Search results

The need to digitise is an awareness that is shared across our community globally, and yet the probability of the intersection between resources, expertise and institutions are not as prospective. A strategic view towards the long-term goal of cultivating and digitally upskilling the younger generation, building a community and creating awareness with digital activities that can be beneficial for cultural heritage is necessary.

The work involves distributing tasks between stakeholders and local volunteers. It uses close-range photogrammetry for reconstructing the entire heritage site in 3D, and outlines achievable digitisation activities in the crowdsourced, close-range photogrammetry of a 19th century Cheah Kongsi clan temple located in George Town, a UNESCO World Heritage Site in Penang, Malaysia.

The research explores whether loosely distributing photogrammetry work that partially simulates an unorganised crowdsourcing activity can generate complete models of a site that meets the criteria set by the needs of the clan temple. The data acquired were able to provide a complete visual record of the site, but the 3D models that was generated through the distributed task revealed gaps that needed further measurements.

Key lessons learned in this activity is transferable. Furthermore, the involvement of volunteers can also raise awareness of ownership, identity and care for local cultural heritage.

Key lessons learned in this activity is transferable. Furthermore, the involvement of volunteers can also raise awareness of identity, ownership, cultural understanding, and care for local cultural heritage.

The value of semi-formal activities indicated that set goals can be achieved through crowdsourcing and that the new generation can be taught both to care for their heritage, and that the transfer of digital skills is made possible through such activities. The mass crowdsourcing activity is the first of its kind that attempts to completely digitise a cultural heritage site in 3D via distributed activities.

After reviewing cultural heritage institutions; crowdsourcing initiatives and tension between univocal and multivocal views of those who interact with cultural expressions, this paper argues that to support vibrant and effective crowdsourcing communities while ensuring the quality of the work of crowdsourcing project volunteers it is essential to reevaluate and transform the traditional univocal, top-down approach to representation and organization. The paper aims to discuss these issues.

This conceptual paper applies Foucault’s power–knowledge construct and theories of representation to the processes and practices employed in cultural heritage crowdsourcing projects.

Viewed through the Foucauldian lens, cultural heritage professionals are regarded as active parts of the power–knowledge relationship due to their direct engagement in the representation, organization and dissemination of knowledge, exercised not only through the traditional role of cultural heritage institutions as gatekeepers of knowledge but, more importantly, through the power of representation and organization of the cultural heritage.

This paper provides a theoretical understanding of cultural heritage crowdsourcing initiatives and proposes a framework for multivocal representation of cultural heritage expressions in which the voices of volunteers have the same validity as the voices of cultural heritage professionals.

The purpose of this study is to propose a set of design recommendations for crowdsourcing platforms with a focus on user engagement. A sample of New Zealand (NZ) cultural heritage institutions (CHIs) crowdsourcing platforms were assessed, with the aim of offering insights into how they have been designed to encourage dialogue and engagement and to sustain participation.

The design recommendations were derived from a review of related works. Following this, 12 crowdsourcing projects overseen by libraries, museums and an archive in NZ were assessed against the recommendations through content analysis.

The recommendations were classified into four main categories. These were promote ease of use, attract and sustain user interest, foster a community of users and show users that their work is contributing to the institution and society. The findings indicated that the sample of crowdsourcing projects assessed were generally successful at displaying the credibility and significance of their projects, and promoting their crowdsourced collections. Many of the projects could nevertheless benefit from providing further support to promoting dialogues and engagement with their users and contributors and sustaining offline community interaction.

The content analysis conducted was focused on the functionality of design elements of the crowdsourcing platforms. The design recommendations derived from the analysis were intended as a starting point for discussion and they would need to be validated in further studies. Other relevant project information such as funding and staffing, promotion and outreach efforts were not solicited in this study. Such information could provide important contextualisation. Future research could take the form of in-depth case studies, including surveying those involved in the projects and stakeholders to investigate such contextual aspects of crowdsourcing projects.

Previous research on crowdsourcing in NZ CHIs consisted of single case studies. This study provides a wider snapshot and insights into digital crowdsourcing platforms from public NZ CHIs. The study findings have practical implications for project managers and Web designers involved in crowdsourcing projects, particularly those in the cultural heritage sector.

The purpose of this paper is to identify the status of digitization of manuscripts in India and to give suggestions to transcribe these manuscripts easily, effortlessly and expeditiously.

The study is based on the analytical study of the literature available on global efforts in respect of documentation, preservation, conservation and digitization of manuscripts with special emphasis on the efforts of “namami” (acronym for National Manuscript Mission) for Indian manuscripts.

Meticulous analysis of literature and case studies give an overview of the diverse practices of public participation/crowd collaboration to transcribe and tagging of the rare and old historical documents around the globe. However, Indian libraries are far behind in adopting such practices.

India has a very rich cultural, educational and research heritage preserved in the form of manuscripts. These thousands of manuscripts are significant source of knowledge base for many researchers, however, despite their heritage value, these remain inaccessible to the researchers because of their being scattered and unpublished form. Moreover, even the digitized manuscripts remain difficult to use by the researchers because of immense linguistic diversity and scripts. Documentation and digitization of these manuscripts will not only preserve the invaluable heritage of India but also will enable their easy and vast access by the researchers globally. With the rapid growth in digital information and web-based technology, galleries, libraries, archives and museums (GLAM) around the world encourage and engage public participation in various digitization projects to enrich and enhance their digital collections and place them on the web. However, Indian GLAM still refrains to accept and adopt such practices. Thus this paper will encourage and motivate the Indian GLAM to expedite their digitization and uploading them on web for tagging and transcribing.

This is an original paper and has great implementation value. During the study enormous literature was available on digitization of Indian manuscripts. However, not even a single study could be found on tagging and transcription of these manuscripts, specifically crowd contribution in this area. Hence, the paper, by presenting the evidences of crowd participation for the tagging and transcription of manuscripts globally, proposes the Indian GLAM to exploit the benefits of this practice for Indian manuscripts also in order to expedite the tagging process to enhance their usage.

The purpose of this paper is to present the rationale for democratising the digital reproduction of cultural heritage via “mass photogrammetry”, by providing approaches to digitise objects from cultural heritage collections housed in museums or private spaces using devices and photogrammetry techniques accessible to the public. The paper is intended as a democratised approach rather than as a “scientific approach” for the purpose that mass photogrammetry can be achieved at scale.

The methodology aims to convert the art of photogrammetry into a more mechanical approach by overcoming common difficulties faced within exhibition spaces. This approach is replicable and allows anyone possessing inexpensive equipment with basic knowledge of photogrammetry to achieve acceptable results.

The authors present the experience of acquiring over 300 3D models through photogrammetry from over 25 priority sites and museums in East Asia. The approach covers the entire process from capturing to editing, and importing 3D models into integrated development environments for displays such as interactive 3D, Virtual Reality and Augmented Reality.

The simplistic approach for democratised, mass photogrammetry has implications for stirring public interests in the digital preservation of heritage objects in countries where museums and cultural institutions have little access to digital teams, provided that Intellectual Property issues are cared for. The approach to mass photogrammetry also means that personal cultural heritage objects hidden within the homes of various societies and relics in circulation in the antiques market can be made accessible globally at scale.

This paper focuses on the complete practical nature of photogrammetry conducted within cultural institutions. The authors provide a means for the public to conduct good photogrammetry so that all cultural heritage objects can be digitally recorded and shared globally so as to promote the cross-cultural appreciation of material cultures from the past.

In the past years, the importance of the cultural economy has led urbanism to a new perspective. Simultaneously, the main international institutions have pointed out the need to shift the urban economy into a sustainable one, green and energy efficient. The confluence of both flows explains why the imaginaries of the urban future are related to the concept of creative cities. Hence, the new economic engine of the cities should be founded on art, creativity and culture, all of them understood as clean energies. This study aims to show the crucial role of cultural heritage as a propeller of a new kind of urban development, more flexible and democratic, based on the construction of the city as a communicational, collective and open effort. Therefore, the city is conceived as a cultural heritage platform where tangible and intangible, social and creative interactions happen. Within this context, urban narratives appear as a dynamic material drawn on the possibilities offered by the heritage received from the past as a resource to be used for re-thinking and re-shaping the future.

The approach of this paper is based on a profound analysis of historical cities, mainly in the European context, supported by the work carried out within the H2020 ROCK project. The cities within the project are: Athens, Bologna, Cluj-Napoca, Eindhoven, Lisbon, Liverpool, Lyon, Torino, Skopje and Vilnius. A wide variety of case studies coming mainly from these cities have been considered to understand better the theoretical point of view on the role of heritage, urban development and city branding. The information about cultural heritage projects used as case studies has been collected and selected coming from the direct work made on the field and the communication open with institutions and cultural stakeholders in every city. Even more, parallel seminars on cultural heritage and city branding organized within the project have allowed the authors to gather very valuable, updated and fresh information on these issues in every particular case.

The study proves that cultural heritage has been traditionally underrated as a mechanism for developing the future of the city and its communicative strategy. Cultural heritage appears as a practical tool for constructing more cohesive urban communities based on the use of public space and shared memories as storytelling platforms. The capacity of resiliency and sustainability revealed by cultural heritage through the time is, as well, a clear reference to construct a potential sustainable city, socially, culturally and environmentally.

Cultural heritage projects are shown as a perfect way to build stronger communities. Through the engagement and participation of citizens, urban storytelling reinforces a more open, real and sustainable city able to face the challenges of contemporary life (gentrification, pollution, mobility, etc.). Like that, heritage appears as a feasible tool for including citizens coming from all ages and backgrounds in the construction of a collective narrative of the city, based on the past and looking at the foreseen.

This study tries to relate fields that traditionally have remained not well connected: urban development, city branding and cultural heritage. The study demonstrates that cultural heritage is crucial as an urban narrative tool and consequently, as a planning/branding mechanism. Moreover, cultural institutions and cultural projects are very relevant platforms for social interaction, inviting citizens to have a more active role in the construction of the city as a collective communicational effort based on a network of social and cultural relations. Storytelling turns up as a new key element for communicating the city from grassroots, in a sustainable, democratic and inclusive manner, far away from the traditional top-down official perspective. Crowdsourcing methods are very powerful for establishing a shared and cohesive city brand, now rooted in its cultural and social foundations and not the marketing campaign clichés. Finally, storytelling emerges as a creative resource that enhances the social, cultural and economic layout of the city, forcing urbanists to include a greener, fairer and more democratic perspective in the future of cities.

The purpose of this paper is to gather an overview of different research fields that study collection building amongst heritage amateurs (e.g. amateur archaeologists, family and local historians, etc.).

First, the paper will define the term heritage amateur and then identify possible fields in which these groups and their collection building have been studied. A snowball procedure was used to collect material for the study.

While there is an overlap between some of the subjects and fields examined, there is a potential for more collaboration resulting in a deeper understanding of collection building amongst heritage amateurs.

The term heritage amateur is not widely used, and the identification and collection of material for the review rely on the definition and understanding of this term and the groups included under it.

This review of existing literature will benefit researchers and practitioners in the fields of education, information science, museums, libraries and archival studies, as well as the multidisciplinary area of heritage studies.

There is a growing institutional and political interest in making digital heritage collections available to the general public, and this paper argues that an important part of this is understanding how heritage amateurs already do this.

This paper will connect narrow interest areas such as participatory heritage or serious leisure and show how their angles on heritage amateurs differ and compare.

Online/Digital cultural heritage platforms have the potential to serve as empowering sites and tools for democratic participation, and for promoting social cohesion, acting as convergence points for diverse societal groups. They enable the gathering of multiple voices, including those of minorities and groups often marginalised in mainstream cultural heritage documentation. This research paper examines the ways in which these aspirations of cultural heritage platforms as meeting, learning and dialogic spaces for connecting and empowering online communities have been realised.

Using a qualitative design, interviews were conducted with users of New Zealand’s Auckland War Memorial Museum’s Online Cenotaph. Participants shared their experiences with the platform, perceptions of it as a collective social history resource and views on its role as a participatory space for online communities. They also discussed their expectations for its development as an online space for collective memorialisation.

Interviews revealed that users value Online Cenotaph for placing personal, publicly contributed memories and narratives alongside primary military sources. Participants expressed feelings of civic responsibility, social awareness and a sense of identity and connection through their use and contribution to this online commemorative space. The shift from a one-way flow of information from the Museum towards embracing public contribution embodying a high-trust approach, was a notable finding.

This research underscores the evolving role of museums and other GLAM institutions in recognising the importance of inclusivity, diversity and community participation. It provides insights into how digital cultural heritage social platforms can contribute towards these goals and promote social cohesion. This research is also a starting point for further studies on crowdsourcing and social Web activities on digital cultural heritage platforms as sites of community building through public participation and engagement in historical/cultural heritage narratives.

The purpose of this paper is to explore how social value orientation and domain knowledge affect cooperation levels and transcription quality in crowdsourced manuscript transcription, and contribute to the recruitment of participants in such projects in practice.

The authors conducted a quasi-experiment using Transcribe-Sheng, which is a well-known crowdsourced manuscript transcription project in China, to investigate the influences of social value orientation and domain knowledge. The experiment lasted one month and involved 60 participants. ANOVA was used to test the research hypotheses. Moreover, inverviews and thematic analyses were conducted to analyze the qualitative data in order to provide additional insights.

The analysis confirmed that in crowdsourced manuscript transcription, social value orientation has a significant effect on participants’ cooperation level and transcription quality; domain knowledge has a significant effect on participants’ transcription quality, but not on their cooperation level. The results also reveal the interactive effect of social value orientation and domain knowledge on cooperation levels and quality of transcription. The analysis of the qualitative data illustrated the influences of social value orientation and domain knowledge on crowdsourced manuscript transcription in detail.

Researchers have paid little attention to the impacts of the psychological and cognitive factors on crowdsourced manuscript transcription. This study investigated the effect of social value orientation and the combined effect of social value orientation and domain knowledge in this context. The findings shed light on crowdsourcing transcription initiatives in the cultural heritage domain and can be used to facilitate participant selection in such projects.