Digital heritage

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Digital heritage is the use of digital media in the service of understanding and preserving cultural or natural heritage. [1] [2] [3]

Contents

The Charter on the Preservation of Digital Heritage of UNESCO defines digital heritage as embracing "cultural, educational, scientific and administrative resources, as well as technical, legal, medical and other kinds of information created digitally, or converted into digital form from existing analogue resources". [4]

The digitization of both cultural heritage and Natural heritage serves to enable the permanent access of current and future generations to culturally important objects ranging from literature and paintings to flora, fauna, or habitats. It is also used in the preservation and access of objects with enduring or significant historical, scientific, or cultural value including buildings, archeological sites, and natural phenomena. [5] The main idea is the transformation of a material object into a virtual copy. It should not be confused with digital humanities, which uses digitizing technology to specifically help with research. [6] There have been several debates concerning the efficiency of the process of digitizing heritage. Some of the drawbacks refer to the deterioration and technological obsolescence due to the lack of funding for archival materials and underdeveloped policies that would regulate such a process. Another main social debate has taken place around the restricted accessibility due to the digital divide that exists around the world. Nevertheless, new technologies enable easy, instant and cross boarder access to the digitized work. Many of these technologies include spatial and surveying technology to gain aerial or 3D images.

Digital heritage is also used to monitor cultural heritage sites over years to help with preservation, maintenance, and sustainable tourism.  It aims to observe any changes, diseases, or deterioration that may occur on objects. [5]

Cultural and natural heritage

Digital Heritage that is not born-digital can be divided into two separate groups—digital cultural heritage and digital natural heritage. [7]

Digital cultural heritage is the maintenance or preservation of cultural objects through digitization. These are objects, in some cases entire cities, that are considered of cultural importance. These objects are sometimes able to be digitized or physically represented in minute detail. Digital cultural heritage also includes intangible heritage. These are things such as "oral traditions, customs, value systems, skills, traditional dances, diets, performances" and other unique features of a culture. [8] Intangible heritage is particularly vulnerable to destruction due to urbanization.

A digital elevation model (DEM) of the Malaspina Glacier. A DEM is often used as a part of geographic information systems. Malaspina-panorama-meters.jpg
A digital elevation model (DEM) of the Malaspina Glacier. A DEM is often used as a part of geographic information systems.

There are several projects and programs which concentrate on digital cultural heritage. One such project is Mapping Gothic France, which aims to document and preserve cathedrals across France using images, VR tours, laser scans, and panoramas. [9] This allows for scientific and historical study and preservation of the cathedrals and also provides detailed access to the sites for anyone in the world. The aim of projects like these is to help with the preservation and restoration of cultural objects. After the fire at Notre-Dame de Paris in 2019, digital scans are a major component in the ongoing restoration. [10]

Digital natural heritage pertains to objects of natural heritage that are considered of cultural, scientific, or aesthetic importance. Digital heritage in this instance is used not only to grant access to these objects, but to monitor any changes over time, such as with plant or animal habitats. [5] Geographic information systems are a form of technology that is used primarily in the study of natural heritage. [8] Western Australia has one such digital heritage project where they have created a digital repository of native plants important to both the region and the Aboriginal people. This is in order to protect and preserve the important biological heritage of Western Australia. [11]

Educational impact

The digitization of these heritage objects has impacts around the world and across many disciplines. The increase of digital items means that people, especially the youth, are able to learn about new objects and cultures online through various media. They provide viewers with a more in-depth experience with an item or place, instead of just an image. [12] The media is also able to be curated to age- or educational-level appropriateness, making learning easier. Some of the technology used in education, especially in museums, includes mobile apps, virtual reality, social media, and video games. Cultural heritage institutions are using this technology to try to expand access, increase appreciation for these items, and to gain new viewpoints on their collections. [8] Digital heritage also helps scientists, archeologists, or other historians and specialists collect data on these objects, providing more information on the objects and the past.

Digital Heritage is still currently being studied and improved by several sectors invested in cultural and intellectual preservation. It is particularly of interest to museums, governments, and academic institutions. Research by these groups are creating new concepts, methodologies, and techniques for the implementation of digital heritage to protect this type of cultural and natural heritage. [13] As new technologies are created, museums and other heritage institutions are provided with more ways of disseminating their information and engaging with the public. A lack of resources within certain groups may still hinder everyone from accessing digital heritage. [14]

Technologies used

A 3D model of London, captured by aerial imagery in 2019. 2019 City of London 3D model.jpg
A 3D model of London, captured by aerial imagery in 2019.

The digitization of cultural heritage is attained through several means. Some of the main technology used is spatial and surveying technology.

A major barrier to digital heritage is the amount of resources it takes to undertake such projects, such as money, time, and technology. Money and the lack of qualified personnel are two that are considered the most obstructive. [6] [18] This is especially an issue in less developed areas or within underfunded groups such as minorities. [13]

Virtual heritage

A particular branch of digital heritage, known as "virtual heritage", is formed by the use of information technology with the aim of recreating the experience of existing cultural heritage, as in (approximations of) virtual reality. [2] It is hard to differentiate this branch from the core contribution of digital heritage which is storing the heritage data digitally. Parsinejad et al. developed two techniques for Digital Twinning of the architectural assets and representation of the physical assets virtually in the museum context. Two techniques are hand recording and digital recording and both have challenges in adoption and implementation of Digital Twin as a revolutionary concept. [19]

Digital heritage stewardship

Digital heritage stewardship is a form of digital curation which is modeled after collaborative curation. Digital heritage stewardship means stepping away from typical curatorial practices (e.g. discovering, arranging, and sharing information, material, and/or content) in favor of practices which allow its stakeholders the opportunity to contribute historical, political, and social context and culture. The collaborative practice encourages the creation, engagement, and maintenance of relationships with the relative communities from which certain information, material, and/or content originates. [20]

A notable use of digital heritage stewardship is for the preservation of Indigenous heritage. The Plateau Peoples' Web Portal is an online archive developed and collaborated on by representatives from six different tribes — the Colville, Coeur d'Alene, Spokane, Umatilla, Yakama, and Warm Springs — along with the team for Washington State University Libraries' Manuscripts, Archives, and Special Collections to curate Plateau peoples' cultural materials. [20]

Digital heritage studies

Digital heritage studies examines how people use the Internet to engage with elements of the past and attribute social and cultural meanings to them in the present. [21] [22] [23] They also look into how concepts of history can change depending on the groups of people that engage with the objects or historical concepts. Digital heritage studies have also led to investigations on heritage as experiences. [14]

See also

Related Research Articles

<span class="mw-page-title-main">Lidar</span> Method of spatial measurement using laser

Lidar is a method for determining ranges by targeting an object or a surface with a laser and measuring the time for the reflected light to return to the receiver. Lidar may operate in a fixed direction or it may scan multiple directions, in which case it is known as lidar scanning or 3D laser scanning, a special combination of 3-D scanning and laser scanning. Lidar has terrestrial, airborne, and mobile applications.

<span class="mw-page-title-main">Digital art</span> Collective term for art that is generated digitally with a computer

Digital art refers to any artistic work or practice that uses digital technology as part of the creative or presentation process. It can also refer to computational art that uses and engages with digital media.

Computational archaeology describes computer-based analytical methods for the study of long-term human behaviour and behavioural evolution. As with other sub-disciplines that have prefixed 'computational' to their name, the term is reserved for methods that could not realistically be performed without the aid of a computer.

<span class="mw-page-title-main">Digitization</span> Converting information into digital form

Digitization is the process of converting information into a digital format. The result is the representation of an object, image, sound, document, or signal obtained by generating a series of numbers that describe a discrete set of points or samples. The result is called digital representation or, more specifically, a digital image, for the object, and digital form, for the signal. In modern practice, the digitized data is in the form of binary numbers, which facilitates processing by digital computers and other operations, but digitizing simply means "the conversion of analog source material into a numerical format"; the decimal or any other number system can be used instead.

<span class="mw-page-title-main">Photogrammetry</span> Taking measurements using photography

Photogrammetry is the science and technology of obtaining reliable information about physical objects and the environment through the process of recording, measuring and interpreting photographic images and patterns of electromagnetic radiant imagery and other phenomena.

In library and archival science, digital preservation is a formal process to ensure that digital information of continuing value remains accessible and usable in the long term. It involves planning, resource allocation, and application of preservation methods and technologies, and combines policies, strategies and actions to ensure access to reformatted and "born-digital" content, regardless of the challenges of media failure and technological change. The goal of digital preservation is the accurate rendering of authenticated content over time.

<span class="mw-page-title-main">Virtual museum</span> Museum in a digital format

A virtual museum is a digital entity that draws on the characteristics of a museum, in order to complement, enhance, or augment the museum experience through personalization, interactivity, and richness of content. Virtual museums can perform as the digital footprint of a physical museum, or can act independently, while maintaining the authoritative status as bestowed by the International Council of Museums (ICOM) in its definition of a museum. In tandem with the ICOM mission of a physical museum, the virtual museum is also committed to public access; to both the knowledge systems embedded in the collections and the systematic, and coherent organization of their display, as well as to their long-term preservation.

<span class="mw-page-title-main">3D scanning</span> Scanning of an object or environment to collect data on its shape

3D scanning is the process of analyzing a real-world object or environment to collect three dimensional data of its shape and possibly its appearance. The collected data can then be used to construct digital 3D models.

<span class="mw-page-title-main">Cultural heritage</span> Physical artifact or intangible attribute of a society inherited from past generations

Cultural heritage is the heritage of tangible and intangible heritage assets of a group or society that is inherited from past generations. Not all heritages of past generations are "heritage"; rather, heritage is a product of selection by society.

<span class="mw-page-title-main">Preservation (library and archive)</span> Set of activities aimed at prolonging the life of a record or object

In conservation, library and archival science, preservation is a set of preventive conservation activities aimed at prolonging the life of a record, book, or object while making as few changes as possible. Preservation activities vary widely and may include monitoring the condition of items, maintaining the temperature and humidity in collection storage areas, writing a plan in case of emergencies, digitizing items, writing relevant metadata, and increasing accessibility. Preservation, in this definition, is practiced in a library or an archive by a conservator, librarian, archivist, or other professional when they perceive a collection or record is in need of maintenance.

<span class="mw-page-title-main">Aluka</span>

Aluka was an online digital library focused on Africa-related material. It focused on globally connecting scholars by building a common platform for online collaboration and knowledge sharing. Aluka's intended audience was higher education and research communities.

Preservation metadata is item level information that describes the context and structure of a digital object. It provides background details pertaining to a digital object's provenance, authenticity, and environment. Preservation metadata, is a specific type of metadata that works to maintain a digital object's viability while ensuring continued access by providing contextual information, usage details, and rights.

CyArk is a 501(c)(3) nonprofit organization located in Oakland, California, United States founded in 2003. CyArk's mission is to "digitally record, archive and share the world's most significant cultural heritage and ensure that these places continue to inspire wonder and curiosity for decades to come."

Digital curation is the selection, preservation, maintenance, collection, and archiving of digital assets. Digital curation establishes, maintains, and adds value to repositories of digital data for present and future use. This is often accomplished by archivists, librarians, scientists, historians, and scholars. Enterprises are starting to use digital curation to improve the quality of information and data within their operational and strategic processes. Successful digital curation will mitigate digital obsolescence, keeping the information accessible to users indefinitely. Digital curation includes digital asset management, data curation, digital preservation, and electronic records management.

<span class="mw-page-title-main">3D modeling</span> Form of computer-aided engineering

In 3D computer graphics, 3D modeling is the process of developing a mathematical coordinate-based representation of a surface of an object in three dimensions via specialized software by manipulating edges, vertices, and polygons in a simulated 3D space.

Polynomial texture mapping (PTM), also known as Reflectance Transformation Imaging (RTI), is a technique of imaging and interactively displaying objects under varying lighting conditions to reveal surface phenomena. The data acquisition method is Single Camera Multi Light (SCML).

<span class="mw-page-title-main">Digital outcrop model</span> Digital 3D representation of the outcrop surface

A digital outcrop model (DOM), also called a virtual outcrop model, is a digital 3D representation of the outcrop surface, mostly in a form of textured polygon mesh.

Digital repatriation is the return of items of cultural heritage in a digital format to the communities from which they originated. The term originated from within anthropology, and typically referred to the creation of digital photographs of ethnographic material, which would then be made available to members of the originating culture. However, the term has also been applied to museum, library, and archives collections, and can refer not only to digital photographs of items, but also digital collections and virtual exhibits including 3D scans and audio recordings. Intangible cultural heritage, which includes traditional skills and knowledge, can also be digitally repatriated to communities.

Cultural property imaging is a necessary part of long term preservation of cultural heritage. While the physical conditions of objects will change over time, imaging serves as a way to document and represent heritage in a moment in time of the life of the item. Different methods of imaging produce results that are applicable in various circumstances. Not every method is appropriate for every object, and not every object needs to be imaged by multiple methods. In addition to preservation and conservation-related concerns, imaging can also serve to enhance research and study of cultural heritage.

Digital archaeology is the application of information technology and digital media to archaeology. It includes the use of digital photography, 3D reconstruction, virtual reality, and geographical information systems, among other techniques. Computational archaeology, which covers computer-based analytical methods, can be considered a subfield of digital archaeology, as can virtual archaeology.

References

  1. ↑ Yehuda Kalay; Thomas Kvan; Janice Affleck, eds. (2007). New Heritage: New Media and Cultural Heritage. Routledge. ISBN   978-1-135-97770-2.
  2. 1 2 Ann Marie Sullivan, Cultural Heritage & New Media: A Future for the Past, 15 J. MARSHALL REV. INTELL. PROP. L. 604 (2016) https://repository.jmls.edu/cgi/viewcontent.cgi?article=1392&context=ripl
  3. ↑ Fiona Cameron; Sarah Kenderdine, eds. (2007). Theorizing Digital Cultural Heritage: A Critical Discourse. MIT Press. ISBN   978-0-262-03353-4.
  4. ↑ "Charter on the Preservation of Digital Heritage". UNESCO. October 15, 2003. Retrieved July 9, 2015.
  5. 1 2 3 4 5 Wang, Xinyuan; Lasaponara, Rosa; Luo, Lei; Chen, Fulong; Wan, Hong; Yang, Ruixia; Zhen, Jing (2020), Guo, Huadong; Goodchild, Michael F.; Annoni, Alessandro (eds.), "Digital Heritage", Manual of Digital Earth, Singapore: Springer, pp. 565–591, doi: 10.1007/978-981-32-9915-3_17 , ISBN   978-981-329-915-3, S2CID   242714151
  6. 1 2 Münster, S. (2019). "Digital Heritage as a Scholarly Field—Topics, Researchers, and Perspectives from a Bibliometric Point of View". Journal on Computing and Cultural Heritage. 12 (3): 22:1–22:27. doi: 10.1145/3310012 . S2CID   201140968.
  7. ↑ UNESCO. "Concept of Digital Heritage". UNESCO. Archived from the original on 2019-08-09. Retrieved 2021-11-11.
  8. 1 2 3 4 5 Economou, M. (2015). "Heritage in the Digital Age". In Logan, W. S.; Nic Craith, M.; Kockel, U. (eds.). A companion to heritage studies. John Wiley & Sons, Inc. pp. 212–228. ISBN   978-1-118-48661-0. OCLC   904400133.
  9. ↑ Media Center for Art History. "Mapping Gothic | Art Atlas". mcid.mcah.columbia.edu. Archived from the original on 2019-09-12. Retrieved 2021-10-17.
  10. ↑ Richards, W. "Notre-Dame's recovery is about stewardship, say architects and historians - AIA". www.aia.org. Archived from the original on 2020-09-18. Retrieved 2021-10-17.
  11. ↑ Ryan, J. C. (2014). "Natural Heritage Conservation and Eco-Digital Poiesis: A Western Australian Example". Media International Australia Incorporating Culture and Policy. 153 (153): 88–97. doi:10.1177/1329878X1415300111. S2CID   147259093.
  12. 1 2 Nikonova, A. A.; Biryukova, M. "The Role of Digital Technologies in the Preservation of Cultural Heritage". Muzeológia a Kultúrne Dedičstvo. 5 (1): 169–173.
  13. 1 2 Liu, J.; Tseng, M.; Huang, T (2005-09-01). "Building Digital Heritage with Teamwork Empowerment". Information Technology and Libraries. 24 (3): 130–140. doi: 10.6017/ital.v24i3.3374 . ISSN   2163-5226.
  14. 1 2 King, L.; Stark, J. F.; Cooke, P. (2016-01-02). "Experiencing the Digital World: The Cultural Value of Digital Engagement with Heritage". Heritage & Society. 9 (1): 76–101. doi: 10.1080/2159032X.2016.1246156 . ISSN   2159-032X. S2CID   107243735.
  15. ↑ Agapiou, A. (2020-05-04). "Archaeology from space: Using Earth Observation data to unearth our past". Research Outreach. Archived from the original on 2020-07-10. Retrieved 2021-11-11.
  16. ↑ Guarnieri, A.; Vettore, A.; El-Hakim, S.; Gonzo, L. (2004). "Digital photogrammetry and laser scanning in cultural heritage survey". The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences. 35.
  17. ↑ Martindale, J. "Research Guides: Mapping and Geographic Information Systems (GIS): What is GIS?". researchguides.library.wisc.edu. Archived from the original on 2015-02-27. Retrieved 2021-11-11.
  18. 1 2 Champion, E.; Rahaman, H. (2019). "3D Digital Heritage Models as Sustainable Scholarly Resources". Sustainability. 11 (8): 2425. doi: 10.3390/su11082425 . hdl: 20.500.11937/75370 .
  19. ↑ Parsinejad, H.; Choi, I.; Yari, M. (2021). "Production of Iranian Architectural Assets for Representation in Museums: Theme of Museum-Based Digital Twin". Body, Space and Technology. 20 (1): 61–74. doi: 10.16995/bst.364 .
  20. 1 2 Sayers, Jentery (2018-05-01). Sayers, Jentery (ed.). The Routledge Companion to Media Studies and Digital Humanities. Routledge. doi:10.4324/9781315730479. hdl:10495/11228. ISBN   978-1-315-73047-9.
  21. ↑ Bonacchi, Chiara; Krzyzanska, Marta (2019-12-02). "Digital heritage research re-theorised: ontologies and epistemologies in a world of big data". International Journal of Heritage Studies. 25 (12): 1235–1247. doi:10.1080/13527258.2019.1578989. hdl: 1893/28734 . S2CID   150582495.
  22. ↑ Bonacchi, Chiara; Altaweel, Mark; Krzyzanska, Marta (June 2018). "The heritage of Brexit: Roles of the past in the construction of political identities through social media". Journal of Social Archaeology. 18 (2): 174–192. doi:10.1177/1469605318759713. hdl: 20.500.11820/f1c0e472-9bb9-407b-8bc2-92271c4caca4 . S2CID   149006204.
  23. ↑ Marwick, Ben; Smith, Prema (January 2021). "World Heritage sites on Wikipedia: Cultural heritage activism in a context of constrained agency". Big Data & Society. 8 (1): 205395172110173. doi:10.1177/20539517211017304. S2CID   235699834.
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