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Understanding and Representation of the Intangible and Tangible Dimensions of...
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Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization

A special issue of Heritage (ISSN 2571-9408). This special issue belongs to the section "Cultural Heritage".

Deadline for manuscript submissions: closed (30 September 2022) | Viewed by 48138

Special Issue Editors

Dr. Partarakis Nikolaos

E-Mail Website
Guest Editor
Human Computer Interaction Laboratory, Institute of Computer Science, Foundation for Research and Technology Hellas, N. Plastira 100 Vassilika Vouton, GR-700 13 Heraklion, Crete, Greece
Interests: information systems; human computer interaction; X-Reality applications; 3D digitization; artificial intelligence
Special Issues, Collections and Topics in MDPI journals
Dr. Xenophon Zabulis

E-Mail Website
Guest Editor
Institute of Computer Science, Heraklion, Crete, Greece
Interests: stereo and multiple-view computer vision; pose estimation and motion estimation for objects and persons; medical and industrial image analysis; applications of computer vision in interactive environments
Special Issues, Collections and Topics in MDPI journals
Dr. Lucia Pannese

E-Mail Website
Guest Editor
Imaginary srl, Milan, Italy
Interests: digital interactive technologies
Dr. Anne-Laure Carré

E-Mail Website
Guest Editor
Musée des Arts, Paris, France
Interests: glass technology history
Dr. Carlo Meghini

E-Mail Website
Guest Editor
Consiglio Nazionale delle Ricerche, Istituto di Scienza e Tecnologie dell’Informazione “A.Faedo”, Via G. Moruzzi 1, Località S. Cataldo, I-56124 Pisa, IT, Italy
Interests: information systems
Dr. Sotiris Manitsaris

E-Mail Website
Guest Editor
MINES ParisTech, PSL Université Paris, Paris, France
Interests: machine/deep learning; action and gesture recognition; data analysis and modeling; human-centred AI
Prof. Dr. Arnaud Dubois

E-Mail Website
Guest Editor
Conservatoire National des Arts et Métiers, Paris and Ecole Nationale Supérieure d’Art, Limoges, France
Interests: anthropology of color; relations between aesthetic technology and society; link between art craft and industry

Special Issue Information

Dear Colleagues,

Traditional Crafts (TCs) are part of Cultural Heritage (CH) and involve tangible craft artefacts and products, traditional materials and tools, while encompass craftsmanship as a form of Intangible Cultural Heritage (ICH)1. Intangible TC dimensions include knowledge about materials, dexterity, know-how, and skilled use of tools, as well as, tradition, structure, and a common sense of identity of the communities in which they are, or were, practiced. HCs are part of the history and economic life of the areas and communities in which they flourished. Their nature, diversity, excellence and significance vary over time and they are part of the CH and history of local societies, nations, and continents. HCs are objects of cultural exchange or may be secret and can be decisive to the economic or military dominance of a nation.

The technical, historical, and social knowledge about a TC, its temporal evolution over time, and the way that it is taught are parts of humanity’s Cultural Heritage. The significance and urgency to the preservation of TCs is underscored by UNESCO2, as “several are threatened with extinction, due to the declining numbers of practitioners and apprentices”, in combination with demotivation, lack of interest in younger generations and urbanization.

This special issue will focus on the means to establish representations of TCs based on digital assets and semantic annotations, in a way that captures and preserves both tangible and intangible CH dimensions.  Meaningful and documented experiential presentations of TC are envisioned to be provided through narratives. These presentations may address a range of uses including, personalized storytelling, interactive Augmented Reality (AR) and Mixed Reality (MR), and through the Internet. Engaging cultural experiences are expected to have a direct impact in interest growth and tourism, which can support HC communities and institutions. Furthermore, the attraction of new apprentices to guarantee long-term TC preservation and the combination old crafts techniques with cutting-edge new technologies have the potential on valorisation.  

More specifically this special issue welcomes contributions focused on one or more from the following domains and disciplines:

  • Protocols, methods and approaches for the Representation and presentation of TCs
  • Advanced digitization technologies for TCs
  • Semantic representation of Tradition Crafts including the socio historic context of their evolution
  • Technologies and applications of Semantic Narratives in TCs
  • Technologies for understanding human motion in HCs
  • Methods and tools for understanding the techniques of TCs
  • Combination of TCs techniques with new and emerging cutting-edge technologies.
  • Applications of radical new approaches for vocational training on HCs powered by X-Reality
  • Thematic tourism powered by rich TC experiences
  • Innovation, growth and sustainability
  • New social platforms to connect TCs stakeholders with the objective of business innovation and sustainability.
  • Games and gamification technologies to enhance the presentation of TC processes and techniques
  • User Engagement and Motivation
  • Authoring environments to support novel TC visualizations
  • 3D virtual humans for TC presentation and training
  • Immersive visualization of the socio-historic content of Traditional Crafts
  • Reproduction of traditional artefacts, techniques and know-how and combination with new technologies

1 UNESCO, Intangible Cultural Heritage Domains, 2003.

2 UNESCO, Text of the Convention for the Safeguarding of the Intangible Cultural Heritage, 2003.

Dr. Nikolaos Partarakis
Dr. Xenophon Zabulis
Dr. Lucia Pannese
Dr. Anne-Laure Carré
Dr. Carlo Meghini
Dr. Sotiris Manitsaris
Prof. Dr. Arnaud Dubois
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a single-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Heritage is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1600 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Published Papers (15 papers)

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Research

18 pages, 7666 KiB  
Article
Glass Icons in Transylvania (Romania) and the Craft of Painting Them as Cultural Heritage Resources
by Daniela Sorea and Ionuț Mihai Popescu
Heritage 2022, 5(4), 4006-4023; https://doi.org/10.3390/heritage5040206 - 7 Dec 2022
Cited by 1 | Viewed by 2332
Abstract
The craft of painting icons on glass developed in the 17th century in Transylvania (Romania) following the spread of the news about the wooden icon of the weeping Mother of God in the church of Nicula. This news turned Nicula into a pilgrimage [...] Read more.
The craft of painting icons on glass developed in the 17th century in Transylvania (Romania) following the spread of the news about the wooden icon of the weeping Mother of God in the church of Nicula. This news turned Nicula into a pilgrimage centre, and requests for reproductions of the icon led to the locals becoming glass painters. Because of the surplus of icons, some of the Nicula painters set up new icon-painting centres along the road to Brașov (to the south) and the other main trade routes of Transylvania. In order to highlight the potential for sustainable development associated with this craft and to stimulate the painting of icons in the traditional way, we conducted documentary research on the subject of icons on glass. This research revealed the local peculiarities of the icon painters’ workshops and their importance to the identity of the Romanian peasants in Transylvania. We also conducted a participatory observation carried out in Brasov, which revealed that the iconography courses in popular schools of arts and crafts were both a viable way of managing the relationship with the iconographic tradition and a means to capitalize on religious painting on glass as a cultural heritage resource. The research highlighted the way in which, to preserve the traditional dimension of the craft, it is useful to encourage students to use anonymous glass icons as models and to have limited involvement in model restoration. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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16 pages, 3496 KiB  
Article
Visual Identity Based on Ancestral Iconography: A Strategy for Re-Evaluation of the Caranqui Cultural Heritage in the Gualimán Archaeological Site (Ecuador)
by Ingrid Ninoshka Ruiz-Ruiz, María Dolores Teruel-Serrano and Sabrina Irina Miranda-Sánchez
Heritage 2022, 5(4), 3463-3478; https://doi.org/10.3390/heritage5040178 - 15 Nov 2022
Cited by 2 | Viewed by 1881
Abstract
Iconography is one of the most powerful ways to express the cultural identity of a community through the creation of symbols that promote its re-evaluation, although it is not always used as a way to promote this cultural development. The aim of this [...] Read more.
Iconography is one of the most powerful ways to express the cultural identity of a community through the creation of symbols that promote its re-evaluation, although it is not always used as a way to promote this cultural development. The aim of this research is to emphasize visual identity based on ancestral iconography as a strategy in the re-evaluation of the Caranqui culture and in the transmission of knowledge about the archaeological site of Gualimán. The methodology consisted of a documentary analysis of the civilization, which was completed with in-depth interviews with the managers and a survey of 295 residents. The obtained results have allowed us to deepen our understanding of the Caranqui culture, identifying vehicles to promote its re-evaluation. Among the conclusions is that the contribution of an identity based on its own symbols reinforces the feeling of belonging and turns its inhabitants into bearers of their own ancestral legacy. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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23 pages, 3550 KiB  
Article
Extraction of Event-Related Information from Text for the Representation of Cultural Heritage
by Emmanouil Ntafotis, Emmanouil Zidianakis, Nikolaos Partarakis and Constantine Stephanidis
Heritage 2022, 5(4), 3374-3396; https://doi.org/10.3390/heritage5040173 - 9 Nov 2022
Viewed by 1492
Abstract
In knowledge representation systems for Cultural Heritage (CH) there is a vast amount of curated textual information for CH objects and sites. However, the large-scale study of the accumulated knowledge is difficult as long as it is provided in the form of free [...] Read more.
In knowledge representation systems for Cultural Heritage (CH) there is a vast amount of curated textual information for CH objects and sites. However, the large-scale study of the accumulated knowledge is difficult as long as it is provided in the form of free text. By extracting the most significant pieces of information from textual descriptions of CH objects and sites and compiling them in a single comprehensive knowledge graph, conforming to a standard would facilitate its exploitation from multiple perspectives including study, presentation and narratives. The method proposed by this research work was to employ Natural Language Processing, and reinforcement learning for semantic knowledge extraction, and a knowledge representation standard of the CH domain for the knowledge graph thus making the extracted knowledge directly compatible with linked open data platforms and CH representation systems. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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23 pages, 7614 KiB  
Article
InCulture: A Collaborative Platform for Intangible Cultural Heritage Narratives
by Georgios Mathioudakis, Iosif Klironomos, Nikolaos Partarakis, Eleni Papadaki, Konstantinos Volakakis, Nikolaos Anifantis, Ioannis Papageorgiou, Savvas Alexandros Pavlidis, Margherita Antona and Constantine Stephanidis
Heritage 2022, 5(4), 2881-2903; https://doi.org/10.3390/heritage5040149 - 30 Sep 2022
Cited by 3 | Viewed by 3156
Abstract
Intangible Culture Heritage (ICH) is defined as the collection of oral traditions and expressions such as epics, fairy tales, stories, arts, social practices, rituals and celebrations, events, knowledge, and practices related to nature and the universe, traditional medicine, folk medicine, traditional handcrafts, as [...] Read more.
Intangible Culture Heritage (ICH) is defined as the collection of oral traditions and expressions such as epics, fairy tales, stories, arts, social practices, rituals and celebrations, events, knowledge, and practices related to nature and the universe, traditional medicine, folk medicine, traditional handcrafts, as well as personal experiences related to important historical events or cultural activities that shaped the historical and local identity. Under the UNESCO Convention for the Safeguarding of the ICH, nations are committed to developing inventories of ICH and working with local communities, groups, and individuals to preserve these traditions. In this paper, a platform is introduced that facilitates the collection of intangible ICH data, the formation of story-based narratives, and their presentation to the public via a web and mobile application, which offers Augmented Reality (AR) experiences. The platform aims to support the formation of user communities sharing common interests and to provide them with the appropriate tools for collecting pieces of ICH. Collected ICH resources and created narratives are modeled using semantic web technologies so that information can be perceived by third-party systems too. Furthermore, towards the dissemination of the platform, a real-world use case took place on the island of Rhodes focusing on the recent history of the island between 1912 and 1948 (WWII). The platform was implemented to support the goals of the project InCulture, funded by the EPAnEK Greek national co-funded operational program “Competitiveness Entrepreneurship and Innovation”. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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18 pages, 5686 KiB  
Article
A Method and Platform for the Preservation of Temporary Exhibitions
by Zacharias Pervolarakis, Antonis Agapakis, Aldo Xhako, Emmanouil Zidianakis, Antonis Katzourakis, Theodoros Evdaimon, Michalis Sifakis, Nikolaos Partarakis, Xenophon Zabulis and Constantine Stephanidis
Heritage 2022, 5(4), 2833-2850; https://doi.org/10.3390/heritage5040147 - 26 Sep 2022
Cited by 3 | Viewed by 1921
Abstract
Temporary exhibitions have not only been the oldest, but also the most successful model of art mediation (e.g., the Venice Biennale). In this research work, we are interested in the subject of preserving periodic exhibitions in the form of an interactive virtual memory [...] Read more.
Temporary exhibitions have not only been the oldest, but also the most successful model of art mediation (e.g., the Venice Biennale). In this research work, we are interested in the subject of preserving periodic exhibitions in the form of an interactive virtual memory to be revisited in the future. Although popular forms for doing so include photography, video coverage, and catalogs, we are interested in the implementation of a digital “timestamp” that could provide a digital place of memory and recall. To do so, we are preserving the physical space of an exhibition through 3D digitization technologies, and at the same time, we are digitally encoding the curatorial rationale in the form of digitized exhibits, and their documentation in a semantic metamodel. The result is the synthesis of a pure digital exhibition that acts as a digital twin of its original version, preserved and experienced online as a catalog and virtual tour, and at the same time, available to become immersed in through VR technologies, thus expanding the time and space of its digital existence. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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39 pages, 11914 KiB  
Article
When the ‘Asset’ Is Livelihood: Making Heritage with the Maritime Practitioners of Bagamoyo, Tanzania
by John P. Cooper, Elgidius B. Ichumbaki, Lucy K. Blue, Philip C. M. Maligisu and Sinyati R. Mark
Heritage 2022, 5(2), 1160-1198; https://doi.org/10.3390/heritage5020062 - 31 May 2022
Cited by 3 | Viewed by 3071
Abstract
This paper examines the dilemmas, obligations and opportunities faced by heritage professionals in elaborating cultural ‘assets’ among the breadwinning practices of contemporary, artisanal communities. It takes as its case study the authors’ Bahari Yetu, Urithi Wetu (‘Our Ocean, Our Heritage’) project and its [...] Read more.
This paper examines the dilemmas, obligations and opportunities faced by heritage professionals in elaborating cultural ‘assets’ among the breadwinning practices of contemporary, artisanal communities. It takes as its case study the authors’ Bahari Yetu, Urithi Wetu (‘Our Ocean, Our Heritage’) project and its engagement with maritime practitioners in and around the town of Bagamoyo, Tanzania. The article identifies Bagamoyo’s contemporary maritime scene as meriting heritage recognition on a global level, yet sitting entirely outside the country’s legal and political conception of heritage. Moreover, it acknowledges that ‘heritage’ as founded on the livelihood-earning activities of the community’s practitioners, such as boatbuilders, fishers and mariners. These often operate at subsistence level, yet are subject to transformative economic, social and environmental forces, as well as government agencies with no heritage remit. Drawing upon and reporting their co-creative engagements and activities with the Bagamoyo community, the authors argue for a non-reifying and people-centred approach to ‘living’ heritage situations such as that of maritime Bagamoyo, in which the tools of heritage engagement are deployed to amplify the concerns of the practitioner community to a wider audience. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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16 pages, 3023 KiB  
Article
A Case Study on Supporting the Preservation, Valorization and Sustainability of Natural Heritage
by Zacharias Pervolarakis, Antonis Agapakis, Emmanouil Zidianakis, Antonis Katzourakis, Theodoros Evdemon, Nikolaos Partarakis, Xenophon Zabulis and Constantine Stephanidis
Heritage 2022, 5(2), 956-971; https://doi.org/10.3390/heritage5020052 - 27 Apr 2022
Cited by 3 | Viewed by 3071
Abstract
Caves can be considered as features of the landscape that have been formatted through a long period and are signs of the past climatological conditions, of prehistoric animal and human inhabitation, and provide habitat for species. In the near past, caves have also [...] Read more.
Caves can be considered as features of the landscape that have been formatted through a long period and are signs of the past climatological conditions, of prehistoric animal and human inhabitation, and provide habitat for species. In the near past, caves have also gained tourism interest since they offer unique sightseeing experiences. The sustainability and protection of cave heritage have been recently discussed mainly because over-tourism has been proven to have negative side effects on the preservation of the heritage site. Technology today has provided widely adopted inexpensive technical means to support immersive visiting experiences to sites of heritage interest that could support their valorization and sustainability in forms more friendly to the site. In this work, such an alternative visiting approach is explored through a use case applied to the Alistrati cave near Serres, Greece, where a VR tour guide can support immersive visiting experiences to the heritage site. By employing means of digital preservation of heritage sites the VR solution aspires to offer immersive close to reality engaging visiting experiences. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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26 pages, 8579 KiB  
Article
A Representation Protocol for Traditional Crafts
by Xenophon Zabulis, Nikolaos Partarakis, Carlo Meghini, Arnaud Dubois, Sotiris Manitsaris, Hansgeorg Hauser, Nadia Magnenat Thalmann, Chris Ringas, Lucia Panesse, Nedjma Cadi, Evangelia Baka, Cynthia Beisswenger, Dimitrios Makrygiannis, Alina Glushkova, Brenda Elizabeth Olivas Padilla, Danae Kaplanidi, Eleana Tasiopoulou, Catherine Cuenca, Anne-Laure Carre, Vito Nitti, Ilia Adami, Emmanouil Zidianakis, Paraskevi Doulgeraki, Effie Karouzaki, Valentina Bartalesi and Daniele Metilliadd Show full author list remove Hide full author list
Heritage 2022, 5(2), 716-741; https://doi.org/10.3390/heritage5020040 - 30 Mar 2022
Cited by 10 | Viewed by 4858
Abstract
A protocol for the representation of traditional crafts and the tools to implement this are proposed. The proposed protocol is a method for the systematic collection and organization of digital assets and knowledge, their representation into a formal model, and their utilization for [...] Read more.
A protocol for the representation of traditional crafts and the tools to implement this are proposed. The proposed protocol is a method for the systematic collection and organization of digital assets and knowledge, their representation into a formal model, and their utilization for research, education, and preservation. A set of digital tools accompanies this protocol that enables the online curation of craft representations. The proposed approach was elaborated and evaluated with craft practitioners in three case studies. Lessons learned are shared and an outlook for future work is provided. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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27 pages, 14201 KiB  
Article
Multimodal Narratives for the Presentation of Silk Heritage in the Museum
by Hansgeorg Hauser, Cynthia Beisswenger, Nikolaos Partarakis, Xenophon Zabulis, Ilia Adami, Emmanouil Zidianakis, Andreas Patakos, Nikolaos Patsiouras, Effie Karuzaki, Michalis Foukarakis, Aggeliki Tsoli, Ammar Qammaz, Antonis Argyros, Nedjma Cadi, Evangelia Baka, Nadia Magnenat Thalmann, Brenda Olivias, Dimitrios Makrygiannis, Alina Glushkova, Sotirios Manitsaris, Vito Nitti and Lucia Panesseadd Show full author list remove Hide full author list
Heritage 2022, 5(1), 461-487; https://doi.org/10.3390/heritage5010027 - 1 Mar 2022
Cited by 8 | Viewed by 3412
Abstract
In this paper, a representation based on digital assets and semantic annotations is established for Traditional Craft instances, in a way that captures their socio-historic context and preserves both their tangible and intangible Cultural Heritage dimensions. These meaningful and documented experiential presentations are [...] Read more.
In this paper, a representation based on digital assets and semantic annotations is established for Traditional Craft instances, in a way that captures their socio-historic context and preserves both their tangible and intangible Cultural Heritage dimensions. These meaningful and documented experiential presentations are delivered to the target audience through narratives that address a range of uses, including personalized storytelling, interactive Augmented Reality (AR), augmented physical artifacts, Mixed Reality (MR) exhibitions, and the Web. The provided engaging cultural experiences have the potential to have an impact on interest growth and tourism, which can support Traditional Craft communities and institutions. A secondary impact is the attraction of new apprentices through training and demonstrations that guarantee long-term preservation. The proposed approach is demonstrated in the context of textile manufacturing as practiced by the community of the Haus der Seidenkultur, a former silk factory that was turned into a museum where the traditional craft of Jacquard weaving is still practiced. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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29 pages, 157276 KiB  
Article
Traditional Craft Training and Demonstration in Museums
by Christodoulos Ringas, Eleana Tasiopoulou, Danae Kaplanidi, Nikolaos Partarakis, Xenophon Zabulis, Emmanouil Zidianakis, Andreas Patakos, Nikolaos Patsiouras, Effie Karuzaki, Michalis Foukarakis, Ilia Adami, Nedjma Cadi, Evangelia Baka, Nadia Magnenat Thalmann, Dimitrios Makrygiannis, Alina Glushkova, Sotirios Manitsaris, Vito Nitti and Lucia Panesse
Heritage 2022, 5(1), 431-459; https://doi.org/10.3390/heritage5010025 - 24 Feb 2022
Cited by 11 | Viewed by 3603
Abstract
This work regards the representation of handicrafts for craft training and demonstration in the environment of an ethnographic heritage museum. The craft of mastic cultivation is chosen as a use case. This paper presents the process of representation and presentation of this craft, [...] Read more.
This work regards the representation of handicrafts for craft training and demonstration in the environment of an ethnographic heritage museum. The craft of mastic cultivation is chosen as a use case. This paper presents the process of representation and presentation of this craft, following an articulated pipeline approach for data collection, annotation, and semantic representation. The outcomes were used to implement an exhibition that targets the presentation of craft context and craft training, through interactive experiences, mobile applications, and a hands-on training where users reenact the gestures of a mastic cultivator. Preliminary evaluation results show high acceptance for the installation and increased user interest. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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16 pages, 4864 KiB  
Article
Challenges in the Valorization of the Funerary Heritage; Experiences in the Municipal Cemetery of Murcia (Spain)
by Gabriel López-Martínez and Klaus Schriewer
Heritage 2022, 5(1), 129-144; https://doi.org/10.3390/heritage5010007 - 5 Jan 2022
Viewed by 2664
Abstract
The cemetery is a cultural landscape that represents themes of great relevance to interpret the structure of a society, roles, and hierarchies, as a reflection of its social life. The cemetery gathers a whole symbolic universe where local social histories are represented, beyond [...] Read more.
The cemetery is a cultural landscape that represents themes of great relevance to interpret the structure of a society, roles, and hierarchies, as a reflection of its social life. The cemetery gathers a whole symbolic universe where local social histories are represented, beyond the history of art and the architectural aspect. As a heritage element, the cemetery shows us the socio-cultural changes of a territory: religious questioning, changes linked to the family, individualization of contemporary society or broader questions about socio-economic structure. This article presents the experience conducted during the last 6 years in the Cemetery “Nuestro Padre Jesús” in Murcia (Spain), through a collaboration among the Sociedad Murciana de Antropolgía (SOMA), the University of Murcia and the Municipality of Murcia, developing the project “Funerary Cultures”, whose main objective is to promote the heritage, cultural and historical values of the funerary culture. Specifically, as a result of this teaching innovation experience, the six thematic guides to visit the cemetery are presented as an experience of patrimonialization of elements of the cemetery and its consequent selection and consensus exercise to determine what was considered as heritage in the context of the cemetery. Finally, a proposal of a systematic process in the valuation and selection of the material objects in the cemetery is presented; this proposal allows us to establish a debate on what considerations to take into account when considering the relationship between cultural heritage and the cemetery as a cultural landscape in permanent transformation. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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26 pages, 30311 KiB  
Article
Mixed-Reality Demonstration and Training of Glassblowing
by Anne Laure Carre, Arnaud Dubois, Nikolaos Partarakis, Xenophon Zabulis, Nikolaos Patsiouras, Elina Mantinaki, Emmanouil Zidianakis, Nedjma Cadi, Evangelia Baka, Nadia Magnenat Thalmann, Dimitrios Makrygiannis, Alina Glushkova and Sotirios Manitsaris
Heritage 2022, 5(1), 103-128; https://doi.org/10.3390/heritage5010006 - 2 Jan 2022
Cited by 19 | Viewed by 3153
Abstract
Traditional crafts exhibit tangible and intangible dimensions. Intangible dimensions include the practitioner’s gestural know-how in craft practice and have received smaller attention than tangible dimensions in digitization projects. This work presents the process of representation and presentation of the glasswork and is exemplified [...] Read more.
Traditional crafts exhibit tangible and intangible dimensions. Intangible dimensions include the practitioner’s gestural know-how in craft practice and have received smaller attention than tangible dimensions in digitization projects. This work presents the process of representation and presentation of the glasswork and is exemplified in the re-creation of a historical object. Following an articulated pipeline approach for data collection, annotation, the crafting process is represented visually and semantically in a way that can be meaningfully presented and utilized in craft training and preservation. The outcomes of the proposed approach were used to implement a Mixed Reality installation. The installation targets craft presentation through an exploration of the workspace, as well as craft training through an interactive experience where users re-enact gestures of a glass master holding a tool and receiving audiovisual feedback on the accuracy of their performance. Preliminary evaluation results show high acceptance of the installation and increased user interest. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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20 pages, 4054 KiB  
Article
Supporting Sign Language Narrations in the Museum
by Nikolaos Partarakis, Xenophon Zabulis, Michalis Foukarakis, Mirοdanthi Moutsaki, Emmanouil Zidianakis, Andreas Patakos, Ilia Adami, Danae Kaplanidi, Christodoulos Ringas and Eleana Tasiopoulou
Heritage 2022, 5(1), 1-20; https://doi.org/10.3390/heritage5010001 - 21 Dec 2021
Cited by 13 | Viewed by 3711
Abstract
The accessibility of Cultural Heritage content for the diverse user population visiting Cultural Heritage Institutions and accessing content online has not been thoroughly discussed. Considering the penetration of new digital media in such physical and virtual spaces, lack of accessibility may result in [...] Read more.
The accessibility of Cultural Heritage content for the diverse user population visiting Cultural Heritage Institutions and accessing content online has not been thoroughly discussed. Considering the penetration of new digital media in such physical and virtual spaces, lack of accessibility may result in the exclusion of a large user population. To overcome such emerging barriers, this paper proposes a cost-effective methodology for the implementation of Virtual Humans, which are capable of narrating content in a universally accessible form and acting as virtual storytellers in the context of online and on-site CH experiences. The methodology is rooted in advances in motion capture technologies and Virtual Human implementation, animation, and multi-device rendering. This methodology is employed in the context of a museum installation at the Chios Mastic Museum where VHs are presenting the industrial process of mastic processing for chewing gum production. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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20 pages, 11208 KiB  
Article
Supporting Online and On-Site Digital Diverse Travels
by Giorgos Mathioudakis, Iosif Klironomos, Nikolaos Partarakis, Eleni Papadaki, Nikos Anifantis, Margherita Antona and Constantine Stephanidis
Heritage 2021, 4(4), 4558-4577; https://doi.org/10.3390/heritage4040251 - 2 Dec 2021
Cited by 6 | Viewed by 2446
Abstract
Cultural-heritage research has created a vast amount of information regarding heritage objects and sites. At the same time, recent efforts on the digitization of cultural heritage have provided novel means of documenting tangible cultural resources including digital images, videos, audio testimonies, and 3D [...] Read more.
Cultural-heritage research has created a vast amount of information regarding heritage objects and sites. At the same time, recent efforts on the digitization of cultural heritage have provided novel means of documenting tangible cultural resources including digital images, videos, audio testimonies, and 3D reconstructions. Furthermore, ethnographic research is nowadays combined with advanced capturing technologies such as motion capture to record the intangible dimensions of heritage as these are manifested through human expression in dance, heritage crafts, etc. This amount of information is now available and should be used to create novel forms of experiential access to cultural heritage powered by the web and mobile technologies mixed with novel interaction paradigms such as virtual and augmented reality. In this article, a platform is presented that facilitates a cloud-based web application to support location-based narratives on cultural-heritage resources provided through map-based or story-based representation approaches. At the same time, the platform through the power of modern mobile devices can provide these experiences on the move using location-based and image recognition-based augmented reality to facilitate multiple usage contexts. The platform was implemented to support the goal of the project CuRe, in the context of the “Greece-Germany” bilateral collaboration action. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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24 pages, 15003 KiB  
Article
Realistic Virtual Humans for Cultural Heritage Applications
by Effie Karuzaki, Nikolaos Partarakis, Nikolaos Patsiouras, Emmanouil Zidianakis, Antonios Katzourakis, Antreas Pattakos, Danae Kaplanidi, Evangelia Baka, Nedjma Cadi, Nadia Magnenat-Thalmann, Chris Ringas, Eleana Tasiopoulou and Xenophon Zabulis
Heritage 2021, 4(4), 4148-4171; https://doi.org/10.3390/heritage4040228 - 1 Nov 2021
Cited by 24 | Viewed by 4543
Abstract
Virtual Humans are becoming a commodity in computing technology and lately have been utilized in the context of interactive presentations in Virtual Cultural Heritage environments and exhibitions. To this end, this research work underlines the importance of aligning and fine-tuning Virtual Humans’ appearance [...] Read more.
Virtual Humans are becoming a commodity in computing technology and lately have been utilized in the context of interactive presentations in Virtual Cultural Heritage environments and exhibitions. To this end, this research work underlines the importance of aligning and fine-tuning Virtual Humans’ appearance to their roles and highlights the importance of affective components. Building realistic Virtual Humans was traditionally a great challenge requiring a professional motion capturing studio and heavy resources in 3D animation and design. In this paper, a workflow for their implementation is presented, based on current technological trends in wearable mocap systems and advancements in software technology for their implementation, animation, and visualization. The workflow starts from motion recording and segmentation to avatar implementation, retargeting, animation, lip synchronization, face morphing, and integration to a virtual or physical environment. The testing of the workflow occurs in a use case for the Mastic Museum of Chios and the implementation is validated both in a 3D virtual environment accessed through Virtual Reality and on-site at the museum through an Augmented Reality application. The findings, support the initial hypothesis through a formative evaluation, and lessons learned are transformed into a set of guidelines to support the replication of this work. Full article
(This article belongs to the Special Issue Understanding and Representation of the Intangible and Tangible Dimensions of Traditional Crafts for Their Safeguarding and Valorization)
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