Search results

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.

The purpose of this paper is to observe the nature of documentation and the description used in object biographies by an auction house catalogue and an online museum collection database in relation opera costumes. This research aims to discuss the issues of cultural and economic value in relation to objects in the art world, and examine examples of object biographies for opera costumes that are sold at an auction and exhibited in a museum.

The object biographies are compared from an auction house catalogue and the online museum collection database, based on two factors: costumes worn by a famous singer and costumes designed by a famous designer.

This study identified the valuation methods of auction houses and museums, including accounting for the market value and fair value, as well as social and cultural values. The nature of the documentation also clearly shows the different purpose of the object biographies. For auction houses the biography needs to be short and specific as it provides sufficient information and is read out at the auction, while art catalogues can also be used by experts as part of the conversation to understanding heritage value, and will also be viewed and used by researchers, investors, other auction house specialists and art world professionals.

By comparing two institutions, auction houses and museums, this study has shown that the information that is documented and how it is presented in object biographies is determined by the goals of the institutions. These goals may vary or overlap in providing information, demonstrating cultural importance, to be spoken allowed to an audience and make sales, or to educate, conserve and preserve.

This study shows that to some extent museum online databases display their collection removed from cultural context, with an isolated image of the item, and in an organised, digitally accessible manner. A potential implication is that museums should not only digitally catalogue an item, but also provide discussion and the cultural background and significance of the item.

Auction catalogues are written for a specific event (the auction), while the online museum collection database is meant to be a permanent record, which aims to digitally preserve objects and provide access to images and information to a general audience, and further could be edited with amendments or new information when future research or events lead to potential updates.

This study adds to the discourse on approaches to the understanding of costumes as an art object of significance and their potential cultural, economic and heritage value, particularly as represented in the documentation of object biographies.

The paper is to propose a tool for holistic impact assessment of commercially reused immovable cultural heritage resources on local, sustainable development along with the possibility to ensure the cultural sustainability of these assets themselves. The paper contains a case study using the proposed tool. The case study concerns a historic object in the form of a Polish manor house located in rural areas in Poland adapted for commercial purposes – restaurant, painting gallery and renovation of antique furniture.

The author proposes a holistic approach based on aspects, to impact assessment of given heritage resources on the economic, social, cultural and environmental pillars of sustainable development and the sustainable use of heritage assets themselves. Above that, the approach proposes to use the assumptions of EMAS or ISO 14001 systems for assessment of environmental aspects in case of reused cultural heritage assets.

The test study showed that the proposed tool allows determining whether, how and to what extent the contemporary commercial function of a given element of immovable cultural heritage contributes to local sustainable development and whether and to what extent the cultural sustainability of a given cultural heritage is ensured.

In the proposed approach, very detailed quantitative data cannot be included because of the need to simplify the research.

The proposed tool can be used by owners of reused historic buildings, local authorities, services responsible for the protection of cultural heritage and financing institutions to determine whether a given contemporary commercial function of cultural heritage resources contributes to local sustainable development in holistic approach and whether this function ensures the preservation of its cultural sustainability.

The use of the proposed tool will give the opportunity to take appropriate actions to increase the impact of historic objects on local sustainable development including social aspects. Moreover, it will be possible to increase the cultural sustainability of these objects.

There are not many studies and tools that provide a possibility to assess a holistic impact of reused cultural heritage on local sustainable development. Research usually concerns one or two pillars: social and economic. Above that, the study of the cultural appreciation in two different groups: direct users and the local community is a novelty in the perception of contribution to cultural development. It may contribute to the different way of measurement of appreciation of cultural heritage and its contribution to social and cultural development. In addition, to study the environmental pillar, the author proposes an approach used in environmental management (ISO 1400 and EMAS), i.e. the application of activities related to eliminating the potentially harmful impact of a new function of the historic resource on the natural environment.

The purpose is to show the results of research on sociocultural impact – as one of the pillars of sustainable local development which can be stimulated among others by immovable cultural heritage. The research concerned two groups of respondents: the local community, which does not directly use heritage re-adopted to commercial functions and the community using the heritage in a direct way.

Surveys and in-depth interviews were used for the study. Two groups of respondents were surveyed: direct users of immovable re-adopted heritage who have the possibility to use it directly by buying services offered in the studied heritage and the local community representatives for which access to the re-adopted heritage is limited.

In the case of heritage re-adopted to commercial functions, there are differences in sociocultural impact. The very presence of heritage and only awareness of its existence in a given area is not enough for creating a sociocultural function by it in some aspects. Such heritage does not use its potential fully.

Results of the study may be taken into account by some stakeholders in the case of giving heritage resources contemporary functions especially commercial ones (owners of re-used cultural heritage resources, representatives of local authorities as well as entities responsible for the protection, appropriate use of cultural heritage resources and decision-making processes) to eliminate negative or insufficient effects in creating the sociocultural function of heritage in sustainable local development.

Suggested actions undertaken on the basis of this research can increase the impact of immovable cultural heritage adapted for commercial purposes on a larger range of beneficiaries especially the local community. Hence, the extent of such heritage's impact on the sociocultural pillar of sustainable development would increase.

So far, studies on the differences in the sociocultural impact of immovable cultural heritage adapted to commercial, contemporary functions on direct users and no-direct users have not been conducted. Results obtained by this study supplement a certain gap regarding the sociocultural impact of heritage resources on this two groups of stakeholders: groups that have direct access to the heritage resource and groups that have no access to them or this access is limited.

Purpose – This study examines the meaning of shopping for Taiwanese students visiting England. It asks how this activity takes place, what purposes it serves for the students, and how the resulting purchases make meaning for the students once they return to Taiwan.

Methodology/approach – The study is ethnographic, involving observation and interviews in England as well as visual elicitation and interviews with the students once they returned to Taiwan and also some time later.

Findings – Shopping for souvenirs in England is found to be part of the process by which young Taiwanese tourists come to understand cultural differences. It is also a part of the process by which these students fulfill social obligations to those family members who have largely funded their trips. It is also a way of engaging with locals through the medium and excuse of shopping. Both the items selected and the memories they encode form thesomewhat stereotypical condensations of the experience of going abroad to “The West.”

Research limitations/implications (if applicable) – Those studied represent a young group with limited prior travel experience. Their retrospective recollections are subject to some distortion, although this is a part of the normal process of remembering.

Practical implications (if applicable) – For those planning foreign educational exchange programs, the critical role of shopping in this process should not be neglected.

Originality/value of paper – The researcher accompanied the students on their trip to England and also followed up with them once they returned home to Taiwan. This produced a rare insight into the process of tourist meaning-making during and after their trip abroad.

The purpose of this paper is to offer an example of how ontology, such as CIDOC, can be turned into a format from the perspective of an object. In fact, it illustrates the possible semantic analysis of an object description into a view neutral machine‐interpretable form. The aim is to show that a museum object located in a museum can be described in detail and then related to other information objects located in other memory institutions such as libraries and archives.

Studying different documents, all the information about Imam Reza's Zarih 4th was derivated. Then the most important were listed and represented in detail, according to CIDOC CRM entities.

The figures explicitly reveal the existing semantic correlations between the heterogeneous cultural heritage information in various memory institutions, such as Organization of Libraries, Museums and Documents Centre of Astan Quds Razavi.

The authors capture the knowledge from different resources and relate them in a semantic description with the aid of a semantic conceptual model like CIDOC CRM, to show more effective information integration in a cultural institution such as Organization of Libraries, Museums and Documents Centre of Astan Quds Razavi, in order to provide unified access to collection‐level information.

A focus on how visual cultures in domestic spaces influence older migrants' identification with the homeland has been noted in previous research, ¹ yet migrant youth have not typically been the sole subjects of investigation in this regard. This chapter seeks to fill this gap by offering insight into the practices of young Indian women in domestic spaces and how these practices influence their sense of belonging to India. This chapter highlights the practices of young Indian women living in Brisbane, Australia, through an exploration into how the young women recreate their histories and cultural attachments in domestic spaces. The research presented in this chapter illustrates the processes of emotional attachment for young migrants and how these processes demonstrate new ways of practising diaspora, including the use of the internet to learn about their cultural histories. With the use of PhotoVoice, where photographs were retrieved from mobile phones and the internet, the participants discussed their everyday lives relating to their emotional attachments to material objects in domestic spaces and the connection to their identities. This chapter's main argument is to highlight the need for researchers to avoid the tendency to place young migrants into the same diasporic categories as their parents and to recognise the diverse ways in which young migrants actively shape their own cultural attachments.

This article presents an analysis of a seemingly mundane consumption object, the Mars Coat King, a manual grooming device employed within Afghan hound breeding and exhibition cultures, to develop current conceptualizations of the consumption object in consumer culture theory (CCT). In doing so it extends theory of the ontology of, and relation between, subject and object into the realms of the post-humanist. The chapter illustrates how by employing post-humanist theory, the consumption object can be conceptualized as a mutable, contradictory and active entity within complex consumption cultures and when conceptualized as such, can enrich understanding of consumption objects within consumer research.

The cultural heritage of a nation is an important part of its identity. Its works of art, its records and archives and its archaeological remains contribute to its past and its present. Many nations are legitimately concerned to retain this cultural legacy, even where the objects are being sold to recognised galleries or museums in other countries. The export ban imposed by the British Government on the ‘Three Graces’ was a prominent example of the importance attached to certain works of art.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.