical solution, in which the integration of spectrophotometric and colorimetric analysis is intended as a complement to photogrammetric techniques that allow an improvement in color identification and representation of pigments with maximum reliability in 3D surveys, models and reconstructions. The proposed methodology is based on the colorimetric characterization of digital sensors, which is of novel application in cave paintings. The characterization aims to obtain the transformation equations between the device-dependent color data recorded by the camera and the independent, physically-based color spaces, such as those established by the Commission Internationale de l'Éclairage (CIE). The rigorous processing of color and spectral data requires software packages with specific colorimetric functionalities. Although there are different commercial software options, they do not integrate the digital image processing and colorimetric computations together. And more importantly, they do not allow the camera characterization to be carried out. Therefore, as a key aspect in this thesis is our in-house pyColourimetry software that was developed and tested taking into account the recommendations published by the CIE. pyColourimetry is an open-source code, independent without commercial ties; it allows the treatment of colorimetric and spectral data and the digital image processing, and gives full control of the characterization process and the management of the obtained data to the user. On the other hand, this study presents a further analysis of the main factors affecting the characterization, such as the camera built-in sensor, the camera parameters, the illuminant, the regression model, and the data set used for model training. For computing the transformation equations, the literature recommends the use of polynomial equations as a regression model. Thus, polynomial models are considered as a starting point in this thesis. Additionally, a regression model based on Gaussian processes has been applied, and the results obtained by means of polynomials have been compared. Also, a new working scheme was reported which allows the automatic selection of color samples, adapted to the chromatic range of the scene. This scheme is called P-ASK, based on the K-means classification algorithm. The results achieved in this thesis show that the proposed framework for camera characterization is highly applicable in documentation and conservation tasks in general cultural heritage applications, and particularly in rock art painting. It is a low-cost and non-invasive methodology that allows for the colorimetric recording from complete image scenes. Once characterized, a conventional digital camera can be used for rigorous color determination, simulating a colorimeter. Thus, it is possible to work in a physical color space, independent of the device used, and comparable with data obtained from other cameras that are also characterized.
Thanks to the Universitat Politècnica de València for the FPI scholarship
Molada Tebar, A. (2020). Colorimetric and spectral analysis of rock art by means of the characterization of digital sensors [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/160386
TESIS

This research attempts to describe the material culture of the Gaelic labouring classes living in western Ulster in the Late Medieval period. The research combines ethnohistorical contextual and technical scientific analysis of ‘chance’ finds discovered in the region’s bogs. Technical analysis dates fifteen museum objects, characterises the materials from which they were made, and explores their cultural significance. Absolute dating indicates that one third of the 15 objects analysed relate to the Gaelic lordships of late medieval western Ulster, with the remainder reflecting aspects of Iron Age and Post-Medieval material culture and related cultural pracrices. Contextual analysis of the later medieval objects and their find locations provides new insights into Gaelic Irish culture and landscape interactions in this period and place. In addition, the research explores the trajectory of indigenous materiality in western Ulster beyond the Late Medieval period. To this end, the thesis examines the relationship between Late Medieval indigenous materiality, and the folk material culture that emerges in western Ulster in the Modern period.
Heritage Consortium, Arts and Humanities Research Council (UK)

L’importance de la documentation du patrimoine culturel croit parallèlement aux risques auxquels il est exposé tels que les guerres, le développement urbain incontrôlé, les catastrophes naturelles, la négligence et les techniques ou stratégies de conservation inappropriées. De plus, la documentation constitue un outil fondamental pour l'évaluation, la conservation, le suivi et la gestion du patrimoine culturel. Dès lors, cet outil majeur nous permet d’estimer la valeur historique, scientifique, sociale et économique de ce patrimoine. Selon plusieurs institutions internationales dédiées à la conservation du patrimoine culturel, il y a un besoin réel de développer et d’adapter de solutions informatiques capables de faciliter et de soutenir la documentation du patrimoine culturel peu documenté surtout dans les pays en développement où il y a un manque flagrant de ressources. Parmi ces pays, la Palestine représente un cas d’étude pertinent dans cette problématique de carence en documentation de son patrimoine. Pour répondre à cette problématique, nous proposons une approche d’acquisition et d’extraction de connaissances patrimoniales dans un contexte peu documenté. Nous prenons comme cas d’étude l’église de la Nativité en Palestine et nous mettons en place notre approche théorique par le développement d’une plateforme d’acquisition et d’extraction de connaissances patrimoniales à l’aide d’un Framework pour la documentation de patrimoine culturel.Notre solution est basée sur les technologies sémantiques, ce qui nous donne la possibilité, dès le début, de fournir une description ontologique riche, une meilleure structuration de l'information, un niveau élevé d'interopérabilité et un meilleur traitement automatique (lisibilité par les machines) sans efforts additionnels.De plus, notre approche est évolutive et réciproque car l’acquisition de connaissance (sous forme structurée) améliore l’extraction de connaissances patrimoniales à partir de texte non structuré et vice versa. Dès lors, l’interaction entre les deux composants de notre système ainsi que les connaissances patrimoniales se développent et s’améliorent au fil de temps surtout que notre système utilise les contributions manuelles et validations des résultats automatiques (dans les deux composants) par les experts afin d’optimiser sa performance
The importance of cultural heritage documentation increases in parallel with the risks to which it is exposed, such as wars, uncontrolled urban development, natural disasters, neglect and inappropriate conservation techniques or strategies. In addition, this documentation is a fundamental tool for the assessment, the conservation, and the management of cultural heritage. Consequently, this tool allows us to estimate the historical, scientific, social and economic value of this heritage. According to several international institutions dedicated to the preservation of cultural heritage, there is an urgent need to develop computer solutions to facilitate and support the documentation of poorly documented cultural heritage especially in developing countries where there is a lack of resources. Among these countries, Palestine represents a relevant case study in this issue of lack of documentation of its heritage. To address this issue, we propose an approach of knowledge acquisition and extraction in the context of poorly documented heritage. We take as a case study the church of the Nativity in Palestine and we put in place our theoretical approach by the development of a platform for the acquisition and extraction of heritage knowledge. Our solution is based on the semantic technologies, which gives us the possibility, from the beginning, to provide a rich ontological description, a better structuring of the information, a high level of interoperability and a better automatic processing without additional efforts.Additionally, our approach is evolutionary and reciprocal because the acquisition of knowledge (in structured form) improves the extraction of heritage knowledge from unstructured text and vice versa. Therefore, the interaction between the two components of our system as well as the heritage knowledge develop and improve over time especially that our system uses manual contributions and validations of the automatic results (in both components) by the experts to optimize its performance

This research work focuses on the topic of the opportunities offered by the digital world for scientific knowledge and communication through the graphic language of documentation, investigating the tools and methods of acquisition and representation of cultural heritage, with greater reference to archaeological heritage. The research starts from the study of theoretical and methodological experiments of graphic representation that are, in part, at the origin of contemporary archaeological research, emphasizing the importance of the visual document (technical surveys, excavation photographs, plans, etc.), which itself becomes a cultural asset to be protected for its importance and to be disseminated for knowledge. The relevance of graphic documentation becomes the guiding thread of the research, investigated concerning the descriptive and evocative capacities of the visual "product", about the instrument used for its acquisition, production and reproduction. The exceptional ability of man to build optical machines able to increase the observation and acquisition of reality has assumed, from the Renaissance to the era of digital, great scientific relevance. “To see is to know" and the preservation of archaeological, artistic and monumental heritage, therefore, runs through their concrete usability. Today, the technician cannot ignore effective communication, because vice versa he would fail in his most important and noble goal, which is to convey and promote the development of culture and knowledge. The digital revolution has greatly amplified the possibilities of communication of material and immaterial contents proposed by art and heritage in general. The increasingly widespread use of ICT technologies in the various activities of archaeological investigation has opened new research opportunities thanks above all to the passage of information technology from simple support for data management and documentation, to a tool for the production and analysis of those data. Thus, new disciplines have become part of archaeological research mainly as scientific methodology for the analysis and study of the cultural heritage in object: Virtual Archaeology and Virtual Restoration (or Digital). This has determined new methods of documentation, archiving, visualization and put in value to know, interpret and disseminate the human past in a more complete way than traditional methods. The topic, recurring in this doctoral thesis, of documentation is meant as an acquisition for the knowledge and transmission of historical and cultural heritage. Contemporary technological development of this era is affecting not only the techniques and applications of the acquisition and representation process, but it also leads to a general process of rethinking the deeper meaning of knowledge and its consequent communicative need, which finds new expression possibilities precisely in the digital field.
Questo lavoro di ricerca è incentrato sul tema delle opportunità offerte dal mondo digitale per la conoscenza e la comunicazione scientifica attraverso il linguaggio grafico della documentazione, indagando gli strumenti e i metodi di acquisizione e rappresentazione del patrimonio culturale, con riferimento maggiore al patrimonio archeologico. La ricerca prende avvio dallo studio delle sperimentazioni teoriche e metodologiche della rappresentazione grafica che sono, in parte, all’origine della ricerca archeologica contemporanea, sottolineando l’importanza del documento visivo (rilievi tecnici, fotografie di scavo, planimetrie, etc.), il quale diventa esso stesso bene culturale da tutelare per autonoma importanza e da diffondere per conoscenza. La rilevanza della documentazione grafica diviene il filo conduttore della ricerca, indagata in funzione delle capacità descrittive ed evocative del “prodotto” visuale, in rapporto allo strumento utilizzato per la sua acquisizione, produzione e riproduzione. L’eccezionale capacità dell’uomo di costruire macchine ottiche capaci di potenziare l’osservazione e l’acquisizione della realtà ha assunto, dal Rinascimento all’epoca del digital, grande rilevanza scientifica. “Vedere è conoscere” e la salvaguardia del patrimonio archeologico, artistico e monumentale passa perciò attraverso la loro concreta fruibilità. Oggi il tecnico non può prescindere da un’efficace comunicazione, perché viceversa fallirebbe nel suo obiettivo più importante e nobile, qual è quello di trasmettere e promuovere lo sviluppo della cultura e della conoscenza. La rivoluzione digitale ha amplificato notevolmente le possibilità di comunicazione dei contenuti materiali ed immateriali proposti dall’arte e dal patrimonio in generale. L’utilizzo sempre più diffuso di tecnologie dell’ICT nelle varie attività di indagine archeologica ha aperto nuove possibilità di ricerca grazie soprattutto al passaggio dell’informatica da mero supporto per la gestione e la documentazione dei dati, a strumento per la produzione e l’analisi degli stessi. Di conseguenza nuove discipline sono entrate a far parte della ricerca archeologica principalmente come metodologia scientifica per l’analisi e lo studio del bene culturale in oggetto: la Virtual Archaeology e il Restauro Virtuale (o Digitale). Ciò ha determinato nuovi metodi di documentazione, archiviazione, visualizzazione e valorizzazione per conoscere, interpretare e diffondere il passato umano in modo più completo rispetto ai metodi tradizionali. Il tema, ricorrente in questa tesi di dottorato, della documentazione è inteso come acquisizione per la conoscenza e la trasmissione del patrimonio storico e culturale. Il contemporaneo sviluppo tecnologico di quest’epoca sta influenzando non solo le tecniche e le applicazioni del processo di acquisizione e rappresentazione, ma porta anche a un generale processo di ripensamento del significato più profondo della conoscenza e di una sua conseguente esigenza comunicativa, che trova nuove possibilità di espressione proprio in ambito digitale.

Cette thèse vise à explorer les enjeux et modalités de la patrimonialisation liées à la mémoire sociale, dans le contexte paradigmatique de l’immatériel qui de manière croissante mobilise des formes abouties de partenariat avec l’acteur social, en vue de conduire l’inventaire de son patrimoine. À partir de terrains français et brésiliens, cette recherche s’intéresse plus particulièrement au travail partenarial de documentation audiovisuelle du patrimoine qui intervient dans de tels dispositifs d’inventaire partagé, pour y saisir les transformations techniques, épistémologiques et symboliques à l’œuvre lors de la collecte de mémoire au sein du groupe social, de l’introduction du témoignage dans le processus de production des savoirs liés au patrimoine en devenir, et de sa mise en support grâce au média audiovisuel. Nous interrogeons ici le geste documentaire assumé par l’acteur social en qualité de chercheur indigène ainsi que le devenir médiatique de l’objet de patrimoine qu’il engage. C’est toute la question de la circulation, et à travers celle-ci de la fixation et de la transmission des savoirs qui se dessine ici, à partir d’une réflexion sur les usages sociaux des dispositifs patrimoniaux contemporains. Ce travail s’attache ainsi d’une part à décrire les modalités du travail de mémoire réalisé dans de tels dispositifs. Il met ici au jour le parcours de l’acteur social lors d’un tel exercice mémoriel ainsi que le traitement singulier de l’objet patrimonial et de sa mise en savoir. La recherche s’intéresse alors plus précisément aux processus d’appropriation et de réflexivité qu’entraîne la pratique partenariale de la documentation audiovisuelle du patrimoine. À partir de telles modalités, la thèse réfléchit d’autre part au régime de patrimonialisation singulier en jeu, tel qu’il s’organise autour de la fabrique continue et partagée d’une mémoire sociale du groupe, dont nous repérons la valeur médiatrice au sein du groupe social. La recherche montre enfin combien les dispositifs patrimoniaux contemporains contournent la fixation des savoirs et orchestrent leur transmission recréatrice, selon l’idée proposée d’une mémoire agissante
This thesis aims to explore the heritage-making processes in community-based participatory work forming social memory in Brazil’s guarani communities and France. Inspired by the intangible heritage paradigm, experts and institutions increasingly act in close partnership with the social actor in conducting cultural heritage inventories for formalizing the protection, promotion and revitalization of traditional practices through knowledge production. The so-called holders of memory then become “indigenous researchers” in audiovisual documentation processes that orchestrate such inventories. Drawing on interviews, document and discourse analysis, this thesis seeks to shed light on the technical, epistemological, and symbolic shift at play in the construction of memory in such a partnership framework. This work interrogates the documentary gesture posed by the partnering social actor and the future mediatic status it for the heritage-in-making object hereby documented. In this perspective, the thesis engages with the question of traditional knowledge circulation, fixation, and transmission within a given social group, in the specific time and space-frame of the heritage inventory projects. This work considers theoretical issues at stake within the intangible paradigm, revealing the heritage paradox that exist between the knowledge stabilization effort and the living, and the metamorphic essence of cultural practices. This aporia is examined herein through the lens of the documentation projects conducted, in an attempt to identify their stance and strategies towards it. By deciphering the operational framework of the partnering video inventories, his thesis reveals existing social strategies used to discard ontological resistance of culture to becoming heritage : audiovisual documentation of personal testimonies here appears as a tool to record heritage in a flexible, non-binding media sustaining the ongoing cycle of meaning being susceptible to change and reinterpretation. In the videos, heritage is not dissected and precisely described as one could expect. Rather, it is discussed through non-descriptive content, with open questions and pointers only alluding and constantly challenging its meaning. By eluding content stabilization, knowledge production relies on a complex system of change and continuity, allowing only frames of meaning to be passed on, within which each participant can recreate meaning for himself. The thesis also highlights the reflexive and communicational competence building process associated with the social actor participating in the project, showing how such experiences follow a path of heritage appropriation, culminating in a renewed desire to cultivate one’s heritage. Third, the thesis attempts to theorize the heritage-making model studied here to elucidate the interplay of heritage and memory in the intangible paradigm. Memory is here seen as an unfolding experience, a work of engagement and cultural recreation mobilized by the heritage-making process to activate a dynamic knowledge transmission pattern within the very life of its projects
AO objetivo desta tese é explorar os desafios e as modalidades da patrimonialização ligados àmemória social, no contexto paradigmático do imaterial que, de forma crescente, mobiliza formas acabadas de parceria com os atores sociais, visando gerir o inventário de seu patrimônio.A partir das realidades francesa e brasileira, esta pesquisa discute particularmente oprotagonismo no trabalho de documentação audiovisual do patrimônio que interfere nos dispositivos do inventário compartilhado. Busca assim entender as transformações técnicas,epistemológicas e simbólicas que ocorrem durante o registro da memória ao interior do gruposocial, com a introdução do depoimento no processo de produção de saberes ligados ao patrimônio que se constitui e de sua disponibilização através dos meios audiovisuais. Indagamos aqui sobre a prática de documentação assumida pelo ator social na qualidade depesquisador indígena, assim como sobre as consequências midiáticas do objeto de patrimônio por ele incorporado. Trata-se da questão de circulação e, através dela, da fixação e datransmissão de saberes que aqui se configura, a partir de uma reflexão sobre os usos sociais dosdispositivos patrimoniais contemporâneos. Este trabalho se propõe assim a descrever as modalidades da produção de memória realizadacom tais dispositivos: ele atualiza aqui o percurso do ator social durante sua trajetória, assim como o tratamento singular dispensado ao objeto patrimonial e à organização dos saberes. Apesquisa focaliza, então, mais precisamente, os processos de apropriação e de reflexividadeprovocados pela prática de curadoria compartilhada na documentação audiovisual dopatrimônio. Desta forma a tese aborda o regime de patrimonialização singular aqui descrito, talcomo ele se organiza em torno da produção contínua e compartilhada de uma memória social do grupo, cujo valor mediador nós destacamos. Finalmente, a pesquisa mostra como os dispositivos patrimoniais contemporâneos confrontam a fixação dos saberes e orquestram sua transmissão recriadora, segundo a ideia proposta de uma memória ativa.a

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.

The Historic American Buildings Survey (HABS) is one of the oldest federal programs in the United States. In 1933, the HABS culture of documentation started with the mission of creating a permanent record of the nation's architectural heritage. Since the inception of the program, the formal documentation methodology has been measured drawings, large-format photographs, and written histories. HABS documentation accentuates the act of drawing as a mediating conversation between the documenter and the historic environment. In a typical HABS project, the documenter is immersed in the historic setting by hand measuring the structure and creating field notes. The documenter's intimate access to the artifact develops his awareness of cultural heritage and helps cultivate an appreciation for the compositional sensibilities of the architectural precedents. However, the HABS culture of documentation has been fine-tuned to incorporate a number of digital technologies into documentation projects. When projects involve issues of logistics, time, and cost, HABS professionals utilize a host of digital methodologies to produce measured drawings. Although HABS prepares deliverables to meet the archival standards of the Library of Congress, the hardware and software necessary to recognize digital files have a limited lifespan that makes them unacceptable for use in the Library. Only measured drawings that use archival ink on stable translucent material, accompanied by negatives on safety film, can be submitted to the Library. Thus, if HABS pursued only digital technologies and deliverables, the effects of this approach on the quality of the documenter's engagement with cultural heritage would pose a significant question. This study addressed the question of how the HABS culture of documentation evolved in regards to drawing and technology, and how this relationship might be transformed in the future. Using HABS as a focus of inquiry is important in order to illuminate similar dynamics in heritage projects that utilize digital technologies. The methodology used in this study included a literature review, participant observations, and an analysis of documentation projects, as well as in-depth interviews with HABS staff, project participants, private practitioners, and academicians. The outcome of the study will be recommendations to heritage professionals for a future that resides in digital means without compromising the qualities that the HABS experience has offered to generation of documenters.

This work analyses the legacy of the Portuguese eremitical congregation of São Paulo da Serra de Ossa - its architectural and landscape features - with the aim of complementing previous researches, contributing to the knowledge dissemination regarding this congregation's network, and to the creation of protective policies in relation to this cultural heritage, since all these monasteries have lost their original function and values. First, a preliminary genealogy of the eremos was traced, and the evolution of its physical and spiritual values in space and time (3rd-14th centuries) was examined, mainly supported by national and international bibliography, archival documentation and on-site surveys. The subsequent study of medieval documentary sources enabled the definition of the eremitical landscape and its reconstitution in terms of ecological and cultural components (1366-1578). After the settlement’s identification, a census of the existing physical structures - sometimes just evidences - was carried out through a literature review, an archival dataset and on-site morphological and spatial analysis, allowing a critical interpretation of the monastic landscapes (1578-1834). Lastly, the work delves deeper into the development after the religious orders secularisation (1834-nowadays). Santa Margarida do Aivado monastery constitutes the pilot case in producing digital documentation, thanks to non-intrusiveness and reality-based methodologies. The creation of a multilevel database lays the basis for heritage valorisation. This can be achieved through the knowledge and use of cultural heritage, for example - with cultural heritage routes and virtual reality tours that can ensure access for all. This research intends to outline a multidisciplinary methodology, crossing the fields of History, Archaeology, Architecture and Heritage. Being quite ambitious, in terms of geographical and chronological range, it intends to trace new paths and possibilities for future studies, which could establish comparisons between this and other religious orders. The findings of the analysis highlight a continuity in the communities' choices of location, strategy of occupation, architectural function and spatial organisation.
O legado da congregação eremítica portuguesa de São Paulo da Serra de Ossa - as suas caraterísticas arquitetónicas e paisagísticas - é analisado com o objetivo de complementar investigações anteriores, contribuindo para a difusão de conhecimento em torno desta rede congregacional, e criar políticas de proteção em relação a este património cultural, uma vez que todos os seus mosteiros perderam as funções e valores originais. Traçada uma genealogia preliminar do eremos, principalmente suportada por bibliografia nacional e internacional, documentação de arquivo e trabalhos de campo, são examinados os seus valores físicos e espirituais e a sua evolução no espaço e no tempo (séculos III-XIV). O estudo subsequente de fontes documentais medievais permite a definição e reconstituição da paisagem eremítica, a partir das suas componentes ecológicas e culturais (1366-1578). Após a identificação das implantações, um censo do legado - por vezes, apenas evidências - é realizado através de uma revisão da literatura, da análise de um conjunto de dados de arquivo e das caraterísticas morfológicas e espaciais no local, possibilitando uma interpretação crítica das paisagens monásticas (1578-1834). Finalmente, é aprofundado o percurso destes edifícios após a secularização das ordens religiosas (de 1834 à atualidade). O mosteiro de Santa Margarida do Aivado constitui um caso-piloto na produção de documentação digital, obtida através de metodologias "reality-based" não intrusivas. A produção de uma base de dados multinível estabelece as bases para a valorização do património, primeiramente, através do seu conhecimento e, em seguida, mediante uma série de "outputs" analisados, assegurando o acesso de todos ao património: itinerários culturais e patrimoniais, visitas virtuais, entre outros. A investigação pretende delinear uma metodologia multidisciplinar, cruzando diversas áreas: História, Arqueologia, Arquitetura e Património. Sendo algo ambiciosa, considerando a sua abrangência geográfica e cronológica, pretende traçar novas linhas de investigação que permitam estabelecer comparações entre esta e outras ordens religiosas. Verifica-se uma continuidade na seleção da localização das comunidades, na estratégia de ocupação, e na organização espacio-funcional da arquitetura.