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Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012
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Standards, prototypes, and pilot projects - technology and flexibility in designing cultural heritage projects in challenging contextsinnsbruck 2012

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This presentation is a slightly enhanced version of the one introducing, on behalf of ICOM Italy, its "Commissione tematica per gli Audiovisivi e le Nuove Tecnologie", and ICOM-AVICOM, CDCH 2012, a …

This presentation is a slightly enhanced version of the one introducing, on behalf of ICOM Italy, its "Commissione tematica per gli Audiovisivi e le Nuove Tecnologie", and ICOM-AVICOM, CDCH 2012, a Satellite Workshop at VL/HCC 2012 - IEEE Symposium on Visual Languages and Human-Centric Computing (Innsbruck, Austria, 4 October 2012).

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  • 1. “Standards, Prototypes, and Pilot Projects”Technology and Flexibility in Designing Cultural Heritage Projects in Challenging Contexts Alessandro Califano CDCH 2012 Innsbruck, 4 October, 2012 Satellite Workshop at VL/HCC 2012 – IEEE Symposium on Visual Languages and Human-Centric Computing (30 September – 4 October 2012)
  • 2. Introduction “This paper, introducing our CDCH workshop at IEEE’s VL/HCC 2012 Symposium, on behalf of ICOM Italy, its Commissione tematica audiovisivi e nuove tecnologie, and ICOM-AVICOM, will try to ask questions – rather than to give answers – related to the issues at stake, focusing on Creative Design for Interdisciplinary Projects in Cultural Heritage. Let me start this by reading out a brief note describing ‘Fourth Dimension’ (you’ll find the full text at the URL http://www.slideshare.net/califano ), a pilot project developed at the Cultural Heritage Department of Rome, inspired by a museum collection data visualization programme implemented in Rotterdam.”
  • 3. “Fourth Dimension”“…Like city lights, receding” (William Gibson, Neuromancer)
  • 4. Migrating to a Different Context “Now, let us imagine to transplant a pilot project like ‘Fourth Dimension’ to a different context, like the one we find in some central Asian regions. Which would be the results of a SWOT analysis of the project, if set in such a new context? Let us examine this anti clock-wise, starting by what can help us in achieving the project’s aims, and ending with what can hinder us in doing so.”
  • 5. A Different Context…
  • 6. Fourth Dimension – SWOT Analysis (anti-clockwise)SWOT analysis diagram in English language, 30 September 2007 (via Xhienneon Wikipedia)
  • 7. Strengths• Stable, entertaining, strongly interactive and informing data structure• Very high data mining and data association potential
  • 8. Opportunities• Building a wide knowledge basis• Building a platform for decision making / resources allocation• Allowing workflow recognition / fostering work reorganization
  • 9. Threats• Significant infrastructural requirements (constant power availability, ITC)• Uncertain (but probably significant) times / costs for spare parts’ availability• Direct threat to traditional workflow and work organization
  • 10. Weaknesses• Expensive• Fragile• Steep learning / training / maintenance curve
  • 11. Wrapping it up… We can define this pilot project (like many other hi-tech loaded cultural heritage programmes) as being not very sustainable, in the new given context.“In a meeting organized in Bologna (19 May 2011) byICOM Italy’s Committee for Audiovisual & NewTechnologies (see next slide), the need was stressed tofocus on sustainability and, possibly, on downsizing.This badly needed trend involves not just architecturalsolutions, as we will see in a moment, but also requiresinfrastructures, ITC solutions, and more to be addressed inthis context.”
  • 12. Audiovisual Archives for a “Light” Museum Notes on a sustainable development model Alessandro Califano ICOM Italy - Commissione Tematica Audio-Visivi e Nuove tecnologie Istituzione Musei del Comune di Bologna “preserving virtual memories” Bologna, 19 May 2011
  • 13. A Provocative Thought, and 2 Case Studies“We have been building expensive museums, and have to spend almost as much to try protecting artefacts from light and variations in temperature…”• The glass-and-concrete art museum in Tashkent – an ineffective fight against summer heat• The Savitsky Museum (Nukus) and the Archaeological Museum (Termez) – high effectiveness of a vernacular architecture approach
  • 14. Beyond Architecture - OSACAOSACA, the Open Source Alliance of Central Asia, wasfounded at ROSCCA 2011, the first Regional Open SourceConference for Central Asia (Kabul, 15-18 October 2011).It focuses on FOSS (Free and Open Source Software), andon its advocacy and dissemination, in order to facilitatecultural, social, and economic development in the area ofconcern, once served by the historical Silk Roads.“One of the case studies, presented at ROSCCA 2011 bySufyan Kakakhel, described the scale of FOSS-relatedadvantages in a Pakistan based project.” (see next slide)
  • 15. Software: Different OptionsPakistan: Motorway police emergency helplineProprietary software solutions proposed:• $ 60K US / year• $ 400K US up front + annual sw renewal cost + additional costs if number of lines would need to be increasedOpen Source solution, developed by local engineers from scratch:• 3 million rupees ($ 33K US) one time cost
  • 16. Communication as a Complex Issue“I would like to attract the attention on threedifferent statements, all contained in the Call forPapers to this workshop.All of them deal with communication, the need toimprove it, and the difficulty in doing so whilestakeholders – or audiences, as far as a museumwould be concerned – are becoming more andmore diverse.”
  • 17. Communication between Communities• [There is the] “need to enlarge the level of community involvement in creating and enriching cultural knowledge”• [The stakeholders’] “variety leads to the rise of communication gaps”• [All of them] “have different cultural backgrounds, play different roles…, and use different …languages” (CDCH 2012, Call for Papers)
  • 18. Communication / Interpretation “In a museum, communication also means that we have to take into account two different facts:• Artefacts are - by definition – placed out of their original context, a context that has to be recreated in order for an artefact to again become intelligible• The cultural background of an artefact can’t be taken for granted, so that many more clues have to be given than might have been originally needed to convey its meaning This, as we’ll see in the next slides – taken from a presentation for a UNESCO workshop in Afghanistan (May 2009) showing 6 case studies – can become very complex, but it is still to be considered as routine work.”
  • 19. Audiences and CommunitiesAbout Guides, Interpreters, and Contexts Alessandro Califano UNESCO Training "Risks and Opportunities: Difficult Challenges for Museum Professionals" May 17 – 23, 2009 Kabul, Afghanistan
  • 20. Descriptions and Interpretations: 5 Case Studies…
  • 21. Interpretations – 5 Case Studies + OneIn the previous slide:• Head of Bodhisattva, Central Asia (Guimet Museum, Paris)• Horse rider, 19° century, Nuristan (National Museum of Afghanistan, Kabul)• Shiva Nataraja, 11° century, Tamil Nadu – India (Guimet Museum, Paris)• Annunciation, by Simone Martini & Lippo Menni, ca.1333, Siena (Uffizi Museum, Florence)• Raven and the First Men (Haida creation myth), by Bill Reid, 1980 (Museum of Anthropology, Vancouver)In the next slide:• Pop culture, movies, and TV icons form the background of an Adoration of the Magi
  • 22. Isabel Samaras – “Song of Birth: the 3 Magi”
  • 23. Planning “Differently”Way beyond the development of new strategies for differing storytelling needs, radically different settings call us to deeply rethink our assumptions in planning. “Standard requirements may well remain the same, but the way to achieve them will vary, according to the new context:”
  • 24. Fire Fighting Measures (Murad Khane, Kabul)Ensuring an effective security systems against fire riskswhere reliable water / power sources may not – or notalways – be readily available.
  • 25. Energy Saving and Artefacts Protecting MeasuresWith the substitution of neon and incandescence lightswith LEDs we can achieve up to over 90% of energysaving, while both heat and lux affecting the artefactsare very effectively kept under control.
  • 26. Infrastructures Could being a latecomer be an advantage, vs. being an early adopter?Tajikistan:• 400 K phone land lines• 6.5 M cell phones• 2.5 Internet users – most on smart-phones(via Talat Noumonov and Asomiddin Atoev, conversation in Kabul, 15 Oct. 2011)
  • 27. Flexibility as the Paramount FactorOur technology-charged delivery of cultural heritageprogrammes in critical contexts will be adequate only when FLEXIBILITY is set as the paramount feature of our planning Thus, and to conclude, paraphrasing the Poet, we could say…
  • 28. “There are more things in heaven and earth, Horatio, Than are dreamt of in your technology.” William Shakespeare, Hamlet (Act I, scene V)
  • 29. ...Tashakor! Vielen Dank! Thank you. “A nation stays alive when its culture stays alive” – Kabul, National Museum of Afghanistan

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