This document summarizes strategies for preserving digital image collections. It discusses the need for institutional commitment to digital preservation, developing standards, and accepting responsibility. Techniques discussed include controlling access, ensuring unique identification and metadata, and long-term stewardship through collaboration across the lifecycle. The document also outlines phases of production, appraisal, deposit, archiving and preservation, and discovery and delivery. It emphasizes building teams with imaging science expertise and evaluating implications of decisions around quality, resolution and format on long-term preservation and access.
The document discusses preservation services at Harvard Library. It outlines the mission statement of Harvard Library Preservation Services which is to ensure the longevity and usability of Harvard's renowned collections. It then lists the categories that will be covered in a needs assessment survey, including collection overview, environment, security, emergency preparedness, storage/handling, reformatting, digital preservation, and treatment of general and special collections. The remainder focuses on digital preservation, outlining the aims to keep digital content safe, useful and accessible over time through services like the Digital Repository Service. It provides details on how content is stored safely across multiple locations and formats, and kept usable through integration with library systems, persistent identifiers, metadata and monitoring for obsolescence.
Présentation au seminaire Digital Studies
Presentation du seminaire
Langue, écriture et automatisme : les software studies face au capitalisme linguistique
Le stade numérique du processus de grammatisation pose le problème d’un changement radical des conditions de la lecture, de l’écriture et de l’expression linguistique : la formalisation, la discrétisation et l’extériorisation des comportements langagiers humains dans les rétentions tertiaires numériques semblent rendre impossible la ré-appropriation de ces savoirs par les individus. En effet, afin de tirer profit de la recherche des internautes, Google exerce un contrôle sur la langue au moyen d’outils de correction et de complétion automatique. En incitant l’internaute à employer les mots les plus utilisés statistiquement et qui font l’objet de la spéculation des publicitaires, ces automates le ramènent dans le domaine de la langue « prédictible » et commercialement exploitable par l’entreprise. Grâce à cette médiation algorithmique de l’expression, Google est donc parvenu à transformer le matériel linguistique en véritable ressource économique. Mais ce phénomène, que Frédéric Kaplan décrit sous le nom de « capitalisme linguistique », a pour effet direct une régularisation et une homogénéisation des langues naturelles, qui s’accompagne de leur désidiomatisation à échelle mondiale. Cet effet rétroactif des technologies sur la langue semble conduire à l’émergence d’une nouvelle syntaxe et d’un nouveau lexique informé par les capacités linguistiques des machines et la valeur économique des mots.
Just digitise it by Daniel Wilksch of the Public Records Office Victoria. Presented at the 2016 Community Heritage Grants (CHG) Preservation and Collection Management Training Workshops.
This document summarizes the digitization of Hansard, the official record of UK parliamentary debates. Key points include: Hansard was digitized by scanning nearly 3 million pages from 1803-2005; digitization enables improved access, preservation and usability; ongoing costs include hosting, storage and digital preservation; a digitization policy framework was developed to ensure consistency; and a web interface was created allowing faceted searching of the digitized Hansard texts.
Research Cyberinfrastructure at UCSD - David Minor - RDAP12ASIS&T
Research Cyberinfrastructure at UCSD
David Minor
UC San Diego Libraries San Diego Supercomputer Center
Presentation at Research Data Access & Preservation Summit
22 March 2012
The document discusses preservation services at Harvard Library. It outlines the mission statement of Harvard Library Preservation Services which is to ensure the longevity and usability of Harvard's renowned collections. It then lists the categories that will be covered in a needs assessment survey, including collection overview, environment, security, emergency preparedness, storage/handling, reformatting, digital preservation, and treatment of general and special collections. The remainder focuses on digital preservation, outlining the aims to keep digital content safe, useful and accessible over time through services like the Digital Repository Service. It provides details on how content is stored safely across multiple locations and formats, and kept usable through integration with library systems, persistent identifiers, metadata and monitoring for obsolescence.
Présentation au seminaire Digital Studies
Presentation du seminaire
Langue, écriture et automatisme : les software studies face au capitalisme linguistique
Le stade numérique du processus de grammatisation pose le problème d’un changement radical des conditions de la lecture, de l’écriture et de l’expression linguistique : la formalisation, la discrétisation et l’extériorisation des comportements langagiers humains dans les rétentions tertiaires numériques semblent rendre impossible la ré-appropriation de ces savoirs par les individus. En effet, afin de tirer profit de la recherche des internautes, Google exerce un contrôle sur la langue au moyen d’outils de correction et de complétion automatique. En incitant l’internaute à employer les mots les plus utilisés statistiquement et qui font l’objet de la spéculation des publicitaires, ces automates le ramènent dans le domaine de la langue « prédictible » et commercialement exploitable par l’entreprise. Grâce à cette médiation algorithmique de l’expression, Google est donc parvenu à transformer le matériel linguistique en véritable ressource économique. Mais ce phénomène, que Frédéric Kaplan décrit sous le nom de « capitalisme linguistique », a pour effet direct une régularisation et une homogénéisation des langues naturelles, qui s’accompagne de leur désidiomatisation à échelle mondiale. Cet effet rétroactif des technologies sur la langue semble conduire à l’émergence d’une nouvelle syntaxe et d’un nouveau lexique informé par les capacités linguistiques des machines et la valeur économique des mots.
Just digitise it by Daniel Wilksch of the Public Records Office Victoria. Presented at the 2016 Community Heritage Grants (CHG) Preservation and Collection Management Training Workshops.
This document summarizes the digitization of Hansard, the official record of UK parliamentary debates. Key points include: Hansard was digitized by scanning nearly 3 million pages from 1803-2005; digitization enables improved access, preservation and usability; ongoing costs include hosting, storage and digital preservation; a digitization policy framework was developed to ensure consistency; and a web interface was created allowing faceted searching of the digitized Hansard texts.
Research Cyberinfrastructure at UCSD - David Minor - RDAP12ASIS&T
Research Cyberinfrastructure at UCSD
David Minor
UC San Diego Libraries San Diego Supercomputer Center
Presentation at Research Data Access & Preservation Summit
22 March 2012
Exploring Evaluation Methods for Digital Technologies – Elizabeth Bolander, D...Jane Alexander
Exploring Evaluation Methods for Digital Technologies – Elizabeth Bolander, Director of Communications and Research and Meghan Stockdale, Audience Research Associate
Museums and the Web at the Cleveland Museum of Art
Take a Deep Dive into Gallery One at the Cleveland Museum of Art
1) The EuropeanaPhotography project aims to digitize over 430,000 ancient photographs from 19 partners across 13 EU countries and provide the metadata and images to Europeana.
2) The project involves public and private collaboration between archives and photo agencies to represent early photography in Europeana. It provides support for digitization, metadata, intellectual property rights, and training.
3) Key outputs include a multilingual photography vocabulary, best practices for digitization and metadata, a mapping tool to transform metadata, and an IPR guidebook.
Slides from the "Planning a Successful Digital Project" start-to-finish session presented at the Wisconsin Library Association annual conference, Green Bay, October 25, 2013. Presenters: Sarah Grimm, Electronic Records Archivist, Wisconsin Historical Society and Emily Pfotenhauer, Recollection Wisconsin Program Manager, WiLS.
This document outlines the agenda and topics that will be covered in a digitization workshop for community heritage organizations. The session will cover how to plan a digitization project by setting standards, assessing needed resources, and caring for original and digital materials. It will also discuss providing access online, including issues around rights, metadata, and sharing images. Key topics include setting an appropriate level of technical standards based on the project goals and constraints, ensuring backups and long-term preservation of digital files, and creating descriptive metadata to enable discovery and use of digitized collections.
This document discusses the benefits of an institutional repository (IR) for the New York State College of Ceramics at Alfred University. It outlines several potential benefits, including increased dissemination, preservation of materials, technical support, and positive PR. It proposes that the IR's initial collections focus on student scholarship, including theses, images, recordings, and other works. Implementing an IR would help showcase student learning and meet accreditation standards. The document describes the school's plans to contribute initial materials to the SUNY-hosted IR and ongoing efforts to refine the submission process.
Frictions: Trade-offs Implementing Green ExhibitionsCarol Reif
California Association of Museums 2014 Conference presentation: California exhibition venues are exploring sustainable practices. What are the opportunities and the challenges? Includes Oregon Museum of Science and Industry's exhibitSEED rubric and sustainable exhibition practices by the Exploratorium and Oakland Museum of California.
This document provides guidance on creating an artist portfolio, including whether to use a physical or digital format. It recommends first creating a digital portfolio, and also including a physical one for situations involving in-person interactions. Portfolios should include 10-20 high quality examples tailored to the purpose. Common presentation formats discussed include PDF, PowerPoint, browser-based viewers, and web-based options. The document also provides tips for preparing images, such as resizing to 72ppi and cropping without borders.
This document discusses graphics, design, color, copyright, and digital concepts for educational purposes. It provides information on visual learning, types of graphics like photos and diagrams, criteria for good graphics, raster and vector images, scaling graphics, elements of design, color models and printing basics, fair use and copyright guidelines, finding open resources, and common file formats. Examples and sources for finding infographics are also included. The document aims to teach best practices for using visual elements in an educational context.
Craig Robert Middleton completed an internship at the South Australian Museum where he undertook a photographic audit project. The project involved organizing and cataloguing existing images to determine their suitability for marketing and promotion. Middleton learned about principles like image resolution and created an electronic filing system to make the image collection more accessible. While the internship provided valuable experience in skills like organization, independent work, and creative decision making, Middleton notes it also highlighted areas for further learning like specific collection details.
The document discusses the University of Notre Dame Archives' transition to digitizing and curating photograph collections in response to increased remote access during COVID-19. It provides background on the Archives' history and collections. It then describes the Archives' previous process of digitizing photographs on demand for in-person researchers. During COVID, the Archives began digitizing entire collections in anticipation of remote requests. The document outlines the Archives' implementation of the Preservica digital preservation system to manage digital assets through defined workflows, including the workflow developed for digitized analog photographs.
Digital Pathology at John Hopkins
Practical Research and Clinical Considerations
Alexander Baras
Presented at the Digital Pathology Congress: USA. For more information visit: www.global-engage.com.
AMIA: Examining AV Enterprise at a Regional Academic ArchiveJessica Breiman
Presentation delivered by University of Utah AV archivists at the Association of Moving Image Archivists conference 2015
Jessica Breiman
Tawnya Keller
Molly Rose Steed
The document outlines an agenda for a digitization workshop hosted by the Community Heritage Grants Program. The session will cover planning a digitization project, including setting standards, resources needed, and care of original materials and digital copies. It will include a tour of a digitization facility and discussions on negotiating rights, providing access online, and metadata. Notes are provided on the six key stages of a digitization project - planning, preparing, creating, describing, editing, and publishing digital assets. Factors to consider when setting standards like resolution, file format, and compression are also summarized.
This document discusses key challenges for projects that digitize and deliver archive sound recordings, speeches, audio research material, and multimedia performances. It identifies challenges related to quality (audio capture, conversion, mastering), longevity (future-proofing, archiving, sustainability), and delivery (methods, transparency, accessibility). Specifically, it aims to maintain quality throughout the recording and digitization process, protect the archive from obsolescence through standards-based formats, and provide searchable access and delivery of content to researchers through a transparent interface.
Research in the digital age - circa 2005Larry Naukam
This document discusses the benefits of digitizing archival materials such as books, newspapers, photographs, and manuscripts that are fragile or at risk of damage from heavy use. It outlines several initiatives by the Rochester Public Library to make parts of its collection more accessible online, including digitizing photographs, maps, and genealogical records. The document also discusses important considerations for digital projects such as rights, costs, staffing needs, formats, and ensuring long-term access to and maintenance of the digital files.
This document discusses strategies for integrating technology into elementary classroom research projects to encourage critical thinking and prevent copying. It recommends changing research product assignments, such as having students write poems instead of reports, to require using information in new ways rather than just copying. Different thinking modes and appropriate resources, websites, and models are also presented.
A Digitization Primer for Botanical and Horticultural LibrariansChris Freeland
The document provides guidance on developing a digitization project for botanical and horticultural libraries. It discusses why institutions digitize materials, including making resources broadly available while preserving originals. A survey of attendees found most had little experience with digitization projects and were interested in digitizing various material formats, including photographs, printed works, and herbarium specimens. The document outlines topics to cover in developing a project, including audience and goals, ownership and copyright, preservation, metadata, scanning and sustainability.
Mark Dehmlow, Head of the Library Web Department at the University of Notre Dame
At the University of Notre Dame, we recently implemented a new website in concert with rolling out a “next generation” OPAC into production for our campus. While much of the pre-launch feedback was positive, once we implemented the new systems, we started receiving a small number of intense criticisms and a small wave of problem reports. This presentation covers how to plan for big technology changes, prepare your organizations, effectively manage the barrage of post implementation technical problems, and mitigate customer concerns and criticisms. Participants are encouraged to bring brief war stories, anecdotes, and suggestions for managing technology implementations.”
Just Digitise It by Daniel Wilksch (Coordinator Digital Projects, Public Record Office Victoria). Presented at the 2015 Community Heritage Grants (CHG) Preservation and Collection Management Training Workshops.
DH101 2013/2014 course 10 - 3d printing, Javascript data visualization Frederic Kaplan
This document outlines the courses for a Digital Humanities seminar in the fall 2013/2014 semester. The 10 courses will cover topics such as introduction to digital humanities, digitization techniques, datafication, semantic modeling, pattern recognition, crowdsourcing and more. Students will complete assignments including a group project and blog. The document also provides information on using tools like the Venice Atlas website, ArcGIS, Google Maps, D3.js and 3D printing software to work on and present assignment projects.
Exploring Evaluation Methods for Digital Technologies – Elizabeth Bolander, D...Jane Alexander
Exploring Evaluation Methods for Digital Technologies – Elizabeth Bolander, Director of Communications and Research and Meghan Stockdale, Audience Research Associate
Museums and the Web at the Cleveland Museum of Art
Take a Deep Dive into Gallery One at the Cleveland Museum of Art
1) The EuropeanaPhotography project aims to digitize over 430,000 ancient photographs from 19 partners across 13 EU countries and provide the metadata and images to Europeana.
2) The project involves public and private collaboration between archives and photo agencies to represent early photography in Europeana. It provides support for digitization, metadata, intellectual property rights, and training.
3) Key outputs include a multilingual photography vocabulary, best practices for digitization and metadata, a mapping tool to transform metadata, and an IPR guidebook.
Slides from the "Planning a Successful Digital Project" start-to-finish session presented at the Wisconsin Library Association annual conference, Green Bay, October 25, 2013. Presenters: Sarah Grimm, Electronic Records Archivist, Wisconsin Historical Society and Emily Pfotenhauer, Recollection Wisconsin Program Manager, WiLS.
This document outlines the agenda and topics that will be covered in a digitization workshop for community heritage organizations. The session will cover how to plan a digitization project by setting standards, assessing needed resources, and caring for original and digital materials. It will also discuss providing access online, including issues around rights, metadata, and sharing images. Key topics include setting an appropriate level of technical standards based on the project goals and constraints, ensuring backups and long-term preservation of digital files, and creating descriptive metadata to enable discovery and use of digitized collections.
This document discusses the benefits of an institutional repository (IR) for the New York State College of Ceramics at Alfred University. It outlines several potential benefits, including increased dissemination, preservation of materials, technical support, and positive PR. It proposes that the IR's initial collections focus on student scholarship, including theses, images, recordings, and other works. Implementing an IR would help showcase student learning and meet accreditation standards. The document describes the school's plans to contribute initial materials to the SUNY-hosted IR and ongoing efforts to refine the submission process.
Frictions: Trade-offs Implementing Green ExhibitionsCarol Reif
California Association of Museums 2014 Conference presentation: California exhibition venues are exploring sustainable practices. What are the opportunities and the challenges? Includes Oregon Museum of Science and Industry's exhibitSEED rubric and sustainable exhibition practices by the Exploratorium and Oakland Museum of California.
This document provides guidance on creating an artist portfolio, including whether to use a physical or digital format. It recommends first creating a digital portfolio, and also including a physical one for situations involving in-person interactions. Portfolios should include 10-20 high quality examples tailored to the purpose. Common presentation formats discussed include PDF, PowerPoint, browser-based viewers, and web-based options. The document also provides tips for preparing images, such as resizing to 72ppi and cropping without borders.
This document discusses graphics, design, color, copyright, and digital concepts for educational purposes. It provides information on visual learning, types of graphics like photos and diagrams, criteria for good graphics, raster and vector images, scaling graphics, elements of design, color models and printing basics, fair use and copyright guidelines, finding open resources, and common file formats. Examples and sources for finding infographics are also included. The document aims to teach best practices for using visual elements in an educational context.
Craig Robert Middleton completed an internship at the South Australian Museum where he undertook a photographic audit project. The project involved organizing and cataloguing existing images to determine their suitability for marketing and promotion. Middleton learned about principles like image resolution and created an electronic filing system to make the image collection more accessible. While the internship provided valuable experience in skills like organization, independent work, and creative decision making, Middleton notes it also highlighted areas for further learning like specific collection details.
The document discusses the University of Notre Dame Archives' transition to digitizing and curating photograph collections in response to increased remote access during COVID-19. It provides background on the Archives' history and collections. It then describes the Archives' previous process of digitizing photographs on demand for in-person researchers. During COVID, the Archives began digitizing entire collections in anticipation of remote requests. The document outlines the Archives' implementation of the Preservica digital preservation system to manage digital assets through defined workflows, including the workflow developed for digitized analog photographs.
Digital Pathology at John Hopkins
Practical Research and Clinical Considerations
Alexander Baras
Presented at the Digital Pathology Congress: USA. For more information visit: www.global-engage.com.
AMIA: Examining AV Enterprise at a Regional Academic ArchiveJessica Breiman
Presentation delivered by University of Utah AV archivists at the Association of Moving Image Archivists conference 2015
Jessica Breiman
Tawnya Keller
Molly Rose Steed
The document outlines an agenda for a digitization workshop hosted by the Community Heritage Grants Program. The session will cover planning a digitization project, including setting standards, resources needed, and care of original materials and digital copies. It will include a tour of a digitization facility and discussions on negotiating rights, providing access online, and metadata. Notes are provided on the six key stages of a digitization project - planning, preparing, creating, describing, editing, and publishing digital assets. Factors to consider when setting standards like resolution, file format, and compression are also summarized.
This document discusses key challenges for projects that digitize and deliver archive sound recordings, speeches, audio research material, and multimedia performances. It identifies challenges related to quality (audio capture, conversion, mastering), longevity (future-proofing, archiving, sustainability), and delivery (methods, transparency, accessibility). Specifically, it aims to maintain quality throughout the recording and digitization process, protect the archive from obsolescence through standards-based formats, and provide searchable access and delivery of content to researchers through a transparent interface.
Research in the digital age - circa 2005Larry Naukam
This document discusses the benefits of digitizing archival materials such as books, newspapers, photographs, and manuscripts that are fragile or at risk of damage from heavy use. It outlines several initiatives by the Rochester Public Library to make parts of its collection more accessible online, including digitizing photographs, maps, and genealogical records. The document also discusses important considerations for digital projects such as rights, costs, staffing needs, formats, and ensuring long-term access to and maintenance of the digital files.
This document discusses strategies for integrating technology into elementary classroom research projects to encourage critical thinking and prevent copying. It recommends changing research product assignments, such as having students write poems instead of reports, to require using information in new ways rather than just copying. Different thinking modes and appropriate resources, websites, and models are also presented.
A Digitization Primer for Botanical and Horticultural LibrariansChris Freeland
The document provides guidance on developing a digitization project for botanical and horticultural libraries. It discusses why institutions digitize materials, including making resources broadly available while preserving originals. A survey of attendees found most had little experience with digitization projects and were interested in digitizing various material formats, including photographs, printed works, and herbarium specimens. The document outlines topics to cover in developing a project, including audience and goals, ownership and copyright, preservation, metadata, scanning and sustainability.
Mark Dehmlow, Head of the Library Web Department at the University of Notre Dame
At the University of Notre Dame, we recently implemented a new website in concert with rolling out a “next generation” OPAC into production for our campus. While much of the pre-launch feedback was positive, once we implemented the new systems, we started receiving a small number of intense criticisms and a small wave of problem reports. This presentation covers how to plan for big technology changes, prepare your organizations, effectively manage the barrage of post implementation technical problems, and mitigate customer concerns and criticisms. Participants are encouraged to bring brief war stories, anecdotes, and suggestions for managing technology implementations.”
Just Digitise It by Daniel Wilksch (Coordinator Digital Projects, Public Record Office Victoria). Presented at the 2015 Community Heritage Grants (CHG) Preservation and Collection Management Training Workshops.
DH101 2013/2014 course 10 - 3d printing, Javascript data visualization Frederic Kaplan
This document outlines the courses for a Digital Humanities seminar in the fall 2013/2014 semester. The 10 courses will cover topics such as introduction to digital humanities, digitization techniques, datafication, semantic modeling, pattern recognition, crowdsourcing and more. Students will complete assignments including a group project and blog. The document also provides information on using tools like the Venice Atlas website, ArcGIS, Google Maps, D3.js and 3D printing software to work on and present assignment projects.
This document outlines the content of a Digital Humanities course covering crowdsourcing. The course aims to answer why projects rely on crowdsourcing and why people participate in crowdsourced projects. It discusses cases like using Mechanical Turk for transcription and crowdfunding scientific projects. Reasons projects use crowdsourcing include low costs and better user engagement. People participate for intrinsic motivations like contributing to open data maps or the challenge of climbing the ranks on Wikipedia. The document explores examples like OpenStreetMap, Wikipedia editing as a game, and Quora's gamified approach to soliciting expert answers.
DH101 2013/2014 course 8 - Historical Geographical Information Systems (HGIS)...Frederic Kaplan
This document outlines the course content for Digital Humanities 101 from 2013-2014. The course covers topics such as introduction to digital humanities, wordpress, digitization techniques, datafication, semantic modeling, pattern recognition, historical geographic information systems, crowdsourcing, and cultural heritage interfaces. It also discusses how GIS can benefit humanities research by allowing visualization and analysis of spatial data to find patterns and add contextual data. Some challenges to using GIS for history include historian skepticism, uncertainty in historical data, and changes in administrative boundaries over time. Several example projects are described that use GIS for fields like military history, digital map editions, and reconstructing past landscapes.
The document outlines potential group projects for a digital humanities course on Venice. Students must form groups, choose or invent a project, and create an independent blog for the project. The blog must include the project objectives, methodology, and a project plan. Students will present their projects in 7-minute presentations for a grade. Potential project topics are organized into the following categories: timelines, 3D and procedural modeling, data mining and pattern recognition, maritime networks, financial networks, printing industry, and life in Venice. Examples of specific project ideas are provided under each category.
The document provides an overview of optical character recognition (OCR) techniques and challenges. It discusses the history and development of OCR from the 1940s to present. Key stages included fixed font recognition, multi-font recognition, and modern omni-font recognition. The document outlines the main steps in OCR processing: preprocessing like line straightening, character detection and segmentation, feature extraction, classification, post-processing like error correction, and challenges like touching characters. It also discusses challenges in handwriting recognition and techniques like stroke extraction and holistic matching. The document uses examples from ABBYY Fine Reader to demonstrate OCR and table recognition on a scanned document.
This document provides an overview of a course on digital humanities. It outlines the topics that will be covered in each of the 12 classes, including introductions to digital humanities, semantic modeling, crowdsourcing and visualization. One class focuses specifically on semantic coding and modeling using standards like RDF, URIs, OWL and SPARQL. It also discusses ontologies like CIDOC-CRM that can be used to semantically represent cultural heritage data.
- Peer reviewing of blog posts for a digital humanities course has started and reviews are due by the next class meeting. Students can change their grades up until the deadline.
- The course covers topics like digitization techniques, datafication, semantic modeling, crowdsourcing, and cultural heritage interfaces over 11 sessions.
- For the next semester, students will form groups to work on projects modeling different aspects of Venetian history using digitized sources and techniques taught in the course like 3D modeling, data mining, and network analysis. Examples of proposed projects are provided.
DH101 2013/2014 course 4 - Digitization techniques 2D and 3D Frederic Kaplan
This document provides an overview of a Digital Humanities 101 course covering 2D and 3D imaging techniques. The course introduces different types of digital images, methods for capturing images, and file formats and metadata. It also discusses techniques for 3D digitization including image-based rendering, modeling approaches, sampling approaches, and 3D scanning devices that use active optical technologies like triangulation and time-of-flight measurements. Examples of projects using these techniques are provided.
The document discusses using 3D modeling and digital techniques in cultural heritage and digital humanities. It provides examples of how 3D models can be used to study and reproduce works of art, document archaeology research, and support restoration efforts. Specifically, it describes the Cenobium project which digitized sculptures to create an online repository for scholarly study. It also discusses an analysis using 3D modeling to evaluate a proposed attribution of a composite artwork by attempting to align a historical drawing with a 3D model through camera calibration techniques.
This document outlines the key steps in a 3D scanning pipeline used to transform partial scan data into a complete 3D model. The pipeline includes planning acquisition, registering multiple scans together using algorithms like ICP, merging scans into a single mesh while managing holes and quality, simplifying large meshes for optimization, and managing data complexity through multi-resolution encoding and view-dependent rendering. The steps are demonstrated using the open-source MeshLab software developed by the Visual Computing Lab, which has had over 300k downloads.
This document introduces 3D digitization technologies. It discusses acquiring visually rich 3D models through either modeling or sampling approaches. Modeling involves manually redrawing objects, while sampling uses semi-automatic processes like 3D scanning to photograph objects. Common 3D scanning devices and technologies are described, including laser scanners that use triangulation or time-of-flight measurements to sample surfaces. Raw scan data requires processing to transform redundant sampled points into a complete 3D model.
Color and appearance information in 3d modelsFrederic Kaplan
This document discusses methods for representing color and visual appearance on 3D models. It describes how color is determined by the interaction of lighting and material properties. Common representations of visual appearance include reflectance functions, BSSRDFs, SVBRDFs and BRDFs. Texture mapping and color projection from photographs are introduced as ways to encode color information onto 3D geometry. Issues with photo shooting, registration, material estimation and color projection are discussed. The document recommends resources for learning more about these topics.
The document provides an overview of techniques for generating 3D models from images, including assisted modeling using tools like SketchUp, photogrammetry using tools like ImageModeler and PhotoModeler, and multi-view stereo matching using tools like the Photosynth Toolkit, SfM Toolkit, Python Photogrammetry Toolbox, and Autodesk 123Dcatch. It discusses the underlying principles, calibration processes, dense matching techniques, and final model creation steps involved. The document recommends several free and commercial software tools and provides additional online resources for learning more about these 3D reconstruction methods.
This document discusses a joint research project between the Department of Philosophy and Cultural Heritage and the Department of Computer Science and Humanities at Ca' Foscari University of Venice. The project aims to create an interactive digital timeline of Venice using images, literature, artworks, and other sources from the 13th to 20th centuries. Technological challenges include developing new image search and matching techniques to extract information from large image datasets, and reconstructing immersive virtual environments representing different historical periods in Venice using layered information. The goal is to provide varying perspectives on urban places and cultural artifacts in Venice to help reconstruct the "Period eye."
Digital Humanities Venice Fall School: IntroductionFrederic Kaplan
The document outlines the Venice Fall Digital Humanities School taking place from October 6-11, 2013. The objectives of the school are for students to work in groups to invent a new project for the Venice Time Machine, present their project in a 15 minute presentation on Friday, and provide feedback on other group presentations. The school will provide background on the Venice Time Machine project and its multidimensional model of Venice. Students are expected to form their groups on Sunday and work as a group from Thursday to Friday.
This document outlines the content of a Digital Humanities course at EPFL. The course covers topics such as introduction to digital humanities, Zotero reference management software, the proposed Venice Time Machine project, and multidimensional case studies. The Venice Time Machine aims to integrate historical data and images from different time periods to allow users to visualize how Venice has changed over time in an interactive and immersive way. Challenges discussed include representing uncertainty in historical sources and aligning different datasets in a formal semantic framework.
This document outlines the structure and content of a Digital Humanities course. It begins by distinguishing between key concepts in the field, including Digital Humanities, Humanities Computing, Digital Studies, and Studies about Digital Culture. It then provides an overview of Digital Humanities, discussing its origins, focus on practice, and global nature. Other sections define related terms, compare approaches like Humanities Computing and Digital Studies, and assign a writing task as the first student assignment. The goal is to introduce students to foundational topics and skills in Digital Humanities.
DH101 2013/2014 course1 - Presentation of the course / Collaborative writing ...Frederic Kaplan
This document outlines the structure and content of a Digital Humanities course at the Digital Humanities Laboratory. It introduces concepts that will be covered over the course of the semester, including digital humanities projects from previous years, new projects like the Venice Time Machine, and skills like live tweeting and collective note-taking. The course aims to build students' understanding of digital humanities and provide hands-on experience through group projects linked to ongoing digital humanities research initiatives. Grading will incorporate individual blogging assignments as well as group project work presenting digital humanities research.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Your Skill Boost Masterclass: Strategies for Effective Upskilling
Franziska Frey 2 / DHV13
1. 10/7/13
1
Preservation Strategies for
Digital Image Collections
Franziska Frey"
Malloy Rabinowitz Preservation Librarian"
Head of Preservation and Digital Imaging Services"
Harvard Library
Requirements To Make Digital Work
• Deep and longstanding institutional
commitment to traditional preservation
• Full integration of technology into
information management procedures and
processes
• Significant leadership in developing
appropriate definitions and standards
Responsibility
• “Digital preservation will only happen if
organisations and individuals accept
responsibility for it.
• Acceptance of responsibility should be
explicitly and responsibly declared…..”"
"
UNESCO, “Guidelines for the Preservation of Digital
Heritage,” 2003
Control
• Move objects to a safe place
• Uniquely identify and describe images with
appropriate metadata for resource discovery,
management, and preservation
• Use standardised metadata schemas for
interoperability
• Ensure that links between digital objects and
their metadata are securely maintained, and
that the metadata are also preserved."
"
UNESCO, “Guidelines for the Preservation of Digital Heritage,”
2003
Stewardship
• Long-term management of heritage materials
(digital objects) through collaboration, throughout
all phases of object life cycle.
– Rights holders
– Collection managers
– Repository/preservation staff
– Centers of expertise (researchers, scientists)
– Auditors
– Content users and their communities
2. 10/7/13
2
Stewardship ─ Collection"
Manager’s Responsibilities
• Intellectual property rights: manage legal rights,
including rights to make copies
• Metadata: provide appropriate administrative,
technical, and structural metadata for objects
• Discovery: ensure that description of objects are
publicly available in online discovery systems
• Access: ensure that a version of the object is available
to the Harvard community
• Financial considerations: pay for repository and
preservation services"
"
Harvard University Library, DRS Policy Guide
Techniques to Preserve Images
• Phase 1―Production
• Phase 2―Appraisal
• Phase 3―Deposit
• Phase 4―Archiving and Preservation
• Phase 5―Discovery and Delivery
Phase 1 ― Production"
• Imaging does matter
• Formats do matter
• Documentation does matter
Art-si.org
Image Quality Matters
• High quality images can be repurposed and are
worth maintaining
• Steve Puglia: ”We feel that the managed
environment needs to be extended beyond the
digital repository and forwarded in time to include
the digitization process….”"
(IS&T Archiving Conference, 2008)
Building Teams
• Preserving visual cultural heritage
materials involves one additional field:
Imaging Science
– It is imperative that the person
involved in creating these materials,
whether born digital or digitized, has
a good knowledge of imaging
3. 10/7/13
3
Consequences of These Decisions"
Vis-à-vis Preservation
• Resolution
– As size increases (e.g., decisions to
capture and keep 48 bit, high resolution
files), management overhead increases
• This holds true especially if the storage
unit bills per MB or GB per year
How are Digital Libraries Evaluated?
• Almost no research on implications of
image quality
• User interfaces and usability in terms of
finding the right image have been
evaluated
• Why this gap?
– Do users know what they can demand in terms of
image quality?
• Visual literacy
– Image quality studies are complex and expensive
Reproductions of Cultural Heritage
Materials Needed for…
• On-line databases
• Posters, calendars, and
postcards
• Exhibition catalogues
• Education
• Conservation
• And more
Survey—Imaging Purposes
To protect vulnerable originals from use
67%
To produce printed reproductions
77%
To make collection accessible over the Internet
86%
To include in a collection management system
86%
To document conservation treatment
58%
Other
28%
4. 10/7/13
4
However…
• Reproducing cultural heritage materials can be
difficult
– Color and texture
– Printing may be taking place half a world away
• It is of interest to limit the number of times an
artwork is imaged
– Potential for damage to the artwork
– Expensive
• Resources are limited
– Budget cuts
– Many institutions do not have dedicated reproduction
departments
Viewing Conditions
• Reproductions are viewed under various
lighting conditions…
– Museum shop, living room, class room
– Displays
• …even for image evaluation
– Light booth, gallery, office
• Significant issues
– Metamerism
– Color appearance
– Consistency
Project Objectives
• Determine the optimal reproduction processes
presently available
– Understand the workflow processes in use in
cultural heritage institutions today
– Determine the image quality inherent in these
processes in print and on line
– Understand the image quality expectations of the
users involved
• Develop a framework to serve as a guideline
for cultural heritage institutions to follow when
reproducing fine art
ImageMuse
• Establish a user group devoted to imaging,
archiving, and reproducing cultural heritage
• 17+1 institutions took part in our experiments
Image Quality Metrics
• Document current workflows
• Develop a practical characterization test
method: industry solutions
• Document available targets to measure
objective image quality
Workflow Charts
Capture
Illumination
Camera
Post-Processing
Proofing
Further Processes
5. 10/7/13
5
Documented Reproduction Workflows
Workflow Process
General Function
Specific Workflow Process Steps and
Considerations
Additional Steps and Considerations
1. Image capture
Objective targets used
Lighting set up used to illuminate the artwork
including polarization
Camera calibration
Flat-fielding
2. Proofing and
image file
preparation
Monitor Calibration
Working color space
Screen background used for file viewing
Viewing environment
Physical image size on the screen
Sharpening
Image orientation
Resolution and file size
3. Image delivery
File format
Image layers for documentation of image
processing conducted
ICC color management
Delivery media
Guide prints and proofs
4. Image archiving
Archiving protocol
Proper handling and storage of guide prints
Metadata
Image naming
Hidden-Target Paintings
Gamblin Artist’s Oil Colors
Comparison of Corrected Paintings
CS1 CS2 CS3 CS4
Universal Test Target
Results from UTT
Cameras—Color Performance
6. 10/7/13
6
Objective Targets
• Input targets—output targets
Experimentation
• Define quality criteria based on objective
and subjective metrics
• Develop a method to connect objective,
measurable image quality to subjective
image quality as perceived by the observers
• Benchmark current quality
Subjective Targets
Press Sheets
Experimental Methodology
• Emphasis on the perceptual image quality
of printed reproduction and on display
– Objective targets measured as well
• Evaluation performed using a variety of
pictorial “targets”
– Sent to a variety of cultural heritage institutions
for them to put through their imaging processes
7. 10/7/13
7
Images Printed at RIT’s Print
Applications Laboratory
• Heidelberg Speedmaster sheet-fed press
– ISO 12647
– Visual match to guide prints
– NewPage Sterling
80# Gloss Text
• HP Indigo
Digital Press
Perceptual Testing
• Observers experienced with fine art
reproduction
– Fine art photographers
– Curators
– Art historians
– Conservators
– Librarians
– RIT students & staff
Experiments Conducted
• The Impact Of Lighting On Perceived Quality Of
Fine Art Reproductions
• Evaluating CATs as Predictors of Observer
Adjustments in Softcopy Fine Art Reproduction
• Comparing Hardcopy and Softcopy Results In the
Study of the Impact of Workflow on Perceived
Reproduction Quality of Fine Art Image
• Evaluating Digital Printing for Fine Art
Reproduction
• Fine Art Reproduction Workflows for the Web
Environment
Objective Targets
Experimental Methodology
• 17 institutions participated
• 30 hard-copy renditions of each of image
were included
– 19 prints made ‘to the numbers’
– 11 visual matches made to guide prints
• All prints made on NewPage Sterling Ultra
80# Matte Text paper
• 16 soft-copy renditions used
• Variety of cameras and color spaces
8. 10/7/13
8
Psychophysical Testing
• Hard copy experiments followed rank order
protocol
– Observers ordered the prints from best to worst
reproduction or representation of the original
– Most to least preferred rendition
• Soft copy experiments followed paired
comparison protocol
– Best reproduction or representation of the original
– Most preferred rendition
Soft-copy set up
Hard-copy set up
Experimental Setups
Key Findings
• Results with and without the original present are more
consistent for hard-copy prints than soft-copy images
• Hard-copy results are more consistent with soft-copy
results when the original is present
– Original is typically not present when users are viewing fine art
reproductions
• Observers did not like lower contrast images when they
were electronically displayed
• Of interest to identify workflows that provide both
acceptable representations of the originals as well as
pleasing images on screen and in print
Color Difference (ΔEab) at Capture
Lightness Difference (ΔL) versus"
Perceptual Quality Rating (Z-score)
R
2
= 0.8144
0
2
4
6
8
10
12
-1 -0.5 0 0.5 1
Mean Z-scores
MeanDeltaL
Mean Delta L
Form 5
Form 11
Form 13
Form 19
Linear (Mean Delta L)
Experiments Conducted
• The Impact Of Lighting On Perceived Quality Of Fine Art
Reproductions
• Evaluating CATs as Predictors of Observer Adjustments in
Softcopy Fine Art Reproduction
• Comparing Hardcopy and Softcopy Results In the Study of
the Impact of Workflow on Perceived Reproduction Quality
of Fine Art Image
• Evaluating Digital Printing for Fine Art Reproduction
• Fine Art Reproduction Workflows for the Web
Environment
9. 10/7/13
9
Color Management Check
Web Experiment User Interface
Key Areas of Interest
Key Areas for Photographers versus
Other Occupations
Key Findings
• Testing conditions had a limited impact
on the preference judgments for these
images
• Ranking results for the experiments
conducted in the lab without the
original and via the web were highly
correlated, indicating that, when the
original is not included, a web-based
test may be a reasonable approach
Key Experimental Findings
• Camera make, lights, file format did not influence our
results
– Everybody is using equipment uniformly capable of doing this job
• Lighting conditions may have a strong impact on image
appearance
– Proofing protocols will have to be revisited
• The use of a target to ensure proper capture setup is
recommended
• Main goal: get the tone scale right at capture
• Following standardized workflows, ISO printing standards
and viewing standards reduces need for manual post
processing
10. 10/7/13
10
Key Findings−Interviews
• Define imaging goals and talk to your users
– This will help set expectations
• Acceptability varies for the different stakeholders –
this needs to be clearly communicated
• Document workflows in detail
– No undocumented processing should be performed
along the image interchange cycle
– The more often a file is touched the worse the results
• Close the communication loop in the image
interchange cycle
Art Image Interchange Cycle
Photographers
Paper Manufacturers
Conservators
Publication Staff
Curators
Printers
Visitors
Imaging Scientists
Standards Experts
Graphic Designers
Managers of
Imaging Studios
Art Historians
DAM staff
Equipment
Manufacturers
Digital Imaging
Specialists
Licensing Staff
Exhibitions
Editorial
Pre-press
Merchandising
Librarians
Metatorial
Future Work
• Standardization even more important with
globalized workflows
– ISO JWG 26: combining existing guidelines and
standards for quality evaluation of imaging systems
– Training for implementation of standards needed
– Define stepping stones to get to a standardized
workflow
• Bring all threads of imaging in an institution
under “one roof”
Techniques to Preserve Images
• Phase 1―Production
• Phase 2―Appraisal
• Phase 3―Deposit
• Phase 4―Archiving and Preservation
• Phase 5―Discovery and Delivery
Phase 2 ― Appraisal
• Deciding what is essential
– Characteristics that give object meaning,
integrity, authenticity
• Encode what is essential
– Metadata production
• Validating objects
– Are they what they seem to be?
Checksums
Metadata
• Descriptive
– You cannot preserve what you do not know you have
– You cannot sustain use for items that cannot be
identified
• Structural
– Encoding of relationships facilitates management, use
• Administrative
– Ownership, rights of access, provenance
• Technical/Preservation
– Format attributes
– Documentation of significant properties and
preservation intentions to inform preservation
strategies
11. 10/7/13
11
www.loc.gov/standards/premis/"
v2/premis-2-0.pdf
Metadata Containers
• Directory and file names
• File headers
• XML
– XMP (e.g., within JP2), EXIF, NISO MIX,
METS
• Database tables
• Printed reports
NISO
Phase 3 ― Deposit
• Choosing a repository: build or buy?
• Packaging data for deposit
• Validating data and objects
Phase 4 ― Archiving and Preservation
• Repositories
• Standards and guidelines
Storage Options
• Interim storage
– Digital asset management system
– Store data off-line on magnetic or
optical media
• Repository storage
– Build a repository
– Pay annual fee to use an external
repository
12. 10/7/13
12
Interim Storage─The Bare Essentials
• Assign checksums to images early in the production
process
• Document rationale for creating images
– At very least, include read me file on storage media;
database is best
• Avoid use of “meaningful” filenames
• Use new media
– Follow advice/recommendations of IT9.21 and IT9.23
standards
• Create duplicates and store duplicates in separate
locations
• Create explicit “links” between catalog records and
images
• Assign preservation responsibility to appropriate entity
Preservation Repository
• Long term storage strategy for
masters
– Preservation responsibilities delegated to
service provider
– OAIS
– Accountable, auditable and fiscally
sustainable
Managing Risk
• Security and access control
– Preventing unauthorized use, tampering or
theft
– Protecting rights holders
• Data obsolescence
– Media incompatible with players
– Formats
• Functional obsolescence
– Formats incompatible with user needs
• Fiscal obsolescence
Phase 5 ― Discovery and Delivery
• Digital library infrastructure
– Catalog or other database for descriptive
information
– Persistent naming
– Access management
• Rendering
– Hardware, web browsers
– Emulator
Pricing Components"
• Various pricing models
– Subscription (JSTOR)
– Storage (Harvard Digital Repository
Service)
– Accession, subscription and storage
(OCLC Digital Archive)
Managing Costs
• Minimize number of conservation and
reformatting interventions over entire life-
cycle
• Manage the storage environment
– “Geography is preservation destiny”
• Negotiate costs of outsourced services,
e.g., through consortia
13. 10/7/13
13
Summary
• Digitization is not preservation
• Storage is not synonymous with digital
preservation, and storage is neither free nor cheap
• Stewardship and digital preservation require active
oversight of content, technologies, and user
expectations
• Preservation planning depends and relies upon
extensive, well-managed metadata
• Distributed, but shared expertise centers and tools
will be essential to managing costs
Acknowledgements
The Andrew W. Mellon Foundation
Participating Institutions
Susan Farnand, RIT
Observers
Steven Chapman, Harvard University