Article EVA PDF

Proceedings e report
94
Electronic Imaging the Visual Arts
EVA 2013 Florence

15 16 May 2013
edited by
Vito Cappellini
Firenze University Press

2013
Electronic Imaging & the Visual Arts : EVA 2013

Florence / edited by Vito Cappellini. Firenze :
Firenze University Press, 2013.
(Proceedings e report ; 94)
http://digital.casalini.it/9788866553724
ISBN 978-88-6655-371-7 (print)
ISBN 978-88-6655-372-4 (online)
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Firenze University Press Editorial Board
G. Nigro (Co-ordinator), M.T. Bartoli, M. Boddi, R. Casalbuoni, C. Ciappei, R. Del Punta, A. Dolfi, V. Fargion,
S. Ferrone, M. Garzaniti, P. Guarnieri, A. Mariani, M. Marini, A. Novelli, M. Verga, A. Zorzi.
2013 Firenze University Press
Universit degli Studi di Firenze
Firenze University Press
Borgo Albizi, 28, 50122 Firenze, Italy
http://www.fupress.com/
Printed in Italy
PROGRAM
Electronic Imaging the Visual Arts

The Foremost European Electronic Imaging Events in the Visual Arts
Forum for Users, Suppliers & Researchers
The key aim of this Event is to provide a forum for the user, supplier and scientific research
communities to meet and exchange experiences, ideas and plans in the wide area of Culture &
Technology. Participants receive up to date news on new EC and international arts computing &
telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and
history. Working Groups and new Projects are promoted. Scientific and technical demonstrations
are presented.
Main Topics
2D 3D Digital Image Acquisition
Leading Edge Applications: Galleries, Libraries, Education, Archaeological Sites, Museums &
Historical Tours
Mediterranean Initiatives in Technology for Cultural Heritage:
Synergy with European & International Programmes
Integrated Digital Archives for Cultural Heritage and Contemporary Art
Management of Museums by using ICT Technology: Access, Guides, Documentation & Other
Services
The Impact of New Mobile Communications on Cultural Heritage and Modern Arts Area
Semantic Webs
Human - Computer Interaction for Cultural Heritage Applications
Copyright Protection (Watermarking & Electronic Commerce)
Culture and e-government
Activities and Programmes for e-learning
Application of Digital Terrestrial Television
3D Developments and Applications in the Cultural Heritage Area
Digital Theater
Cultural Tourism & Travel Applications
Art and Medicine
WHO SHOULD ATTEND

THE CULTURAL SECTOR: The Visual Arts Community including Museums, Libraries,
Archaeological Sites, Educational Institutions, Commercial Galleries and Dealers, Auction Houses,
Artists & Collectors
THE HI-TECH INDUSTRY SECTOR: Multimedia Systems, Image Acquisition & Analysis,
Data-bases, Display & Printing, ICT Industry, Telematics & Systems Manufacturing, On-line
Information Services
MEDIA & RELATED SECTORS: Publishing, Press, Film, Television, Photography, Printing,
Advertising, Graphics Design, Consumer Media
IMAGING SYSTEMS RESEARCHERS: Imaging Systems, 3-D Acquisition, Reconstruction &
Representation, Information Sciences
TOURISM & TRAVEL SECTOR: Tourism Agencies & Operators, Travel Agencies
THE GOVERNMENT SECTOR: Ministries of Culture and other Institutions involved in Cultural
Heritage, Ministries of Industry, Education, Research and Science, Regional Governments

ALINARI, ICESP, and CASSA DI RISPARMIO DI FIRENZE
SPONSORS & SUPPORTERS INCLUDE:
EUROPEAN COMMISSION, THE UNIVERSITY OF FLORENCE,

REGIONE TOSCANA, PROVINCIA DI FIRENZE, COMUNE DI FIRENZE,
SOPRINTENDENZA PER IL PATRIMONIO STORICO ARTISTICO
ED ETNOANTROPOLOGICO E PER IL POLO MUSEALE DELLA CITTA DI FIRENZE,
CENTRO PER LA COMUNICAZIONE E L'INTEGRAZIONE DEI MEDIA,
ISTITUTO DI FISICA APPLICATA NELLO CARRARA,
CONFINDUSTRIA FIRENZE,
GTTI, CNIT,
HITACHI LTD.,
GRUPPO SESA,
T.T. TECNOSISTEMI,
FRATELLI ALINARI IDEA,
CENTRICA,
NEUMUS,
ICESP,
UNIVERSITA INTERNAZIONALE DELLARTE,
ENTE CASSA DI RISPARMIO DI FIRENZE.
Chairman:
Vito Cappellini Faculty of Engineering, Florence University
Co-Chairman: James Hemsley EVA Conferences International
[email protected], [email protected]
EVA 2013 Florence Advisory Committee includes:

Cristina Acidini, Soprintendenza per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo
Museale della citt di Firenze - MiBAC ~
Alberto Del Bimbo, Centro per la Comunicazione e lIntegrazione dei Media - Universit di Firenze ~
Paolo Galluzzi, Museo Galileo ~
Andrea De Polo, Fratelli Alinari IDEA ~
EVA Conferences Organiser: Monica Kaayk, [email protected]
EVA 2013 Florence Technical Organising Committee includes:

Roberto Caldelli, Maurizio Lunghi, Alessandro Nozzoli, Alessandro Piva, Francesca Uccheddu,
Riccardo Saldarelli, Giuliana Signorini,
Silvia Capecchi, Federica Drovandi,
Paola Imposimato, Laura Mencherini, Claudia Riva di Sanseverino
EVA Organiser:
Web page ~
Centro per la Comunicazione e lIntegrazione dei Media (MICC)

Viale Morgagni 65 50134 Firenze, Italy
Tel.: (+39) 055 4237401 Fax: (+39) 055 4237400
E-mail: [email protected]
http://iapp.det.unifi.it/uploads/documents/highlights/Programme.pdf
For general information: Prof. Vito Cappellini & Secretariat

Centro per la Comunicazione e lIntegrazione dei Media (MICC) Universit di Firenze
Viale Morgagni, 65 50134 Firenze, Italy
Tel.: (+39) 055 4237401 Fax: (+39) 055 4237400 E-mail: [email protected]
For information on the Exhibition: CENTRICA S.r.l.
Piazza della Madonna della Neve, 5 50122 Firenze, Italy
Tel. (+39) 055 2466802 Fax (+39) 055 2009785
Web page ~ http://www.evaflorence.it/
PROGRAM
1 - CONFERENCE
Wednesday, 15 May:
Thursday, 16 May:
14,15 18,45
9,00 19,05
2 - WORKSHOPS
Wednesday, 15 May:
Thursday, 16 May:
9,00 13,30
14,30 18,00
3 - SPECIAL EVENTS
Wednesday, 15 May:
19,30 22,30
4 - TECHNICAL EXHIBITION
Wednesday, 15 May:
Thursday, 16 May:
15,00 18,30
10,00 13,00

1 - CONFERENCE
Wednesday, 15 May
ROOM A
Chairmen:
Vito Cappellini, Florence University

James Hemsley, EVA Conferences International
14,15 Welcome:
Representatives of Sponsors and Supporters
Opening:
Cristina Scaletti,
Assessore alla Cultura, Commercio e Turismo,
Regione Toscana, Italy
Pierluigi Rossi Ferrini,
Vice-Presidente Ente Cassa di Risparmio di Firenze, Italy
15,15
Coffee Break
15,30
Chairman:
SESSION 1 STRATEGIC ISSUES

Paolo Blasi, Universit di Firenze, Italy
Excellence Digital Archive Project for Polo

Museale Fiorentino: Developed Activities
Cristina Acidini1, Vito Cappellini2, Takayuki

Morioka3, Marco Cappellini4
1
Polo Museale Fiorentino, Italy

MICC - Universit di Firenze, Italy
3
DIS Project, Hitachi Ltd., Yokohama, Japan
4
Centrica Srl, Firenze, Italy
2
1
2
VisLab OSAKA and Knowledge Capital Project Shinji Shimojo , Masaki Chikama , Kaori
2
3
Fukunaga , Rieko Kadobayashi , Tsuneo Jozen3
1
Cybermedia Center, Osaka University, Ibaraki, Japan

National Institute for Information and
CommunicationsTechnology, Keihanna/Koganei,
Japan
3
Osaka Electro-Communication University,
Shijonawate, Japan
2
"3D Technologies at the Museums":

A Perspective of the Staatliche Museen
zu Berlin (National Museums in Berlin)
Andreas Bienert
Staatliche Museen zu Berlin - Stiftung Preuischer
Kulturbesitz, Dept. ICT, Berlin, Germany

ROOM A
16,45
SESSION 2 EC PROJECTS AND RELATED NETWORKS & INITIATIVES

Chairman: Franco Niccolucci, PIN, Prato, Italy
Antonella Fresa1, Valentina Bachi1,
Andrea De Polo2, Marzia Piccininno3,
Frederik Truyen4, Sofie Taes4
Europeanaphotography: early Photography

Accessible in Europeana
Promoter SRL, Italy

Fratelli Alinari, Fondazione per la Storia della
Fotografia, Firenze, Italy
3
Istituto Centrale per il Catalogo Unico delle
Biblioteche italiane, Roma, Italy
4
KU Leuven, Belgium
2
Reengineering and Construction of a Relief for

an Organ Loft Based on Drafts by Friedrich
Press
Christine Schoene
Faculty of Mechanical Science and Engineering,
Technische Universitt,
Dresden, Germany
F. Niccolucci1, S. Hermon2
3D in Archaeology: 15 Years of Research.

The Role of EU Projects
PIN, Prato, Italy
STARC The Cyprus Institute,

Nicosia, Cyprus
Jrgen Sieck
Context Sensitive Services and

Information Systems in the
Pergamonmuseum and the Jewish
Museum in Berlin
University of Applied Sciences Berlin,

Berlin, Germany
CENDARI: a Collaborative EuropeaN Digital

ARchive Infrastructure for Medieval studies
Emiliano DeglInnocenti
Fondazione Ezio Franceschini ONLUS (Florence)
Societ Internazionale per lo Studio del Medioevo
Latino, Florence, Italy
L. Garulli1, J. Gutierrez2, F. Spadoni3, R. Rossi3,
The Marcopolo Project: Agile Development of

Mobile Cross-Platform Tourism Applications on
the Cloud
Asset Data S.r.l., Roma, Italy

Paradigma Tecnologico S.A., Madrid, Spain
3
Rigel Engineering S.r.l., Livorno, Italy
2
Thursday, 16 May
ROOM A
9,00
INTERNATIONAL FORUM ON CULTURE & TECHNOLOGY

Chairman: Vito Cappellini, Universit di Firenze, Italy
The structure of the FORUM is presented.

Actual developments and perspectives are outlined:
-
Cooperation Groups

Proposed Projects
Funding Opportunities.
Speakers Include:
- Antonia Ida Fontana, Centro UNESCO di
Firenze, Italy
- Takayuki Morioka, DIS Laboratory
HITACHI Ltd., Yokohama, Japan
- Marco Aluigi, Fondazione Meeting per
lamicizia fra i popoli, Rimini, Italy
- Edoardo Calia, Istituto Superiore Mario
Boella, Torino Wireless, Italy
- Elizabeth Markevitch and Cinzia Garzoni,
ikono TV, Berlin, Germany
11,00
Coffee Break
11.15
SESSION 3 2D - 3D TECHNOLOGIES & APPLICATIONS

Chairman: Bernd Breuckmann, Breuckmann GmbH, Germany
Advanced Super-Resolution Techniques for

Digital Image Quality Enhancement
Fabrizio Argenti1, Alessandro Lapini1,

Giovanni Giusti1, Luca Bencini2
Department of Information Engineering, University of

Florence, Italy
2
TT Tecnosistemi S.p.A., Prato, Italy
Image Registration Using 3D Models
F. Uccheddu1, A. Pelagotti2, P. Ferrara2

1
Dept. of Information Engineering DINFO,

University of Florence, Italy
INO (National Institute of Optics), Firenze, Italy
Challenging 3D Scanning Applications

in Arts and Cultural Heritage
Bernd Breuckmann
3D Surface Reconstruction Using

Multiple Kinects
J.K. Aggarwal, Lu Xia
Integrating Real 3D Data and Historical

Sources for the Digital Reconstruction of
Five HinduTemples
An Introduction to Gait Recognition
13,15
Breuckmann GmbH, Meersburg, Germany

Breuckmann 3D-Engineering, Meersburg, Germany
Department of Electrical and Computer Engineering,

The University of Texas at Austin,
Austin, Texas, U.S.A.
G. Guidi1, M. Russo2, D. Angheleddu1
Dept. of Mechanics, Politecnico di Milano, Milan, Italy
Dept. of Design, Politecnico di Milano, Milan, Italy

1
Haiping Lu , Anastasios N. Venetsanopoulos ,

1
Institute for Infocomm Research, Singapore
2
Ryerson University & University of Toronto,
Toronto, ON, Canada
Lunch Break

ROOM A
14,30
SESSION 4 VIRTUAL GALLERIES MUSEUMS

AND RELATED INITIATIVES
Chairman: Andreas Bienert, Staatliche Museen zu Berlin, Berlin, Germany
Museums Outside Museums: Districts

of Knowledge
Luca Toschi, Lorenza Orlandini, Marco

Sbardella, Gianluca Simonetta
Communication Strategies Lab., University of
Florence, Italy
Bringing back the Fontana di Sala Grande

to its Original Setup according to Bartolomeo
Ammannatis Project
Giorgio Verdiani, Giacomo Pirazzoli

Dipartimento di Architettura,
Universit degli Studi di Firenze, Italy
The creation of a multimedia information

resource <the Church of the Savior on Ilyina
street in Novgorod the Great>
T. Laska, S.Golubkov
ROME MVR
A. Furlan
Institute of Arts, The Faculty of Arts, St. Petersburg

State University, St. Petersburg, Russia
ALTAIR4 MULTIMEDIA,
Rome, Italy
Integrating museum archive and town.

An app for a fortified town
HTML Responsive Design and Apps

for Museums: Needs and Options at
Museo Galileo
16,30
Johan Richard Mhlenfeldt Jensen

Archive and Museum, Museerne i Fredericia,
Fredericia, Denmark
Marco Berni, Fabrizio Butini, Elena Fani

Museo Galileo - Institute and Museum of the
History of Science,
Florence, Italy
Coffee Break
ROOM B
16,45
Chairmen:
SESSION 5 ACCESS TO THE CULTURE INFORMATION
James Hemsley,
EVA Conferences International, UK and
CNR Retrieval of Images from Hyper-Spectral

Data through Interactive Network Access
(CRISTINA)
Filippo Micheletti, Lorenzo Stefani, Costanza Cucci,

Marcello Picollo
Institute of Applied Physics Nello Carrara - Italian
National Research Council (IFAC-CNR), Sesto Fiorentino,
Firenze, Italy

PENCO SYSTEM
Sara Penco
Discovering the work of art,
European University of Rome, Rome, Italy
Introducing a Virtual Reality EEG-BCI and

Priming-Based Tool to Make Art Interactive:
a Technological and Linguistic Challenge
Virtual Museum Ancient Fortresses of the

Northwest of Russia: Koporye Fortress
Virtual Reconstruction
DOCART900: A Web Application

for Cultural Heritage
Miriam Bait1, Annalisa Banzi2, Raffaella Folgieri1,

Sabrina Minetti3
1
Dipartimento di Economia, Management e Metodi

quantitativi, Universit degli Studi di Milano,
Milan, Italy
2
Istituto di Comunicazione, Comportamento e Consumi
Giampaolo Fabris, Universit IULM,
Milan, Italy
3
C.A.P.A.C., Politecnico del Commercio,
Milan, Italy
Nikolay Borisov1, Vera Slobodyanuk1,

Artyom Smolin1, Iren Haustova2
1
Department Informational Systems in Arts and

Humanities,
Saint-Petersburg State University
Centre of Design and Multimedia,
Saint-Petersburg National Research University of
Information Technologies, Mechanics and Optics,
Saint-Petersburg, Russia
2
Architect and restorer, superior category, Russia
A. Del Bimbo, A. Ferracani,

L. Landucci, G. Serra
MICC Media Integration and Communication Center,
University of Florence,
Firenze, Italy
Travel Industry
ICT Vertical Solutions
VIVIT: A Semantic Web System for the Promotion

of Italian Linguistic and Cultural Heritage
Giovanni Gasbarrone
Business Sales Top Clients and Public Sector,
Industry Marketing,
Telecom Italia,
Roma, Italy
M. Bertini, A. Del Bimbo, A. Ferracani,

N. Hosseini, D. Pezzatini
Media Integration and Communication Center,
Universit degli Studi di Firenze,
Firenze, Italy

2 - WORKSHOPS
Wednesday, 15 May
ROOM B
WORKSHOP 1
9,00 13,00
INTERNATIONAL COOPERATION
Chairman: James Hemsley, EVA Conferences International
The general aspects of international cooperation in Cultural Heritage are presented. The
impact of new technologies in the field is considered, outlining the more suitable ones for
cooperative plans.
The importance of Virtual Heritage for better cooperation among the Nations in the World is
considered.
Projects currently developed in different parts of the World are presented.
The importance of coordination and promotion by International Organization (as by
UNESCO) is outlined.
European Commission programmes and initiatives are presented. Collaborative activities in
Europe are in particular described.
Speakers include:
- Maria Luisa Stringa, Centro UNESCO di Firenze, Italy

- Dirk Petrat and Dirk Brnsen, Free and Hanseatic City of Hamburg
Ministry of Culture, Hamburg, Germany
- Jens Bley, Living Labs Germany GmbH, Germany
- Antonio Scuderi, Capitale Cultura
- Paolo Del Bianco, Fondazione Romualdo Del Bianco Life Beyond
Tourism, Firenze, Italy
- Carlo Francini, Ufficio UNESCO del Comune di Firenze, Italy
- Carlo Quinterio, Film Producer, Firenze, Italy
- Detelin Luchev and Desislava Paneva-Marinova, Institute of Mathematics
and Informatics Bulgarian Academy of Sciences, Sofia, Bulgaria
ROOM A
WORKSHOP 2
INNOVATION AND ENTERPRISE INNOVAZIONE E IMPRESA
(Italian Language)
9,00 13,00
Chairman:
Francesco Chirichigno, Consigliere dell'Organo di

Vigilanza per la Parit di Accesso alla Rete TELECOM TALIA
Technological requirements in the Cultural Heritage field are outlined and opportunities for
Italian SMEs working in the field, using new technologies, are presented.
Regional and national applied research Programs in Italy are described.

Activities by National Organizations and Firms working in the area of Telecommunications,

Informatics, Optoelectronics, Environment and Infomobility are presented.
Funding by European Commission is considered, with particular reference to multimedia
and telematics for Cultural Heritage, Environment and Education (e-learning). Initiatives
regarding the know-how transfer from Research Organizations to the Industrial Sector are
described.
Organizations and Companies present their activities and experiences.
Opening:
Alberto Tesi,
Rettore, Universit degli Studi di Firenze
Invited Speakers:
Marco Bellandi,
Pro-Rettore al Trasferimento Tecnologico,

Regione Toscana
Responsabile Commissione Regionale Servizi
Innovativi e Tecnologici, Confindustria Toscana
Marco Masi,
Enrico Bocci,
Speakers include:
- Claudio Tasselli, Sezione Servizi Innovativi e Tecnologici,

Confindustria Firenze
- Paola Castellacci and Silvano Baldassare, VarGroup
- Luca Bencini, T.T. Tecnosistemi, Prato
- Andrea del Re, Studio Legale Del Re Sandrucci, Firenze
- Franco Guidi, NEUMUS, Firenze
- Simonetta Bracciali and Sofia DAlessandro, Studio di Architettura
e Restauro, Firenze
Thursday, 16 May
ROOM B
WORKSHOP 3
CREATIVE INDUSTRIES AND CULTURAL TOURISM
14,30-18,00
Chairman: Franco Niccolucci, PIN, Prato, Italy
In the framework of the EU Project CREATIVE CH, PIN organizes a Workshop titled
Internationalization and localization.
At the Workshop, international experts will present their experiences concerning the use of
technology to promote development using applications to cultural tourism.
Speakers:
- Franco Niccolucci (PIN, Prato Coordinatore progetto CREATIVE) Chair
- Mike Spearman (CMC Associates, Edinburgo) Virtual exhibitions and 3D models
- Susan Hazan (Israel Museum, Gerusalemme) Museum heritage and multimedia
- Maria Teresa Natale (MIBAC e Ass. Culturale Appasseggio, Roma) Slow tourism and
smartphones
- Daniel Pletinckx (Visual Dimension, Oudenarde) Cultural Heritage and multimedia.
At the Workshop PIN will present the apps. developed within the CREATIVE Project on
cultural and natural itineraries at Carmignano and in Maremma.

3 - SPECIAL EVENTS
Wednesday, 15 May 19,30 22,30
RECEPTION at Grand Hotel Minerva
Multimedia Presentation of Art and Science
4 - TECHNICAL EXHIBITION
Wednesday, 15 May: 15,00 18,30
Thursday, 16 May: 10,00 13,00
For information:
CENTRICA Srl
Piazza della Madonna della Neve 5, 50122 Firenze, Italy
Tel. (+39) 055 2466802 Fax (+39) 055 2009785
Web page ~http://evaflorence.it/home.php

PROCEEDINGS

STRATEGIC ISSUES

Vito Cappellini (edited by), Electronic Imaging & the Visual Arts. EVA 2013 Florence / Firenze, ISBN 978-88-6655-371-7 (print)
ISBN 978-88-6655-372-4 (online) 2013 Firenze University Press
EXCELLENCE DIGITAL ARHIVE PROJECT

FOR POLO MUSEALE FIORENTINO:
DEVELOPED ACTIVITIES
Cristina Acidini, Superintendent Polo Museale Fiorentino, Florence, Italy
Vito Cappellini, President MICC, University of Florence, Italy
Takayuki Morioka, Director DIS Project, Hitachi, Ltd., Yokohama, Japan
Marco Cappellini, CEO Centrica S.r.l., Florence, Italy
1. INTRODUCTION
The Project on Excellence Digital Archive for Polo Museale Fiorentino, developed by MICC
University of Florence, Hitachi Ltd. and Centrica S.r.l., with supervision by Superintendent Cristina
Acidini, is continuing its activities along the planned lines. Many important art-works of Polo Museale
Fiorentino have been digitized at very high resolution:
1.
Leonardo da Vinci, Annunciazione, Uffizi
10. Botticelli, Madonna del Magnificat, Uffizi
2.
Leonardo da Vinci, Adorazione dei Magi, Uffizi
3.
Leonardo da Vinci, Battesimo di Cristo, Uffizi
4.
Michelangelo, Tondo Doni, Uffizi
5.
Tiziano, Venere d'Urbino, Uffizi
6.
Caravaggio, Bacco, Uffizi
7.
Caravaggio, Medusa, Uffizi
8.
Piero della Francesca, Dittico di Urbino, Uffizi
9.
Bronzino, Ritratto di Eleonora di Toledo, Uffizi
11. Botticelli, Primavera, Uffizi

12. Botticelli, Nascita di Venere, Uffizi
13. Giotto, Madonna di Ognissanti, Uffizi
14. Raffaello, Madonna del Cardellino, Uffizi
15. Raffaello, Madonna della seggiola, Palatina
16. Lega, Il Canto dello Stornello, Museo d'Arte
Moderna
17. Fattori, Libecciata, Pitti
18. Correggio, Adorazione del Bambino, Uffizi
Several technological improvements have been added since the starting of the Project.
Some developed activities in last year are described in the following.
2. DEMONSTRATIONS AND EXHIBITIONS IN ITALY AND CHINA

2.1 DC-NET International Final Conference
On 7 March 2012 the DC-NET International Final Conference has taken place in Rome, organized by
Ministero per i Beni e le Attivit Culturali - Istituto Centrale per il Catalogo Unico delle Biblioteche
Italiane.

At the conference Cristina Acidini, Superintendent of Polo Museale Fiorentino, in her speech entitled
Seen near and almost inside: painting masterpieces and high definition, has explained the possibility
to explore on line high-resolution images of the major masterpieces. Botticellis Madonna del
Magnificat and Birth of Venus, Michelangelos Tondo Doni, Leonardos Annunciazione, have been
shown through a beta version of a Web site presented by Marco Cappellini, Centrica CEO. The Web
site, developed by Centrica and powered by XLimage technology, enables the interactive
visualization of any detail of images of several GigaPixel through XLimage. In the following a
screenshot of the web site:
2.2 Rinascimento a Firenze. Capolavori e Protagonisti Exhibition

Renaissance in Florence - Masterpieces and Protagonists exhibition has opened on 6 July 2012
in Beijing till April 30th, 2013. The exhibition, which has inaugurated a permanent museum area,
Space Italy, at the National Museum of China in Tiananmen Square, the largest and most visited
museum in the world, has brought the Italian masters of painting and sculpturing of the Florentine
Renaissance in the Chinese capital city.
Once crossed the entrance hall, visitors approach the
Narrative Room, a didactic area where the main themes of the exhibit are illustrated in depth through
innovative technologies and emotional contents: the Renaissance, Florence, the cultural and social
context, the history, places and characters. Centrica has produced the multimedia videos that, in a
semicircular itinerary, present the historical context, the artists and their artworks and the
architectures.
At the center of the Narrative Room is set the first interactive installation with images of Florence
from 1480 to the present day. With the installation, visitors can navigate through space and time in
various maps of Florence, with the opportunity to know better and get closer to the most important
monuments, highlighted in the maps. A selection of works of art from Excellence Archive of Polo
Museale Fiorentino have been used inside the interactive installation, based on Uffizi Touch
architecture and technologies.

3. EXHIBITION UFFIZI VIRTUAL MUSEUM IN JAPAN

3.1. Outline
Following the success of "Uffizi Virtual Museum (UVM)" from November to December 2011 at the
Italian Cultural Institute in Tokyo, the Italian Embassy in Japan, the Italian Cultural Institute in Tokyo
and DIS Project of Hitachi, Ltd. have been promoting this exhibition for broader audience. Paired
with the innovative mindset of Tokyo Fuji Art Museum and the Kyoto University Museum, two UVM
exhibitions opened to the public at both museums. In addition, the Hitachi DIS showroom was
established in Yokohama to present the main concept of UVM. By inviting students and general
public for free of charge to this showroom, Hitachi has been conveying the importance of the
digitization for Cultural Heritages while introducing Italian culture to Japanese people. In this chapter,
the UVM exhibitions in the two museums and the DIS showroom are reported.
3.2. UVM in Tokyo Fuji Art Museum (29 June - 23 September 2012)
(All the content, including text and images, are published under the permission of Mr. Akira Gokita,
Director of Tokyo Fuji Art Museum.)
3.2.1. About the Museum (http://www.fujibi.or.jp)

Tokyo Fuji Art Museum is located in the Hachioji City, Tokyo
with a collection of approximately 30,000 Japanese, Eastern
and Western artworks, including paintings, photographs,
etching and woodcut prints, photographs, sculptures, ceramics,
lacquer ware, swords and armors. Its collection of oil paintings
from
Renaissance,
Baroque,
Rococo,
Neoclassicism,

Tokyo Fuji Art Museum
Romanticism, Impressionism to Modern Art provides comprehensive overview of 500-year history of

European Art.
3.2.2. Contents of Exhibition

Main components in the UVM exhibition in Tokyo Fuji Art
Museum, listed below, remain the same as in the Italian Cultural
Institute in 2011. Each component was documented in the paper
written for EVA 2012 FLORENCE.
(1) Life-Size Replica: 10 pieces
(2) Large-Size Display to highlight the official interpretation: 10
sets
(3) Digital Theater: 1 set
(4) Masterpiece Navigation: 3 sets
(5) Feel Uffizi: 1 set.
Flyer of UVM
3.2.3. Overview of Exhibition

The UVM exhibition was divided into three rooms for Replicas,
Digital Theater and Masterpiece Navigation on the same floor as the museum's own collection. It was
the first attempt to mix virtual exhibition with the real artworks in one venue. The large room was
prepared to exhibit life-size replicas, providing the visitors calm spacious environment for art viewing
appreciation. The touch-sensitive displays for interactive Masterpiece Navigation were adjusted at
lower position for smaller children. As a special exhibition for summer holidays, it drew many
families and students.
Entrance
Replica Room
Digital Theater
Masterpiece Navigation
3.3. UVM in the Kyoto University Museum (16 January 24 March 2013)
(All the content, including text and images, are published under the permission of Dr. Terufumi Ohno,
Director of the Kyoto University Museum.)

3.3.1. About the Museum (http://www.museum.kyoto-u.ac.jp/)

The Kyoto University Museum, located in Kyoto city, has more than 2.5 million objects in the fields
of natural, cultural and technological history, including Japanese national treasures and internationally
acclaimed type specimens. The museum's mission is to preserve and archive those historical objects,
to offer scholars from both inside and outside of University the opportunity for advanced research and
education, and to share the academic findings to other scholars.
3.3.2. Contents of Exhibition

Main components in the UVM exhibition in the Kyoto University
Museum remain the same as in the Italian Cultural Institute in 2011.
Each component was documented in the paper written for EVA 2012
FLORENCE.
The Kyoto University Museum
3.3.3. Overview of Exhibition

Because the Kyoto University Museum is specialized in both cultural and
technological history, the concept of virtual exhibition utilizing the modern
technology for the benefit of historical art was considered relevant.
The
exhibition was held also as a pre-event to commemorate the 50th anniversary of

the sister-city partnership between Florence and Kyoto. Dedicated rooms for
Replica and Digital Theater were built in the permanent exhibition space.
Flyer of UVM
Entrance
Replica
Masterpiece Navigation
Digital Theater

3.4. Hitachi DIS Showroom

3.4.1. About DIS Showroom
DIS Project of Hitachi, Ltd. opened a new showroom in Yokohama in October 2012.
Main
components from UVM exhibition are being presented to general public for free of charge. Its
purposes are to introduce Italian Culture through our technology and to collect visitors' opinion and
needs to improve our approach for better digital museum.
3.4.2. Contents of Showroom
Showroom Entrance
Replica
(Lectures to students)
Digital Theater
4. CONCLUSIONS
During the Excellence Digital Archive for Polo Museale Fiorentino Project, we have been researching
and developing both the digital acquisition technology and the effective use of high quality image
data. The exhibitions described in the paper had received critical acclaim for high degree of perfection
on both individual component and the exhibition as a whole. In order to extend its popularity in
various venues around the world, the flexible structure of the exhibition with appropriate components
appears very attractive to meet the need of each Organizer in different condition.
UVM can be considered one of the successful applications for high quality image data. By improving
components and systems through visitors' feedbacks, we aim for better digital museum that is
accessible to everyone.
References
[1] C. Acidini, V. Cappellini, T. Morioka, M. Cappellini, Excellence Digital Archive Project for Polo
Museale Fiorentino, Proceedings of EVA 2009 FLORENCE, pp. 30-35, Pitagora Editore, Bologna,
April 2009.
Museale Fiorentino, Proceedings of EVA 2010 FLORENCE, pp. 35-38, Pitagora Editore, Bologna,
May 2010.
Museale Fiorentino Exploitation Activities, pp. 22-27, Proceedings of EVA 2012 FLORENCE,
Firenze University Press, May 2012.

VisLab OSAKA and Knowledge Capital Project

Shinji Shimojo
[email protected]
a-u.ac.jp
Cybermedia Center
Osaka University
Ibaraki Japan
Masaki Chikama,
Kaori Fukunaga
[email protected],
[email protected]
National Institute for
Information and
Communications Technology
Keihanna/Koganei Japan
Rieko Kadobayashi
[email protected].
ac.jp
Tsuneo Jozen
[email protected]
Osaka Electro-Communication
University
Shijonawate Japan
Abstract In this paper, we describe the unique science park in the city project,
Knowledge Capital project (KC) and one of its leading group, VisLab OSAKA. Knowledge Capital
project is a unique urban development project which heavily relies on the human, information
and technology as a capital in the city. By utilizing this capital, the city can disseminate a new
creativity for future human life. VisLab OSAKA is interdisciplinary group of people from
Academia and industry following KC concept. We describe the current status of KC and VisLab
Osaka.
INTRODUCTION
In Spring 2013, in the north of JR Osaka railway station, among a 24-ha redevelopment
zone (called Umekita), an area of 7 ha on the east side of the zone is developed and named
GRAND FRONT OSAKA(Fig. 1). The lower floors of the central area (Block B) is called
Knowledge Capital (KC) which has a unique concept. Its concept is described as follows:
Knowledge Capital, by bringing together companies, researchers and creators with
human creativity and technology from countries throughout the world, will result in a
multi-complex to create new intellectual values through interaction and collaboration. As well
as office workers, many visitors will come to this place for shopping and leisure. New
products and services exhibited at Knowledge Capital will evolve to the higher level through
evaluation of visitors with higher sensitivity. [1]
To promote its concept and bridging it reality, we are gathering interdisciplinary people from
academia and industry. This group is called VisLab OSAKA[2]. In this paper, we describe the
current concept of KC and VisLab OSAKA.
A brief history of Knowledge Capital

Concept of KC was born in 2004. When a JR large marshaling yard had decided to move
some other area, town development promotion committee of north Umeda Station proposed a
plan for development of this area in [3]. In [3], they propose a plan of KC where this area
should develop as a base camp of creation and dissemination of information for future life
where new knowledge is created and spread out to the world by using human, information,
knowledge and technology as a capital. Based on the plan, the owner of the land, UR (Urban
Renaissance Agency), offers a public subscription with condition to follow the proposed plan.
After this public subscription, one joint venture lead by Orix real estate cooperation was
decided as a developer of the area. From them, they are working hard to realize the idea of
KC. Recently, two organizations, General incorporated association Knowledge Capital and
Knowledge Capital Inc. were built 2012 for continuous promotion and development of the
concept.

Fig. 1 Grand Front Osaka and Knowledge Capital
Knowledge Capital Project

Knowledge Capital is considered as a science park in the city. It consists of multicomplex of Knowledge salon, Knowledge Theater, Collabo Office, Knowledge Office,
Conference rooms, Future Like Showroom, Knowledge Capital Congres Convention Center
and the showcase area, which is called the Lab (Fig. 2). In the Knowledge Capital, Academia,
Industry and Government will come together to develop products which use advanced
technology and are tried in the showroom. The concept of this advanced showroom is called
the Lab.
The concept of the Lab. is a laboratory where new values converging on the Knowledge
Capital are showcased. Researchers from Academia, Industry and Government show their
research prototype at the Lab and get feedback from wide variety of visitors on KC. This
feedback is expected to become a source of next inspiration.
This concept has been tried in the pilot exhibitions from Trial 2009, 2010, 2011 and
final trial event, Knowledge Capital awards 2012. In these event, various groups from
industry and academia who are candidates of tenants of KC join to show their latest
technologies or prototypes. More than ten thousands people came to each event and enjoyed
exhibits. Exhibitors also enjoyed feedback from audiences. In Trial 2011, also concept of
Knowledge Salon is tested and show its feasibility.
The lab
A unique facility in the KC is its exhibition area called the lab. This 4 floors museum
shows latest research results or prototype of products from companies. Important concept of
this museum is audiences participation. When an audience enters this area, he/she is expected
to become a subject of a research or a trial use of a prototype product. A researcher can get
direct feedback of impact of his research from the general public. A company can get the
feedback whether its prototype is liked to the ordinary people or not. Therefore, in this facility
an audience is considered as a member of their research and development but still he can
enjoy the exhibit.

Fig. 2 Layout of Knowledge Capital
Concept of VisLab OSAKA

A number of researchers from universities, national institutes, and industry have agreed
on the concept of KC and formed an interdisciplinary group of people called VisLab OSAKA.
VisLab will have lent an office at 9th floor of KC and have a booth on 3rd floor of the Lab to
show our collaboration results. Currently, the member of VisLab consists of Osaka University,
Kansai University, Kwansei gakuin university, Osaka Electro-Communication University,
NPO biogrid Kansai and Cyber Kansai Project. On the same 9th floor, there are also an office
of CK-AMEI (Consortium Kansai Advanced Medical Engineering and Information) and
NICT (National Institute of Information and Communications Technology).
For creation of new value and services, we think visualization is mostly important.
Especially, one of the member of VisLab OSAKA in Cybermedia Center, Osaka University,
thinks visualization of simulated result in a Supercomputer or other types of computer
systems help many researchers and citizens to understand science and technology as a service
and outreach. However, we extend this notion of visualization to include more wide variety
of applications of visualization such as a new computer human interaction, information
visualization and digital museum, etc. To pursue this wide range of applications, we need
interdisciplinary teams of engineers, artists and designers. In the higher education field such
as university, such interdisciplinary team worker is highly required. Many universities try to
foster this type of new talent such as MIT media lab, D-school at Stanford or e-dream institute
at University of Illinois(http://edream.illinois.edu/). VisLab is a group taking the same path
as those institutes in inter university way. Each organization in VisLab has some special area.
Cybermedia Center, Osaka University provides supercomputing and networking service
within university and out of university. Therefore, visualization of the result of
supercomputing is a part of user service. Osaka Electro-Communication University has
Faculty of Information Science and Arts and lot of inter-art and culture students who has
interest in gaming, design and art, etc. Kwansei Gakuin University has a strong CHI research.
Kansai University is very strong at Computer Graphics. CyberKansai Project is a team of
network researchers and engineers consists of industry and academia. NPO agency biogrid
Kansai promotes in-silico drug discovery who liaise with industries. We will have several
activities jointly in KC.

Among this interdisciplinary group, we produce several works with the collaboration of
museums such as Giotto's Polittico di Badia and Takamatsuzuka Tumulus in interactive
Tiled Display, myGallary Interactive.
As the help of CyberKansai project, we extend two national research backbone networks,
SINET4 and JGN-X in many area such as Knowledge office, the lab, and Knowledge Theater,
etc. in the KC. SIENT4 is a national academic network backbone which connects almost all
university in Japan and provides international connection to other Research and Education
network. JGN-X is a network testbed for research and development and academia and
industry can use it free of charge. Those network infrastructure in KC provides experimental
network in the KC which expected to be used in the new R&D such as Future Internet.
In the 2nd floor of the lab, there is a big space suitable for about 50 people to have a
workshop or an event, called Active studio. In the Active studio, we set up a 8-tiled display
wall and connect it to the experimental network. Using this environment, we can perform a
remote conference as we did in Trial 2009. This 8-tiled display becomes one of
cybercommons site[4].
NICT (National Institute of Information and Communications technology) and VisLab
has an agreement to share its office spaces at 9th floor and the 8-tiled display wall in the active
studio. NICT performs research on the ultra high definition 3TV with SDN (Software Defined
Network) and applications of future internet technology. NICT provides Multiview 3D
display on 3rd floor of the lab and a 10-tiled 3D wall and 24 tiled wall on the 9th floor.
Conclusion
In this paper, we describe about a unique science park project, called Knowledge Capital
in Osaka and one of leading group of KC, VisLab OSAKA. We are now preparing for
opening of KC on 26th April, 2013.
ACKNOWLEDGMENTS
This work is partly supported by Digital Museum Project in Ministry of Education,
Culture, Sports, Science and Technology, Japan. The authors would like to thank many
people in KMO in Knowledge Capital Project and all the members of VisLab OSAKA.
References
[1] We are OnE, about Knowledge Captial,
http://www.weareonejapan.com/events/knowledge-salon-international/aboutknowledge-capital/
[2] VisLab OSAKA home page, http://www.VisLab-osaka.com/
[3] Knowledge Capital promotion committee, Knowledge Capital promotion
plan, (in Japanese), http://www.kitaumeda-osaka.jp/kcp.htm.
[4] Jeong, B., Leigh, J., Johnson, A., Renambot, Luc, Brown, M.D., Jagodic, R.,
Nam, S., Hur, H., Ultrascale Collaborative Visualization Using a Display-Rich
Global Cyberinfrastructure, Computer Graphics and Applications, IEEE, Vol.
30, Issue 3, pp. 71-83, May-June 2010.

"3D TECHNOLOGIES AT THE MUSEUMS"

A PERSPECTIVE OF THE STAATLICHE MUSEEN ZU
BERLIN (NATIONAL MUSEUMS IN BERLIN)
Dr. Andreas Bienert
Staatliche Museen zu Berlin - Stiftung Preuischer Kulturbesitz
Dept. ICT
Berlin, Germany
[email protected]
A THE 2D PERSPECTIVE
Providing access to the rich, often highly fragile and endangered Cultural Heritage is an
objective of primary importance. Digital representation and electronic documentation of
entire collections can be regarded as a commitment to the future and a contribution to
preservation and development. It is both beneficial to scientific research, and comfortable for
the public. In close co-operation throughout the libraries, archives and museums under the
auspices of the Prussian Cultural Heritage Foundation the National Museums in Berlin have
envisaged this as a mission.
However, the disposability of the treasures of our past in textual and visual reproductions,
though seemingly a modern challenge of the information age, is not a recent concept. The
dissemination of graphical images and copied replicas of a collection's holdings can be traced
right back to the origin of the Museums themselves. Increasing demands of contemporary
audiences and prestigious distinction of courtly collectors established a market for highquality and most authentic reproductions already in times of early copperplate printing.
Improved techniques like lithography and, finally, photography fostered this market and
allowed for reproductions of the greatest possible likeness.
Actually, digital imaging carries the day and has replaced photography as a prevailing media.
High-resolution images are widely accepted for most purposes of documentation, preservation
and a world-wide distribution via electronic channels. These offer ubiquitous access to the
collections at affordable prices and with high availability. And they meet, in short, the
expectations of either industry or the generic audience.
The rapid success of 2D-digital imaging at Museums and Archives is worth to be noticed. It is
obviously based on long traditions mentioned here above. This has to be kept in mind when
comparing it to the modest deployment of 3D-modelling techniques in the CH-sector. While
2D-imaging has reached the mass-market in less than 20 years time, 3D modelling still plays
a rather marginal role. Although most of the artefacts of our collections are of 3dimensional
size, the use of adequate 3D-technologies for representing objects in a virtual environment
seem to be reserved quite exclusively for archaeological research and single preservation
efforts. Public resonance and outreach of the museums are mainly based on the 2dimensional
perspective.
B THE 3D PERSPECTIVE
A change of attitude arises with significant delay. It is only for the last few years, that 3D-TV
and interactive applications, multimodal interfaces and augmented reality applications have

shaped the consumer's expectations. Relevant technologies, like HTML5 and Web-GL, which
are fundamental for entering the mass-market, have only recently been standardized.
Nonetheless, the potential of 3D modelling is now on the horizon for any of the museum's
objectives. A focus should be set on the following options:
Easy integration of digital 3D-replicas in different media and contexts,
implementation of 3D-models to support the museum's workflows, facilitymanagement, and documentation,
virtual representation of the collection and attractive outreach,
physical replicas on the bases of a digital 3D-model,
re-use of authentic 3D-models in supported industries, edutainment and
interdisciplinary research.
At the Staatliche Museen zu Berlin this potential has been recognized. 3D-scanning and the
use of 3D-models form a circuit of our strategy towards the digitization of the collections.
C PILOT PROJECTS
Several projects have been initiated over the last years to gain experience with 3D-capturing
in different areas of application. A selection of five projects shows a varying bias and
equipment.
1. Documentation of mesopotamian cylindric seals at the Museum of the Ancient Near East.
A co-operation of the excellence-cluster TOPOI (cf. www.topoi.org) and the Museum of the
Ancient Near East led us to scan in 3D about 1.400 babylonian and mesopotamian rolled seals
from the Museum's collection. A structured light 3D-multi-sensorsystem with variable
resolution has been provided by the Fraunhofer Institute for Applied Optics and Precision
Engineering. The "kolibri MULTI" scanner (http://www.iof.fraunhofer.de/de/produktblaetterk-o/kolibri-multi.html) allows for geometric models of high resolution. Small objects with an
average size of 10 cm hight can be scanned with measurement uncertainty from 1m to 5 m.
One of the objectives of the project has been the rendering of images of the seals. The
geometric models of the cylindric seals were virtually rolled out to show coherent and
calibrated 2dimensional views of the depicted narratives.
2. Research in the Egyptian Museum using RTI
Reflectance Transformation Imaging (RTI) is a low-cost and user-friendly method that
captures a subjects surface shape and colour with a set of interactive lighting of the subject
from any direction. At the Egyptian Museum RTI has been introduced as means for the
documentation
of
finds
during
archaeological
excavation.
(cf.
http://culturalheritageimaging.org/Technologies/RTI) The RTI does not create geometric
models but allows for analytic studies of 3D-objects from any possible angle and lightning
direction.
3. Simulation and reconstruction of original showplaces: Santa Croce in Florence
A sounded reconstruction of the altarpiece of Ugolino de Nerio in Santa Croce (about 1325)
has been the objective of a complex and elaborate 3D-animation of the choir chapel. The
interactive animation shows an integrated composition of the altarpiece on the bases of the
surviving fragments. The reconstruction of the original architectural setting of the church
allows for greater insight into the complex interaction of architecture, windows, light and
perspective. (cf. Weppelmann, Stefan / Winkler, Stephan: Digitale Kunstgeschichte? Eine

Fallstudie an Ugolinos Altarwerk aus Santa Croce, in: Geschichten auf Gold Bilderzhlungen in der Frhen Italienischen Malerei, Berlin, 2005.)
4. Physical reproduction of the collection's objects at the Replica Workshop in Berlin
The Replica Workshop of the National Museums in Berlin owns a unique collection of 7000
replicas of works of art of the collections. More than any other material, plaster is ideally
suited to recreate faithfully the intricate details of historical original objects. But many of the
old moulds incur wearouts and damages over the years. Cloning of new moulds from the
original is not recommended by preservation reasons. 3D-scanning has therefore been
considered as an appropriate and easy going approach. With the busts of Nefertiti and Teje
from the Egyptian Museum a pilot application has already been explored. A co-operation
project of the Replica Workshop, the Egyptian Museum and the Technische Universitt
Berlin is focused on the development of a hybrid manufacturing workflow of moulds from a
digital 3D-model.
5. CultLab3D
The joint project CultLab3D covers the issue to speed up the expensive and time-consuming
procedures with which cultural assets can be digitally recorded in 3D. The new approach
brings out three main aspects:
an innovative mobile digitisation laboratory, called "CultLab3D",
use of semantic technologies to integrate and spatially link 3D-models to multimedia

information already present in museums and to its metadata,
new business models for 3D-objects of the Cultural Heritage.
CultLab3D takes into account mainly selected classes of objects such as vases, coins,
weapons and busts. The National Museums in Berlin Prussian Cultural Heritage Foundation
support and participate in the project. The consortium is composed of technical partners:
Fraunhofer Institute for Computer Graphics Research (FhG-IGD, co-ordinator), Polymetric
GmbH, , Architectura Virtualis GmbH and the Forschungszentrum Informatik (FZI).
D FORUM KULTUR IN 3D
The survey of 3D pilot-projects reveals a bunch of pragmatic and useful results. But one quite
fundamental experience should not be overlooked. Still today, 3D projects require not only an
ample and expensive technical infrastructure but also skilled engineers and well-versed
operators. Reliable guidelines and best practice rules are still a desiderate as well as the
integration of complex data-assets into the ordinary data-management, access strategies and
effective longterm-storage mechanisms of the museums. Suggested demands, therefore,
concern a further simplification of handling and service, the reduction of costs, the
development of workflows and institutional knowledge transfers.
A caucus for discussion and exchange of expertise in this sense is the newly founded "Forum
Kultur in 3D". It is an ambitious platform to pool and consolidate relevant activities in the
3D-digitalisation and to allow for impartial technical advice. Based on the results of the
former CEC-project "3D Coform" (cf. http://www.3d-coform.eu) it is led by the Fraunhofer
IGD (https://www.igd.fraunhofer.de/Kulturerbe) and open to any member from the cultural
heritage sector.

EC PROJECTS AND RELATED

NETWORKS & INITIATIVES

EUROPEANAPHOTOGRAPHY: EARLY PHOTOGRAPHY

ACCESSIBLE IN EUROPEANA
Authors: Antonella Fresa, Valentina Bachi, Promoter SRL
e-mails: [email protected], [email protected],
Andrea de Polo (consultant) for Fratelli Alinari, Fondazione per la Storia della Fotografia
e-mail: [email protected],
Marzia Piccininno, Istituto centrale per il catalogo unico delle biblioteche italiane
e-mail: [email protected]
Frederik Truyen, Sofie Taes, KU Leuven
emails: [email protected], [email protected]
Abstract EuropeanaPhotography is an EU-funded digitization project that will provide

Europeana with over 430.000 of the finest examples of early photography, for an impressive
increase in the number of photos available in the Europeana. These photographs provide a
unique insight into the evolution of European society and of the art of photography between the
19th and 20th century, which is a valuable source for research in many fields (history,
economics, sociology). EuropeanaPhotography will also enrich Europeana with materials
from countries with a currently limited display, for a wider overview of European history.
INTRODUCTION
EuropeanaPhotography is a CIP ICT PSP pilot B project with the principal objective to select,
enrich and digitize masterpieces of early photography, and to contribute the relative metadata
and thumbnails to Europeana, the European digital library (www.europeana.eu). The
consortium includes both public and private bodies with very different backgrounds, thus
providing a variety and richness of content. Moreover, several partners come for the first time
in a Europeana-feeder project, also belonging to those European countries - such as Bulgaria,
Slovakia, Lithuania and Denmark - that are still under-represented in Europeana. They will
contribute original content for the first time ever, thus enlarging and enriching the panEuropean approach of Europeana. The General Coordinator of EuropeanaPhotography is the
Institute for Cultural Studies of the Katholieke Universiteit Leuven; Promoter S.r.l. provides
the Technical Coordination.
Project objectives
EuropeanaPhotography will digitize, enrich and then contribute to Europeana over 430.000
early photographs. Content selection and digitization form the basis of the project. Further
steps are: the multilingual enrichment (through the EuropeanaPhotography vocabulary,
especially designed for the needs and specifics of the EuropeanaPhotography consortium),
and the aggregation of metadata via the MINT system[1], which allows the metadata mapping
and the final ingestion of the digital content into the Europeana system. To support the
consortium and to develop a safe and valuable environment for both public and private
bodies, the project foresees very strong functions related to IPR issues and sustainability.
Within the project, moreover, the commercial benefits of working with Europeana will be
highlighted and clarified, in order to attract new content providers from the private sector in
the future.
Work done so far

The project has just successfully closed its first year of activities, achieving very good
results. A dedicated work-package was focused on the content of this projects contribution to
Europeana: digitized photographic images, tracing the evolution of European society and the

art of photography, from 1839 (first images by Niepce in France) to 1939 (start of the WWII).
The tasks constituting this work package were directed to the selection of images to be
delivered to Europeanas database. The process was coordinated by KU Leuven, but the
actual selection was carried out by each of the content providers. They were guided by the
following criteria: Masterpiece quality and impact; General interest and appeal;
Complementarity with existing material in Europeana; Synergy with content from other
providers. As a result of this process, a deeper understanding of the richness and true value of
the EuropeanaPhotography collections has come up. Since the partners had the opportunity to
explore their collections, hidden treasures have been and will keep on being - discovered
throughout the project period.
As EuropeanaPhotography is a digitization project, another of the main objectives for year
one consisted in establishing and preparing standards for digitization and image quality, so as
to align the content providers to the most recent technologies and procedures for preparation
of early photos and digitization techniques. A particularly important achievement so far is the
development of a multilingual vocabulary for early photography, which currently consists of
over 500 concepts in three facets photographic technique, photographic practice and
keywords structured hierarchically. This vocabulary is completed in 12 languages and it will
be used in the annotation, translation and semantic enrichment of the metadata. Discussions
with other projects, in particular Linked Heritage[2], are on-going, to improve the
EuropeanaPhotography Vocabulary as a starting point for other useful multilingual tools to
enrich digitization activities (both for photography and for other types of cultural heritage).
The technology at the base of the mapping and ingestion process is the MINT platform, a
web-based software for the aggregation of metadata that is currently used by Europeana and
other projects of the Europeana ecosystem. The tool, customized according to
EuropeanaPhotography requirements and including the already mentioned photographyspecific multilingual vocabulary, is ready and fully working and helped in preparing the initial
slot of about 12.000 images, ready to be published in Europeana.
A dedicated work-package in the project is devoted to the analysis of IPR issues and
sustainability solutions. An IPR Committee is reflecting upon the requirements and needs of
all partners - both private companies and public bodies - in order to define the priorities and a
valid strategy to comply with the Europeana standards. On the side of sustainability, the
project will reflect upon the benefits for private and public partners from the presence of their
photos in Europeana, in order to establish a viable ongoing service with commercial potential
or another workable funding model.
The EuropeanaPhotography collection

Within the project consortium 16 partners can be designated as content providers. Some
are public institutions or institutions with a public mission, such as museums, archives and
universities (KU Leuven, ICCU/SGI, Polfoto, CRDI Ajuntament de Girona, GenCat Cultura,
Nalis, MHF, Arbejdermuseet, Divadelny Ustav, ICIMSS, Lithuanian Museums), others are
privately funded photo agencies (TopFoto, Imagno, Parisienne de Photographie, United
Archives, Alinari). This unique blend has not only given rise to spirited discussions on the
shared responsibility towards the preservation of European heritage - a valuable contribution
towards Europeana - but also to a better understanding of early photography. At a seminar in
Leuven, Belgium (12-13 April 2012), where content providers showcased their collections, a
wide array of images was unveiled: a combination of treasures of early photography never
before disclosed to the public. Also at the seminar, the consortium agreed upon a definition of
photographic masterpiece, that has served as a guideline throughout the establishment of
what might be called the EuropeanaPhotography Collection.
This collection, which will eventually be fully available through Europeana, counts no less
than 430.000 images and spans the period 1839-1939, capturing city and family life, sports,
portraits, landscapes, politics, colonial and war history, and thus reviving the history of

Europe through prosperous as well as difficult times. Besides top images from valuable
collections and renowned photographers, it boasts the photographic heritage of Europes
newest member states, offering a fascinating view on a chapter in the canonical common
European historical narrative that hasnt even fully been written yet. Each of the project
partners has managed to bring a distinctive and superior selection to the
EuropeanaPhotography Collection. KU Leuvens choice from its university library archives
sheds light on 19th and 20th century educational usage of images. Alinari draws from the
archives of Alinari24Ore and Fondazione Alinari, offering a Grand Tour across Italy. The
image selection of Central News, Alfieri, Planet News and John Topham collections
(TopFoto) and the Agentur Schostaland Christian Brandsttter collections (Imagno) each
contain exceptional and high-quality images. At Parisienne de Photographie, images from the
Maurice Louis Branger archive, portraits by Boris Lipnitzki and Parisian scenes by Gaston
Paris are the undisputed highlights. United-Archives will add a.o. the Carl Simon archive, the
KPA collection, the Andres and IFTN archives and a film still collection. ICCU offers a
selection from the Historical Fund of the Photographical Archive of the Italian Geographical
Society (SGI), containing ca. 30.000 photographs acquired from 1867 until the 1930s.
Polfoto contributes images by press photographers Holger Damgaard and Tage Christensen.
Provided by CRDI are images related to the Rif War and portraits of cinema stars, utilizing a
great variety of early photographic print processes. Gencat Cultura and Catalan Cultural
Institutions have selected images of great aesthetic value and historical importance, as well as
photographs documenting changes in society, culture, economy, etc. Krakows Museum of
History of Photography chose images that offer a panoramic view on its entire collection and
include almost every type of early photography practice. The Arbejdermuseet collections
document the formation of modern society focusing on everyday life, while Theatre Institute
Bratislavas pick discloses a visually attractive story of the Central European theatre and
theatricality. Two project partners are breaking ground in exploring unknown treasures of
their photographic holdings. ICIMSS collections will present material that has remained
hidden up till now and will enrich the documentation of Polish history. The contribution of
NALIS explicitly aims at the exploration of unknown collections as well: as a knowledge
broker, NALIS will build bridges between the content owners, the consortium and Europeana,
at the same time granting local museums and archives access to the professional knowledge of
the EuropeanaPhotography consortium. This dynamic treasure hunt will undoubtedly prove
to be a fruitful venture and has a clear added value for the project as a whole.
The digitization activity

During year 1, the consortium organized specific workshops for the content providers, to
deeply discuss and agree upon methodologies for digitization and metadata usage. First, in
Leuven (April 2012), the consortium agreed on the digitization standards (resolution, image
format, colour depth, etc.). At the same occasion, there was a review of the metadata schemes
used by each content provider, an analysis of requirements for any extra metadata fields on a
provider-by-provider basis, and an assessment of the need for support to generate metadata in
XML format, again for each provider.
The content providers then met in Girona in May, for a 14-hours workshop intended to
provide an overview of the available systems for original photographic materials digitization
as well as the procedures, in order to obtain the best results in terms of image quality and
fidelity to the original. The teachers for this workshop were professors from the Polytechnics
University in Catalonia (UPC). The workshop provided content providers with several
recommendations and hints for a good practice, resulting in a digitization workflow that can
be briefly summarized as follows:

1. Digitization should be done by camera better than by scanner. The use of camera avoids
physical contact with the original and has virtually no limits in terms of original properties
and sizes.
2. Lighting for digitization with camera should be provided by electronic flash strobes. It
allows for very short exposure times that prevent the camera from shaking at large
magnifications and provide better sensor response.
3. The camera lens must be as good as free of distortion (best options below 1%); this is not
possible with zoom lenses.
4. The camera lens resolution must be tested in order to find a useful aperture range, thereby
avoiding aberrations when fully opening, and diffraction effects when closing the diaphragm.
5. Depending on the resolution needed for a given application, the more pixels on the sensor,
the lower the diffraction limit will be at smaller apertures. A possible solution is to increase
the physical sensor size.
6. Sensors without anti-aliasing filter (optical low pass filter or OLPF) can produce image
artifacts taking pictures from textures with small details periodically structured
7. Screens must be calibrated in order to visualize image colors accurately and to process
images correctly. It is important to know the color space of the screen and avoid the
visualization of images with wider color spaces; working with ProPhotoRGB is not
recommendable to visualize images.
8. When applying a new ICC profile (or standard color space) it is important to know the
difference between Assigning and Converting, as the result is different.
9. Working with RGB color spaces is the recommended option to process and archive images,
because it has a higher bit depth than grey scale images and wider color ranges than CMYK
color spaces.
Example of storage room and long term

preservation area
The photographic identification process

using a 30x microscope

Example of a digital camera back device

(PhaseOne/Leaf Aptus-II 80 megapixels CCD)
Cambo repro stand
Expected Outcomes For Year 2

From February 1st, 2013, the project has entered into its second year of activity, in which
the objective of 250.000 digitized images (100.000 published in Europeana), has to be
achieved. Digitization, metadata mapping and enrichment will be main activities for the
content providers. As a consequence, a great effort will be necessary from the digitization
supervisors deployed in each content provider to follow the project recommendations
produced so far, in order to assure a proper, timely and qualitative content delivery.
Furthermore, several dissemination and exploitation activities are planned, and big results are
expected within the domains of IPR and Sustainability. With these efforts,
EuropeanaPhotography will continue to establish itself as a role-model for any public-private
partnership in the field of cultural heritage, and of photography in particular.
DISSEMINATION
The EuropeanaPhotography project adopted an integrated approach for the dissemination
activities using different communication platforms and channels and enjoying the cooperation
of the whole consortium. The publics that are targeted reflect the diversified composition of
the project consortium, that includes stakeholders both from the public and private sectors.
The EuropeanaPhotography website [3] has an institutional communication approach
because it is intended as a window of the projects main outcomes; it collects institutional
information related to the project partners, life, events and news about both digital cultural
heritage and photography; Europeana, that will benefit from the partners contributions, has a
dedicated section with the main relevant information and a direct access to its database thanks
to the integration of a Europeana API. The publics that the project website mainly intends to
reach are those working in the Europeana environment: the Europeana Foundation itself, the
group of Europeana feeding projects, the experts from cultural institutions working in the
field of digital cultural heritage and the European Commission.
On the other hand, EuropeanaPhotography enjoys a dedicate showcase on
digitalmeetsculture.net [3]: an interactive magazine managed by Promoter srl, where culture
and digital technology collide. Articles about the EuropeanaPhotography activities, events,
and milestones, as well as a dedicated newsletter are published in this showcase; moreover,
the partners have the chance to give visibility to their role in the project thanks to interviews
and dedicated editorials. This showcase can reach both a specialized public made out of
digital cultural heritage experts and photography professionals, as well as a wider public of
people interested in these topics thanks to its magazine nature. Digitalmeetsculture.net also
hosts the projects internal repository.

EuropeanaPhotography showcase on
Digitalmeetsculture.net
(http://www.digitalmeetsculture.net/heritageshowcases/europeana-photography/)
Project website
(www.europeana-photography.eu)
Recently, the project opened a Facebook page [3] with a twofold scope: reaching a wider
public of people interested in photography (and redirect them to the website) and allow the
EuropeanaPhotography partners to have a fast and easy-to-use platform for disseminating the
images they are digitizing for the European portal, telling the wonderful stories that those
pictures illustrate.
EuropeanaPhotography is present at several national and international events; next main
appointment will be from 9 to 11 September in Vilnius, within the framework of the
Lithuanian presidency of the European Union, when, besides the project plenary meeting, an
early photo exhibition as well as cultural and educational open events will take place.
ACKNOWLEDGMENTS
This research is partially funded by the Competitiveness and Innovation Framework
Programme (CIP) (http://ec.europa.eu/cip/)
References
[1] The MINT mapping tool system is a web based platform, developed by NTUA (the
National Technical University of Athens), that was designed and developed to facilitate
aggregation initiatives for cultural heritage content and metadata in Europe.
http://mint.image.ece.ntua.gr/redmine/projects/mint/wiki/Introduction
[2] Linked Heritage is a best practice network with the main objective to facilitate and deliver
large-scale, long-term enhancement of Europeanas content and services.
http://www.linkedheritage.org/
[3] EuropeanaPhotography main dissemination internet channels:
Website: http://www.europeana-photography.eu/, Facebook page:
http://www.facebook.com/pages/EuropeanaPhotography/389351434475298
Showcase on Digitalmeetsculture.net: http://www.digitalmeetsculture.net/heritageshowcases/europeana-photography/;

EVA 2013 FLORENCE

REENGINEERING AND CONSTRUCTION OF A RELIEF
FOR AN ORGAN LOFT BASED ON DRAFTS BY
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1. INITIAL SITUATION: THE NAVE

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2. THE CLAY MODEL AND THE SKETCHES
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3D IN ARCHAEOLOGY: 15 YEARS OF RESEARCH.

THE ROLE OF EU PROJECTS
F. Niccolucci
PIN
Prato, Italy
[email protected]
S. Hermon
STARC The Cyprus Institute
Nicosia, Cyprus
[email protected]
Abstract The paper describes the contribution of EU-funded research to the advancement
of the use of 3D technologies in archaeological applications. Starting from the most recent and
perhaps most important EU project ARIADNE, it critically examines the role of 3D computer
visualization, tracing back the evolution of such applications since the end of the 20th century.
Introduction
The number and size of archaeological digital repositories is becoming a challenge. As
discussed in [1], archaeological investigations produce and require increasingly larger
datasets, where for example the results of scientific analyses on materials or large models of
sites and monuments are stored. It happens often that past cultures correspond to territories
now split among different modern countries, so records are organized in different ways and
compiled in different languages. These problems motivated the need of setting up a project
integrating the diverse research infrastructures hosting archaeological data. This project is
named ARIADNE (www.ariadne-infrastructure.eu) and is funded by the European
Commission under the FP7 research Infrastructures programme. ARIADNE stands for
Advanced Research Infrastructure for Archaeological Datasets Networking in Europe, but
also recalls the thread that the mythical Ariadne provided to escape from the Labyrinth.
ARIADNE has a duration of four years starting from 1st February 2013. Its goal is the
integration of archaeological repositories into a Europe-wide research infrastructure made of
interoperable datasets, with a harmonized interface and a unique approach to data storage. Of
course, integration will proceed by clustering datasets that are homogenous as far as content is
concerned. The integration process will rely on a common metadata schema based on and
compliant with CIDOC-CRM (cidoc-crm.org), the ISO 21127 standard for the documentation
of cultural heritage, which will be extended to incorporate the needs of different subdomains
such as archaeological grey literature, i.e. unpublished excavation records; and
dendrochronology, the well-known dating system based on tree rings. The project will
develop innovative services based on an in-depth analysis of the needs of the research
community. Another activity will concern the exploration of new avenues in archaeological
research opened by the availability of integrated datasets: for example, advanced 3D
visualization methods enabling the use of digital replicas, instead of originals, for research.
The ARIADNE partnership includes 24 partners from 16 EU member states, and is
coordinated by PIN, the educational and research centre based in Prato, Italy.
In this perspective, the present paper synthetically analyses 15 years of progress in the use of
3D visualization in archaeology. We take as start date the 1998 CAA Conference in
Barcelona where a special symposium addressed the applications of virtual reality in
Archaeology.
We will show that EU-funded projects have played a paramount role in advancing research
and improving good practices in this domain.

1. 3D and archaeology: the dawn

The above-mentioned 1998 symposium marked a turning point in what until then had been
an occasional use of virtual reality techniques to re-create the past appearance of
archaeological monuments. Usually, the 1990 paper by Paul Reilly [2] is acknowledged as
being the very first (or at least one of the first) application of virtual reality technology to
cultural heritage. The first use of the term Virtual Archaeology must be ascribed to this
paper. After the publication of a popularizing volume by Forte and Siliotti [3], the 1998 CAA
Conference attempted to systematize this topic, publishing the results in a separate
proceedings volume [4]. It is clear that apart from a few insulated attempts of using
visualization techniques for research, e.g. to reconstruct the appearance of a deceased person
from his facial bones, the core business of virtual archaeology in those times was
communication and dissemination. 3D visualization was seen as an effective storytelling tool,
informing the public at large of what could have been the past appearance of buildings and
sites, nowadays reduced to heaps of stones, and visually communicating the imaginative
interpretation of archaeologists. The scholars reactions to this approach waved between the
enthusiasm of a small but combative group of innovators, and a large majority of
traditionalists who confined these techniques to mass dissemination use, when not directly in
the realm of games.
The VAST conference, taking place for the first time in the year 2000, and its proceedings [5]
published shortly afterwards, complemented the CAA1998 volume [4] by presenting the
outcomes of another important research thread, expression of the 3D visualization community
and supported by EU funding. It also collected the reaction of a number of researchers which
favoured the introduction of state-of-art technology in archaeology but started expressing
serious concern about the misuse of pretty pictures. This was clearly expressed in [6],
indicating solutions to give sound cultural bases to technological solutions.
2. Early EU projects on 3D visualization

Within the FP5 Information Society and Technology programme, an objective addressed the
use of advanced visualization techniques for communicating cultural heritage. The related
calls were managed by the Digicult Unit then directed by Bernard Smith. A substantial
number of projects were funded, many of which consisted in small projects circumscribed to a
limited scope and application in special cases only. Among the projects with a wider
perspective, CHARISMATIC (Cultural Heritage Attractions Featuring Real-time Interactive
Scenes and Multi-functional Avatars as Theatrical Intelligent Agents), ARCHAEOGUIDE
(Augmented Reality-based Cultural Heritage Onsite Guide) and 3D-MURALE (3D
Measurement & Virtual Reconstruction of Ancient Lost Worlds of Europe) are worth
mentioning. ARCHAEOGUIDE eventually produced a complex but uncomfortable wearable
equipment to create augmented reality applications (i.e. virtual reality superimposed on
images of the current appearance) on the archaeological site of Olympia. The helmet for
immersive visualization and the knapsack containing the computer which the visitor had to
wear to experience the reconstruction were not exactly the best solution for a summer visit of
this Greek site, but they demonstrated that the concept was feasible and interesting. 3DMURALE went for a stationary device, a telescope achieving the same augmented reality
result, with a loss of mobility but a decisive improvement on comfort for the visits of the
Sagalassos Hellenistic site in Turkey. All these projects extended form 1999-2000 to 2003.
If the technological results were brilliant, the effects of such projects on the organization and
communication of archaeological sites were minimal, if any. The technology was still
experimental and expensive, and, above all, the ownership by the archaeological community
of these results was nil. These projects were totally technology-led, and cultural heritage was
just a nice application domain. Nevertheless, their long-term impact was substantial. It is

difficult to conceive the current day augmented reality apps on smartphones without these
pioneers who paved the way. Credit must be given to such a foresight initiative of the EU and
of the Unit mentioned above, for promoting and sustaining this mixture of technology and
cultural heritage. In those times, national funding policies were totally uninterested to these
topics in most countries, with possibly the exception of UK and a few others [7].
FP6 continued in this path funding more projects on the applications of computer
visualization to cultural heritage. Furthermore, the programme supported the creation of a
dedicated Network of Excellence, EPOCH (2004-2008).
EPOCH was founded on completely different premises. It programmatically mixed together
archaeologists and technologists, stating that the lead belonged to the former. It understood
that it was necessary to involve a large community, reaching the incredible number of 100
partners, what caused more than a headache to the coordinator, the University of Brighton.
EPOCH had a shaping effect on the research community and left a quantity of concrete
achievements and a huge number of publications, notably its State of the Union reports [7]
and its Research Agenda [8]. The former surveyed and reported about the current state of
affairs in the EU member states, the latter described the research perspectives in the domain.
In sum, the project set the foundations for further developments and put new, precise research
questions.
3. The new century: a critical approach to 3D visualization

A paper published in the VAST2000 Proceedings [6] had already posed the question of a
philological approach to the visual representation of the interpretation of the past. It criticized
the cases of arbitrary or at least, undocumented reconstructions, which conveyed in the
public the false impression that being snapshots of the past, they had to be true. Virtual
reconstructions in no way carried the uncertainty of interpretation and the possible existence
of alternate solutions. The work within EPOCH confirmed the need of clear criteria for the
reliability of virtual reconstructions and supported the birth of a movement among scholars,
advocating the creation of guidelines for a correct approach to visualization in archaeology,
which culminated in the statement of the London Charter (2005).
The London Charter for the Computer-Based Visualization of Cultural Heritage
(www.londoncharter.org) is a Charter establishing internationally-recognized principles for
the use of computer-based visualization by researchers, educators and cultural heritage
organizations. Besides the detailed explanation of the Charter on the web site, [9] and [10]
provide an in-depth description of the Charter.
The main principle of the Charter is that 3D visualization must rely on documentation that
records not only information on the involved real cultural objects, but also the so-called
paradata, i.e information about the circumstances in which the record was produced. It has
been proved that such circumstances may affect the reliability of the digital data and the
usability of the digital replica. More details on paradata and their importance are presented in
[11].
The Charter dictates general principles, which need guidelines for good practices according to
different applications, some of which are presented in [11].
Nowadays the London Charter is widely accepted and compliance to it is stated as a
requirement in the most important current projects on 3D replicas.
The publication of the London Charter on one side replied to the issues of credibility and
reliability of 3D visualization mentioned above; on the other, it opened a new research thread,
because the principle stated in the Charter programmatically apply to communication and
research alike. The Charter thus registered that there was a scientific interest in using 3D
visualization as an archaeological research tool, acknowledging the existence of a virtual
archaeology or, better, digital archaeology domain within the disciplinary methods.

4. 3D visualization as a research tool

In recent years, a number of experimental applications have used 3D technology to
improve the documentation of archaeological sites and artefacts [12, 13, 14]. Such
applications have shown that 3D visualization is not only useful, but also has a potential to
change the way research is made in archaeology. Good 3D replicas might in fact be used to
study objects and sites instead of the originals. This approach motivates the need for
guaranteeing the reliability and credibility of the 3D models [15]. Furthermore, ways for
storing, retrieving and browsing such huge digital objects are required, as well as tools to
manipulate them.
Another EU project has addressed these issues. The recently concluded FP7 3D-COFORM
project (www.3d-coform.eu) has produced a set of tools to create and manage virtual 3D
collections of cultural objects. 3D-COFORM has also proposed a CIDOC-CRM extension
documenting the provenance of the 3D objects, i.e. the technical information about the
creation and the processing of the digital replicas. Such data may be assimilated to the
paradata advocated by the London Charter. This methodology contributes to giving sound
scientific bases to Digital Archaeology, and opens new research avenues such as those taken
into account, among others, by ARIADNE, and mentioned in the introduction.
5. Conclusions and future work

After 15 years of research, virtual archaeology appears today as a mature scientific
domain, and the resistance in the archaeological community no longer exists, or is confined
only to a small patrol of elderly conservatives. Virtual reality and augmented reality are used
in mobile applications that visitors are supposed to use when visiting archaeological sites.
Such apps are still unpolished, but it is just a matter of time to see much better tools assisting
the explanation and communication of archaeological remains. Stationary devices for
visualization are commonplace in museums. FP7 has funded the V-MUST.NET project
(www.v-must.net) on digital storytelling in museums availing of 3D visualization techniques.
3D technology has started becoming a tool for research as well.
European research programmes have played a fundamental role in structuring research. For
example the survival of the VAST Conference as an international forum for this domain has
been indirectly guaranteed by the funding of researchers presenting their results at the
Conference. The EU has provided the necessary resources for a thread that was usually
underappreciated by national funding agencies enabling the creation of advanced
technological tools. Above all, it has concretely fostered the cross-fertilization between
technology and culture.
It is hoped that the EU confirms a primary role for cultural heritage also in its future
programmes, and continues the farsighted strategy of fostering the collaboration of
technology and culture to exploit the richness of its heritage assets.
3D models of monuments have started showing also in Europeana, the European digital
library. For example, the 3D ICONS project (www.3dicons-project.eu) is collecting highquality 3D models of iconic monuments throughout Europe, to offer to the public the
opportunity of visualizing such masterpieces via Europeana. 3D ICONS takes into account
the debate on the reliability of digital replicas and is adopting a metadata schema compliant
with the London Charter requirements of 3D visualization. It is anticipated that 3D ICONS
models will be useful also for research.
However, as it often happens, answering to an issue, e.g. providing tools for better
visualization or methods to support the reliability of 3D replicas, opens new research
questions. This time they concern the ontological foundations of digital archaeology. Basic
concepts as space, time, actors and things require renewed attention to enable machine

reasoning based on the integrated repositories ARIADNE will set up, beyond the nave use
that so far gave them for granted and universally understood.
Maybe, another European project will address also these questions, continuing a tradition that
has given so many benefits to scientific research in the cultural domain.
ACKNOWLEDGMENTS
This paper was supported by the ARIADNE project, funded by European Commission
under the FP7-INFRA programme. It reflects the ideas of its authors and the EC is not liable
for any opinion expressed here.
References
[1] F. Niccolucci and J. D. Richards, ARIADNE: Advanced Research Infrastructures for
Archaeological Dataset Networking in Europe, to appear in International Journal of
Humanities and Arts Computing 2013, in press.
[2] P. Reilly Towards a virtual archaeology. Computer Applications in Archaeology 1990,
Edited by K. Lockyear and S. Rahtz. Oxford: Archaeopress, 133-139, 1990.
[3] M. Forte and A. Siliotti (eds.) Virtual archaeology: re-creating ancient worlds. New
York: H.N. Abrams, 1997.
[4] J. A. Barcel, M. Forte and D. H. Sanders (eds.) Virtual Reality in Archaeology. Oxford:
Archeopress, 2000.
[5] F. Niccolucci (ed.) Virtual archaeology: Proceedings of the VAST Euroconference,
Arezzo 24-25 November 2000. Oxford, Archaeopress, 2002.
[6] B. Frisher, F. Niccolucci, N. Ryan and J.A. Barcelo From CVR to CVRO. The past,
present and future of cultural virtual reality in [5], 7-18.
[7] F. Niccolucci et al. Report on the State of the Union, volls. 1-3 Budapest: Archeolingua,
2006-2008.
[8] D. Arnold and G. Geser The EPOCH Research Agenda. Budapest: Archeolingua, 2008.
[9] R. Beacham, H. Denard and F. Niccolucci An Introduction to the London Charter, The
e-volution of Information Communication Technology in Cultural Heritage: where hitech touches the past: risks and challenges for the 21st century, M. Ioannides et al (eds.),
Budapest: Archaeolingua, 2006.
[10] F. Niccolucci, D. Beacham, S. Hermon and H. Denard Five years after: The London
Charter revisited, Proceedings of VAST2010: 11th International Symposium on Virtual
Reality, Archaeology and Cultural Heritage Short and Project Papers, A. Artusi, M.
Joly-Parveux, G. Lucet, A. Ribes and D. Pitzalis (eds.). Aire-La-Ville (CH), ACM
Siggraph Eurographics, 2010.
[11] A. Bentkowska-Kafel and H. Denard (eds.) Paradata and Transparency in Virtual
Heritage. London: Ashgate, 2012.
[12] S. Hermon Scientific Method, Chane Opratoire and Visualization. 3D Modelling as a
Research Tool in Archaeology in [11], 13-22.
[13] R. Georgiou and S. Hermon A London Charters visualization: the ancient HellenisticRoman theatre in Paphos, The 12th International Symposium on Virtual Reality,
Archaeology and Cultural Heritage VAST2011, M. Dellepiane. F. Niccolucci, S. Pena
Serna, H. Rushmeier, L. Van Gool (eds.), Aire-La-Ville: Eurographics, 53-56, 2011.
[14] S. Hermon, N. Amico, G. Iannone, M. Khalayli, I. Milewski and N. Getzov
Archaeological field documentation and architectonic analysis - a 3D approach. Ein
Zippori as study case, The 13th International Symposium on Virtual Reality,
Archaeology and Cultural Heritage VAST2012, D. Arnold, J. Kaminski, F. Niccolucci,
and A. Stork (eds.), Aire-La-Ville: Eurographics, 113-120, 2012.

[15] A. Felicetti and F. Niccolucci, Validating the Digital Documentation of Cultural

Objects, paper accepted at the ECLAP Conference, Porto April 2013. In press at
Springer.

CONTEXT SENSITIVE SERVICES AND INFORMATION

SYSTEMS IN THE PERGAMONMUSEUM AND
THE JEWISH MUSEUM BERLIN
Prof. Dr. Dr. h.c. Jrgen Sieck
University of Applied Sciences Berlin
Berlin, Germany
[email protected]
AbstractThe development of information and communication technology during the past 30 years is
characterised through the continued technical evolution. These technical developments raise the possibility of
new applications and application areas. It is important for the acceptance of new technologies, that new
applications create additional value, use the advantages of basic technologies and are adapted to the needs of
the user.
This article describes several technical aspects of mobile devices, sensor networks, web technologies,
multimedia applications, context sensitive services in information systems for museums developed at the
authors university. It examines key features of the technologies and the systems, shows multiple methods of
using information systems, sensor networks and multimedia as well as future research potentials.
KeywordsMuseum Information Systems; Context Sensitive Services; RFID; Mobile Multimedia
I.
INTRODUCTION
The development of computer technology, mobile devices and sensor technology during the past 30 years
has continually affected the creation of new applications based on emergent technologies. Whilst newly
developed device types with different technical specifications have surrounded us in our everyday life and
private environment, new base technologies have also been established step-by-step.
By combining the advantages of established technologies with these new approaches and furthermore
adapting those criteria to the different user needs and application scenarios, including the location of users,
we are able to extend existing applications with new mobile components and services.
II. RFID SENSOR NETWORKS AND CONTEXT-SENSITIVE SERVICES ON THE BASIS OF THE
OPEN BEACON TECHNOLOGY
We decided to use the OpenBeacon[2] technology as the basic technology for sensor networks and
context-sensitive services being actively developed by Bitmanufaktur[7]. OpenBeacon is an open source
solution in hardware and software for active RFID. It operates in the 2.4 GHz ISM band and each device
contains a unique ID. OpenBeacon is designed to transmit and receive radio waves. The advantages of an
active RFID system are:
high range,
ability to transfer more than just one unique ID,
cryptographic security,
full processor on the tag and base station side,
tags can control peripheral devices.

The OpenBeacon technology consists of two main components the tags and the base stations.
OpenBeacon base stations are tiny network devices to receive and process the signals sent by OpenBeacon
tags. The OpenBeacon tags are tiny battery-powered devices and consist of RF24L01 2.4 GHz transceiver
and are controlled via a microcontroller (Microchip PIC16F684). The device is powered with one CR2032
coin cell and is expected to run for up to several months without battery change. The 8-Bit RISC CPU with
special low-power features provides the opportunity to implement a very sleek and power-saving transmitting
routine at minimal costs.
Since 2010 the open source project offers a new generation of RFID tags, so called proximity tags,
broadcasting additional information about the tags in their surrounding. This is realised by setting up the
RFID tags in a transceiver mode. The transponders scan their neighbourhood by alternating transmitting and
reception cycles. They use a specific radio channel to firstly send low-power packets, they then switch into
receive mode and listen on the same channel for packets sent by nearby devices [6]. These responses serve as
indicator for proximity evaluations. These special tags can be considered as a type of RFID reader. As these
transponders are much smaller and also cheaper than an ordinary RFID reader, the option of using the
proximity tags to realise the runway use case was chosen. Every tag transmits six to eight times per second.
The tags transmit with four power levels, periodically. The following illustration describes the transmitted
protocol:
Figure 1.
OpenBeacon Protocol
The OpenBeacon tag sends not only the unique ID, but it could send a multitude of other information. The
unique ID, the specific information of an OpenBeacon tag and the packet loss per period can be used for
distance and position estimation and for the development of location and context-based services [1].
Location and context-based services as well as mobile information systems and multimedia applications
require the same computer, sensor and network components. Not only the hardware components of the
different OpenBeacon applications are the same but also their software components. We built a standardised
modular toolbox for the different OpenBeacon applications which comprise software modules and hardware
components. We employ this toolbox for information systems in different museums like the Jewish Museum
Berlin or the Pergamonmuseum Berlin.

III. CONTEXT SENSITIV SERVICES BASED ON A RFID SENSOR NETWORK FOR AN

INFORMATION SYSTEMS FOR THE MUSEUM OF ISLAMIC ART IN THE PERGAMONMUSEUM
The main focus of project Poseidon is to design mobile multimedia indoor information systems and
context-sensitive services based on a RFID sensor network in museums and passive RFID tags. In order to
cover a wide range of applications we developed a standard system architecture. The main components of the
system are RFID transponders (active and passive) and RFID readers, data collection and management
system, a web server, and wireless and cable based network systems (WiFi, UMTS and Internet). The system
architecture is illustrated in Fig. 2.
Figure 2.
System Architecture
All RFID components, a controlling computer, feedback components (audio and light) and antennas are
installed in a shell. Only the shell varies for different applications, e.g. a digital storyteller for the Schahname
exhibition the Museum of Islamic Art in the Pergamonmuseum Berlin, see Fig. 3. The visitor to the museum
can collect information (stories) with a bookmark, see Fig. 4.

Figure 3.
Figure 4.
Storyteller of the Schahname Exhibition (left)

Schahname Bookmark with RFID Tag (right)
The museum creates a private website for each visitor to the museum. The visitor has to register on this
website with the code printed on their bookmark (in the example AQ9BDD). After registration the visitor
has access to all collected stories, see Fig. 5.
Figure 5.
Website with the Stories

IV. A LA CARTE PERSONALISE INFORMATION SYSTEMS FOR THE JEWISH MUSEUM

The same system, technology, toolbox and system architecture was used for the exhibition Kosher & Co
at the Jewish Museum Berlin. The storyteller was replaced be a plate and the bookmark by a spoon. The
visitors to the exhibition Kosher & Co collected cooking recipes.
The main idea of the RFID based A La CARTE installation is data collection without a typical computer
interface. The visitor to the museum received a spoon with an attached passive RFID tag as an entrance ticket
and a short description of how to use the spoon for data collection. Additionally, a unique spoon (RFID-) ID
and the URL of the Koscher & Co website are printed on the spoon. The user can find one media station in
each of the ten rooms of the temporary exhibition. The media station consists of a plate, a hidden RFID
reader and a miniature computer. The user will see only the plate, and only the spoon and the plate can
interact.
Figure 6.
Passive RFID Tag, Reader and Feedback Light
If a visitor wants to have more information regarding the objects in the room and the attached recipes they
have to place the spoon on the plate. The RFID reader under the plate receives the ID from the spoon and
sends the ID with a time stamp to the server. If the transfer of the ID was successful the media station
generates an optical and acoustic feedback. Now the visitor knows that they have collected the recipes on
their spoon. There are three recipes of three different categories in each room. The three categories are 5
ingredients, 5 senses and 5 minutes. The Koscher & Co context-sensitive software determines which
recipes best fit the visitor. The selection of recipes and relevant category for the specific visitor is dependent
on their visit. Criteria are for example the visited media station, the sequence and the duration of the visit.
Following the visit to the museum visitors can enter the website. Firstly, they have to log in (by typing the
ID found on the spoon). Following that they will see the category and the collected recipes.
Figure 7.
Personalised Webpage of Koscher & Co (login)

Figure 8.
Personalised Webpage of Koscher & Co (recipe)
Further applications are possible. The visitor research department can analyse the data collected and
provide the visitor with more detailed information about the visited artefacts or additional information about
other artefacts in the exhibition. The museum can also recommend additional tours through the museum.
Staff members can use the data and sensor networks for the management of the museum and the
Acknowledgment
This paper described the work undertaken in the context of the project POSEIDON and SIGNAL hosted
by the research group Information and Communication Systems INKA [2] in cooperation with the
Humboldt University Berlin, the Jewish Museum Berlin, the Pergamonmuseum and the two companies
Bitmanufaktur and Acoustiguide, and gratefully funded by the European Regional Development Fund
(ERDF).
V. REFERENCES
[1] OpenBeaon Active RFID Project, http://www.openbeacon.org, 2011.
[2] INKA Research group Information and Communication Systems, HTW Berlin, http://inka.htwberlin.de.
[3] Catuto c, Van den Broweck W, Barrat A, Colizza V, Pinton J-F, et al. 2010 Dynamics of Person-toPerson Interactions from Distributed RFID Sensor Networks. PloS ONE 5(7):
e11596.doi:10.1371/journal.pone.0011596
[4] POSEIDON position and context based information systems for museums demonstrating the potentials
of RFID, http://www.poseidon-projekt.de

CENDARI: a Collaborative EuropeaN Digital ARchive

Infrastructure for Medieval studies
Fondazione Ezio Franceschini ONLUS (Florence)
Societ Internazionale per lo Studio del Medioevo Latino (Florence)
Abstract - CENDARI (Collaborative EuropeaN Digital ARchive Infrastructure) is a project funded by
European Commission under the 7th Framework Programme. The project is built upon a consortium
of 14 partners from 7 countries, with 3 italian members (Fondazione Ezio Franceschini and Societ
Internazionale per lo Studio del Medioevo Latino in Florence and Universit degli studi di Cassino)
and is focused on creating a research infrastructure for scholars that is easy to use and essential to
research goals within two different Pilot Areas: World War I and Medieval European Culture. Among
the goals for the CENDARI project is the creation of an innovative enquiry environment, bringing
together disparate sources and various formats through the establishment of a broad network of
collaborations between different communities (historians, archivists, librarians, computer scientists,
research infrastructures) and the use of groundbreaking methodologies and technical processes to
overcome national and institutional data silos and describe relevant assets in lesser-known memory
organisations. The project will run from 2012 to 2016, and the end results will be integrated into the
DARIAH Research Infrastructure. This paper will briefly describe the medieval part of the
CENDARI project.
Medieval Culture within the CENDARI Research Environment:

Contemporary cutting edge trends of research in the domain of medieval culture are by
design transnational, translingual and interdisciplinary: the CENDARI1 infrastructure aims at
becoming one of the leading reasearch tools for doing research in this field, so it should be able to
address a number of scientific needs coming from different disciplinary traditions. This paper is
meant to describe the role and meaning of medieval cultural heritage within the CENDARI
environment. During the first year of activity of the project we learned a lot from the collaboration
with historians coming from the WW1 field of research2: this close collaboration helped us to focus
on similarities and differences present at many levels: contents, standards, current research
infrastructures and practices, as well as scientific community expectations. From this experience we
reshaped our idea of the possible aims and priorities for the medieval side of the CENDARI project
and found a number of bottlenecks along with possible workarounds, based on domain specific
considerations. It means that to be effective - though if we are aware of plenty of overlappings
between the research fields of WW1 and Medieval Culture - we decided to focus on the groundlevel reality of our scientific community.
CENDARI, links with other similar projetcs and actions:

Since we need to address a vast number of scientific needs coming from the scholarly
community we established connections with other important projects and actions running on the
same aspects, namely the IS1005 COST action - Medieval Cultures and Technological Resources3
and the Text and Manuscript Transmission of the Middle Ages in Europe - TRAME4 project. The
context provided by the IS1005 COST action is relevant because it groups together major research
1
cfr. the project website: http://www.cendari.eu.

in particular: Friedrich Meinecke Institute - Freie Universitt Berlin (Germany) and University Of Birmingham (UK)
3
cfr. the IS1005 action website: http://www.medioevoeuropeo.eu.
4
cfr. the TRAME webiste: http://trame.fefonlus.it. Cfr. also E. Degl'Innocenti TRAME: Building a Meta-Search Tool
for the Study of Medieval Western Literary Traditions in EVA 2011 Florence Proceedings, Pitagora Editrice, Vito
Cappellini Ed., pp. 94-9, 2011.
2

institutes from 23 different european countries, providing feedback over a number of actual
scientific questions and needs that we included in our overview, developing a more articulated idea
on the role of medieval culture in the digital domain. The TRAME project is also relevant as it is a
reaction to the needs expressed by the scientific community of medievalists coming from the same
ground (reasearch insitutions) - able to address some of the issues raised by the scholars but not
sufficent to fullfil all of them - in other terms is one of the possible starting points for the research
environment to be designed.
Doing research in the field of medieval culture involves a large number of different sources
and tools and although the basic needs are related to the discoverability of metadata on relevant
material sources as charters, manuscripts, ancient books etc., scholars are also looking for other
tools to gather information about authors and works, anonymous texts, etc., as well as related
bibliography, possibly with a high level of integration and with effective reserach (not merely
search) tools.
During the starting phase of the CENDARI project we had a closer look at other similar
initiatives running in the same field, looking for their strengths and weaknesses. Here a list of the
most relevant findings:
to limit the investigation only to archives is not enough. Furthermore the division between
libraries and archives on the long run could represent a limit for the user, concerning
resources discoverability;
a well designed research environment for medievalists should also provide information on
libraries, their holdings and items (i.e.: mss, documents etc.). Information granularity is
essential for the quality of the system;
EAG/EAD schemas - that fits most of the needs of the archival community - are not enough
to map the complexity of the medieval domain. Mapping the actual situation and building
convenient crosswalks among different schemas is a priority;
finding a convenient solution to deal with the number of different standards and data formats
used by libraries and research institutes, without imposing another standard, is a complex
challenge. Trying to exploit a blackboard architecture5 to manage the CENDARI data-soup
could improve the overall system quality;
to clearly define the CENDARI data model we pointed out a core of valuable scholarly
resources and standars to be integrated in the CENDARI workspace;
we need to assure the possibility that the CENDARI environment would be useful for
scholars and researchers even after the end of its lifecycle (2016); it could be done relying
not only on a central repository which will become difficult to maintain after it but also on
tools and services deeply involved in the scholarly research community processes, able to
provide live, updated information (TRAME, etc.)
State of the art and work plan

The starting point of the CENDARI activities was the Archive Directory: in it scholars will
find all the most important institutions (with holdings) that are found to be relevant for the medieval
culture field of research; both archives, libraries and other private collections should be present in
the final directory. The Archive Directory was meant to be the gateway to discover interesting
sources for doing research, but is not in itself a research tool; scholars in medieval culture are
interested in institutions and collections but for the most part the research work is focused on the
level of the item (individual ms. or document). Since an extensive ex-novo cataloguing work was
not possible within the CENDARI framework we tried to find a way to get this important piece of
information at disposal of the CENDARI user with a limited human data-entry and focusing on data
enrichment (with various external ingestion tools), providing a consistent and comprehensive
5
cfr. http://en.wikipedia.org/wiki/Blackboard_system

directory of institutions/collections as a entrypoint to make the whole infrastructure work. The

actual workflow was structured as follows:
institution and/or collection record creation (first level; human data-entry)
collection/holding level records enrichment via external data integration (or manual entry)
collection/holding link to items (mss., etc) via external data integration
To be sustainable and effective this activity should be focused on the integration of already
avalaible data, coming from different sources, linked to the collection/holding level, providing users
information with a higher level of granularity without relying only on human data-entry.
1. Example of data enrichment and interlinking

To address actual resarch needs, as said, in addition to the level of the collection CENDARI should
be able to give scholars information at a item level: in particular we found that - among others
things - scholars doing research on manuscripts are interested in having information on and access
to:

manuscritps shelfmarks
languages and scripts in the manuscripts
writing supports and materials (parchment, papyrus, paper
etc.)
presence of decorations in manuscripts
information on institutions: not only concerning current
but also former owners, scriptoria, etc.
bibliographical information
parts of single manuscripts: fragment leaves (fragmenta

membranea)
reconstructed manuscripts
textual traditions
topics
timespans
digital images and full-text documents
The CENDARI research environment design should also help to overcome the data silos
architecture and foster interoperability, allowing a high level of integration for already existing data
related to the collections and holdings in the Archive Directory, but also giving a deeper level of
detail (reaching the item/document level). It should allow a high level of integration for different
types of digital resources focused on various aspects of the medieval culture, such as - for example manuscripts, places, authors and works. The medieval section of the CENDARI research
environment should not try to address every possible research interest and need, but rather to focus
on the most representative scenarios, based on everyday research practice (i.e.: scholars working on
medieval authors and texts; scholars working on manuscripts and textual tradition; scholars working
on textual corpora and reading tools, etc.).
Interlinking and federated access to resources:

One of the main goals for the CENDARI project is about discoverability of metadata
pertaining to medieval resources: currently a number of international research institutes, memory
institutions and other partners are willing to put their metadata on the web to the benefit of the
research community. One of the most challenging issues for the CENDARI research environment
was to find a way of linking resources to other (related) metadata in the best possible manner to
open up the possibility for federated search, faceted search (searching not 'just' on free text basis,
but on particular properties of the metadata exposed) and letting local updates of metadata
percolating immediately to the whole federated ecosystem of metadata (see 2. priorities for data
integration)
Semantic framework and domain ontologies:

To design a coherent and effective knowledge management infrastructure, based on deeply
interlinked resources needs to clearly point out which piece of information will be used as linking
points/categories: persons, places, events, objects, works, lemmas, subjects, etc. That is a stepping
stone towards trying to establish a common ontology for the disciplines involved in medieval
research. Furthermore, depending on the technical approach used by the project, we could rely on a
number of already available scholarly databases (including authority lists etc.) to be integrated
within the CENDARI research environment (see 1. type of information to be included and 3.
contolled vocabularies to be included). All the selected resources could be subsequently adapted to
match with the technical specs of the research infrastructure (through RDF triplification of existing
DBs, data extraction and mapping, etc.), the same could be said for the TRAME search engine that
could become the hub for the medieval section.
Research Guides:
To become an effective research environment, CENDARI should not only offer a variety of
high quality, ready-to-use, research guides (in the broad sense of the term: both in the form of
traditional essays or innovative e-research products): the research guide itself has to be considered
as a product that the scholar, researcher etc. could obtain using the tools and contents provided by
CENDARI, the final goal for the medieval focused part of the project is not limited to the

production of a fixed number of guides, but rather to design an effective pipeline to build research
guides (and paths), similar to the ones already published whithin the CENDARI portal.
Working prototypes:
A first version of the working prototype of the CENDARI research environment,
representing the features of the final portal will be developed in the second year of the project
(2013-2014) and released through the official project website.
topics/subjects
person names
sources (mss. /
documents)
places
works
anonymous texts
institutions
roles
religious order
literary genres
literary forms
documents type
religious orders
- reference repertoires
- printed and digital editions
- selected Studies
- general Bibliography
1. type of information to be included

linked data integration
permanent identifiers management
permalinks (for citation etc.)
sharing and integration of external authorithy lists and
thesauri (TGN, VIAF etc.), e.g.:
- http://www.getty.edu/research/tools/vocabularies/tgn
- http://viaf.org/
semantic and annotation tools
advanced data integration tools

advanced data visualization techniques
advanced H/M interaction
advanced tools for data export and reuse
2. priorities for data intergration

Content
topics/subjects
Type
authority list, multilingual
Example
Storia delle citt medievali,
History of medieval cities
shelfmarks
authority list, multilingual,

complex syntax
Firenze, Biblioteca Medicea

Laurenziana, Plut. 01.17
Florence, BML, Plut., 01.17
person names

complex syntax
Alcuinus de York
Alboinus
Flaccus

Notes
related to:
shelfmarks, person
names, works titles
and anonymous texts
related to: person
names works titles
anonymous texts,
place names,
institutions, literary
forms and genres
related to:
roles, works titles,
religious orders, place
names, shelfmarks,
institutions
Pius II papa
Aeneas Piccolomini
Aeneas Silvius
Aeneas Silvius Piccolomini
Aeneas Silvius Piccolomini
Senensis
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THE MARCOPOLO PROJECT: AGILE DEVELOPMENT OF

MOBILE CROSS-PLATFORM TOURISM APPLICATIONS ON
THE CLOUD
L. Garulli
J. Gutierrez
F. Spadoni
R. Rossi
Asset Data S.r.l.
Paradigma Tecnologico S.A.
Rigel Engineering S.r.l.
Rigel Engineering S.r.l.
Roma, Italy
Madrid, Spain
Livorno, Italy
Livorno, Italy
[email protected]
[email protected]
[email protected]
[email protected]
Abstract This paper presents the preliminary results of the MarcoPolo project, co-funded by the
European Commission and the Italian Ministry of education, University and scientific Research (MIUR)
under EUROSTARS, an innovation program addressed to European research intesive SMEs.
MarcoPolo aims at developing a mobile cross-platform metaframework based on the Open Source
Roma Metaframework and Model Driven Architecture (MDA) techniques, for speeding up development
for smartphones and tablets based on Android and iPhone. This is complemented by an innovative cloudbased Integrated Development Environment (IDE).
INTRODUCTION
The mobile application market, and in particular the market addressing mobile application is
booming. Until three years ago smartphones were sold to business-men or companies that needed
advanced features. Today this technology is cheaper and easier to use, specially thanks to the touch
technology, high resolution displays and more intuitive Operative Systems.
The cost reduction of reliable software development is very important nowadays, when companies
are not able to make huge investments in competitive developments. Also, the competition in the field
of mobile applications is huge. For instance, 775.000 applications are available at the Apple AppStore
and the portal counted 40 billions downloads [1] and 12.3 billions downlods for rhe more than 630.000
apps on the Android Market [2].
Apps are creating highly streamlined, personalized user experience, which is driving a new software
development and changing consumer behaviour. Practically all smartphones users utilise mobile apps,
mostly for private aims, but the next wave of new apps will be market niches specialising on business
apps. This is why today, in western countries, the target of mobile applications are not only companies
or business-men, but mainly common people with no special skills in technology. This mass
phenomenon has created a huge demand of mobile applications not only business-to-business but, most
of all, for consumers. Consumers are end-users in any range of ages that download and use mobile
applications to play, search and share knowledge while accessing or visiting cultural venues.
Currently, mobile applications are being developed using two main approaches: native applications
and web-based applications. Both approaches have two main problems: each application has to be
developed for each target device and the mobile frameworks are in continuous evolution, decreasing
the productivity in the design and the development of mobile applications.
The project aims at innovating in several aspects. Our approach is oriented to intensive data-oriented
applications (such as tourism guides, visiting support, interactive and social applications) and will

allow end users even to create databases in a transparent way. We propose the definition of a metadevice or device model for collection the different facilities (sensors and actuators) provided by
smartphones and tablets. This device model could be the starting point for object of public
specifications to standardize these interfaces.
At the end of the research activities, the results will be released as an Open Source and will be
available to the Roma community which could contribute to the validation and evolution of the
products. Thanks to the open source business-friendly license (Apache2) MarcoPolo could be used to
develop and deploy busines-to-business mobile applications. MarcoPolo is targeted at the integrators
market, following an open source business model for exploiting the results of the project. In addition,
the cloud-based IDE could be exploited with the support of an advertisement commercial strategy.
In the next section, we give an overview of the general methodology developed in MarcoPolo for
the dynamic development of mobile applications in a scenario of cultural fruition. Then we describe the
modeling of user experience in tourism fruition when using mobile devices. In the main section, we
will present in detail how the general methodology developed in MarcoPolo has been implemented in a
metaframework dedicated to non-expert developer, for the creation of mobile apps to support tourists
during the fruition of cultural experiences. Finally we propose some indications for further work.
THE MARCOPOLO METHODOLOGY

The project MarcoPolo aims at defining and developing a mobile metaframework which allows to
focus on the application domain, and then generate automatically the packaged application depending
on the targeted device. The project will extend the open source Roma Metaframework in order to
provide a MDA approach to the generation of native web applications based on existing multi-platform
web frameworks such as Cordova/PhoneGap, Backbone, Bootstrap.
Figure 1. PhoneGap model.

The usage of a mobile metaframework will provide a consistent and neutral environment for future
devices. The project takes advantage of the services already offered by the emerging mobile cloud,
which enable mobile applications to scale far beyond the capabilities of any smartphone, without
limitations on data storage and processing power. Furthermore, the combination of Roma and

MarcoPolo facilitates the generation of web portals and client mobile applications based on the same
domain model.
In addition, MarcoPolo aims at providing a cloud-based IDE for developing mobile cross-platform
applications targeted at rich phones and tablets based on Android and iPhone/iPad platforms. This drag
& drop based IDE will enable end-users to create, without any programming skills, their own
applications for their devices by connecting existing components from a pre-configured library.
Figure 2. Cordova architecture

The development of mobile applications follows two general approaches: development of native
applications, using the development frameworks provided by mobile OS, mainly iPhone (Apple) or
Android (Google), or a development approach based on web technologies using mobile frameworks
such as PhoneGap or Titanium based on JavaScript. These frameworks provide a uniform approach to
the development of multidevice applications.
The main advantage of following a native approach is the efficiency and the time to market for
including new updates of the operating systems. The main disadvantage of this approach is that the
development should be done for each platform using different technologies (Java, C, Objective C), and
even worse, it is required to maintain the app in all these environments. Since this can be unviable
(economical, time restrictions, skills required), the common approach is limiting the targeted devices
usually to one), which reduces the potential customers and the overall exploitation.
The web-based approach tries to solve the previous identified problems and take advantage of the
great availability of engineers mastering web technologies. The main advantage of mobile web

frameworks is that the core application can be shared between disparate devices, and the specific
functionalities of a device can be integrated as an application branch. The main disadvantage of this
approach is that, since this field is yet immature, there is no leading or standard technology. New
frameworks are appearing and the existing ones are evolving. In this way, engineers have to learn all
the frameworks and their evolution, in order to provide support to their customers. In addition,
applications need to be migrated when a framework evolves or its development does not evolve as
expected. This lower productivity will impact significantly in the competitiveness of the integrator,
reducing its margin.
Our approach is based on providing a metaframework which reduces the technological risk of
selecting one of these frameworks with unknown evolution but preserving the big advantage of
developing cross-platform applications for reaching more potential customers. In addition, Roma
Metaframework already provides many other facilities (mashups, semantics, workflow, ...) which are
not present in these frameworks. Thus, the combination of the facilities already provided with Roma,
with the new ones provided by MarcoPolo, can offer a competitive environment for developing
complex server-side business logic with mobile applications clients, specifically targeted at mobile
business applications. The main disadvantage of this approach can be the required agility for the
development of adaptors to these modules when they evolve.
USER EXPERIENCE IN MOBILE TOURISM APPS
Currently there are no sufficiently complete studies and analysis related to the needs and behavioral
patterns of he new types of tourists during the fruition of touristic and cultural experiences. In addition,
the state-of-the-art of new services is characterized by a strong focus on technology and the
possibilities that it offers, while little attention is still paid to the content. This poses serious limitations
in understanding how the opportunities offered by new technologies can be fully deployed to produce
content and services that can meet the real expectations of users.
A further consequence of this lack of attention to the user needs and the potential impact in the field
of content engineering is the limited productivity of the obsolete techniques used today to develop
tourism applications for different mobile platforms.
In addition, a growing interest exists for less obvious and minor touristic targets, constituting the
long tail [8] of the tourism and culture markets (e.g. the more than one hundred minor cities
characterizing the Italian landscape beyond the obvious destinations such as Florence, Rome, Naples,
and Venice).
In this scenario, and in a global landscape where communication and networking equipment
(smartphones, PDAs, navigators, tablets) are becoming widely available commodities, it emerges
clearly the need for a quick and cost-effective development of mobile applicatios for different
platforms (iOS, Android, Bada).
We started with an analysis phase focused on user experience and behavioral patterns for tourism
fruition, trying to devise use cases and modelling interactions between users and explanatory/additional
content as well as interactions between users and portable information devices used to access the
content, and to complete and enhance the tourist experience. We started by examining users behavior
during fruition of tourist and cultural places, in order to model the behavior of different categories of
users in the cultural spaces, both indoor (museums and other cultural containers) and, especially, openair (cities, art and cultural districts).

The preliminary work was based on examination and study of the literature on visitor studies, to
identify any behavioral patterns of use in cultural places. We compared the results of the analysis
conducted with the results of visitor studies available in literature, in order to model the behavior of
visitors in cultural places.
Next, we analysed the digital content to be delivered through mobile devices and the relationships
established between such cultural content and mobile device users during the cultural experience in
both museums and city environments. allowing us to draw a clear enough picture of the dynamics of
interaction between the user and the content flow to the cultural contexts examined.
During the research, we analyzed in particular expectations, fruition logic, and user satisfaction
during digital content fruition by mobile devices as support to a cultural visit. We also took into
account the dynamics developed by fruition processes where the tour guides drive additional content
(interactive insights, information, logistics and business, etc.).
THE MARCOPOLO METAFRAMEWORK
MarcoPolo proposes an innovative approach to build mobile cross-platform applications based on
agile and MDA techniques and the notion of a metaframework. The project aims at innovating in
several different components of the mobile applications development value chain.
Mobile Metaframework
The metaframework notion was born in response to the disparity of web frameworks available in
Java, which require developers to master and migrate between these frameworks. The metaframework
provides a common interface to all these frameworks and use MDA techniques for generating
automatically the code for a specific framework. Roma Metaframework is an open source project
started in 2006 and extended within the FP7 ICT Romulus project. Our goal in this project is to define
a mobile metaframework for the incoming mobile cross-platform frameworks, such as PhoneGap/
Cordova and Titanium, providing a layer on top of them. PhoneGap is an open source framework that
allows you to create mobile apps using standardized web APIs for many mobile platforms [5], while
Titanium
Currently, Roma has innovated in the Java landscape, and the advantages of the
metaframework notion have been publicly recognized by competing solutions such as OpenXava.
Cloud IDE
In addition, during the FP7 Romulus project, an initial web IDE was developed for tuning
applications. Based on this expertise, our aim in this project is to build a web IDE which provides a
simple web interface for healing data intensive mobile applications to end users. Recently, Android has
proposed a similar approach based on the MIT Scratch project. Our approach is oriented to intensive
data-oriented applications (such as time report, expenses, scheduling, ...) and will allow end users even
to create databases in a transparent way. The IDE simplifies the development of new applications by
end-users and programmers through a Web interface in the cloud. This drag & drop based IDE will
enable end-users to create, without any programming skills, their own tourism applications for their
devices by connecting existing components from a pre-configured library.

Device Model
One of the most innovative aspect of the project is the definition of a meta-device or device model
for collection the different facilities (sensors and actuators) provided by smartphones and tablets. This
device model could be the starting point for standardization efforts for the specification of these
interfaces.
CONCLUSIONS AND FURTHER WORK

The project MarcoPolo is addressing agile development processes for mobile applications for
tourism and cultural fruition, taking advantage of industrial practice, research progress and emerging
mobile technologies. The involvement of real users, i.e. communities of developers of mobile
applications, in the development of the methodology and tools is essential for its acceptance in the
target markets.
The first part of the reseach was dedicated to accurately and concretely modeling of user needs and
behavior during fruition of cultural tourism events, and to the analysis and development of an
innovative methodology for information retrieval and indexing of a large unstructured knowledge base.
Next steps in the project are to finalize a system architecture integrating the different system
components (mobile metaframework, cloud IDE, device aspects) and to design and implement the IDE
for rapid development of mobile tourist application. Finally, the IDE tool will be evaluated with apps
developers, specifically for the tourism scenarios.
ACKNOWLEDGMENTS
The authors want to thank all the participants to the project for their contributions. The project
MarcoPolo is partially supported by the Eurostars Programme !. The Eurostars Programme is
powered by the Eureka and the European Community.
References
[1] Apple Store Apps stats, http://www.apple.com/pr/library/2013/01/07App-Store-Tops-40-BillionDownloads-with-Almost-Half-in-2012.html, retrieved February 2013
[2] Android Market Statistics from AndroidLib, http://www.androlib.com/appstats.aspx, retrieved
February 2013
[3] Selecting Empirical Methods for Software engineering Research, S. Eastbrook et al. In Guide to
advanced empirical software engineering, p. 285-311, Springer Verlag, 2008
[4] L. Garulli, Roma Metaframework, www.romaframework.org, retrieved February 2013.
[5] Adobe PhoneGap, http://phonegap.com, retrieved Ferbuary 2013.
[6] Appcelerator Titaniun, http://www.appcelerator.com/platform/titanium-platform, retr. Feb. 2013
[7] Apache Cordova, http://cordova.apache.org, retrieved February 2013
[8] C. A. Iglesias, M. Sanchez and F. Spadoni, VARIAZIONI: Collaborative Authoring of Localized
Cultural Heritage Contents over the Next Generation of Mashup Web Services, 3rd International
Conference on Automated Production of Cross Media Content for Multichannel Distribution,
AXMEDIS2007, November 2007

2D - 3D TECHNOLOGIES
AND APPLICATIONS

ADVANCED SUPER-RESOLUTION TECHNIQUES FOR DIGITAL IMAGE QUALITY

ENHANCEMENT
Fabrizio Argenti(1) , Alessandro Lapini(1) , Giovanni Giusti(1) and Luca Bencini(2)
(1) Department of Information Engineering - University of Florence - Italy
(2) TT Tecnosistemi S.p.A. - Prato - Italy
E-mail: {fabrizio.argenti,alessandro.lapini}@uni.it, [email protected]
ABSTRACT
The problem of resolution enhancement has been recently attracted the image processing community both for its theoretical and applications relevance. Achieving an higher and
higher resolution capability is the objective of imaging sensor
technology, which is often paid in terms of high equipment
costs. On the other hand, the advances in signal processing
theory and equipment make appealing solutions for resolution
enhancement based on post-processing of low-resolutions acquisitions.
In this paper, we review the most advanced techniques
available for the super-resolution of images, with specic reference to those tools proposed for the processing of single images. Some experimental results are given in order to demonstrate the capability and the possible applications of the different methods.
resolution cameras or other sensors, such as ultrasound probes

[2]. In this work, we will concentrate our attention only on
single-frame SR techniques.
Numerous techniques have been proposed in the literature for the problem of the SR by single image; [1] contains
a survey on the topic. A rst class of algorithms may be classied as adaptive interpolations. They attempt to reproduce
in the SR image a regularity of the structures present in the
LR image [3][4][5], such as edges, or to maintain the local
covariance structure [6]. Recently, techniques based on the
concept of sparsity, at the basis of the compressed sensing
concept, have been proposed with success also in the eld of
SR [7][8][9][10].
In this work, some of the most advanced techniques proposed for SR are reviewed and compared in order to identify
the potentiality of such processing methods for the res enhancement of low-resolution images.
1. INTRODUCTION
2. THE SUPER-RESOLUTION PROBLEM
Super-resolution (SR) techniques aim to overcome the limit of

spatial resolution in low-cost acquisition devices by means of
signal processing. Hence, their objective is producing images
at a high spatial resolution starting from low-resolution (LR)
images. Several application of SR can be found in different
elds, such as surveillance, medical imaging, remote sensing
[1].
At a rst glance, SR methods may resemble simple interpolation techniques. This latter class of methods, e.g., bilinear
or bicubic spline interpolation, introduces no increment of the
information content of the SR image with respect to the and
usually produces blurred SR; with SR techniques, instead, we
try to increase the information content - ideally, to restore the
original analog image content lost in the process of acquisition - starting by an appropriate model of the image itself.
The techniques of SR can be classied as multi-frame, if
a single SR image is created from multiple LR images, or
single-frame, if the SR image is based on a single LR image. The multi-frame technique is based on the combination
of the information contained in successive images of a same
scene and is indicated when a sequences is acquired by low-
The problem of super-resolution of images is depicted in Figure 1. The low-resolution image Y is the observed image. It is
considered as a blurred (operator H) and subsampled (operator S) version of an original (unknown) high-resolution image
X, that is
Y = SHX = LX
(1)

where L = SH is a linear operator that model the acquisition

process.
The objective of SR algorithms is estimating X from Y.
This is an ill-posed problem, since in the acquisition process
some information of X is lost; it can be partly recovered only
by using some prior knowledge about the model of the high
resolution image. The prior knowledge may include also the
operator H.
3. ADVANCED SR ALGORITHMS
In this section, some recently proposed algorithms for SR are
reviewed. In the following sub-section, the basic concepts
of compressed sensing SR methods are given, whereas in the
X (high-resolution)
Step 1 Find the sparse vector solving the problem
Y (low-resolution)
q = arg min q0 so that F y F Dl q2 < (5)
(a)
where is a given constant that accounts for the noise;

the linear operator F is introduced to extract perceptually signicant features of the image (F is usually a
high-pass lter).
^
X (super-resolution)
Due to the presence of the norm 0 , the above problem is NP-hard and can be relaxed in more tractable
ones. It can be shown [11], that an efcient ways to
achieve the sparse vector are given by solving the problem
SR algorithm
q = arg min q1 so that F y F Dl q2 < (6)
(b)
Fig. 1. SR methods: (a) acquisition model (H and S denote

the blurring and subsampling operators, respectively); (b) the
is estimated from Y.
SR image X
successive one an efcient adaptive interpolation method is
described.
3.1. Sparsity based SR
or the problem
q = arg min F y F Dl q2 + q1
q
(7)
where the parameter balances the delity and the

sparsity terms in the composition of the overall target error function (this latter approach is also known as
Lasso [12]).
Step 2 Generate the SR patch as
These methods model the patches of the original high resolution image as sparse signals [7]. A signal is dened as sparse
if it can be expressed as a linear combination of few elements
of a given known set of atoms, called dictionary. If x denotes
a patch of the high-resolution image and Dh the dictionary,
then we have
(2)
x = Dh q
where x Rn , Dh RnK , q RK . The vector q is
sparse, i.e., it has only few components different from zero,
that is q0 K.
The model can be generalized to take into account model
mismatches and acquisition noise by introducing an additive
noise component, that is
x = Dh q
(8)
The main problem related to SR compressed sensing approaches is the computation of a good pair of low- and highresolution dictionaries (dictionary learning). If we assume
that the high-resolution image X is known, then the problem
can be approached in different ways.
A rst method solves two separate minimization problems. The rst problem tries to estimate the low-resolution
dictionary Dl and the sparse vector q by solving (we omit the
operator F for the sake of simplicity)
{Dl , Q } = arg min Y Dl Q2F so that Qi 0 < T
{Dl ,Q}
x = Dh q + v
(3)
Thanks to the linear acquisition model, the low-resolution

patches can be expressed as
y = Lx = L(Dh q + v) = Dl q + v1
(4)
From this equation, we can infer that also the low-resolution

patches satisfy a sparse model according to a low-resolution
dictionary Dl , but sharing with the original high-resolution
patches the same sparse vector q.
If we assume that the dictionaries Dh and Dl are known,
then the SR problem is solved in two steps

(9)
where we now consider all the patches of the low-resolution
image and the relative sparse vectors collected in the matrices
Y and Q, respectively (the column Qi is the sparse vector of
the ith patch); F is the Frobenius norm of a matrix; T
denotes the (imposed) vector sparsity. The K-SVD [9] algorithm can efciently solve this problem. The second approximation problem estimates the high-resolution dictionary Dh
by solving
2
D=
(10)
h arg min X Dh Q F
Dh
which is a quadratic problem if the output Q of the rst minimization is used.
Other methods have been proposed for a joint estimation

of the dictionaries and of the sparse vectors. In [7], the following minimization problem is solved:

X Dh Q2F
{Dh , Dl , Q } = arg min
{Dh ,Dl ,Q}
(11)
+ 1 Y Dl Q2F + 2 Q1
where the constants 1 and 2 are introduced to balance the
different components of the apporoximation errors and of the
sparsity constraint (that has been relaxed from 0 to 1
for mathematical convenience).
Dictionary learning embeds the prior knowledge of how a
high-resolution image X is transformed into a low-resolution
image Y by the acquisition process. Often, a large dataset
of images, both high- and low-resolution, is used for dictionary learning. The performance of a SR algorithm depends on
how the training dataset is representative for a specic class
of image to which SR is applied. As an alternative, both the
dictionaries can be constructed from the observed image Y to
which the SR must be applied by using a bootstrap approach.
In this case, Y is rst considered the high-resolution image
and the operator L is applied to it, obtaining a further lowresolution image Z. Dictionary learning is then applied to the
couple {Y, Z} and then the SR is obtained from Y.
For further details related to the implementation of compressed sensing SR, such as the treatment of overlapping
patches, the reader can refer to [7][8].
3.2. Adaptive interpolation SR
Adaptive interpolation SR methods assume that local statistical properties of an image are maintained during the acquisition process. Hence, they try to extrapolate local covariance
information, estimated from the observed low-resolution image, in order to reconstruct the high-resolution image.
In the following, we review one of the most promising
methods belonging to this class, presented in [6]. The method
is based on 2-D autoregressive (AR) modeling of images with
soft-decision estimation of the SR image.
The algorithm works in two steps. In the rst step, half
of the pixels (shown as grey circles in Figure 2) are estimated
from the original low-resolution pixels (shown as black circles), whereas in the second step the remaining pixels are estimated (shown as white circles).
Let us analyse the rst step. According to a 2-D autoregressive model, the pixels of the observed low-resolution image x satisfy (see Figure 3 for the denitions of the neighboring pixels)

xi =
bj x
i,j + vi
(12)
1j4
where vi represents a model mismatch term. In an analogous

way, other expressions relating the unknown SR image pixels,
denoted as y, and their neighbours (belonging to either SR or

Fig. 2. SR by adaptive interpolation with soft-decision estimation [6]: original pixels (black circles); pixel positions estimated in the rst step (grey circles); pixel positions estimated
in the second step (white circles).
LR image) can be written as

yi =
aj x
i,j + vi
(13)
1j4
xi =
aj yi,j + vi
(14)
1j4
Furthermore, the unknown SR pixels should satisfy the constraint

yi =
bj yi,j + vi
(15)
1j4
Let A be a local area in which we want to estimate the SR

image. If the AR parameters are known, the SR pixels can
be estimated by minimizing the energy of the modeling error
with the constraint in (15), that is

J() =
yi
aj x
i,j | +
xi
aj yi,j
iA

iA
1j4
yi
iA
1j4
bj yi,j
1j4
(16)
Iterative adjustment may be used for the choice of , even
though a constant choice ( 0.5) works as well.
The AR parameters bj are estimated from the LR image
by minimizing the modeling error in (12), whereas aj are estimated by using a similar equation relating xi and its 45degrees neighbors x
i,j .
The second step of the algorithm is similar to the rst one,
with the difference that, in this case, SR pixels - denoted with
white circles in Figure 2 - can now be estimated by using also
the results of the rst step. For further implementation details,
the reader may refer to [6].
(a)
(b)
Fig. 3. Autoregressive parameters and denitions of pixel positions used for the algorithm in [6].
4. EXPERIMENTAL RESULTS
In this section, some examples of the application of the methods described in the previous sections are shown. We have
considered the algorithm in [8] (the software has been downloaded from [13]) and the algorithm in [6]. The test images
shown in Figure 4 have been used.
As to the compressed sensing SR algorithm, 3 3 patches
and a dictionary of 1000 atoms have been used. In the adaptive interpolation method, the window used for local parameters estimation was 5 5. The interpolation results (only
details are shown) are given in Figure 5. The results show
that a certain amount of sharpening can be achieved by using the SR techniques, especially in those areas that contain strong edges that classical interpolation methods tend to
blur. Some considerations however are necessary. Singleimage compressed sensing SR methods are sensitive to the
prior knowledge about the acquisition system. The results we
presented were obtained by using the bootstrap approach, in
which a lower resolution image was obtained from the observed one by using a simple decimation lter, that not necessarily models the actual acquisition system. Furthermore, in
applications where the class of images is well-dened (e.g.,
biomedical images obtained from a specic sensor), the construction of the dictionaries may benet from the use of a
large training set instead of the use of the single observed
image. Using pre-calculated dictionaries is also convenient
from a computational cost point of view. On the other hand,

Fig. 4. Test images used to assess SR algorithms performance.

SR methods based on adaptive interpolation are less sensitive
to a lack of prior knowledge and may be considered as more
suitable when the class of images to which SR is applied is
heterogeneous.
5. CONCLUSIONS
Super-resolution is an emergent area in signal processing that
tries to overcome the resolution limitations of acquisition systems by post-processing. Several approaches have been proposed in the literature to achieve SR. In this work, some advanced methods for SR of images have been reviewed and
some experimental tests have been set up to compare them.
6. ACKNOWLEDGEMENTS
We would like to thank Prof. Vito Cappellini and Dr. Riccardo Bruschi for their valuable suggestions during the development of this work.
7. REFERENCES
[1] J.D. van Ouwerkerk, Image super-resolution survey,
Image and Vision Computing, vol. 24, no. 10, pp. 1039
1052, 2006.
[2] S. Farsiu, M.D. Robinson, M. Elad, and P. Milanfar,
Fast and robust multiframe super resolution, IEEE
[5] D. Zhang and Xiaolin Wu, An edge-guided image interpolation algorithm via directional ltering and data
fusion, IEEE Transactions on Image Processing, vol.
15, no. 8, pp. 22262238, 2006.
[6] Xiangjun Zhang and Xiaolin Wu, Image interpolation by adaptive 2-d autoregressive modeling and softdecision estimation, IEEE Transactions on Image Processing, vol. 17, no. 6, pp. 887896, 2008.
[7] Jianchao Yang, J. Wright, T.S. Huang, and Yi Ma, Image super-resolution via sparse representation, IEEE
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28612873, 2010.
[8] R. Zeyde, M. Protter, and M. Elad, On single image scaleup using sparserepresentation, Tech. Rep.
CS-2010-12, Computer Science Department, Technion
Israel Institute of Technology, Haifa, Israel.
Fig. 5. Some results of the application of the SR algorithms:

bilinear interpolation (leftmost column), method in [8] (central column), method in [6] (rightmost column).
13271344, 2004.
[3] H. Takeda, S. Farsiu, and P. Milanfar, Kernel regression for image processing and reconstruction, IEEE
349366, 2007.
[4] Qing Wang and R.K. Ward, A new orientation-adaptive
interpolation method, IEEE Transactions on Image
Processing, vol. 16, no. 4, pp. 889900, 2007.

[9] M. Aharon, M. Elad, and A. Bruckstein, KSVD: An

algorithm for designing overcomplete dictionaries for
sparse representation, IEEE Transactions on Signal
Processing, vol. 54, no. 11, pp. 43114322, 2006.
[10] S. Mallat and Guoshen Yu, Super-resolution with
sparse mixing estimators, Image Processing, IEEE
Transactions on, vol. 19, no. 11, pp. 28892900, 2010.
[11] Yonina C. Eldar and Gitta Kutyniok, Eds., Compressed
Sensing: Theory and Applications, Cambridge University Press, 2012.
[12] Robert Tibshirani, Regression shrinkage and selection
via the lasso, Journal of the Royal Statistical Society,
Series B, vol. 58, pp. 267288, 1994.
[13] M. Elad, Single-image super-resolution, Available online http://www.cs.technion.ac.il/ elad/software/.
Image registration using 3D models

F. Uccheddu1, A. Pelagotti2, P. Ferrara2
1
Dept. of Information Engineering - DINFO
University of Florence
Firenze, Italy.
[email protected]
2
INO (National Institute of Optics)
L.go E. Fermi 6, 50125 Firenze, Italy

Abstract Multimodal data are a very informative source of information for cultural
heritage diagnostics and documentation. Whether we want to map the state of conservation or to
analyze the materials and methods used, generally saying, it is not possible to gather all
necessary information by using a single technique. Therefore a more complete diagnostics
campaign generally includes a number of different records acquired with various methods, and
at different time instances. Data attained not always spatially overlap completely, moreover in
case, e.g. of multimodal images, they may be taken from different viewpoints. In this work we
introduce a new method to register two or more multimodal images acquired even from very
distant points of views, by making use of the 3-D model of the artwork.
INTRODUCTION
Multimodal data are a very informative source of information for cultural heritage
diagnostics and documentation. Whether we want to map the state of conservation or to
analyze the materials and methods used, generally saying, it is not possible to gather all
necessary information by using a single technique. Therefore a more complete diagnostics
campaign generally includes a number of different records acquired with various methods,
and at different time instances. Data attained not always spatially overlap completely,
moreover in case, e.g. of multimodal images, they may be taken from different viewpoints. In
this paper we proposed a new strategy to match pixels from independent images sharing the
same subject, by using 3D information of the represented object. Finding reliable
correspondences in two images of a object taken from arbitrary viewpoints, possibly recorded
with different cameras and with diverse methods is a difficult and critical step. However, in
order for data to be meaningfully integrated, they need to be spatially registered, so that at
each special location corresponding information in different datasets could be inferred and the
information correctly integrated.
THE PROBLEM STATEMENT

Registration of two images is the process of finding a geometrical transformation that
aligns points in one image, representing a view of an object, with corresponding points in
another image (view) of that object.
Thus, if we define an image, as the template (A), with coordinates , and another the
target image (B), with coordinates , the aim of image registration is to estimate a
geometric transform T:
such that
.
Where the transformation T describes a spatial mapping from to .
The most general transformation between sets of points is elastic, which means that a
straight line is mapped onto a curve [1]. If the transformation preserves the distance between
any two points, it is called a rigid-body transformation.

Image registration or image alignment algorithms can be moreover classified into

intensity-based and feature-based.
Intensity-based methods compare intensity patterns in images via correlation metrics,
while feature-based methods find correspondence between image features such as points,
lines, and contours.
As far as intensity methods are concerned, when a rigid body transformation is supposed,
generally speaking an affine transformation is employed, i.e. a combination of translation,
rotation, scaling and/or shearing (i.e. non-uniform scaling in some directions) operations. Its
parameters are then selected so that the proposed similarity measure is optimized. A plethora
of methods has been developed, which are relate to the kind of similarity measure used.
Cross-correlation and Mutual Information are among the most commonly error measures
employed. The main limitation are linked to the performance of the similarity measure,
especially for multimodal registration purposes, even when a 3D curve transformation is
employed.
Feature based methods, despite the efforts o extend this technique to non-planar objects,
are even more prone to fail when two multimodal views are to be registered. Multimodal
images, in fact, can have very few features in common.
Finding reliable correspondences in two images taken over a large baseline, so to
determine the geometrical transformation among them, is an even more challenging task.
In the wide-baseline case, local image deformations cannot be realistically approximated
by an affine transformation, Although many matching techniques in short baseline have been
developed, as described above, the wide baseline correspondence problem with large scale,
rotation, illumination and affine transformations is still intensely researched [2-5].
To the best of our knowledge, all these methods make no assumptions about the
knowledge of the 3D model of the object. However nowadays, the 3D model of an artwork
can be quite easily achieved, and is often one of the data available after the diagnostic
campaign.
In this work we introduce a new method to register two or more multimodal images
acquired even from very distant points of views, by making use of the 3-D model of the
artwork.
FROM 2D TO 3D AND BACK

The key idea of our approach is to find, without making any assumption about the camera
poses, the exact correspondences between the pixel of two different images sharing partially
the same content by exploiting their mane common feature: the 3D object they represent.
Given two images I1 and I2 (fig. 1) and the 3D model of the represented scene (or of a
specific object) (fig. 2), our method intends to find the right matching between the overlapped
pixel in I1 and I2.
The overall approach is described in fig. 3: the 3D model is mapped with the pixels color
of I1 thus obtaining a partially colored 3D model, then it is moved according to a given
position. Similarly I2 is mapped and another partially textured model is obtained and moved
to the given position.
The pixel information on the image are mapped in the 3D space (2D3D) , once the 3D
model is mapped and moved to the given position, a 2D projection of its vertex color is
performed in order to obtain a new image for each of the two partially colored 3D model
(3D2D). Such images are inherently aligned and registered each other.

Fig. 1. Two images sharing partially the same content
Fig. 2. The 3D model of the represented object (Costanza Bonarelli from Museo del
Bargello in Florence)

2D3D
2D3D
I2
I1
3D partially
textured
3D partially
textured
3D2D
3D2D
Re-projected I1
Re-projected I2
I1 + I2
Fig. 3. The images (I1 and I2) are mapped on the 3D vertices of the model then the obtained
3D models are moved to a particular viewpoint and reprojected as two images. The resulting
images are already aligned.
RESULTS
In order to evaluate the different performances of the proposed image registration system,
some tests were executed using the some subject. The first is a XVI century wooden crucifix.
We first scanned the object in order to get the 3D measures as shown in figure 4. Then we got
a X-ray image of it and a fluorescence image (figure 5). On figure 6 the resulting registered
images.
Fig. 4. 3D Scanning of the XVI century wooden crucifix

Fig. 5. On the left X-ray image, on the right the Fluorescence image of the XVI century
wooden crucifix
Fig. 6. Results of the X-ray, fluo and visible images alignment
An other test has been performed Costanza Bonarelli from Museo del Bargello in Florence.
With the proposed solution we were able to align two images from the web (on Google
images).
Fig. 7. Two images of Berninis Costanza Bonarelli

Fig. 8. Results of the alignment
References
[1] M.Gabrani, Elastic transformations, Conference Record of the Thirtieth Asilomar
Conference on Signals, Systems and Computers, vol. 1, pp. 501- 505, 1996.
[2] P. Pritchett, A. Zisserman, Wide baseline stereo matching,Sixth International
Conference on Computer Vision, pp. 754- 760, 1998.
[3] B. Georgescu,P. Meer, Point matching under large image deformations and illumination
changes IEEE Transactions on Pattern Analysis and Machine Intelligence, Vol.26 , Issue
6, pp. 674- 688 , 2004
[4] F. Schaffalitzky, A. Zisserman, Viewpoint invariant texture matching and wide baseline
stereo Proc.. Eighth IEEE International Conference on Computer Vision, 2001. ICCV
2001.vol. pp 636- 643, 2001
[5] A.S. Brahmachari, S. Sarkar, Hop-Diffusion Monte Carlo for Epipolar Geometry
Estimation between Very Wide-Baseline Images IEEE Transactions on Pattern Analysis
and Machine Intelligence, vol.35, Issue 3, pp. 755- 762, 2013
[6] A.K Roy-Chowdhury, Wide baseline image registration with application to 3-D face
modeling IEEE Transactions on Multimedia, vol.6 , Issue: 3 pp.423-434, 2004

CHALLENGING 3D SCANNING APPLICATIONS IN

ARTS AND CULTURAL HERITAGE
Bernd Breuckmann
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References
>@ .&UHDWKPhase-Measurement Interferometry Techniques3URJUHVVLQ2SWLFV(OVHYLHU

6FLHQFH3XEOLVHUV%9
>@ %%UHXFNPDQQBildverarbeitung und optische Messtechnik)UDQ]LV9HUODJ0QFKHQ

>@ 0 /HYR\ HW DO The Digital Michelangelo Project: 3D Scanning of Large Statues,
3URFHHGLQJVRI$&06,**5$3+
>@ 0%RVVHWDOThe Craftsmanship of Coinage: Searching for Traces Using HighResolution Digital 2D and 3D Imaging on Ancient Coins, (9$%HUOLQ
>@ &%DWKRZ0:DFKRZLDN3D scanning in truly remote areas7KH-RXUQDORIWKH
&06&

>@ $7RNRYLQLQH % )DVK Scanning History: The Corpus of Maya Hieroglyphic
Inscriptions tests a 3D Scanner in the field, 6<0%2/6DSXEOLFDWLRQRIWKH3HDERG\
0XVHXPDQG+DUYDUG8QLYHUVLW\
>@ $7RNRYLQLQH The Corpus of Maya Hieroglyphic Inscriptions, ' ,PDJLQJ 5HSRUW
3HDERG\0XVHXPDQG+DUYDUG8QLYHUVLW\
>@$6FKlIHUHWDO Large Scale Angkor Style Reliefs: High Definition 3D Acquisition and
Improved Visualization using Local Feature Estimation, 3URFHHGLQJV&$$
>@ 5 *LEE HWDO Use of Multi-Resolution Laser Scanning / White Light Scanning and
Digital Modelling of the Historic Huts of Scott and Shackleton in Antarctica, ,&2026
,QWHUQDWLRQDO3RODU+HULWDJH&RPPLWWHH3UDJXH

3D SURFACE RECONSTRUCTION USING MULTIPLE

KINECTS
J.K. Aggarwal and Lu Xia
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Abstract Devices that capture three dimensional (3D) surface characteristics have been
around for over thirty years. These devices known as range scanners are expensive and output a
two-dimensional array of distances corresponding to each point in the imaged scene. The recent
introduction of the KINECT by Microsoft has revolutionized the use of range scanners. The
KINECT uses a different technology and is significantly cheaper. This paper presents the
results of 3D surface reconstruction using both depth and RGB images captured by multiple
KINECTS. The surface description generated will be useful in rendering description of objects
and other artifacts.
INTRODUCTION
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References
>@ % *LO $ 0LWLFKH DQG -. $JJDUZDO ([SHULPHQWV LQ &RPELQLQJ ,QWHQVLW\ DQG 5DQJH
(GJH0DSV,QComputer Vision, Graphics and Image Processing
>@ 0 - 0DJHH DQG -. DJJDUZDO 8VLQJ 0XOWLVHQVRU\ ,PDJHV WR 'HULYH WKH 6WUXFWXUH RI
7KUHH'LPHQVLRQDO 2EMHFWV$ 5HYLHZ ,Q Computer Vision, Graphics and Image
Processing
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*XLGHG5DQJH6HQVLQJ5HFRJQLWLRQRI7KUHH'LPHQVLRQDO2EMHFWVIEEE Transactions on
Pattern Analysis and Machine IntelligenceYRO3$0,1R1RYHPEHU
>@ &&&KXDQG-.$JJDUZDO,PDJH,QWHUSUHWDWLRQ8VLQJ0XOWLSOH6HQVLQJ0RGDOLWLHV,Q
IEEE Transactions on Pattern Analysis and Machine Intelligence 92/ 1R
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2EMHFWVIURP5DQJH'DWDImage and Vision Computing9RO1RSS0D\

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.LQHFW International Workshop on Human Activity Understanding from 3D Data in
conjunction with CVPR (HAU3D)&RORUDGR6SULQJV&2-XQH
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,PDJHVPlan, Activity, and Intent Recognition,
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6\VWHPV,526

INTEGRATING REAL 3D DATA AND HISTORICAL

SOURCES FOR THE DIGITAL RECONSTRUCION OF
FIVE HINDU TEMPLES
G. Guidi1, M. Russo2, D. Angheleddu1
1 - Dept. of Mechanics, 2 - Dept. of Design
Politecnico di Milano
Milan, Italy
(gabriele.guidi, michele.russo, davide.angheleddu)@polimi.it
Abstract A virtual reconstruction of a set of five tower temples belonging to the
archaeological area of My Son in central Vietnam, is shown. The novelty of the methodology
proposed is an integration of actual 3D data collected on the site through various 3D capturing
technologies and a set of historical and archeological sources and considerations. The paper
shows how with a proper interdisciplinary process where technical experts in 3D capturing and
digital modeling technologies interact with archeologists, reality based models may give an
active feedback to the archeological reasoning, allowing to hypothesize a reliable virtual
reconstruction.
INTRODUCTION
In the last decade the use of 3D acquisition techniques in the archaeological field has
allowed to widen the scope of the geometric survey process, providing both high resolution
reality-based digital models and suggestive 3D digital reconstructions of architectures
anymore existing, as support for a careful interpretation of the existing ruins. A weak part of
this latter is represented by the lacks of scientific reliability on the reconstructed model.
The methodology here proposed is based on a first extensive 3D documentation of the site
in its current state, followed by an iterative interaction between archaeologists and digital
modelers, leading to a progressive refinement of the reconstructive hypotheses. This approach
has been verified on the ruins of five temples in the My Son site, a wide archaeological area
located in central Vietnam. Created by the ancient Cham civilization active in Vietnam from
4th to 18th century, it has been listed as UNESCO World Heritage in 1999. The 3D
acquisition and modeling of a specific set of five temples, indicated by the archaeologists as
G group, is here presented and methodologically discussed.
METHODOLOGY
Although the process supporting the transformation from a set of 3D point clouds to a
polygonal model is well known since more than a decade [3, 4], it has been progressively
improved to better suit the Cultural Heritage field [5, 6, 7].
The reality-based digital model had a double purpose in this project. On one hand it
allowed an accurate documentation of the current site status, on the other hand it was a
starting point for a digital reconstruction. Differently from the reality-based models, the
archetypal reconstructive digital models suggest a diachronic analysis [8], stacking on the
possibility of seeing in the past.
The path from reality-based to interpretative models is not so widely developed, for this a
precise iterative feedback strategy was defined, in order to check each important interpretative
step during the virtual reconstruction through a sequence of archaeologists controls on the
modeling evolution, starting from a volumetric simplified version to the best detailed one.

3D SURVEY
As known, several factors may affect the quality of 3D data acquired by a range device. In
particular logistics and weather conditions become crucial, specially if the survey project has
to be planned far abroad. The range sensing device adopted was the Focus3D (Faro) system, a
Continuous Wave (CW) laser scanning with detection of phase shifts. In addition Structure
From Motion (SFM) techniques were experimented, but at the time (Feb 2011) this
promising technology was not yet developed as today, therefore it was only tested on a few
artifacts. The device used for this purpose and for general image capturing, was a digital
Single Lens Reflex (SLR) camera Canon 5D Mark II.
a)
b)
Figure 1 Critical 2D and 3D image acquisition: a) 3D laser scanning of the G4 ruins; b)
image acquisition of the kalan (G1) taken from from G2 in a precariously balanced situation.
The acquisition process was divided in three different step. In the first one the scanner was
positioned at 7 meters from ground, acquiring 4 high resolution scans of the whole
architecture and the surrounding DTM area. Than a long sequence of architectonic
acquisitions was realized around the building and integrated with a detailed one devoted to
survey the decorated basement. To avoid the shadow effects generated from the basement, an
additional sequence of 3 meters height scans was carried out.
The second step considered the DTM acquisition, locating the whole architectures in a
common reference system. The other architectural buildings presented a simpler geometry
than the Kalan, for this reason a simpler acquisition process was adopted.
Resolution
Size
Coarse Medium High (points x 106)
G1 (Kalan)
7
43
22
126
G2 (Portal)
/
9
/
21
G3 (Assembly hall)
/
8
/
15
G4 (South building)
/
13
/
31
G5 (Pavilion for the foundation stone)
/
6
4
4
DTM
49
/
/
27
21 Finds
/
/
60
2
Total
56
79
86
226
Table 1 Number of point clouds acquired at different resolution

The last phase was based on the 3D high resolution acquisition of archaeological finds,
discovered near the temples and classified inside the store-room of the local museum.
The photographic campaign was devoted to support the texturing process. Only some set of
images were taken for testing SFM, obtaining good results in the 3D capture of the G5
foundation stone, overtaking the laser scanner measurement uncertainty that made impossible
the readability of the tiny geometric detail [9].
REALITY-BASED MODELING
Every cleaned scan was aligned by means of the ICP algorithm implemented in the Leica
Cyclone 3D processing software. The resulting point clouds were then decimated at 1 cm
sampling step, leveling all the over-sampled portion of the architecture and lowering the
amount of 3D data. Each point cloud was subdivided in sub-units, meshed uniformly and
post-processed, than remerged in a complete polygonal model.
a)
b)
c)
d)
e)
Figure 2 - Reality-based models of all ruins in the G group texturized with the actual
images of the buildings: a) G1, the main temple; b) G2, the entrance portal to the holy area; c)
G3, the assembly hall; d) G4, the south building; e) G5; the kiosk of the foundation stone.

This process allowed to build a 1 cm resolution geometry of all the five buildings in the G
Area, a 10 cm resolution DTM of the hill where G Area is located, a set of polygonal models
of sculpted finds with a geometrical resolution of 2 mm.
At the end different approaches were followed to texturize such reality based models. As
shown in Figure 2 in the models representing the worst conserved buildings, a seamless
shading pattern originated from real images was chosen (Fig. 2b and 2d respectively). For the
Kalan temple and for the well-preserved architecture (Fig. 2c and 2e respectively) most of the
texturing was done with the actual images of the ruins projected on the model.
In addition the whole scene was modeled using the low resolution DTM, some library
models of trees and a spherical panorama captured from the top of Kalan,
The approach followed for acquisition and modeling of the sculpted findings was similar to
that employed for the architectural structures, but an optimized post-processing procedure was
analyzed to preserve the geometrical details.
RECONSTRUCTIVE MODELING
The reconstruction phase started from the geometrical information contained in the realitybased models of both the single buildings and the whole aligned scene, sectioning the digital
artifact with planes along the three main directions x, y z. The reality-based digital model was
also used for checking possible incoherencies introduced during the reconstruction procedure.
In addition, the creation of reconstructive models was also based on the integration between
bibliographical or iconographical sources and acquired 3D data.
a)
b)
Figure 3 Historical and iconographical documentation: a) photography of the temple
collected by Henri Parmentier at the beginning on 900; b) preliminary sketch of the whole
area by Pierre Pichard
In addition, a further iconographical research was done, researching the common stylistic
elements present in other coeval Chams architectures. Interpretative drawings from Pierre
Pichard, one of the most known experts of Cham architecture, were also used (see Figure 3b).
After historical and iconographical comparisons, an height in the range between 15 to 20
meters was agreed by the experts as suitable for the Kalan temple. In addition to this rough
approximation, the evaluation of the religious role of each building allowed to refine these
measures, identifying 7 meters as suitable high for the gateway and 16 for the Kalan one.
As for the decorative elements, it was necessary to redraw some broken elements which
were hypothesized coherently with the iconographical sources. The same virtual
reconstructions were made also on several other decorations.
The following step of this work was the reconstruction of the architectural structures
starting from the existing geometry. The approach used was to interleave a phase of technical

construction of the shapes with a strong critical revision by the experts of Cham archeology
for generating feedback and corrections before moving forward to the following step.
Than the latest architectonic refinements were applied and all the sculpted decorations
digitized in the store-room were located in the supposed right places. The introduction of
these decorations constrained the architecture structure, trying to fit them in their
hypothesized positions.
In the final step the different texture mapped architectural models, including all their
decorations, were merged in a single three-dimensional virtual reproduction of the G group.
Figure 4 Reconstruction of the whole group G with its surroundings.
Figure 5 Final schema of the suggested process based on reality-based 3D feedback.

CONCLUSIONS
This paper describes a process of acquisition and modeling applied to create a virtual
reconstruction of lost architectures located in a striking context, the My Son archaeological
area in Vietnam. Inside a common used 3D acquisition and modeling approach some different
topics are discussed, suggesting both optimized procedures for data processing and
communication. In particular, as synthesized in Figure 5, an iterative methodology is
suggested to support the interpretative modeling step, simplifying the feedback on virtual
models by the archeologists.
As future development it would be interesting to explore an enhanced communication level
between the different historical and technological experts, based on social networking
instruments, and annotations on renderings or directly on 3D models.
References
[1] L. Finot, Notes d'pigraphie: XI. Les inscriptions de Mi-Son, in Bulletin de l'Ecole
franaise d'Extrme-Orient, tome 4, pp. 897-977, 1904.
[2] A. Hardy, M. Cucarzi and P. Zolese, Champa and the Archaeology of My Son (Vietnam),
NUS Press, Singapore, 2009.
[3] M. Levoy, K. Pulli, B. Curless, S. Rusinkiewicz, D. Koller, L. Pereira et al., The Digital
Michelangelo Project: 3D scanning of large statues, in Proceedings of ACM SIGGRAPH,
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[4] F. Bernardini and H. Rushmeier, The 3D Model Acquisition Pipeline, Computer
Graphics Forum, vol. 21, no. 2, pp. 149-172, Jun. 2002.
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Hill, 2010.
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[7] F. Remondino, Heritage Recording and 3D Modeling with Photogrammetry and 3D
Scanning, Remote Sensing, 3(6), pp. 1104-1138, 2011.
[8] V.V.A.A., Beyond Illustration: 2D and 3D Digital Technologies as Tools for Discovery in
Archaeology, Bernard Frischer and Anastasia Dakouri-Hild eds., Archaeopress, Oxford,
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[9] M. Pierrot-Deseilligny and I. Clry, APERO, an Open Source Bundle Adjustment
Software for Automatic Calibration and Orientation of a Set of Images, in Proceedings of
the ISPRS Commission V Symposium, Image Engineering and Vision Metrology, Trento,
Italy, 2-4 March 2011.

AN INTRODUCTION TO GAIT RECOGNITION

Haiping Lu
Institute for Infocomm Research
Singapore
[email protected]
Anastasios N. Venetsanopoulos
Ryerson University & University of Toronto
Toronto, ON, Canada
[email protected]
Abstract - This paper gives a brief introduction to gait recognition and discusses its possible applications in
visual arts and biomedical engineering. Gait is the way one walks. It can work at a distance and with low resolution,
where other biometric modalities often fail. Thus, research on gait has gained popularity in surveillance applications
in the past decade. This paper describes a typical gait recognition system and reviews two popular approaches. We
present some gait recognition results on a public database to facilitate discussions of important issues. Finally, we
discuss potential applications of gait analysis in visual arts and biomedical engineering.
1 MOTIVATION OF GAIT RECOGNITION

Gait recognition [1], [2], the identification of individuals in video sequences by the way they walk, has
recently gained significant attention. This interest is strongly motivated by the need for automated person
identification system at a distance in visual surveillance and monitoring applications in security-sensitive
environments, e.g., banks, parking lots, museums, malls, and transportation hubs such as airports and train
stations [3], where other biometrics such as fingerprint, face or iris information are not available at high
enough resolution for recognition [4]. In particular, the Defense Advanced Research Projects Agency
(DARPA) has launched the Human Identification at a Distance (HumanID) program to develop automated
biometric identification technologies to detect, recognize and identify humans at great distances [5].
Furthermore, night vision capability (an important component in surveillance) is usually not possible with
other biometrics due to the limited biometric details in an IR image at large distance [4].
Gait, the peculiar way one walks, is a complex spatio-temporal biometric [6] that can address the
problems above. In 1975 [7], Johansson used point light displays to demonstrate the ability of humans to
rapidly distinguish human locomotion from other motion patterns. Similar experiments later showed the
capability of identifying friends or the gender of a person [8], [9], and Stevenage et al. show that humans
can identify individuals based on their gait signature in the presence of lighting variations and under brief
exposures [10].
Gait is a behavioral (habitual) biometric, in contrast with those physiological biometrics such as face and
iris, and it is viewed as the only true remote biometric [11]. Capturing of gait is unobtrusive, which means
that it can be captured without requiring the prior consent of the observed subject, and gait can be
recognized at a distance (in low resolution video) [12]. In contrast, other biometrics either require physical
contact (e.g., fingerprint) or sufficient proximity (e.g., iris). Furthermore, gait is harder to disguise than
static appearance features such as face.
2 A TYPICAL GAIT RECOGNITION SYSTEM

Figure 1 depicts a typical gait recognition system. A camera captures a raw gait sequence by observing a
subject in the view and this raw sequence is then pre-processed to extract a gait sequence for feature
extraction. Binary gait silhouettes are usually extracted through background subtraction, where a
background model is estimated from the input raw gait sequences and then it is subtracted to get the
silhouettes [13]. The extracted silhouettes are then cropped and resized to a standard size.
After the preprocessing, features useful for discriminating different persons are extracted from the
normalized gait sample. In the recognition stage, the extracted features are matched against those of
enrolled ones in the database, using classifiers. Finally, the system outputs the identity of the input when a
match is found with sufficient confidence or indicates an unknown identity otherwise.

Fig. 1. A typical gait recognition system.
3 TWO POPULAR GAIT RECOGNITION APPROACHES

There are two general approaches in gait recognition: one is appearance-based and the other is
model-based [14]. Their fundamental difference is the gait representation. An appearance-based approach
considers gait as a holistic pattern and uses a full-body representation of a human subject as silhouettes or
contours. In contrast, a model-based approach considers a human subject as an articulated object
represented by various body poses. Although the model-based approach takes advantage of our prior
knowledge on human gait and it is more sound, reliable recovery of human body poses (model parameters)
from raw gait sequences is a very hard problem that has been studied in the human tracking or pose
recovery literature [15], especially in outdoor conditions. Therefore, the appearance-based approach has
been the most successful in reported literature. In the following, we discuss some representative works
from both approaches.
3.1 Appearance-based approach

Most of the gait recognition algorithms proposed are appearance-based [3], [16][20], where silhouettes
are obtained through background subtraction and treated as holistic patterns. Some works use the
silhouettes directly as gait representation [21], [22] and some others use the average silhouettes as gait
representation [18], [23]. These gait recognition algorithms extract structural or shape statistics as features
from silhouettes, e.g., width [17], contours [3], [24], projections [25], and motion patterns [26][28]. There
are also methods based on dense optical ow [29], which identify individuals by periodic variations (phase
features) in the shape of their motion.
Recently, there is an increasing interest in tensor-based processing of gait sequences [30] [38],
motivated by the fact that the natural representation of a gait object is tensorial (multidimensional) rather
than vectorial (one-dimensional) . Tensor is the higher-order extension of vector and matrix. For example,
the multilinear principal component analysis (MPCA) algorithm extracts features directly from tensorial
(three-dimensional: row, column and time) representations of gait, and it has been combined with the linear
discriminant analysis (LDA) and boosting [30], [33] to achieve excellent gait recognition results.
3.2 Model-based approach

Model-based gait recognition algorithms are usually based on 2-D fronto-parallel body models [39], [40]
and target to model human body structure explicitly, with support from the anthropometry and the
biomechanics of human gait [41]. Body model parameters, such as joint angles, are searched in the solution
space through matching edges and region-based information (e.g., silhouettes). The search methods are
either exhaustive [39] or in a Bayesian hypothesis-and-test fashion [12], where proper dealing with local
extrema is an important problem. The estimated parameters are either used directly as features or fed into a
feature extractor (e.g., frequency analyzer) to obtain gait features.

There are also works on coarser human body models. For instance, the work in [16] fits several ellipses
to different parts (blobs) of the binary silhouettes and the parameters of these ellipses (e.g., location. and
orientation) are used as gait features. Another work proposed a full-body layered deformable model (LDM)
[42], inspired by manually labeled body-part-level silhouettes [43]. The LDM has a layered structure to
model self-occlusion between body parts and it is deformable so simple limb deformation is taken into
consideration. In addition, it also model shoulder swing. The LDM parameters are recovered from
automatically extracted silhouettes and then used for recognition.
3.3 Recognition
Once gait features are extracted, standard pattern classification algorithms can be employed for
recognition, e.g., correlation (similarity measure, template matching) [21], k-nearest neighbor classifier [30],
k-nearest center classifier [33], support vector machine (SVM) [44], hidden Markov Model (HMM) [4] and
Dynamic Time Wrapping (DTW) [16].
4 GAIT RECOGNITION RESULTS AND CHALLENGES

In this section, gait recognition performance is illustrated on the USF HumanID Gait Challenge data sets
version 1.7 [21]. This database consists of 452 sequences from 74 subjects. For each subject, there are three
covariates: viewpoint, shoe type and surface type. The gallery set contains 71 sequences (subjects) and
seven experiments (probe sets) are designed for human identification as shown in Table 1. The gallery set
contains the set of data samples with known identities and it is used for training. The probe set is the testing
set where data samples of unknown identity are to be identified and classified via matching with
corresponding entries in the gallery set.
The identification performance is measured by the rank k identification rates [21], where the rank k
results report the percentage of probe subjects whose true match in the gallery set was in the top k matches.
The gait recognition performance of the following four gait recognition algorithms, together with the
baseline algorithm [21], are presented in Table 1: HMM [17], linear time normalization (LTN) [22], gait
energy image (GEI) [23], and MPCA+LDA [30]. In the table, the rank 1 and rank 5 identification rates are
listed for each probe (A to G). The best results for all the probe and rank combinations are highlighted by
boldface font in the table.

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TABLE 1 Gait recognition performance on Gait Challenge data sets Version 1.7. The difference of
each experiment condition from the gallery condition is indicated in parentheses.
From the results presented, we can see that the viewpoint and the shoe type have much smaller impact on
the performance compared to the surface type. In [21], it is pointed out that the surface covariate impacts
the gait period more than other covariates. Two possible solutions are suggested in [21]: one is to predict
the change in gait with surface type and the other is to find other gait description insensitive to surface type.

The work in [23] is along the first direction. In addition, it is shown that the lower 30% of the silhouette
accounts for about 75% of the identification rates, suggesting the importance of the lower portion for
recognition. Similar results are also shown in [45], [46]. Another insight is that interactions of the foot with
the walking surface could be one source of the problems.
5 POTENTIAL APPLICATIONS IN VISUAL ARTS AND BIOMEDICAL ENGINEERING

Gait analysis could be useful for visual arts involving human motions. In the filmmaking industry,
human motion capture and transfer are expensive processes, usually utilizing lots of markers. The
development in automated gait analysis could help to reduce the cost of human motion capture and also
enable motion capture and transfer in scenarios where it is difficult to put markers. Gait analysis technique
can assist the development of human movement analysis in certain sports activities and dance movements.
Computer-based gait analysis can be used by computer visual artists in capturing and analyzing motions of
subjects for whom it is impossible to put markers, e.g., interesting clips on the internet rather than captured
by themselves. The knowledge gained from gait analysis can then be used to create computer-based visual
art.
Gait analysis techniques could be used for analyzing pathological gait, e.g., evaluating the severeness of
gait disorders and studying the effects of corrective Orthopedic surgery. Analysis of pathological gait could
assist the study of causation of symptoms and compensations for underlying pathologies, e.g. for epilepsy
or stroke patients. Development in computer-based automated gait analysis could help in making diagnoses
and intervention strategies. This could play an important role in rehabilitation engineering and healthcare,
such as clinical rehabilitation of patients of stroke or spinal cord injuries and diagnosis of disorders [47].
Besides clinical applications, we can also use gait analysis for professional sports and dance training to
optimize and improve athletic or dancers performance.
6 CONCLUSIONS
Gait recognition is the identification of people by the way they walk. It has the unique advantage over
the other biometrics in surveillance applications where the recognition needs to be performed at a distance
and only low-resolutions videos can be captured. From the results reported on the Gait Challenge data sets,
advanced gait recognition algorithms have achieved high recognition rates on gait sequences captured
under the same surface, with variation in viewing angle and shoe type. On the other hand, the recognition
on sequences captured under different surfaces, different carrying conditions, and different time is still very
challenging. Besides security surveillance applications, studies on gait, especially the model-based
approach, can benefit the visual arts study and creation, and also the medical field and healthcare.
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VIRTUAL GALLERIES - MUSEUMS

AND RELATED INITIATIVES

MUSEUMS OUTSIDE MUSEUMS:

DISTRICTS OF KNOWLEDGE
L. Toschi L. Orlandini M. Sbardella G. Simonetta
Communication Strategies Lab, Department of Political and Social Sciences
([email protected]; [email protected]; [email protected];
[email protected])
[ABSTRACT. Digitalizing deals with the problem of memory. We are going

through a terrible cultural, economical and social crisis because of the idea of
memory we are dealing with. We are confusing the storage of information with the
project of memory (of good memory). We think that data (and big data in
particular) are neutral. On the contrary, we have to underscore that database is
always a text, with its vision, with its ideological interpretation of reality. Above
all, a database is, anyhow, expression of a social and economical culture; but, at the
same time, it supports and promotes specific social and economical realities.
From this point of view, communication should become more and more a
dialogue, a conversation between different subjects; and social media, actually,
may empower this use of new technologies.]
[KEYWORDS. Cultural heritage, Museums, Memory, Social Media,
Communication, Augmented Reality, Territory, Digital Storytelling, Knowledge]
DIGITALIZE REALITY
We don't know the consequences of the impact of new technologies on cultural heritage.
We believe that the digital dimension is not in itself a solution, but it is, however, a
wonderful opportunity, if you are working on projects and ideas.
Digitalizing deals with the problem of memory. We are going through a terrible
cultural, economical and social crisis because of the idea of memory we are dealing
with. We are confusing the storage of information with the project of memory (of good
memory). We think that data (and big data too) are neutral, are something to be
preserved. We have to remember that database is a text, with his vision, with his
ideological interpretation of reality, and especially, of social and economical and why
not? ethical organization.
From this point of view, the conversational communication with our reality (the
way we ask questions to the world we live in) is the main critical point of the effort we
are doing to give answers the present, historical crisis.

At the Communication Strategies Lab, in the context of projects aimed at enhancing

the cultural heritage, we are constantly working on crucial questions, to find a proper
approach to the problems: What does it mean to digitalize? What are the consequences
of it? Digitalizing generates new social, economical, political textuality? What is the
textuality of digital databases? The repositories are texts, what are their grammars?
The answers we have been carrying on in our Lab are always processed in research
projects. Here to follow, two of them: one related to the Museum of Natural History of
University of Florence, one of the most important in Europe; the other one (San
Casciano Smart Place I Fantasmi del Principe) related to a new marketing strategy
for the San Casciano in Val di Pesa area (Chianti).
MUSEUMS OUTSIDE MUSEUMS

So far we have pointed out that digitalization means nothing costs a lot with very poor
results if it consists only in digitalizing the existing reality. Because digital knowledge
comes, anyway - even if we are not aware of it -, from a project, and strengthens and
promotes a specific organization of our reality.
The digital world is an incredible symbolic environment for experimentations,
simulations; but at a condition: as long as you start from an analysis of realty with the
project of making substantial changes. This is the most important difference between
digital symbolic and mental symbolic: only the first one can - must - change reality,
interacting with things and people. This is the main meaning of interaction,
collaboration and cooperation.
In this respect we have to imagine museums outside museums. Museums (and
Universities) have always played the fundamental role to select, collect and preserve
knowledge.
To preserve this social role Museums can not confine themselves to embrace new
technologies as gadgets that can make the visit more attractive (multimedia, augmented
reality are much more than special effects) or replace real tours with virtual visits.
Museums need to rethink themselves ontologically, to avoid wasting the innovative
possibilities offered by new technologies. We are facing the end of an old system, but
we are the players, the protagonists of the rise of the new one [Toschi 2011].
Museums should break the walls (both physically and symbolic) that separate them
from real territories, in order to create new interactions between their digital stories
(storytelling) and physical experiences.
A relationship that mainly feeds on objects and on the large amount of knowledge
Museums offer. Technology that opens up the most promising prospects in this
direction is Augmented Reality [Communication Strategies Lab 2012].
Augmented Reality gives the opportunity to assign innovative meanings to cultural
heritage: the possibility to add informative layers to the phisycal territory, remediating
[Bolter, Grusin 1999] and recontextualizing documents and objects in the original areas
or making them appear where they may reveal unexpected perspectives.

Interactions created by projects of convergence, dialogue, and - why not? conflict,

can attribute new symbolic meanings. They strengthen their communicative identity and
symbolic power. These interactions, if well designed, can generate knowledge;
otherwise unthinkable [Toschi 2011].
This idea of communication as a tool-source for knowledge creation has not to be
limited to museums (1). This generative paradigm can be applied to cultural heritage in
two other ways:
(2) high cultural heritage (literature in particular) and its opposite,
(3) low, the folk cultural heritage (genius loci, but also ancient knowledge,
traditions, local history, etc..), often not easily recognizable.
CASE STUDY 1: MUSEUM OF NATURAL HISTORY,

UNIVERSITY OF FLORENCE
The Communication Strategies Lab began working with the Museum of Natural History
of University of Florence redesigning the strategy of its website (www.msn.unifi.it/).
Redesigning the website also means rethinking the organization of the Museum, which
according to the vision of Communication Strategies Lab was supposed to be a hub for
the knowledge of the entire University of Florence.
There is a relationship between the Museum of Natural History of University of
Florence and new technologies. The Museum has the largest collection in the world of
wax anatomical models, made between 1770 and 1850, a collection conceived as a
three-dimensional treated for teaching anatomy: the most advanced technology of the
time to spread and generate knowledge. The intention of the Communication Strategies
Lab is to recover the original innovative vision of teaching through a renewed sense of
three-dimensionality, as offered by Augmented Reality:
- recreating the historical and environmental context of each object;
- locating each object (geo-referencing) in the areas they came from.
A three-dimensional learning enviroment - as big as the entire geographical area
covered by the collections of the Museum - usefull to study the science of the earth, the
history and culture of the people, and any other topic of the assets of the Museum. The
museum outside the museum becomes a district of knowledge.

Concept of re-contextualization of objects in the territory they come from

Source: http://proto-knowledge.blogspot.it/2012/02/vision-of-classroom-of-future.html
CASE STUDY 2: SAN CASCIANO SMART PLACE: I FANTASMI

DEL PRINCIPE (THE PRINCES GHOSTS)
The project San Casciano Smart Place I Fantasmi del Principe (The Princes
ghosts) is part of a line of research outlined in these pages centered on redefining the
relationship between the digital and the physical territory.
On the occasion of fifth centenary celebrations of The Prince by Niccol
Machiavelli, the CSL has created and designed a digital ecosystem of geo-referenced
contents, accessible through an Augmented Reality app for smartphones and tablets.
The project is focused on San Casciano in Val di Pesas territory (the municipal
administration is the main partner of the project) with a double objective: first to
experiment innovative ways of territorial marketing [Caroli 1999; 2006] and second to
enhance an already rich but still not systematized cultural heritage (high culture but also
low culture).
Celebrations have therefore been interpreted as an opportunity for the creation of
innovative territorial marketing strategies:
1. through Augmented Reality, geo-referencing and contextualizing information,
strategies whose potentiality has already been highlighted in the preceding pages.
2. through the choice of contents used, capable of supporting local economy paying
particular attention to farms and tourist accommodations in an historical-economicalsocial conjuncture in which they are forced to redefine their communicative and
symbolic identity [Castells 1997].
The second objective of the project San Casciano Smart Place I Fantasmi del
Principe is even more ambitious. It deals with systematizing an immense heritage of
knowledge using the digital tools already mentioned. Knowledge which is the result of a
long interaction between 'high' (Machiavelli) and 'low' culture (genius loci, traditions,
knowledge of the rural world, etc..) (very typical of the Chianti region).
The deep sense of this project is to go beyond the logic of crowdsourcing [EstellsArolas, Gonzlez Ladron de Guevara, 2012] in the direction of communitysourcing

[Kapin, Sample Ward 2013; Heimerl, Gawalt, Chen, Parikh, Hartmann 2012]. A new
territory (not only digital, not only physical) is going to rise. We have the task to design
it and to make it happen.
References
[Black 2012] Black, G. (2012), Transforming Museums in the Twenty-First Century,
London; New York, Routledge
[Bolter, Grusin 1999] Bolter, J. D., Grusin, R. (1999), Remediation. Understanding New
Media, Cambridge (Mass.); London, The MIT Press
[Caroli 1999] Caroli, M. (1999), Il marketing territoriale, Milano, Franco Angeli
[Caroli 2006] Caroli M. (2006), Il marketing territoriale. Strategie per la competitivit
sostenibile del territorio, Milano, Franco Angeli
[Castells 2012] Castells, M. (2012), Networks of Outrage and Hope: Social Movements
in the Internet Age, Cambridge, Polity
[Communication Strategies Lab 2012] Communication Strategies Lab (2012), Realt
aumentate. Esperienze, strategie e contenuti per lAugmented Reality, Milano,
Apogeo
[Estells-Arolas, Gonzlez-Ladrn-de-Guevara 2012] Estells-Arolas, E., GonzlezLadrn-de-Guevara, F. (2012), Towards an integrated crowdsourcing definition, in
Journal of Information Science 38 (2), pp. 189-200
[Heimerl, Gawalt, Chen, Parikh, Hartmann 2012] Heimerl, K., Gawalt, B., Chen, K.,
Parikh, T. S., Hartmann, B. (2012), Communitysourcing: Engaging Local Crowds
to Perform Expert Work Via Physical Kiosks, in ACM Conference on ComputerHuman Interaction (CHI), May 5-10, 2012, Austin, TX
[Kapin, Sample Ward 2013] Kapin, A., Sample Ward, A. (2013), Social Change
Anytime Everywhere: How to Implement Online Multichannel Strategies to Spark
Advocacy, Raise Money, and Engage your Community, San Francisco, Jossey-Bass
[Lovink 2011] Lovink, G. (2011), Networks Without a Cause, Cambridge (UK), Polity
Press
[Negroponte 1995] Negroponte, N. (1995), Being Digital, Knopf.
[Putnam 1993] Putnam, R. D. (1993), Making Democracy Work. Civic Traditions in
Modern Italy, Princeton, Princeton University Press
[Putnam 2000] Putnam, R. D. (2000), Bowling Alone: The Collapse and Revival of
American Community, New York, Simon & Schuster
[Rodot 2013] Rodot, S. (2013), Il terribile diritto, Bologna, Il Mulino

[Shirky 2010] Shirky, C. (2010) Cognitive Surplus. Creativity and Generosity in a

Connected Age, New York, Penguin Press
[Tapscott, Williams 2006] Tapscott, D., Williams, A. D. (2006), Wikinomics. How Mass
Collaboration Changes Everything, Portfolio, 2006
[The New Media Consortium 2012] NMC (2012), Horizon Report: 2012, Museum
Edition
[Toschi 2011] Toschi, L. (2011), La comunicazione generativa, Milano, Apogeo
[Toschi, Chipa, Simonetta 2012] Toschi, L., Chipa, S., Simonetta, G. (2012), Museum
outside the Museum. Real environment Storytelling in Proceedings ECLAP 2012:
Conference on Information Technologies for Performing Arts, Media Access and
Entertainment, Florence, Italy 7-9 May 2012

Bringing back the Fontana di Sala Grande

to its original setup according to Bartolomeo Ammannatis
project
G. Pirazzoli, G. Verdiani
Dipartimento di Architettura
Universit degli Studi di Firenze, Italy
Abstract
The work presented here will show the story, the procedures and the methodology operated
to rebuild the Fontana di Sala Grande from Bartolomeo Ammannati to its original
composition, digitally working on the remains and reconstructing the missing parts, to reach the
final result represented by the current, permanent, exhibition of the complete group in the
Bargello Museum. A meaningful attention will be given to the digital reconstruction of the what
if version of the "Salone dei Cinquecento" with the fountain placed in. In this research an
accurate investigation supported by digital survey and modeling resurrect a monument.
INTRODUCTION
In the middle of the XVI century, in Florence, Bartolomeo Ammannati was working on a
monumental, rich and sensual fountain. This sculpture was planned to be placed in the Sala
Grande (the ancient "Salone dei Cinquecento) inside Palazzo Vecchio. The sculptures
composing the fountain were: a Venus, a couple of allegoric Arno and Arbia rivers, a Juno
goddess, two peafowls and the figures of Prudenza and Fiorenza. For some reasons, maybe
because of technical troubles, maybe because of some rethinking about the place, the fountain
was mounted in the Pratolino Villa and later brought to the Bobolis Garden; after a long
period of decay it was finally placed in the National Bargello Museum, to rest dismantled as
single elements for a long time. In the late 70's Detlef Heikamp worked on some relevant
studies about it, proposing the first reconstruction hypothesis of the original composition.
A DIGITAL WAY TO READ THE MONUMENT

The first approach to this group of statues has been fully digital: a complete survey plan was
prepared with the intention to develop digital media as a tool of knowledge and investigation.
This was a complex and challenging research and it took almost one year to be completed.
The working group has been able to verify the effectiveness of this operational methodology,
starting from the measured data. The operating conditions and the timeline program of
interventions to prepare the exhibition have necessarily conditioned all the steps of survey and
data processing. However, the flexibility of the used methodological approach has made
possible to meet all the demands of the working group to define the new setup of the statues.
The process of data acquisition was carried out using five different research directives:
1) the creation of a digital 3D model composed by continuous surfaces, suitable to
represent the group of statues with enough realism to provide data and information on
metrics about the position and shape of each subject;
2) the realization of a series of 2D drawings aimed to the reading and to the disclosure of
aspects related to the new setup for the incoming exhibition;
3) the creation of 3D digital models suitable for the realization, using systems for 3D
printing , of a scale model capable of providing an additional verification on the
hypothesis of reconstruction;

4) creating the base for the reconstruction simulation and give all the needed support to
the planning of the real reconstruction ;
5) producing a set of digital 3D models usable for the simulation of a hypothetic
repositioning of the fountain in the Great Hall in Palazzo Vecchio.
The individual elements, spaced one from the other, did not allow a complete survey
intervention without considering to close an area of the museum for all the time needed to
move, survey, and then place back the statues.
This was not considered as a possible option because of its meaningful impact over the
museum activities. So the phases of data acquisition were conducted in two distinct sessions.
All the figures offered a good condition of visibility and accessibility in the frontal and lateral
parts. The backs of the statues, on the contrary, were so close against the wall to make them
not easily reachable. So two different survey were chosen: a first, global one, based on a Cam2
Faro Photon 120 phase shift laser scanner, an instrument able to acquire useful data up to a
long distance, with a panoramic field of view, the point cloud obtained from this first survey
would be aimed to produce a small scale version of the whole group of statues, while, at the
same time it would allow to have an accurate version of the complete courtyard wing.
This first coverage of the monument was quite complete, but it was also capable to show
clearly a "map" of all the parts afflicted by occlusion spaces or not fully documented.
After an accurate check of the first survey, a second laser scanner survey campaign was
planned; it was made with a more accurate scanner, based on laser-stripe technology, limited in
its operative range, but capable to reach the hidden parts of the statues because of its small
size. Later in the developing of this research a third and last survey campaign was
programmed, once again using the laser-stripe unit, this was done only after the displacement
of the statues (few months before the exhibition opening), so to be able to document all the
elements remained hidden until that moment. The first laser scanner surveys had the purpose of
the creation of a three-dimensional digital model as complete as possible and to be achieved in
the shortest possible time. During the processing of the data it comes out that in some parts of
the statues, the marble surface characteristics had significantly altered the metric quality of the
scanner, significantly inducing a high level of noise. The laser scanner used in the second and
third campaigns was a Nextengine, an instrument based on laser-stripe technology, and was
mainly focused on the statues of Cerere, Arno and Arbia. This new survey allowed to fill the
gaps remained unsolved in the previous campaign. The drape of Cerere and the upper surface
of its head, which was originally in contact with a further marble element -now lost like it
happened for the arch parts- was fully investigated with specific survey in the second and third
campaigns.
THE RECONSTRUCTION AND THE MODELING PROCESS
The data gathered in the digital survey campaigns were characterized by a certain different
nature: on the one hand there was a digital model made by pointclouds obtained by phase shift
laser scanner, and the other a model digitally constituted by a network of polygons obtained
from the Nextengine scanner. The geometric detail provided by these two technologies is quite
different, so it was necessary to pay a certain attention during the integration of the different
dataset. This was mainly done finding common geometrical elements between the different
meshes. The steps involved in the generation of the numerical models of the statues were
constantly monitored, to avoid an excessive geometric simplification and trying to obtain the
best possible result from the laser scanner data.
THE DEFINITION OF THE REINTEGRATED PARTS
To make this task possible, an accurate investigation was needed: the edges of the extrados of
the arch abutments were still existing in the statues of Arno and Arbia and so they were used as

the guiding elements to link up a detailed design and develop the curvature of the arch. The
definition of the arch has required a careful study of the geometry present in the statues and a
thorough analysis of many correlated elements. The continuous discussion with scholars and
historians from the research group working on the project has allowed a continuous monitoring
of the achieved results, helping them along their developments and validating the final choices.
In the first instance the process was based on a two-dimensional reconstruction, a procedure
based on "exclusions" where the lost arch has been hypothesized curved according to circular
and elliptical shapes.
The model was also investigated by applying mathematical regression procedures. This was a
complex process, it led to the exclusion of possible non-circular shapes for the missing parts;
to start the process a large group of points, gathered from the remains of the arch along the
statues representing the rivers, were used to calculate an extensive equation fittings. The
regressive procedure confirmed that a full circular or a polycentric shape was the most
probable geometry for the original arch.
As a parallel procedure, various geometrical reconstructions were tested, mainly based on
constructions made by circular arcs. After an accurate study, made in collaborative way by the
whole research team, a definitive version was chosen as the best suited to reconstruct the
original aspect of the fountain: this last solution presents an arch with three centers, developed
according to a conical surface with vertex placed behind the complete group.
The ribbed surface which constitutes the extrados of the latter had to fulfill several conditions,
including: the continuity of tangency and curvature from the stumps, had to be generated from
circular arcs, the thickness of the arch had to change (since the bases of support provided by
the statues are different), the total arc could not be symmetrical, since the supports provided by
the two statues lie at different heights, with different and broken lying.
The very complex rebuild procedure was based on a continue modeling and drawing alternated
to continue confrontations in the research group, the geometrical results, at first recognized as a
good solution were left according to real building needs, like the operative distance between
statues, while it was not possible to imagine each statue touching the other (a simple collision
between two of these heavy marble blocks would have caused a serious damage now like five
hundred years ago). The final modeled arch shows an inclination about 85 degrees from the
horizontal plane (exactly 85.4019).
When the reconstruction was completed a 2D drawing of the model, with all the statue
composed in a representation of the front and a representation of one lateral side was
graphically compared with the previous reconstruction made by Detlef Heikamp, resulting in a
significantly coincident curvature front and characterized by the same inclination of
approximately 85 degrees, this was an interesting confirmation of the overall quality level
reached by this research.
FROM THE DIGITAL TO THE PHYSICAL MODEL
Once the shape of the arch has been proven a new preparation phase of digital models
representing each individual statue took place: a physical model of the overall group was
produced by rapid prototyping, this maquette intention was to have a scaled model illustrating
the draft reassembly. A final test before starting the project of reconstruction with the real
statues. The 3D printed model, made of synthetic material composed predominantly by white
nylon and glass, has been developed in the same real parts of the group of statues, obtaining a
1:10 scaled version of the whole fountain and allowing an immediate visual feedback with a
material realism capable to result more effective than any 2D image rendering.
At the same time the digital model of the arch has been developed in specific versions to be
used for the realization of the element of reconstruction in real scale and for the use within
structural analysis software to define the static behavior the new structure. The real
reconstruction of the fountain was quite a complex task, while there were various starting
points to be accurately planned.

The starting needs and intents were:

1) Preserving the statues, avoiding any suffering to the half a millennium old sculptures.
2) Creating a light structure to support the arch, avoiding large single elements.
3) Produce a final result correspondent to the virtual one.
In the final reconstruction the missing marble element placed between the Cerere head and the
arch would remain an empty space and the arch in itself would have a certain distance from the
rivers statues, to be fitted with resins and avoiding any direct contact between the iron structure
and the ancient marble. The building yard of the reconstruction was really a big effort, while
some lacks in the understanding and in the skills from the operating workers put the overall
result in the risk of a failure. A huge work was done to convert the digital models into
operative drawings and only a continue presence of some member from the design and
research team on the building yard allowed the final result to be completed. The exhibition
opening took place on the 10th of May 2011, the new setup of the fountain was made giving all
the statues back to the Ammannatis original design.
Fig. 1 from left to right: the statue of Arno, Cerere and Arbia in the previous setup. Point
cloud of the original setup from the first digital survey. The fountain with its new setup.
A VIRTUAL RECONSTRUCTION
Even if the fountain have found again its configuration, there is still something to be explored
in its reconstruction, and its its hypothetical positioning inside the Great Hall. In 1560
Vasari began the operations to transform the Great hall. His building yard dismantled the
cover made by Cronaca and he started working on the masonry for the elevation and the hall
ceiling. About this Vasari called it "a terrible venture ... and of such importance". The choice
of having a fountain in the Throne Room is rooted in the binding water-power. The presence of
water was a parameter determining the magnificence and wealth of kings, emperors, princes
and prelates. The water then cools, entertains, fills the rooms with its noise and conveys the
concept of Medici omnipotence, with the fountain celebrating the infrastructure works of the
aqueduct which fed the fountain itself. Until that time Florence was drawing water from wells
and cisterns, but the new aqueduct created a new large water system. This was compared with
the Roman aqueduct of Hadrian, underlining the parallel between Cosimo I and the roman
emperors. But for Ammannati a meaningful problem was the brightness of the room. In
addition to low-light condition, as noticed by Michelangelo, the room had a disproportionate
size: 38x100 braccia (about 22x53 meters). The big difference between its before (Sala
Grande) and after (Salone de' Cinquecento) is the height of the ceiling, which was about 12
meters at the time of the Ammannatis project against the 18.5 meters reached after the
Vasari's redesign. Although the extensions of the room allowed Sala Grande to be among one
of the largest in Europe, the ratio between the length and height did not make it beautiful.
The entrance of light was allowed only by the openings in the walls of both the heads, which
could not fulfill the need for lighting, with the result that the center of the hall was always a

dark area. According to these reasons is now possible to understand why Cosimo decided to
start the expensive work of raising the ceiling. Vasari settled up the new proportions, which
gave breath to the hall, the new measures allowed to open a series of windows in the lacunar
ceiling (then completed by frescoes). The appearance of the room at that time was
extraordinary, even for the new light that had not such strong and well suited intensity for the
vastness of the hall, but considering that the eyes of the people of the Renaissance were not
trained in artificial light, it is likely that the Vasaris openings offered a type of light that could
be appreciated. Probably Ammannati had studied the problem of the light in this room trying to
face it using his scenography previous experiences, mixing them with his sculptor behaviors,
knowing the peculiar importance of light, true source of life for statuary. It is now possible to
imagine the Ammannatis Fountain in an environment completely different from the actual
one: dark, low and wide. Light is a crucial point of the entire project and it must be
remembered the other essential element: the water, like a mirror reflecting light within the
room and lights up the statues like a reflector. It is difficult to describe with words what could
have happened between the water and light.
Fig. 2 Hypotesis about the lighting effects inside the Sala Grande with the fountain placed
in front of an opening system according to a possible Ammanatis project.
It goes without saying that the different composition and integration of architecture, sculpture
and water determines the final effects of each components. This approach based on
composition to this possible, alternative reality of the Great Hall does not aspire to have
scientific basis, but is close and has the same logic of an expositive project operated in the
2011 exhibition. The hypothesis of the architectural configuration of the apparatus of the South
wall of the Great Hall with its fountain of Giunone, represent an exercise in composition that
is based on the research on the study of architecture and proportions of the sixteenth century.
There are neither data nor documents that allow a type of reasoning that tends to the historical
reconstruction. In the manner of those artists who faced travel to Rome to study ancient redrawing the remains of the ancient buildings and imagined their reconstruction, it was
attempted to recreate the context of the Fountain Ammannati through fragments and
suggestions. An exercise it is not possible to know the final result, while there is no
confirmation whether it is right or wrong, and proposals tend to infinity and give back the
many possible variables.
A TEAMWORK RESULT
The reconstruction of the Fountain for the Great Hall of Bartolomeo Ammannati was
more than anything a research and comparison which involved scholars and researchers
working in different fields: each of them, while addressing the problem from their specific
area, has brought to this collaboration as an essential piece to the achievement of the overall
result, now visible to all. It must be remembered that because of its interdisciplinary nature, the

working group has been able to identify and categorize the many problems of this
reconstruction. A group in which art historians, conservators and architects, have gradually
refined the result that today is shown permanently at the Bargello Museum. Even in its
seemingly elementary shape the reconstructed arch encompasses the story of a collaborative
experience that was rich and effective, because it was an experience centered on the will to
give back this piece of art to the original Ammannatis artistic meaning.
ACKNOWLEDGMENTS
Bartolomeo Ammannati's 5th Centenary exhibition "L'acqua, la pietra, il fuoco - Bartolomeo
Ammannati Scultore" curated by: B. Paolozzi Strozzi, D. Zikos. Scientific Committee: B.
Paolozzi Strozzi, A. Belluzzi, I.Ciseri, D. Zikos, E. Ferretti, G. Pirazzoli, G. Verdiani, D.
Heikamp. Exhibition design by G. Pirazzoli with G. Cerri/CrossingLab. Executive assistant: E.
Medri. Worksite manager: M. C. Valenti. Survey coordinator: G. Verdiani. Operative Group
for the digital post processing: G. Verdiani, F. Fantini, S. Di Tondo; First survey campaign
group: G. Verdiani, A.Peruzzi, G. Corsaro, N. Caccetta, G. Guccini. Second and third survey
campaign group: G. Verdiani, S. Di Tondo, G. Corsaro. The first survey campaign was made
in collaboration with Area3D s.r.l. Livorno (www.area3d.com). The 3D print of the mountain
was made by PMD Promo Design Calenzano (www.consorziopromodesign.it) the
development and the optimization of the 3D digital models were conducted by F.Fantini, the
3D printing process was treated by F.Susca.The structural analysis and arch calculation was
made by G. Aliboni, G. Tempesta. The statue movements and placement where operated by
Artera s.r.l. (www.arteria.it). The plaster copy of Giunone was made by Studio Techne,
Firenze.
References
[1] C. Acidini Luchinat, Bartolomeo Ammannati Artefice di Fontane, in N. Del Turco,
F.Salvi (a cura di), Bartolomeo Ammannati. Scultore e Architetto 1511-1592, Alinea,
Firenze, 1995 Atti del convegno, 1995
[2] C. Acidini Luchinat, La Fontana di Giunone o di Sala Grande, in C. Acidini, G. Pirazzoli
(a cura di), Ammannati e Vasari per la citt dei Medici, Pagliai, Firenze, 2011
[3] A. Belluzzi, Scultura e architettura nell'opera di Ammannati, in B. Paolozzi Strozzi, D.
Zikos, Lacqua, la Pietra, il fuoco. Bartolomeo Ammannati Scultore, Giunti, Firenze, 2011
[4] F. Borsi, Ammannati Architetto, in N. Del Turco, F. Salvi (ed.) Bartolomeo Ammannati,
Scultore e Architetto 1511-1592, Alinea, Firenze, 1995
[5] G. Cerri, Tesi di Laurea (honours), Bartolomeo Ammannati E Giorgio Vasari, Appunti per
un dialogo di acqua e di luce, Tutors prof. G. Pirazzoli, A. Belluzzi, G.Verdiani,
Universit di Firenze, Facolt di Architettura, A.A. 2010-2011.
[6] E. Ferretti, Bartolomeo Ammannati, la Fontana di Sala Grande e le trasformazioni del
Salone dei Cinquecento da Cosimo I a Ferdinando I, in B. Paolozzi Strozzi, D. Zikos (ed.),
Lacqua, la Pietra, il fuoco. Bartolomeo Ammannati Scultore, Giunti, Firenze, 2011
[7] K. Frey, Carteggio di Giorgio Vasari, Monaco, 1923
[8] D. Heikamp, Bartolomeo Ammannatis Marble Fountain for the Sala Grande of the
Palazzo Vecchio in Florence, in: Fons Sapientiae: Renaissance Garden Fountains, ed. E.
MacDougall and N. Miller, Washington: Dumbarton Oaks, Trustees for Harvard
University, 1978 (Dumbarton Oaks colloquium on the history of landscape architecture,5)
[9] G. Pirazzoli, with G. Verdiani e G. Cerri (graphic), Di GioRGio / MiA, con una postilla
sulla Fontana di Sala Grande, in C. Acidini, G. Pirazzoli (ed.), Ammannati e Vasari per la
citt dei Medici, Pagliai, Firenze, 2011

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The altar
The altar, reconstruction

ROME MRV
Alessandro Furlan
ALTAIR4 MULTIMEDIA
Rome, Italy
[email protected]
Abstract: Time Window is an MVR (Mixed Virtual Reality) system based on time windows opened
by the application onto the main monument areas, which allows you to view the condition of an
archaeological site, urban area or monument, in the various moments of its history, with an
interactive overlap, fading over between 3D reconstruction and their current appearance.
Ancient Egypt in 3D APPlication allows to explore the major Egyptian archaeological sites,
displaying the appearance they had in ancient times.
Through a simple graphical menu you can move around on a map of the Nile and see the main
archaeological sites: when an area has been selected you can access to its detailed description,
supported by photos and videos, and also by interactive graphic reconstructions that go around the
monuments, fly over the city and show the evolution that they have had up to the present day, using
the "time machine".
You can also enter the temples, explore and move within the various archaeological sites,
with a detailed navigation.
The work is intended to focus on the urban tissue of ancient Egypt, restoring the greatness of sites
as the city of Thebes and the funerary complex at Giza.
At the moment the application includes the sites of Alexandria, Giza, Saqqara, Deir El
Medina, Dendera, Karnak, Luxor, Deir El Bahari, Medinet Habu, Philae and Abu Simbel.
Giza, Cheops' ritual boat - Old Kingdom
VIRTUAL 3D VISIONS:

Karnak, Sanctuary of Amon - New Kingdom

Karnak, Sanctuary of Amon and hypostyle Hall - New Kingdom
Karnak, Temple of Khonsu - New Kingdom
Deir el Bahari, Mortuary Temple of Queen Hatshepsut - New Kingdom
Deir El-Medina, village of workmen responsible for the construction of the Pyramids - New
Kingdom
Deir El-Medina, temple of Hator - New Kingdom
Deir El-Medina, funeral monument of Sennedjem - New Kingdom
Abusir, entrance from the Nile to the monumental complex - Old Kingdom
Philae island - Late Period. Temple of Isis
The lighthouse of Alexandria - Ptolemaic Era
Giza, Sphinx and pyramids of Cheope, Chefren, Micerino - Old Kingdom
Giza, Cheops' ritual boat - Old Kingdom
The "Step Pyramid" complex of Djoser - Old Kingdom
Denderah - Ptolemaic Era
Denderah, Temple of Hathor and hypostyle Hall - Ptolemaic Era
Luxor, Temple of Amon
Thebes, whole reconstruction of the capital of the Upper and Lower Egypt - First Intermediate
Period/New Kingdom
VIRTUAL EGYPT in 3D (80" Video Demo):

http://www.youtube.com/watch?v=nXN0Z7YUnVA
http://www.youtube.com/watch?v=3Uhxs6NWwXc
Karnak, Sanctuary of Amon - New Kingdom

Philae island
Rome MVR is a new application to visit Rome across the ages and see what it looked like
in the various periods thanks to the Time Window system.
Time Window is an MVR (Mixed Virtual Reality) system based on time windows opened
by the application onto the main monument areas in town, which allows you to view the condition
of an archaeological site, urban area or monument, in the various moments of its history, with an
interactive overlap, fading over between 3D reconstruction and their current appearance.
If the application is used in the vicinity of areas for which time windows are available, the
MVR system, which avails itself of Gps, compass and gyroscope data, provides us with an updated
and geo-referenced overview of the area; if you move the i-phone, the image follows our
movements pointing to the monuments within our field of vision.
Thanks to the salto nel tempo [time leap] mode, it is possible to view the most ancient
historic phases slowly fading, which allows for easy understanding of remains from the past. The
proximity of other time windows with regard to our position is indicated by a tool which shows how
to reach a new vantage point.
If the application is used far away from the areas in question, or if you do not wish to follow
the automatic indications or the compass and gyroscope functions, it is possible to select the area
from the list or from the map. Moreover, the manual mode allows you to display an overview of the
area simply by moving a finger on the screen.
The core of this application consists in the best and most rigorous 3D reconstructions
currently available. Its original contents have been designed on purpose by the Altair 4 Multimedia
team, with its architects, archaeologists and artists who have thirty years of experience in the area of
cultural heritage enhancement, working in collaboration with the most prestigious Italian and
international universities and research institutes.
The application will therefore avail itself of continuous updates thanks to research progress
in the areas of history and archaeology, as well as to new spectacular reconstruction processing,
with new Time Windows opening onto the Eternal City.
Areas currently available: Colosseum, Roman Forum, Palatine, Imperial Fora.
ROME MVR VideoDemo:
http://www.altair4.com/videos/applicazione-iphone-roma-mvriphone-app-rome-mvr/?lang=en

http://itunes.apple.com/it/app/rome-mvr/id446800370?mt=8
http://www.youtube.com/watch?v=w32SAZ3PN98&feature=youtu.be

INTEGRATING MUSEUM ARCHIVE AND TOWN

AN APP FOR A FORTIFIED TOWN
Johan Richard Mhlenfeldt Jensen
Leder af arkiv og museumsvsenet / head of archive and museum
Museerne i Fredericia
<[email protected]>
Abstract
Fredericia is a planned town, founded as a fortification, a town in which the military has always
been the raison detre. In order to populate the city the King of Denmark/Norway granted the town
privileges that religious refugees from other areas in Europe, such as Huguenots from France and
Brandenburg, and Catholics and Jews were allowed to settle, and furthermore openly to practice
their faith. This was a radical move in the period of post-confessionalism, and in a kingdom were it
ultimately was punishable by death to practice e.g. Catholicism.
Recently the museum and the archive in Fredericia have merged. This has opened new possibilities
for telling the story of the town from different perspectives.
In consequence of this merger we have discussed the overall strategy of the consolidated
organization, and ended up focussing on two major issues. On one hand the interaction between
military and town; and on the other the towns culture of tolerance and multiconfessionalism.
We have used this opportunity to create an app that integrates text, pictures, film, maps, and
geographical games into hopefully one experience to tell these stories. The project is currently
being approved by Apple, to be launched in May this year, and integrated with a new homepage,
that also involves user interaction. This will be ready in June. The paper describes these two
projects and the thoughts behind the concrete solutions chosen.

HTML RESPONSIVE DESIGN AND APPS

FOR MUSEUMS:
NEEDS AND OPTIONS AT MUSEO GALILEO
Marco Berni, Fabrizio Butini, Elena Fani
Museo Galileo - Institute and Museum of the History of Science
Florence, Italy
[email protected], [email protected], [email protected]
Abstract The new mobile technologies offer an unprecedented opportunity for museums to
disseminate their heritage, but entail also new challenges that require a special commitment in
terms of economic and human resources. Strategic choices concerning the development of apps
or HTML5 web sites optimized for mobile devices (web apps) must take into consideration not
only the specific needs of the single institutions but also some technological limits such as the
lack of accuracy for indoor location awareness. Another challenge to overcome, both in
technological and political terms, is the integration of owned content with different data sources
and external local services.
INTRODUCTION
The evolution of the web in the last years and the spread of new mobile technologies, such
as navigation systems embedded in modern devices, have allowed museums to offer new
types of services, thus representing an extraordinary opportunity to disseminate culture.
In its first phase the web was an opportunity to present content at a distance especially to
people that would have never been reached otherwise. In a second phase the web has made
possible a more active involvement from users at different levels, from simple and
spontaneous comments to most qualified and organized contributions such as Wikipedia.
Today the smartphones era has led to a brand-new phase, where the content is customized for
the user and is always available, whenever and wherever it is necessary. Obviously this new
phase opens a range of unprecedented issues concerning privacy and controls that are the
main focus of recent discussions in civil society and it will certainly lead to the definition of
new norms regarding rights and rules of conduct between users and service providers.
A digression on these topic is beyond the scope of this article; however it is noteworthy
that until now users have shown great appreciation for these types of services, and therefore
there is a constantly expanding market of users hungry for novelty.
STRATEGIC OBJECTIVES
Given the state of the market analyzed in the previous paragraph, and considering also the
difficult economic situation that involves Europe nowadays it is essential that public
institutions, including museums, review their strategies to better invest the public funds they
receive. In this sense, the European Union has indicated (and therefore is funding) the need to
enthuse the young generation to scientific culture that, especially in Italy, has always been
considered subject to the humanities, an unfortunate choice that has led to serious
consequences for the development of our economy, losing the European primacy of research
and production of more advanced (and profitable) technologies in favour of other countries.

In addition to these aspects it should be noted that museums, including art galleries and
science museums, have a key role in attracting tourists, an activity that is essential in our
national economy.
Based on the above considerations a series of strategic objectives arise:
- attract new visitors, especially young people
- facilitate access to museum collections
- enrich content with information belonging to other agencies or institutions (e.g. tourist
info and data from other museums) in order to provide integrated services in the local area.
The achievement of these results requires an effort distributed among various key players
and also (but not only) relies on an intelligent use of new technologies. Given the novelty of
these systems, museums must be committed to developing new languages and new forms of
communication to achieve the expected goals.
EXPECTED RESULTS
In accordance with the general trend, the museum experience cannot disregard
technological assistance, that can both boost the users interest and raise the profile of the
institution with new audience. A series of surveys, conducted since 2009 [1] involving more
than 2500 institutions across the globe, but primarily in the U.S., show that in 2012 more than
70% of the museums offered or planned to offer a mobile guide for free, while only in 10% of
cases this was accessible exclusively on payment, corroborating the fact that most of the
institutions has never felt the economic upturn as a primary objective of the system. There is
also a general tendency to progressively abandon the use of devices rented by the institution
in favour of visitors' own smartphones/tablets. Therefore there is a need to produce more
flexible services that operate in less controlled environments, and this fact plays in favour of
the use of HTML5 instead of specific apps. The reasons are also to be found in reduced
complexity and cost of development and maintenance. Museums in general seem to move
towards an increment of in-house content production, the definition of a long-term strategy
for mobile, the development of websites optimized for smartphones/tablets and a special
attention to young audience and social networks users.
More concretely, in terms of technology, museums can move on several fronts, adapting
their websites to be accessible from mobile, producing apps for smartphones and tablets to
support the visit of the museum, creating applications that provide cultural information related
to the area and ensuring the integration of their data with those of other entities.
Considering the logic of economies of scale, it should also be convenient to develop these
systems in a federated environment established among various institutions, not only in order
to minimize costs, but also to provide truly integrated and higher quality content. We realize
that this is a complex problem both in organizational and political terms, but it is a path that
we will be forced to follow.
Traditional Web sites vs. mobile

Web sites designed to be used with PC/laptop provide a large amount of information, with
a layout that hardly fits mobile devices, especially due to their layout richness. To overcome
this problem, it is necessary to work on the content and its presentation that must adapt to the
specific characteristics of mobile devices. Furthermore web sites, even with HTML5, fail to
fully utilize the various sensors that are available (GPS, inertial sensors, etc.).

Outdoor services
Outdoor scenarios are those that benefit the most from the new devices, and in fact many
services have already been developed for them, especially with apps. The limit in this case is,
at the present moment, the integration of services from different suppliers. It is a world in
constant evolution, where services have already been identified and implemented, but lack
integration with existing services.
METHODOLOGIES
In order for services to be usable in a smartphone/tablet two operative modes can be
identified: smartphone apps and HTML5 responsive design.
Apps for smartphones and tablets

Mobile apps can take full advantage of the sensors of a smartphone/tablet, but present
some difficulties. Content organization is not based on a descriptive language interpreted by a
browser, but must fully manage the interface. Furthermore they depend not only on various
operating systems (Android, iOS, etc..) but also on their different versions, a problem that
also affects the production costs. However, apps are still the most powerful way to interact
with the user and are crucial to retrieve data from multiple sources simultaneously.
Unfortunately, with current devices, localization in interiors -which would be extremely
useful for museum purposes- is not yet possible with the required level of precision.
HTML5 responsive design

A possible solution at relatively low cost may be the creation of a website in HTML5 and
CSS3 that automatically adapts the interface depending on the size and resolution of the
device in use. The approach can be that of progressive enhancement, which aims to present
essential content on less powerful devices, while progressively enriching the experience by
providing more content to more powerful devices. This technology allows, at least in theory,
to use a single application for all devices, from smartphones to PCs and for all operating
system. With the evolution of browsers and their ability to access smartphones services with
integrated technologies like PhoneGap [2], this solution could be a valid strategic choice.
Characteristics and critical elements in museum contexts

Regarding museums (and exhibits) there are some specific aspects that suffer from the lack
of appropriate technologies. In particular, it would be very useful if the application were
aware of the exact location of the user in order to simplify the items selection. Unfortunately,
the accuracy of current positioning systems may be sufficient for museums that expose just a
few items per room, and at a certain distance from each other, but it is not efficient for
situations where there is a high density of objects, even becoming totally useless for museum
showcases. Code reading systems, such as QRcode or NFC, although valid from an
identification point of view, are visually very invasive and often impractical. An approach
based on the analysis of the power of multiple Wi-Fi or Bluetooth access points seems
promising, but even in this case, the approximation is in the range of meters and therefore
unsuitable to identify the items inside the showcases. There are also methods based on the use
of multiple sensors (Wi-Fi, accelerometer, compass, etc.) but since these sensors are subject
to the accumulation of errors, their precision becomes soon unreliable.
In any case there is no perfect solution since each institution's needs are different,
considering not only the location of objects and their proximity to one another, but also the
building age and the state of its infrastructures. It is also important to keep in mind that the

majority of museum visitors prefer the most straightforward and simple solution, which in
most cases is the now standard audio tour keyboard with numbers and object icons.
Linked Open Data and Permanent identifiers

For a better integration of services the following technologies, although not specific to the
mobile world, are also very useful: Linked Open Data and Permanent identifiers.
The LOD is the technological solution that allows the integration of different data sources
and is therefore fundamental for the development of external and internal services. In the case
of museums, and even more for information on places of cultural interest, this can be used to
add links to historical, logistics and entertainment resources.
The Permanent identifiers, although not strictly necessary, could be employed to facilitate
the creation and the long-term maintenance of the connections between resources, in
particular when using material from several different sources.
Examples
In the domain of apps and web apps there are already thousands of applications - including
some very valid ones - and their number increases day by day. Among them we can mention
the web app at the MOMA in New York that, with an effective and neat interface, offers not
only a valid aid to understand the collections but also a range of services of practical nature
such as admission information and online ticketing.
The Smithsonian [3] choses a different approach, offering a wide panorama of apps for
Android, iPad and iPhone and also web apps aimed at different types of users thanks to
specific and well diversified content. Among these there are also attempts to create games for
children, like MEanderthal [4], an app that allows to morph one's own portrait into the face of
an early human.
A different category of apps includes both the "Museum of London - Streetmuseum" [5]
and the Italian "Visito Tuscany" [6] that utilize augmented reality to show the places as they
were on old photos and for the identification of sites via camera and GPS.
There are some underway experiments with regard to indoor positioning: for example the
Fernbank Museum of Natural History in Atlanta uses an app called Meridian [7] to give
directions inside its premises.
Apps like Huntzz - Treasure Hunts [8] exploit the playful aspect of the treasure hunt in
several museums, opening a number of possibilities that have yet to be fully explored.
CONCLUSIONS
For the Museo Galileo, as for all the other museums, new technologies based on
smatphones/tablets offer a wide range of challenges and opportunities. The provision of
additional information -compared to traditional tools like museum captions- and the new
interactive experience should raise the profile of the institution, which in turn will attract
more visitors by making the visit experience more satisfying. Obviously these objectives
require a certain commitment in terms of human and economic resources in order to produce
new content, create an infrastructure for its consultation, keep the services up to date,
encourage visitors to use the system and make it sustainable.
The future development of a local integrated museum system could result in technological
developments thanks to the use of augmented reality and a better connection among data
coming from different sources that will be able to cover not only the cultural aspect of a visit
but also its logistics.

FIGURES AND TABLES
Left to right: Main menu of New York MOMA mobile website. The floor index at
MOMA. The online ticket shop at MOMA.
..
Museum of London Streetmuseum app. Camera view of the present day street taken by
the smarphone with an old image in overlay.

References
[1]Loic Tallon, Pocket-Proof. Museums & Mobile in 2012, An analysis of the Museums &
Mobile Survey 2012 responses, 2012. Available at http://www.museumsmobile.org/survey/ (Accessed 5th March 2013).
[2]PhoneGap, Available at http://phonegap.com/ (Accessed 7th March 2013).
[3]List of Mobile Applications at Smithsonian, Available at
http://www.si.edu/Connect/mMobile (Accessed 6th March 2013).
[4]MEandethal, Available at http://www.si.edu/apps/meanderthal (Accessed 6th March
2013).
[5]Museum of London Streetmuseum, Available at
http://www.museumoflondon.org.uk/Resources/app/you-are-here-app/home.html
(Accessed 6th March 2013).
[6]VISITO Tuscany. Visual Support to Interactive TOurism in Tuscany, 2009. Available at
http://www.visitotuscany.it/index.php/en (Accessed 5th March 2013).
[7]Meridian apps, Available at http://www.meridianapps.com/ (Accessed 7th March 2013).
[8]Huntzz Treasure Hunts, 2012, Available at http://www.huntzz.com/ and
https://play.google.com/store/apps/details?id=com.huntzz&feature=search_result
(Accessed 7th March 2013).

ACCESS TO THE
CULTURE INFORMATION

CNR RETRIEVAL OF IMAGES FROM HYPER-SPECTRAL

DATA THROUGH INTERACTIVE NETWORK ACCESS
(CRISTINA)
Filippo Micheletti, Lorenzo Stefani, Costanza Cucci, Marcello Picollo
Institute of Applied Physics Nello Carrara - Italian National Research Council (IFAC-CNR),
Via Madonna del Piano 10, 50019 Sesto Fiorentino, Italy
Email addresses: [email protected]; [email protected], [email protected],
[email protected]
Corresponding author: Filippo Micheletti; email: [email protected];
Phone: +39-0555226473
Abstract The IFAC-CNR hyper-spectral imaging system acquires cube-images at very high
spatial and spectral resolution in the 400-900 nm range. The obtained data are used to study the
composition of artists materials, for true-colour reproduction of paintings, and for documenting
the characteristic of the underdrawings and pentimenti. The current reluctance to make more than
limited use of cube-images is due to issues related to the need for efficient filing and computing
systems and to the lack of specific image processing skills. The experimental client/server platform
developed at IFAC-CNR can be a solution to the hyper-spectral data using issue. The proposed
IFAC-CNR platform is presented in this paper.
INTRODUCTION
Plane and/or satellite hyper-spectral imaging techniques have been applied to the study of
resources in the country [1,2] as well as to soil survey and mapping [3,4]. These techniques also
have been used for the diagnosis and documentation of works of art, mainly focused on paintings
[5-8].
The hyper-spectral imaging system assembled at IFAC-CNR is able to acquire cube-images at
very high spatial (about 270 dpi on the object plane) and spectral (over 400 bands) resolution in
the 400-900 nm range [9]. The obtained data are used to study the composition of artists
materials through their spectral characteristics as well as for reconstructing true-colour
reproductions of paintings. Moreover, the electromagnetic radiation in near infrared allows
researchers to obtain documentation about the preparatory drawings, pentimenti, and previous
restoration works, making this type of analysis a valid instrument for art historians, curators, and
conservators.
At present, however, the availability of such cube-images is not taken advantage of because of
two major limiting issues. The first issue is that the huge mass of data provided by the
acquisition system (the CNR-IFAC instrument produces about 140 GB/m2) makes the data
distribution problematic. Currently data sharing usually is accomplished through physical
transportation on a hard disk or, in a very sub-sampled form, on a DVD. This approach greatly
limits the diffusion of data and imposes long transfer time procedures. Also, the replica costs are
high unless the data have been drastically reduced in spatial and spectral resolution. Moreover,

even if the diffusion of the wide-band connectivity might suggest having a central station for
storing all the recorded data, the global costs in time and energy for transferring data of such
dimensions are still very high. In addition, this approach usually would not permit scientists to
consult about or to elaborate on the data in a real-time mode from common internet
locations/points. The second issue is that analysing this kind of data requires efficient filing and
computing systems and specific skills in image processing. Furthermore, in this specific field,
unlike elsewhere, the users do not need the entire data set, but only portions of it obtained as
results of well-defined and homogeneous processing operations [6].
In this context the achievement of an experimental client/server platform, which keeps the
filing and processing burdens on the server side and which makes possible the execution of
remote standard processing operations through simple web graphical user interfaces could be the
solution to the issues associated with using hyper-spectral data in the cultural heritage field. An
experimental system of this type is described below.
CRISTINA
CRISTINA (Cnr Retrieval of Images from hyper-Spectral data Through Interactive Network
Access) is a web-based platform for the management of aggregated data related to hyper-spectral
measurements on artworks.
The platform is centred on a database with the functionality of data organization. It is not
necessary to locate the aggregated data on the same server of the database; they can be
distributed over the internet. A set of tools provide access to the database, and they implement
the management, visualization and elaboration of the data [10].
Data organization
Data in the database are organised in a tree structure: the first level is the artwork. The second
level is associated of a certain number of elements to each artwork. At the third level each
element is a link to a series of measurements groups. Each measurements group is an aggregation
of spatial synchronized data, which can be superimposed and compared by both visual inspection
and image computation techniques. This means that a reference picture (typically a RGB image),
which is shown by default on the data viewer, has to be associated with each measurements
group.
This type of data organisation allows researchers to manage both single- and multi-parts of
the studied artwork (through elements distinction) by accessing different measurement sets
acquired on the same artwork, for example before and after a conservation intervention (through
the distinction of measurements groups).
User data access is achieved through a browser which allows data research on the database
with several parameters: the browser returns research results and shows a reference thumbnail
for each artwork's element; thus the direct access to the visualisation tool is obtained by selecting
the desired element.

Visualisation
The visualisation tool is a web application based on IIPImage [11], an advanced system for
viewing and zooming ultra high-resolution images. The client-side viewer, a JavaScript
application called IIPMooViewer, interacts with the FCGI server application, IIPServer. The
server application produces images in the IIPImage exchange format from pyramidal images
(TIFF or JPEG) and sends them to the viewer, which takes care of right re-composition and
visualisation of the images.
Side by side with the visualisation tool there is a structure for the superimposition of layers on
the displayed image. Then these layers can be used to superimpose any kind of data spatially
synchronized with the base image, such as images from different acquisition systems or
spot/punctual measurements data [12]. Furthermore, an interface for using server side utilities for
extraction and elaboration of data from files containing the measurements is available; these
routines dynamically interact with the visualisation platform through AJAX-FCGI methods.
Regarding the visualisation, the features available at this time are (Fig. 1):
presentation of superimposed images and cross-fading effect for a visual comparison of
different images;
presentation of the reflectance spectra extracted from the hyper-spectral data for point of
images selected by user;
presentation of data acquired with other devices (i.e. FORS measurements [12]).
Figure : a screenshot of the visualization tool with a superimposed layer containing

references to a punctual measurement.

Available elaboration tools are:

extraction of single spectral images, sub-bands, and their composition in false-colour;
elaborated images using multivariate methods like Principal Component Analysis (PCA)
or spectral angle mapping (SMA) for the mapping of pigments;
extraction of original measurement partition for user specific elaboration;
Data access
All operations performed on the data are controlled by a permission management program
based on the type of user. Thus, the system grants access only to a specific section, depending on
the user-specific privileges. Presently, there are three different access levels: administrator,
standard user, and advanced user.
The standard user has a base access to the system capabilities, such as:
browse data;
visualise data;
request the insertion of new data into the system or perform computations using already
loaded data.
The advanced user has all of the standard user capabilities and, in addition to them, he is
allowed to:
have access to a basic computation instruments set, like the tools for the extraction of
images from cube-files or for sub-images extraction;
load new data onto the system.
The administrator has access to all privileges on the system and is able to (Fig. 2):
load, edit or delete users;
load edit or delete data;
access all of the available computational instruments.
The system offers all of the features of an HTML 5.0 based web interface compatible with
most recent browsers and mobiles. Furthermore, the entire system is designed to minimise data
exchange between client and server, which also minimises the computational resources needed
by each. For this purpose, whenever possible, most computationally expensive elaborations that
involve the entire object area are saved, archived, and directly accessible for future use. For
computationally simple elaborations, like the extraction of the spectra in a point of the image,
and for elaborations related to single points or portions of the object area, the elaboration result is
not archived. Finally, most elementary computations related to visualisation of results are
delegated to the client.

Figure . A particular of the administration interface.

Future developments
The main development foreseen in the immediate future is the expansion of the computation
and visualisation instrument set to better respond to user feedback and requests. Moreover, the
migration to the vector graphic system for diagram visualisation, including the addition of new
capabilities, such as graphics superimposition or trace addition, which will provide a more
intuitive comparison of results, is already scheduled.
More broadly, this means that the tools available in the experimental hyper-spectral imaging
system can be adjusted to meet the management, access, and computational requirements for the
analysis of all type of hyper-spectral data.
ACKNOWLEDGEMENTS
The authors wish to thank the Regione Toscana (Tuscany, Italy) for having financed the
Preventive Conservation of Contemporary Art (COPAC, 2011-2013) Project in the framework of
PAR-FAS Regional Project (2007-13). The authors also thank Stefano Baronti, Andrea Casini,
and Marvin Gore for useful discussions.
References
[1] B. Aiazzi, L. Alparone, A. Barducci, S. Baronti, and I. Pippi, Information-Theoretic
Assessment of Sampled Hyperspectral Imagers, IEEE Trans. Geoscience and Remote Sensing,
vol. 39, no. 7, pp. 1447-1458, July 2001.
[2] http://aviris.jpl.nasa.gov/
[3] http://eo1.usgs.gov/sensors/hyperion
[4] http://www.enmap.org/

[5] M. Kubik, Hyperspectral Imaging: A New Technique for the Non-Invasive Study of
Artworks, in: D. Creagh, D. Bradley (Eds.), Physical Techniques in the Study of Art,
Archaeology and cultural Heritage, Vol. 2, Elsevier, Amsterdam, pp. 199-255, 2007.
[6] M. Picollo, M. Bacci, A. Casini, F. Lotti, M. Poggesi, L. Stefani, Hyperspectral image
spectroscopy: a 2D approach to the investigation of polychrome surfaces, in: J. Townsend, L.
Toniolo, F. Capitelli (Eds.), Proceedings of Conservation Science 2007, Milan, May 10-11,
2007, Archetype Publications, London, pp. 162-168, 2008.
[7] J.K. Delaney, J.G. Zeibel, M. Thoury, R. Littleton, M. Palmer, K.M. Morales, E.R. de la Rie,
A. Hoenigswald, Visible and Infrared Imaging Spectroscopy of Picassos Harlequin Musician:
Mapping and Identification of Artist Materials in Situ, Appl. Spectrosc. vol. 64, no. 6, pp. 584594, 2010.
[8] Liang H., Advances in multispectral and hyperspectral imaging for archaeology and art
conservation, Appl Phys A, 106, pp. 309323, 2012.
[9] C. Cucci, A. Casini, M. Picollo, M. Poggesi, L. Stefani Open issues in hyperspectral
imaging for diagnostic on paintings: when high spectral and spatial resolution turns into data
redundancy: in O3A: Optics for Arts, Architecture, and Archaeology III edited by L. Pezzati,
R. Salimbeni, Proc. SPIE Vol. 8084, pp. 808408 1-10, 2011.
[10] http://eidogiga.ifac.cnr.it/CRISTINA/
[11] http://iipimage.sourceforge.net/
[12] http://fors.ifac.cnr.it/

PENCO SYSTEM
Sara Penco
Discovering the work of art
By European University of Rome
The project provides an innovative support to the study, filing and diagnostics of the
manufacts of art by means of a file of historical-iconographic information and a software.
The hub is a database, including the features which have characterized the iconography of a
subject in the long run. The system can detect the features characterizing a definite
historical period and a localized geographical area, thus allowing to identify the age and the
area the manufact derives from.
The filing method can be applied to any subject, from the holy to the profane one and to any
type of manufact. The images can be filed.
The result of the iconographic research will be able to be compared with two other databases:
the one of the historical documents and the one of the chemical characteristic of pigments as
well as of the executive techniques.
INTRODUCTION
The preservation of the artistic manufact has to be meant as protection of its two-sided historicity:
thought as physical consistency , but also as rediscovery of the historical meanings.
In fact it exists thanks to the commits will and to the artists will of transmitting a message which
is doomed to win over the passing of time.
The birth of a strategic synergy between art and technology represents an essential support to
encourage the application of dedicated microtechnologies which can reach and put as common
factor the benefits deriving from two completely different worlds.
The Penco System derives from the primary need to recover all the historical information aimed
at finding the path of a manufact.
The usability of the information and the retrieval of the lost elements represents an essential support
for the optimization of the work of the experts.
In fact, the limits of human memory on one hand and the importance of the retrieval of the lost
historical information on the other hand represent the solution of the problems which appear as a
critical element of a highly nevralgic field.
The direction of innovative techniques, aimed at the rediscovery of the lost historical elements
allows the retrieval of a double-sided historicity of the work and makes that knowledge possible
which is essential for its estimation.
The estimation of the Cultural Heritage and the usability of the ordered information, represents the
milestone to encourage the cultural exchanges and the plan strategies dedicated to the requalification of the territory and the enhancement of tourism on international scale.
The method characterizing the Penco-System can also be applied to the Eastern Cultural
Heritage.
Peculiarities and synergies deriving from a homogeneous and user-friendly filing.
The iconography represents the grammar of art: the iconographic rule can be intended as an
essential codifying element, aimed at the detection of the represented theme and this is why it can
applied to any type of handwork.
The technology provides an up-to-date instrument in the field of art, addressed to optimize the
state of the present technique.

The organization of the data-base of the Penco-System allows to identify and make all thet
information possible , which is essential to put the manufact into a particular historical period or
into a localized geographical area.
The method can be applied to any subject: from the holy to the profane and to any type of
manufact (paintings, statues, frescoes, miniatured codex, etc.).
The project
The project Discovering the work of art Penco-System is an initiative aiming at making the work
of historical iconographic diagnosis of any examined work easier and more complete, by the use of
modern information instruments aimed at tracing the greatest deal of reliable indications correlated
with the work itself.
The great deal of information found in texts and documents are brought to intelligent comparison
just in the minds of a few expert scholars of this field. Sometimes, due to obvious human limits,
there is a lack in the wide knowledge of information so that we run the risk of making any
consideration scarce both on a qualitative and on a cognitive level.
In order to overtake this hinder here is the realization of an instrument as flexible and dynamic as a
software procedure, oriented to the study, the diagnosis and the comparison of allegorical meanings,
technical, historical and characteristic data of the work.
The project consists of a new procedure of diagnostics allowing to fix a deal of certain elements
about the examined work of art and which will be a more correct and above all a more
circumscribed point to cope with the following studies.
By certain elements we mean all that information, at the present state of the technique are
trusted in the individual professionality of the one who is about to face the study of the work.
But, unfortunately, in most cases the results of the diagnosis are contrasting even among scholars of
the same level. This problem often depends on the fact that one of the most objective difficulties
consists of the research and the retrieval of the greatest possible deal of that information which will
then orient the study phase.
Technical description
The project Discovering the work of art, by means of an informatized procedure and thanks to the
patrimony of a very precious database, allows us to rediscover a significant deal of historical
information lost in the long run and exposed to the forgetfulness of human nature.
It consists of a graphic interface (which can be used in loco or by the internet) that thanks to the
use of relational databases, classification algorithms, comparison and research of information based
on data recursive visit schemes and of simple artificial intelligence instruments allows us to retrieve
information about a work or a subject by the introduction of some elements or characters.
These parameters, called input, can be varied and completed by the equipe leading the software
management during the enlargement of the research/study, even thanks to the information produced
by the software itself. The procedure gains a sort of interactivity when the inserted news is able to
bear a correlation with other ones.
The process takes place again and again up to the end of the data visit capabilities by the
algorithms.
Interests, functions and innovativity
The Penco-System is oriented to provide a service that, taking advantage of the synergies we have
at the present state of technique and harmonizing them in an intelligent comparison, has the aim
of making the diagnostics of works of art (information retrieval, study, filing, etc) more
innovative and technological.
The project relies on a complex information file-we will define as certain elements-which is the
result of objective historical data and which is not exposed to arbitrary protest.
Therefore, for this reason the diagnostics realized by the system Discovering the work of art can
deal as a warranty since the information that will be elaborated will build a heritage which would

have otherways given out to the waste of significant human energies as well as to the danger of
meeting those oversights and forgetfulness which often brought to the diagnostically wrong way.
Therefore, the project boasts of a strong innovative contents as well as of the prestige of a major
safetyabout diagnostics. These elements surely represent that aspect of usefulness and
functionality qualifying the service. We should keep in mind that in the field of art the use of
information procedures represents itself an innovative instrument
Moreover, just because of the characteristics featuring its working procedure and its own
mechanism, the range of mistakes gets suitably reduced as to warrant encouraging and assuring
results about the safety of the diagnosis. What we mentioned above is safe even from the point of
view of a stricter respect of the subject of the work of art and its historical reality. The higher
functionality, giving out to a more competitive diagnostics, since it is advanced and organized,
becomes useful from all of the professional points of view, thus offering a safe service, which can
be tested and fulfilled in a quicker way than the present one. It uses instruments and techniques such
as the computer and the organized data files, procedures such as the intelligent comparison of the
information and its systematic re-exam, thus coming to the retrieval of those characters belonging to
history-therefore subject to be lost in the long run- and to the discovery of new information. The
latter are derived from an ordered procedure (algorithm), therefore not subject to oversights and
able to verify contradictions and to integrate old information with new deductions.
Data Base Structure
The first data base is structured by means of many cards containing the files of all of the
iconographic data featuring a subject, recognizing the characteristics according to ages and
geographical areas, within these cards we can find a dynamic file including the manufacts of the
most important artists who dealt with the subject.
These works have already been known and studied and they are the same ones we derived the
iconographic study (subject of the research) and the list of the attributes (media to carry out the
research) from.
We briefly refer to the attribution of the mentioned works to the filing purpose, to their original
location, and whenever they do not coincide, to the present one. We also list important works which
we know they exist although their location is unknown (lost works). By the interrogation of this
database, the system allows us to identify the subject pictured in the work in study and by the
comparison of the attributes it suggests a probable age of execution and a geographical setting.
For instance, if a saint has been worshipped just in a specific town and has the characteristic
features of the representations marking a certain century, it will not be possible to set the work
elsewhere or to date it back to a preceding age.
Therefore, the system underlines that these manufacts cannot belong to artists who never reached
those places or those commits justifying their execution. As a consequence, we cannot list hereafter
all of the synergies which can be applied to the system, since the fruitions are many and different
and the strong innovative character will suggest new ones in the future.
That is why we decided to introduce just a sample enclosed to the term of the present document.
An example: hypothesis of identification of a character of the Universal Judgement of the
Sistine Chapel.
Obviously we cannot illustrate all of the functions the research system by an example the great deal
of applications characterizing the innovative contents and potentialities. Nevertheless, the following
hypothesis is the result of the iconographic research criteria of the Penco-System applied to one
of the most famous masterpieces all over the world and, for this reason, it aims at showing how the
support of an informatized system can provide a precious contribution which has to undergo the
estimation of the expert scholars.

In the text The revealed Sistine Iconography of a masterpiece

Professor Hendrich W. Pfeiffer, S.J. elaborates a very careful iconographic
interpretation of the frescoes in the Sistine Chapel.
In the section concerned with the Universal Judgement and, in particular
with the identification of the characters of the Confessors, the scholar
describes the figure of a mighty crossbearer which represents the one
who correlates this group of figures with the one of the martyrs.
Professor Pfeiffer recognized, in the mighty man, the figure of Simon from
Cirene (even called Cireneo); suitably identified as the one who supports
other pains, since in the Gospels they tell us he was compelled by the
roman soldiers to help Jesus, overdone by the lashes, to bear the cross on
the way to the Golgotha (see Mt. 27,32).
Charging the weight of the cross on himself, Simon heals the human
beings from sins.
On the right side of this motive we can recognise a female figure, which
has not yet been clearly identified by the expert by far.
Eventhough this woman is set in the extreme side of the Judgement, she
seems to play a significant role from the point of view of Michelangelos
composition form.
Ditail of the Universal

Judgement by Michelangelo
(Sistine Chapel)
Her image, eventhough in the backstage, is represented thoroughly and it is set just behind Simon,
who, addressing his face towards her, fairly seems to take his attention away from the
overwhelming storm pervading the composition of the Judgement.
The link between these two characters is clearly underlined by the contact with the cross, since the
maiden is represented in the very act of kissing the wood.
Ultimately, this figure is pervaded by the yellow colour of the rational discrimination, repeated both
by the colour of the whole dress and by one of her hair.
The iconographic features we found have been elaborated by the research method of the PencoSystem, which, as you will see hereafter, marks its possible identification with the figure of Maria
Maddalena. The image of the Saint was spread both for its living and strong reality and because the
sin, forgiving and rescued by the Saviour Himself, thanks to the power of love, makes her almost a
symbol of mankind.
This is why the repented Saint makes its collocation reasonable as well as the reference to the group
of the Confessors. Moreover, its common that the traditional iconography puts it in relation with
the attribute of the cross.
To support this hypothesis we should consider that, in the cycles of the life and legend, the gospels
tradition often describes Maddalena in the moment of the Saviours forgiving and remembers her
presence in all the scenes of the passion, the delivering and the resurrection, where she appears in
the group of the witnesses. During the Crucifixion it is not to recognise the saint, while, at the
bottom of the cross embraces or kisses the wood or Christs feet.
The red dress Maddalena often wears in the traditional iconography hints at the symbolic expression
of her frail humanity which has led her to a perverse life before repenting and asking Jesus to be
forgiven. In the context of the Judgement, which is to be meant and set after her conversion the
yellow symbolises her recognition of the past life: sin and rescue for eternal safety.
In fact, the Universal Judgement represents the end of everything and the Judgement of what has
passed by.
Eventhough human sensibility cannot and must not be replaced by technology, the inventor of the
Penco-System, result of a true passion for art, really wants to end this hypothesis as in the
following.
The cross represents the main symbol of Christian faith, since it refers to crucifixion of Jesus, who,
through his passion and death, sacrificed himself to rescue mankind in the name of Gods love.

The Universal Judgement, the widest fresco ever committed on a wall, was wanted by someone
very important who trusted in an extraordinary artist for its realization.
The Church has encharged Michelangelo to represent, by his painting and an iconographic program,
the instrument to communicate to all peoples the greatness of the Christian message.
Im sure that the Universal Judgement represents a precise christian message that the Church
wanted to address to the mankind by the majesty of the Sistine Chapel. I.E. that the ammonition and
the redemption of the sinners represent the exortation to reflect, in the awareness of the sick who, in
the image of Maria Maddalena, symbolize the tears of man kind: since only those who understood
the message of God, will gain His forgiveness and will find eternal rescue.
Also Simon, by the torsion of his body, really embodies an iconographic conceit: he does not
only underline the weight of the cross, just to express the strength and the sacrifice for the
redemption; but he seems to draw his attention away to look at the particular gesture of the
woman, who is portraited as almost kneeled behind his shoulders and up to the cross.
In my opinion, Michelangelo, while devotedly celebrating this message of God, couldnt avoid
representing in his masterpiece, even the image of Maria Maddalena.
The Saint, that figure of a sinner whose worship was so widely spread, witnessed by the Gospels
and widely represented through all art history, is the one who, thanks to her redemption, implored
and gained Jesus forgiveness, thus conquering a place next to Christ.
Second and the third database
Besides, the project foresees that the system Discovering the work of art be instructed to
interact with a second database containing the files of all information coming to us by means of
historical texts such as Books of Bills of the painters and The Lives by Vasari or old law acts
and catalogations.
Within these texts we can trace highly precious information about the works made by the most
important artists, in what age, for which commits and at which wages. Moreover, we also describe
here the pictured subjects with their corresponding measures and the descriptions which are useful
to find the works to be filed and the lost ones. Therefore, the interaction between the two databases
allows us to realize and monitor a dynamic filing including the localization of known manufacts
(with the place they were originally or where they are kept at the moment); to find works previously
identified in a wrong way and which cannot be found properly and, at least, to find other ones
seemingly made but whose placement is unknown to us at the moment.
A third database, which is complementary with the two ones we have been mentioning above, is
instructed to the purpose of filing the chemical characteristic of pigments and the executive
methodologies of the different artists. Even in this case the data are divided into according to the
materials used by the different artists, classified according to ages and geographical areas. To this
purpose we should consider that some pigments, often more precious ones, were used only by the
Master, while the pupils had to be satisfied with a less rich and expensive palette. Moreover, some
materials were difficult to be found and were often retrieved just in some geographical areas and,
above all, in some ages.
Therefore, the innovative contents are both in the devices used to instruct the working procedure,
both in the quality and in the quantity of the results. The last ones form that cultural patrimony that
turns out to be so claimed and laborious to be found.
What we have been saying by far can let us guess which unknown work is hidden behind such a
harmonized work; where technology takes advantage of history to innovate the study and
knowledge of an art so rich in mysteries, connected with one another and set far from our
knowledge by the running of time.

Innovative contents and peculiarities of the Penco-System synergies and benefits compared
with state of the technique.
Iconclass, Thesaurus Iconographiqueallow to come to identify the work of art from an
aesthetic and didascalic point of view, but they do not allow to set in time images that saw the
change of their iconographic typologies through the ages.... Ex.: iconography of Saint Sebastian.
In the iconography of the origin, the Saint is represented as a soldier. While from the XIV
century he is represented as a scarcely dressed young man and target of arrows. Iconclass
does not allow to trace such a distinction.
(L. Conti, 2003, I Beni Culturali e la loro catalogazione Roma, Bruno Mondatori Editore, cap.6).
Limit of the state of the technique: the ordering of the database just described above, even if it
is the same iconographic subject, finds a limit: the variations of the iconographic representation in
time and in the geographical hinder the correct identification of the represented subject. Saint
Sebastian with armour (iconography dating back before the XIV century) cannot be associated
with San Sebastian as a scarcely dressed young man and target of arrows (iconography dating
back after XIV century).
(Just for the database of Saint we realized 1250 cards, including the data derived from 38.000 pages
of books).
Intellectual property. Organization of the database. Meant as collection of independent data
(available to everyone), systematically and methodically set to the purpose of making them
individually accessible by electronic medias (or something else). That is to say: the elaboration of
the contents and the research mechanism. (law about copyright). Research mechanism.
Functioning specifications of the information system (electronic media) set to data interrogation.
Some of the refinement functions of the research are: synonyms, correlations, weight, etc.
From 1999 to the present there were many Siae patents in the database structure and the
specifications of the research system.
Patent Demand Italy, European, U.S.A. Title: Discovering a work of art. Pub. No.:
WO/2008/056392. International Application No.: PCT/IT/2007/000778.
Strategic goals: to know to defend.
The demographic research of the Cultural Heritage is one of the almost critical aspects of this field.
The couple art/technology represents the instrument that makes the efficiency of the essenctial
condition: for traceability and type of manufact; possible individuation of the geographical area
and of the original age: methodology in the data organization; capability of tracing the lost
historical information high index of interface possibility with other systems.
Monitoring and control of the risk factors and relative safety programme: traceability of the
work, control of the legitimate antiquity on international scale, safeguard and safeguarding of the
work. Scientific Committee: Gen. C.C. (R) Roberto Dott. Conforti (Sipbc President General of
Arma the Carabinieri Tutela Patrimonio Culturale).
A version of the Penco System was given to the Arma dei Carabinieri Tutela Patrimonio
Culturale for the Leonardo System. Such version was properly realized to encourage the
identification and the retrieval of the stolen works (on March 30th , 2005). Finmeccanica Contract.
Struggle against crime: the traceability of the cultural good represents an essential instrument for
the struggle against crime. Scientific Committee: Com. Gen. Sen. Luigi Dott. Ramponi (Cestudis
President; General Commander of the Guardia di Finanza).
How to reach the goals: the role of the Universities. The project derives from a primary need of
the section of the Beni Culturali: to know the heritage. It is necessary to be aware that the
contribution of technology must stay submitted to the unreplaceable and unavoidable human
sensibility; since art represents the expression of the mans best capabilities and the instrument by
which we wrote the history of our civilization. Thats why the cooperation with the European
University of Rome is so precious, to the purpose of pursuiting ambitious goals within the
valorization of an artistic heritage and to promote cultural exchanges among different countries.
Aknowledgements: for further information click on: www.sistemapenco.com

INTRODUCING A VIRTUAL REALITY EEG-BCI AND

PRIMING-BASED TOOL TO MAKE ART INTERACTIVE: A
TECHNOLOGICAL AND LINGUISTIC CHALLENGE
Miriam Bait1, Annalisa Banzi2, Raffaella Folgieri1, Sabrina Minetti3
1
Dipartimento di Economia, Management e Metodi quantitativi
Universit degli Studi di Milano, via Conservatorio, 7
20123 Milan Italy
2
Istituto di Comunicazione, Comportamento e Consumi Giampaolo Fabris
Universit IULM
Milan, Italy
3
C.A.P.A.C. Politecnico del Commercio
Milan Italy
Abstract. The goal of this paper is to present a first prototype of an augmented reality tool
enhancing art fruition, drawing on our previous research results on EEG-based BCI (Brain-Computer
Interface) devices and priming. The tool, namely ART, aims to integrate research results and new
different technological means to provide users with a virtual tutor accessible through new generation
mobile devices. Its ultimate goal is to promote culture exploration overcoming linguistic and cultural
barriers. Although the tool is at an early stage it has already proved to be user-friendly, stylish and
promising of further future development.
INTRODUCTION

Technology refers to the medium used to involve people in experiencing art. The role of
technologies is also important in collateral activities, such as the opportunity to track visitors and
understand what they are doing both within the museum and, virtually, on-line.
A very typical phenomenon of our times in Western societies is the rapid transformation of
textual traditions and orders of discourse [7, p.96]. Any change brings about new combinations,
the co-occurrence of contradictory elements, which give rise to a mixture of styles. English is used
as a lingua franca (ELF), in terms of the communicative strategies adopted to engage users,
especially when expertise, knowledge sharing and knowledge creation come increasingly into play.
Linguistic elements are reinforced and complemented not only by usual, traditional visual elements,
i.e. colours and pictures, but also by a range multimedia resources, i.e. audio, video, podcasts. All
these elements facilitate the comprehension of texts, support efficient communication, and enhance
the effectiveness of the interpretation process. In this regard, it will interesting to evaluate the
directive, instructive or purely entertaining nature of the contents of these texts. The main purpose
is to identify and analyze salient linguistic and pragmatic features, including the use of personal
pronouns and verb moods, specialized or non-specialized lexis and style [5, 7, 8]
Given this framework the structure of the present paper is divided into three main sections. The
first part provides an overview of our previous researches on which the presented tool is based. The
second part presents the current prototype version of the Virtual Augmented Reality tool. Finally,
we discuss possible applications of the designed tool and future further developments.
OVERVIEW AND OUTCOMING FROM PREVIOUS RESEARCHES

A few years ago we have started our research reviewing the state-of-the-art of VR in Cultural
Heritage [9]. We have then investigated means and methods to collect, analyse and interpret data
[2] from people accessing art to find a way to enhance the visitors experience visiting.
Our researches have been conducted attempting to jointly use methods from technology,
education and psychology with the aim to enhance the publics experience when observing Art.

In order to get conscious and unconscious feedback from users, we chose to use EEG-based BCI
(Brain-Computer Interface). The reason for this choice lies in their extensive use in the
entertainment and in the scientific communities due to their reliability in collecting EEG data with a
high time resolution and to their portability and low-cost. BCIs [1] commercial devices consist in a
simplification of the medical EEG equipment, communicating an EEG response to stimuli by WI-fi
connection, allowing people to feel relaxed, reduce anxiety and move freely in the experimental
environment or in the game.
We performed our researches with particular focus on users emotional and cognitive response to
musical and visual stimuli, with the aim to transfer our result to enhance users experiencing of art.
We performed preliminary experiments to evaluate specific protocols with the aim to test the
reliability of both the Emotiv Epoc and the Neurosky Mindwave. We based the considered mental
state/emotion labels on the 2D valence/arousal model [17] originating from cognitive theory. This
model has been used to determine the apparent mood of music in several works [13, 14] .
To test the generalization ability of the chosen EEG features patterns and associated labels, we
elicited physiological emotional responses using music stimuli and sound stimuli from the
International Affective Digitized Sounds (IADS) database1. In particular, we designed the
experiments according to [18], because the two dimensions of emotion mainly considered by
researchers are valence and intensity, but there are, in fact, few models related to brain activity
taking into account both dimensions. Self-assessment of valence/arousal was therefore performed in
the study by each participant and for each sound, using a simplified version of the Self-Assessment
Manikin [16]. In this way, we could correctly identify the correspondence of hypothesized mental
state response to each sound with the moods declared by the participants. Results showed that brain
activity measured at the anterior part of the scalp distinguished the valence of musical emotions
both using the Emotiv Epoc and the Neurosky Mindwave. Considering these results, we decided to
use the Neurosky Mindwave in future experiments to refine the approach, sacrificing a greater
precision for a long-lasting data detection without decay of the involvement level of the users.
In further experiments we investigated the exposure to a visual-perceptive, semantic, or
conceptual stimulus influences response to a later stimulus in the context of a Museum of fine Art
[4]. Priming is a kind of implicit memory (a sort of tacit memory that is not consciously retrieved or
observed). Visual-perceptual priming [19, 20] is defined by enhanced processing of previously
seen visual material, relative to novel visual material. The purpose of our research consisted in
developing a priming-based tool taking into account the most relevant experimental and
physiological findings and applies them to the museum environment.
We submitted individuals to a museum tour where participants individually watched prime
stimuli on a screen, under a researcher's supervision, and obtained encouraging results both from
the analysis of the questionnaire and from the investigation performed on the EEG signals collected
by the BCI device. In fact, in participants who received the visual stimuli, we registered an increase
in the attention level corresponding to questions related to the visual stimuli, raising the engagement
of memory in the process. These studies represent part of a wider interdisciplinary research project
[4, 6, 12, 11] aiming to evaluate the response of humans to visual, auditory and perceptual stimuli,
measured with classical methods used in Psychology and Cognitive Science and with innovative
brain imaging methodologies, such as, in our case, the EEG.
In other works we tested the user reaction to visual stimuli using ambiguous images from Gestalt
[15], monoscopic and stereoscopic movies [6], colours [10] and e-learning environments [3]. Also
in this case, using both classical questions-based tests and EEG-signal analysis, we obtained
interesting results, confirming the importance of specific colours, shapes and sound, on the one
hand to make priming really effective and, on the other hand, to have guidelines to use
appropriately 3D Virtual Environments to engage visitors. Results from these studies suggested
important guidelines for the choice of supports and devices that are likely to be more appreciated by
participants to our experiments. All the obtained results have been used to design our prototype that
is going to be presented in the following paragraph.

1
http://csea.phhp.ufl.edu/media/iadsmessage.html

ART: VIRTUAL AUGMENTED REALITY TUTOR

Significant improvements have also been realized recently in the area of Augmented Reality,
extending VR systems with making use of supports for blending real and virtual elements in the
same frame. By combining Virtual Reality with video processing and computer vision techniques,
AR systems offer a natural view of real scenes improved with virtual objects. Within Cultural
Heritage Virtual and Augmented Reality techniques could be significantly useful. Let us consider,
for example, that many museums do not have factual room and resources necessary to exhibit their
collections. In addition, the nature and fragility of some collections prevent museum curators from
making them available to the public. Moreover, the interaction of visitors with the works of art
might be very restricted: the works cannot be observed from all angles, cannot be compared with
other items, or cannot be studied in different contexts. In this field, Virtual and Augmented Reality
provide solutions enabling visualization of 3D digital models of museum artefacts in both virtual
and real environments. They also allow visitors to interact with the models in various ways. At the
same time, visitors should be able to interact with digital contents easily and naturally in the same
way that they can interact with objects in a real environment. Everything that does not display these
crucial features will not be understood and will not be accepted. Our study starts from the outcomes
of previous researches and takes into consideration the current limit of VR and AR technologies. In
fact, if it is true that Virtual environments could enhance visitors experience, we have to take into
account possible constraints basically related to the costs required for the creation of a virtual
immersive space and to the impossibility to allow users to interact with one another in the artificial
environment, thus limiting the exploration possibilities. In fact, the possibilities offered by VR
social networks as Second Life remain, at the moment, limited to those who are already members of
the network and require a specific familiarity with the environment rules and the mediation a
more traditional technological support.Our main purpose has been creating something widely and
easily accessible, at low cost and, therefore, appealing for museums and in general suitable for
exhibitions concerning Cultural Heritage.
For these reasons we designed a virtual tutor accessible by mobile devices and suitable for
different contexts. ART is a virtual environment, to which a virtual 3D character can or cannot be
associated. It can be operated by smart phones or last generation mobile devices, allowing users to
observe a masterpiece with the support of more specific information, historical and geographical
references, multi-language translations. Its design is based on priming and cognitive models, both
for long lasting learning easy access to information. The innovative feature consists in the fact that,
with open-source softwares, a museum or an exibition can create contents easily and following the
guidelines resulting from our research, through a guided design process, saving costs and time. In
fact, content developers could make the most of the guidelines targeted to save time obtaining a
product based on priming and cognitive principles from our research. Besides, they could also save
costs because of the use of open-source software. At the same time, the solution does not require
any investment in hardware because it is based on a last generation Qcode allowing visitors to scan
it with their smart-phones or tablets and visualize into the device information, texts in different
languages, images and also (see figure 1) a virtual animated assistant guiding them in a new form of
art exploration.
To create the prototype we used a web-based platform to insert any desired contents (texts in
different languages, images, videoclips) developed with standard HTML and PHP.
To visualize information through Qcodes, we chose to use Augment2 software.
With this system a user is able to read the Qcode provided beside a masterpiece and visualize
all the information provided, with the obvious advantage of portability of information, thus
enabling museums to save costs (i.e., no paper and no software or hardware costs).

2
http://www.augmentedev.com

Figure 1: on the left a Qcode for the software Augment. On the right an example of an
Augmented Virtual Tutor (ART)
Our prototype also provides a Virtual Character, ART, developed in a 3D graphic animation
software, as shown in figure 1. ART is an animated 3D character able to show information and
speak, if required. We designed it using Blender3 free 3D graphic software, but is it possible to use
any other 3D graphic software allowing to save the model in Collada (. dae) format. We
developed a version readable both from the Windows system and for OSX and Android. The
development has been easy and require IT expertise only for developing the 3D character and
possibly the applications for mobile devices such as those using OX system and Android.
CONCLUSIONS AND FURTHER DEVELOPMENTS

In this paper we present a prototype of a virtual augmented assistant, ART, conceived for
Cultural Heritage, Museums and Exibitions based on our previous researches on cognitive,
priming and languages through classic investigation methods and EEG, firstly conducted with the
aim to enhance visitors' experience and involvement.
ART presents the advantage of saving costs and time in developing the solution. Moreover it
results appealing to visitors, due to the possibility to implement a 3D Virtual character able to
show text and video information and to speak, if needed, to users. The prototype requires an offline developing process and there is no need for specific hardware to be physically installed beside
masterpiece or within the exhibition area: only a Qcode is required to be displayed.
Currently we are testing our solution in a Museum environment, but we are planning to develop
a user-friendly visual programming platform allowing to produce the whole process and also
suitable for non IT-experts.
One final remark: so far, visitors are already allowed to take virtual tours of a museum or an
exhibition, but are constrained to follow a pre-defined path and prevented to choose any tailoredmade solution. therefore, there is room for further developments, for a wide array of practical,
creative and ludic elaborations, such us the possibility to choose among different characters, to
have special guest characters (the artist themselves, for example), to book a specific tour in
advance and to experience a trial version of a tour in a VR environment, to interact with virtual
representations of the works, even modifying or re-interpreting them, to save contents provided by
the virtual tour leader and then to use/share them.
References

[1] Allison B. Z., Wolpaw E. W., Wolpaw J. R. 2007. Brain-computer interface systems: progress
and prospects. Expert Rev Med Devices, 4(4):463-74.
[2] Banzi A., Folgieri R. (2012). Preliminary Results on Priming Based Tools to Enhance Learning
in Museums of Fine Arts. In: EVA 2012 Florence. Firenze, 9 11 May 2012, p. 142-147,
Firenze University Press, ISBN: 978-88-6655-127-0
[3] Bait M., Folgieri R., Minetti S., E-learning environments for dyslexic users - A study on English
language learning web platform design, IARIA WEB2013 Conference, Seville, Spain.

3
http://www.blender.org

[4] Banzi A., Folgieri R., EEG-Based BCI Data Analysis On Visual-Priming In The Context of a
Museum Of Fine Arts, in Proceedings of DMS 2012, 18th International Conference on
Distributed Multimedia Systems, 9-11 August 2012, Miami Beach, USA
[5] Bhatia, Vijay K. 2002. Professional Discourse: Towards a Multi-dimensional Approach and
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Discourse, Hong Kong: City University of Hong Kong Press, 39-60.
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monoscopic and stereoscopic visualization", Proceedings of IS&T/SPIEs 24th Symposium on
Electronic Imaging: Science and Technology , San Francisco, California, January 2012.
[7] Fairclough, N. (1992). Discourse and Social Change, Cambridge: Polity Press.
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London.
[9] Folgieri R. (2011). VR for cultural heritage valorization: a communication problem. In:
Proceedings of Electronic Imaging & The Visual Arts. Firenze, Italy, 2011, p. 146-151,
Cappellini, ISBN: 88-371-1837-6
[10] Folgieri R., Lucchiari C., Marini D., Analysis of brain activity and response to colour stimuli
during learning tasks: an EEG study, SPIE-IS&T Electronic Imaging, 3-7 February 2013
Hyatt Regency San Francisco Airport Burlingame, California, USA, 2013.
[11] Folgieri R., Zichella M., Conscious and unconscious music from the brain: design and
development of a tool translating brainwaves into music using a BCI device, in proceedings
of AHFE, 2012, San Francisco, California, USA.
[12] Kirmizialsan, E.; Bayraktaroglu, Z.; Gurvit, H.; Keskin, Y.; Emre, M.; Demiralp, T. (2006).
"Comparative analysis of event-related potentials during Go/NoGo and CPT: Decomposition
of electrophysiological markers of response inhibition and sustained attention". Brain
Research 1104 (1): 114128. doi:10.1016/j.brainres.2006.03.010
[13] Laurier, C., Sordo, M., Serra, J. and Herrera, P. Music mood representations from social
tags, in Proc. of Int. Soc. For Music Information Retrieval Conf. (ISMIR) , Kobe, Japan,
2009.
[14] Lu, D., Liu, L. and Zhang, H. Automatic mood detection and tracking of music audio
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5-18, January 2006.
[15] Marini D., Folgieri R., Gadia D., Rizzi A. (2012). Virtual reality as a communication process,
Virtual Reality, Ed. Springer London, vol.16:3, p. 233-241, ISSN 1359-4338, DOI
10.1007/s10055-011-0200-3, url http://dx.doi.org/10.1007/s10055-011-0200-3
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no. 6, pp. 1161-1178, 1980.
[18] Schmidt, L.A., Trainor, L.J., Frontal brain electrical activity (EEG) distinguishes valence and
intensity of musical emotions, Cognition and Emotion 15, 487500, 2001.
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Englewood Cliffs, N.J.

VIRTUAL MUSEUM ANCIENT FORTRESSES OF THE

NORTHWEST OF RUSSIA:
KOPORYE FORTRESS - VIRTUAL RECONSTRUCTION.
Nikolay Borisov
Vera Slobodyanuk
Department
Department Informational
Informational
Systems in arts and
Systems in arts and
Humanities
Humanities
Saint-Petersburg State
Saint-Petersburg State
University
University
Centre of Design and
Centre of Design and
Multimedia
Multimedia
Saint-Petersburg National
Saint-Petersburg
Research University of
National Research
Information Technologies,
University of
Mechanics and Optics
Information
Saint-Petersburg, Russia
Technologies,
[email protected]
Mechanics and Optics
Saint-Petersburg,
Russia
[email protected]
Artyom Smolin
Department
Informational
Systems in arts and
Humanities
Saint-Petersburg
State University
Centre of Design
and Multimedia
Saint-Petersburg
National Research
University of
Information
Technologies,
Mechanics and
Optics
Saint-Petersburg,
Russia
[email protected]
Iren Haustova
architect and
restorer,
superior
category,
[email protected]
Abstract: The article offers classification of virtual museums and solutions for their set-up with the
use of various multimedia technologies. It also details the process of creating a virtual reconstruction of a
fortress in the Northwest of Russia, as a part of a project of setting up a virtual museum (web portal).
INTRODUCTION
Virtual online museums open up a wealth of new opportunities, both for museum
professionals (international contacts, joint virtual exhibitions, data exchange, joint projects etc.)
and for the users (virtual tours, detailed information on the exhibits, self-improvement etc.). At
the moment, there are several approaches to the set-up of virtual museums:
1. Virtual tours (virtual walks) through real museums, i. e. a sequence on interconnected
panoramic photos (as a rule, they are integrated into the museum website);
2. Virtual museum as a website;
2.1. Representation of a real museum (with a digitized database of the museum
exhibits and other relevant data);
2.2. An original website (virtual museum) not connected to a specific museum [Fig.1];
2.3. A virtual 3D space that features the museum exhibits created with the use of
specific software.
Subsection
Design and Multimedia Center, Saint-Petersburg National Research University of Information
Technologies, Mechanics and Optics, in cooperation with the History and Liberal Arts
Departments of Saint-Petersburg State University are working on a project entitled Multimedia
Information System 'Ancient Fortresses of the Northwest of Russia'. Within the framework of the

project, we are designing a web portal featuring nine fortresses of the Northwest of Russia, all of
them are unique monuments of the ancient Russian fortification architecture, forming together a
powerful defense system that once protected the borders of the Ancient Rus.
Fig.1 Virtual Museum of Russian Primitive [1]. Exposition Scheme.

Thus our website is not just a web portal with the historic information on the fortresses, but
a virtual museum with the virtual reconstructions, photo/video galleries and virtual panoramic
tours [Fig.2].
One of the key features of the virtual museum are the virtual 3D reconstructions of several
Northwestern fortresses at a certain point in history, with the option of an interactive virtual walk
through the recreated object. The 3D location downloaded to the portal in question will be
rendered interactive by various animated elements (e.g. the fortress gate will open once you
reach a certain point) as well as by the so-called hot points, the active areas that provide useful
data on various parts of the fortress.

Fig.2 Web portal Ancient Fortresses of the Northwest of Russia [2]. Virtual Tour through the
Excavation Site of Yamgorod Fortress.
Fig.3 Koporye Fortress. Current View.

A most unique monument is the fortress of Koporye, located at the north-western extremity
of Izhora Plato, 9 miles away from the Gulf of Finland [Fig.3].
From times immemorial, Koporye was a key point in the defense system of the southern
coast of the Gulf of Finland. Its proximity to the shore increased, rather than decreased, the
significance of Koporye as an inland settlement. Apparently, for a considerable period of time it
was the only center of Novgorodian rule in the lands inhabited by the Vod tribe. Besides, the
owner of Koporye would also control the highly fertile Izhora Plato. No wonder that from the
very beginning of its recorded history the settlement of Koporye is featured as a strategically
important military point and a center of a whole area bearing the same name [3].
It is the only fortress of the Northwest that has been preserved in its original way; it has a
number of unique architectural features. Four round towers are located at the more vulnerable
Northern and North-Eastern sides, two or them protect the entrance to the fortress. The rampart
facing the Koporka river stands 130-150 yards from its further bank; it has no towers and creates
a so-called 'blind area' [3]. Besides, Koporye Fortress features a system of gateways that is
unusual for ancient Russian fortresses, that of two gateways set right next to each other, a system
of gates with a large and a small passage and with portcullises for the small and the large
doorway [4].
Fig.4 Layout of Koporye Fortress featuring interior structures

In cooperation with the architect and restorer I. Haustova, who has created a portfolio on
Koporye Fortress, we have decided to make a virtual reconstruction of the fortress in the early
18th century. Currently we have created a virtual 3D reconstruction of the fortress with the
options of a virtual walk through the reconstructed fortress and of a panoramic tour through the
present-day fortress.
The following software was used for the 3D reconstruction of Koporye Fortress:
1. Autodesk 3D Studio Max for modeling and texturizing of the fortress;
2. Unity for location and incorporation into Ancient Fortresses of the Northwest of Russia
portal.
Having analyzed the plans, the photos and various sketches of the fortress and the
surrounding area, we have divided the process of modeling into the following stages:
1. Modeling of the fortress;
2. Modeling of the structures located on the fortress grounds (administrative building,
barracks, stables etc.);

3. Modeling of Transfiguration Church (1516th cents.).

Since one of the goals of our project is the set-up of a virtual museum, we have additionally
modeled various artifacts (weapons, church utensils etc.) and located them within the fortress
grounds [Fig.5].
Fig.5 Additional elements in the Koporye Fortress location.

Fig. 6 shows the result of modeling and texturizing of the object, Koporye Fortress of the
early 18th cent.
Fig.6 Virtual 3D reconstruction of Koporye Fortress of the early 18th cent.

Our project is supported by the Russian Scientific Foundation in Humanities (project no.
2-01-12041, 2012-2014)
References
[1] Virtual Museum of Russian Primitive - http://www.museum.ru/primitiv/.

[2] Ancient fortresses of the northwest of Russia - http://nwfortress.ifmo.ru/.

[3] A. Kirpichnikov. Stone Fortresses of Novgorodian Land. Leningrad, 1984, 276 pp. (.
. ., ., 1984, 276 c.)
[4] I. Haustova. "Gates of Koporye Fortress" in Medieval Antics of Eastern Europe.
Moscow, Nauka, 1980, pp. 110--117. (. .
, . . - , 1980., .
110-117.)

DOCART900:
A WEB APPLICATION FOR CULTURAL HERITAGE
A. Del Bimbo, A. Ferracani, L.Landucci, G. Serra
MICC Media Integration and Communication Center.
Firenze, Italia
[delbimbo, serra]@dsi.unifi.it, [andrea.ferracani, lea.landucci]@unifi.it
Abstract This work aims at the development of a web application for cultural heritage
purposes: an innovative tool for searching and browsing digital libraries of artistic and literary
documents. The project performs a critical access to contemporary archives of documents
related to well-known 19th and 20th centuries art historians. The system has been designed and
implemented by MICC and Fondazione Memofonte, Scuola Normale Superiore of Pisa,
University of Florence and University of Udine.
INTRODUCTION
This paper presents an innovative web portal for searching and browsing textual
documents, manuscripts or printed contents, relating to some of the leading figures of
historiography and criticism of the nineteenth and twentieth centuries Italian art: Giovan
Battista Cavalcaselle (1819-1897), Adolfo Venturi (1856 - 1941), Ugo Ojetti (1871-1946),
Giulio Carlo Argan (1909-1992) and Cesare Brandi (1906-1988).
The work of searching for new materials has led to the discovery of mostly unpublished texts
such as sketchbooks, papers, correspondence, notes, etc.. At the same time, the research
activities contributed to the reorganization and classification of such sources.
The tools offered by the portal provides users and scholars a comprehensive view of the
historical environment and cultural relations of the world in which the five critical carried out
their activities.
The web application allows users to search and filter these documents through the associated
metadata as well as by means of controlled vocabularies that were defined and included in the
system (places, exhibitions, movements and artistic terms, works, people, and texts), selecting
the terms from national and international vocabularies or adding specific information.
The system includes an interface for simple and advanced search, a content management
system and a module for the authomatic semantic annotation of texts and advanced
visualization of documents.
THE WEB APPLICATION

The web archive is based on a Model View Controller architecture exploiting the Symfony
[1] framework.
The application and currently published at http://www.docart900.memofonte.it.
The system consists of three parts:
an overview of the project and its aims;
the content management system for publishing and editing documents;
a simple and advanced search and data visualization engine.
The frontend application (Fig. 1) provides a summary of the archives of the five critics
through essential biographies, a gallery of images and general bibliographies. Editors, after
the authentication step, can access the backend system consisting of a series of modules that

provide functionality for creating, retrieving, editing, and deleting documents (according to
the paradigm of persistence CRUD [2]: Create, Retrieve, Update, Delete).
The two main entities of information available in the system are Sources and Events. The
application also allows users to insert and attach images and photos to both Sources and
Events (eg digital reproduction of a sketchbook).
Figure 1. The Frontend application
Full-text and Advanced Search

The search form consists of two components: the full-text and advanced search. The fulltext search allows the user to find what he wants only by providing a search key. Famous
examples of full-text search engines are Google and Yahoo.
The indexing engine used for the full-text search is based on Lucene [3]. Lucene is a free and
open source library (API) extremely flexible and adaptable to every need of search. The fulltext search interface (Fig. 2, top) offers the possibility to choose whether to search for all or
just some of the documentary archives (Sources and Events regarding Cavalcaselle, Venturi,
Ojetti, Argan and Brandi) and has a simple text box in which the user can enter one or more
terms.
Figure 2. Full-text search and results.

The user can perform complex searches taking advantage of a complete syntax: for example
he can enter text in quotes (example: "National Exhibition of Correggio") or using Boolean
operators (AND, OR, NOT).
The results of the search are listed first by archive and then by type, in order to provide an
overview of the results for the specific query (Figure 2, bottom).
The advanced search, instead, provides the chance to query applying one or more general and
specific filter associated to the two major categories Event and Source (Fig. 3).
Figure 3. Advanced search form.

Generic filters allow users to filter the results through archival or temporal mode.
Specific search filetrs for Source type are used to filter the documents by type, author, title
and so on. An example of a Source search is: find all the reviews written by Brandi about
exhibitions of Picasso.
Specific search filters for Event type allows users to filter the documents by type, name and
location; for example users can search for all the exhibitions held in Florence in the thirties.
Finally, ther is a third mode: Sources and related Events. It allows users to mix filters in order
to create more complex queries. For example, users can search reviews written by Cesare
Brandi dealing with exhibitions held in Florence.
The advanced search interface has been developed according to the paradigm of Rich Internet
Applications. Selecting the value of any box, in fact, everything is updated in a consistent
way without reloading the page.
The result for each resource shows the file, the type of source, the signature, title, date,
authors and recipients, and allows the user to quickly understand the contents of the resources
identified by the search engine.
Documents are displayed in a tabular layout divided into sections (Fig. 4).
In the top of each card, finally, there are the navigation tool (called breadcrumbs) that allows
the navigation through the result list and performs the numbering of the pages.

Figura 4. Document visualization.
Multimedia sketchbooks
Fifteen multimedia sketchbooks constituted by a minimum of 20 to a maximum of 200
cards have been digitized and made available for users through the web application. We
implemented a jQuery plugin that provide a useful tool for users to navigate quickly and
intuitively through the pages. In the bottom of the interface (Figure 5) there is the list of
thumbs of the sketchbook cards: such list is scrollable horizontally through the simple
movement of the mouse. When the user clicks on any of them, the relative image is opened
and displayed in the browser with the width resolution of the user's screen. He can view
different parts of the image that are centered in sync with the mouse cursor position. This
allows such material, otherwise difficult to consult, to be quickly and intuitively accessible to
the audience.
Figure 5. Multimedia sketchbook browsing

Advanced results views

The project SIMILE (Semantic Interoperability of Metadata and Information in Unlike
Environments)[4], founded on the initiative of the Massachusetts Institute of Technology
(MIT), brings together a collection of open source technologies to support the development of
the semantic web.
Figure 6. An advanced view using Exhibit framework.

The application uses the Exhibit framework (SIMILE project) for the implementation of an
advanced view of the data model. Exhibit is an AJAX framework that allows the application
to create dynamic views of semantically structured data. The browser is totally in charge of
the process of generating the views. The functionality of the framework are in fact made
available within a web page through the inclusion of javascript files (API). The directives
given to it for displaying specific attributes are assigned through HTML elements.
The view shows a geographic (map) and time (timeline) location of events.
Such views (an example is provided in Fig 6) allow scholars to reconstruct the movements
and the chronological order of the critical paths in the area for each of the protagonists whose
documentary archives constitute the database.
CONCLUSIONS
In this paper we presented a web-based system for managing and searching document
archives of manuscripts of literary and artistic nature of the nineteenth and twentieth centuries
written by Giovan Battista Cavalcaselle, Adolfo Venturi, Ugo Ojetti, Giulio Carlo Argan and
Cesare Brandi. The application provides a simple and advanced search engine and a an
advanced semantic view based on the Rich Internet Applications paradigm which allows to
place the individual units of quesy results in both temporally and geographically way.
ACKNOWLEDGMENTS
This work was made possible by the valuable contribution of Fondazione Memofonte,
Scuola Normale Superiore of Pisa, University of Florence and University of Udine.

References
[1] Symfony, web PHP Framework, http://www.symfony-project.org/.
[2] Pereira, O.M.; Aguiar, Rui L.; Santos, M.Y., "CRUD-DOM: A Model for Bridging the
Gap between the Object-Oriented and the Relational Paradigms," Software Engineering
Advances (ICSEA), 2010 Fifth International Conference on , vol., no., pp.114,122, 22-27
Aug. 2010
[3] MCCANDLESS-HATCHER-GOSPODNETI 2010 M. McCandless, E. Hatcher, O.
Gospodneti, Lucene in Action, Manning 2010.
[4] SIMILE, http://simile.mit.edu/.

Travel Industry
Giovanni Gasbarrone
Business Sales Top Clients and Public Sector
Industry Marketing
Telecom Italia
Roma, Italia
[email protected]
Abstract Travel & cultural heritage vertical market is one of the worlds largest industries
and represent for 12% of our country GDP. Travel Industry is more 47% than e-Commerce
revenues in Italy.
In 2012, e-Commerce in Italy registered a growth rate of 19%, which brings the Italian
market at an overall estimated rough value of about 10 billion euro. In this scenario eCommerce solutions for Travel Industry gain particular benefit from new services related to
context awareness and Social Networks and represents an estimated market share of 47% of
the total: about 4,7 billion.
Vertical travel applications hosted in Nuvola Italiana is the great opportunity for the Travel
Industry, and provides benefits to tour operators, and industry stakeholders, by developing
and hosting travel applications (booking & reservation platforms ) and digital contents such as
Tour Catalogues - information for visitors including Cultural Heritage.
Telecom Italia (TI) is currently developing and experiencing new services to support tour
operators, enterprise applications to offer reliable travel experiences. By leveraging on
innovative technologies, TI would like to build a new ICT offer for the Travel Industry &
Cultural Heritage market in order to contribute and enhancing country competitiveness.
Tourism represents for our country an inexhaustible source of revenues and visibility
worldwide. "Italy" is a brand to enhance and develop with the support of institutions,
individuals, and technology.
Tourism is a primary source of income for Italy, contributing to the national GDP (Gross
Domestic Product) with 12 %.
The tourist sector in Italy is a rich market and represents a strong contribution to the
national GDP.
Recently, an important share of the tourist market is evolving in the dimension of
personalization, where tourists are choosing their own unique itineraries and experiences
among multiple offers and available options.
e-Tourism appears as a promising application domain with the goal of providing an improved
and personalized experience to tourist by the application of the latest technologies (both in
terms of hardware and software) and information coming from the Web 2.0.
In particular, telco operators can make synergies to offer advanced services for tourists using
their mobile phones.
The provision of cloud applications can deliver better services and travel experiences, if
properly addressed in tourism ecosystem. The local territories, in fact, can generate great
business opportunities for operators if they have the chance to rely on tourism platforms
powered by new cloud technologies.
Telecom Italias Nuvola Italiana provides infrastructure and enhanced hosting capabilities
designed around the needs of the travel industry.

Telecom Italias Nuvola Italiana is the Cloud computing system designed to guarantee the
reliability and security required by Travel businesses, thanks to the combination of web and
IDC infrastructures allowing the management of the service on an end to end basis, and with
high quality levels including network.
Telecom Italia (TI) is currently developing and experiencing new services to support tour
operators, enterprise applications to offer reliable travel experiences.
By leveraging on innovative technologies, TI would like to build a new offer for the Travel
Industry & Cultural Heritage market in order to contribute and enhancing competitiveness.
The cultural tourism market is moving towards a growing visitor satisfaction. The tourist
shows an increasing need to play an active role, integrating the cultural content of the visit
with a personal auto-generated content and sharing them with the "traveller community".
At the same time its becoming possible to develop instruments that give an incentive to visit
typical places for culture and great beauty but little known.
Nuvola Italiana platforms are very useful for the provision of services to support urban tourist
mobility based on LBS services information. The LBS and social services are now able to
plan a real time travel, and participate in actively to the improvement of urban mobility, for
example by providing information on traffic conditions.
Telecom Italia considers it important to contribute to the development of a tourism
innovative project that help redesign the supply chain of tourism services usable by mobile
devices during the trip with information on routes and cultural and entertainment points of
interest.
Support for travel industry in verticals markets (hospitality, food economy, tourism
transportation, etc ) and offering vertical cloud solutions for the national tourism system (
cultural and food & wine tours, consortia of agencies, Parks, ) is one of TIs goals and for
which it can provide technology and advanced business models. Transportation is an integral
part of the tourism industry. It is largely due to the improvement of transportation that tourism
has expanded. From a series of trials and public demonstrations, Telecom Italia has created its
vision to guide the design of ICT services for tourism sector: the intention is to support the
Tour operators and Travel Industry stake holders (which will be TIs direct customers) in the
aggregation and development of an eTourism offer for the benefit of all the actors of the value
chain, with a Business2Business2Consumer (B2B2C) business model.
In 2012, e-Commerce in Italy registered a growth rate of 19%, which brings the Italian market
at an overall estimated rough value of about 10 billion euro. E-commerce is not only an
"online shop", but also an opportunity for companies to offer products and services, and an
opportunity for consumers to shop in a market place without boundaries.
In this scenario e-Commerce solutions for Travel Industry gain particular benefit from new
services related to context awareness and Social Networks and represents an estimated market
share of 47% of the total.
In the tourism sector, Telecom Italia has presented Travel Me, a mobile guide service
usable from any type of multimedia terminal (tablet, smartphone). The solution enables users
to receive information regarding locations of artistic interest or services, such as monuments,
transport, restaurants and hotels in the area where the tourist is located.
The service is made available thanks to the interaction of the user multimedia terminal,
through mobile and Wi-Fi networks, with the Telecom Italia application platforms. The
information contents are provided with geographical referencing thanks to various locating
systems (GPS, Wi-Fi, Mobile Network).
Access to information is obtained by choosing a point of interest shown on a map to which
contents of various types can be linked, e.g. videos, photos, text or audio files.
Furthermore an Augmented Reality (AR) application is available. AR is a technology that
allows interactive objects superimposition on the smartphone camera view, thus making
reality clickable and connected.

VIVIT: A SEMANTIC WEB SYSTEM FOR THE

PROMOTION OF ITALIAN LINGUISTIC AND
CULTURAL HERITAGE
M. Bertini, A. Del Bimbo, A. Ferracani, N. Hosseini, D. Pezzatini
Media Integration and Communication Center
Firenze, Italy
{bertini, delbimbo}@dsi.unifi.it, {andrea.ferracani, daniele.pezzatini}@unifi.it,
[email protected]
Abstract VIVIT: VIVI L'ITALIANO is an integrated web based archive of learning
resources, texts and iconographic materials which aims to promote the study of the Italian
language and cultural heritage among second and third generation Italians living abroad. A
huge amount of heterogeneous data has been organized in a structured corpus in order to obtain
an efficient storage and retrieval environment. Documents are stored according to both their
contents and their semantic description using traditional entity-relationship and a system for
storage and management of data with semantic annotation.
INTRODUCTION
The VIVIT project [1] has been developed since 2010, under government FIRB fundings,
by MICC (Media Integration and Communication Center) and Accademia della Crusca, with
contributions by language research units belonging to University of Modena and Reggio
Emilia and University of Padova. The main concept was the creation of a web-based platform
for sharing media and documents, along with interactive resources for self-assessment of a
user's language proficiency level. The expected user target for the web platform are second
and third generation Italians living abroad, to which the content creators wished to offer an indepth view of Italy, country of origin of their families, and the Italian language for study
purposes.
The documents and media resources were produced, edited and annotated by and under the
supervision of Accademia della Crusca. To better fit in the view of a user-based web
experience, research was led by MICC in the field of social interaction to better understand
how to present the given resources and engage user's active interaction with the web platform
using the rich internet applications paradigm.
Furthermore a semiautomatic software module has been developed, which performs
semantic annotations and entities extraction on the knowledge-base in order to find and
visualize domain specific relations in the documents corpus.
Given the collaborative nature of the platform, in which resources from different research
units were to fit, choice was made to make use of a CMS (Content Management System) to
give editors the possibility of working directly on the documents inside the platform without
any supervision from the platform developers. MICC chose to rely on Drupal [2], an opensource and easily extensible PHP based content management framework.
The system: design and development

MICC created the information architecture starting from the source materials, a bottom-up
process which was necessary given the variety of topics and materials structure; thus in the

first place it was decided to organize the contents according to the expected level of user
interaction in two main categories: contents which can be only read and commented on and
contents which require active interaction. The first type includes resources on history of the
italian language and society and culture of Italy; the second type includes quizzes and
learning resources, both written and audiovisual.
While this structure (articles and exercises) is fairly basic, a multiplicity of categories
(taxonomies) was necessary to create relations between the corpus items: to attain this
structured vocabularies, i.e. nested, fixed hierarchical taxonomies, and free, user created
vocabularies for content annotation (tags) were implemented via semi-automatic techniques;
however, given the highly specialized academic nature of the corpus, the vocabulary system
might not be accurate enough to explicit their semantic relatedness: to fix this, the relations
between sources belonging to different categories can be defined also by professional content
editors through user-defined explicit relations, using dedicated input fields available during
the submission process of the documents. This gives the possibility of creating documents
relations controlled by the editors and not otherwise self-evident (e.g. the relations between an
author and his/her works). The annotation module is used by the system to suggest relatable
contents which specialized users (e. g. students or teachers) may select and rearrange in their
bookmark lists and share on their profile pages for learning or teaching purposes.
As for the exercises, a variety of advanced interactive solutions has been adopted for
recreating and integrate, in the web portal, learning materials which usually are not widely
and publicly available online. Several PHP / jQuery based plugins were created in order to
enhance
the usability of the interactive systems following the rich internet applications accessibility
guidelines. The jQuery plugins build forms and navigation through a series of editor-defined
quizzes/questions ranging from cloze tests, multiple or single choice, various types of input
fields to image word association exercises; visual feedback is given to the reader on
correct/incorrect answers and quiz autocompletion feature is offered as well. Quiz solutions
are stored in local and configurable JSON files.
Access levels
A granular level of control over means of accessing and participating to the portal activity
has been developed. As far as the core system is concerned, different access levels may be
granted on a role-based structure; every user role may or may not have certain content access
permissions, while every plugin may implement its own permissions, that is, newly
implemented features might be accessible to users on a per-plugin basis. The system
administrator is not limited to granting total access to a single role, having instead full control
on every feature.
The VIVIT project at the moment allows the following levels of interaction:
unauthenticated users, able to browse the website and search its contents;
authenticated users, who can browse, search (with advanced search features),
bookmark content and share their bookmarks with other users, send and receive
private messages, post comments;
contributors, who can do all of the above and create/categorize their own content;
editors, who in addition to the contributors permissions can insert and edit every type
of content, including the academic and contributed resources and create specific
domain relations;
administrators, who can do all of the above and modify/implement functionalities.

The final goal is not only to offer resources, but to create a community of users actively
engaged with the activity of the VIVIT project, sharing documents in order to create a corpus
of personal experiences that might be in the end object of linguistic/social/anthropological
studies while at the same time presenting to users different technical means by which properly
increase the corpus and the complexity of relations in the knowledge-base.
Social features
Users are offered with the possibility not only of browsing content, but also of sharing it
through the most popular social networks or services: at the moment this integration is offered
for Facebook, Twitter, Google.
Moreover, the user account creation is been performed via Facebook connect feature
(implemented via Facebook PHP SDK): not only this helps the user in avoiding a registration
of an account valid solely on VIVIT, but it also helps in keeping potential spammers away,
for users are required to have an account that has already been validated on the Facebook
platform.
The Facebook connect module allows the user to show his/her Facebook profile
name/picture on VIVIT and to present a user logged in via Facebook with a list of Facebook
friends, who have an account on VIVIT through Facebook, on their user profile page. This
feature improves the user engagement with the system and contributes to the development of
a wider and active community. The module consists of a series of APIs centered on Facebook
apps development, which leaves room for further VIVIT enhancement.
Text analysis feature

As an integration to the free tagging system and the taxonomy module, the system features
an automated topics and named entities extraction (names, entities and dates) service, running
as a servlet on the MICC server. The servlet, named Homer, allows for direct user input and
can output a weighted list of topics, entities, or terms by analyzing a given text or url. The
servlet exposes several configurable parameters: users can set filters on entity types, amount
of terms to be returned, output file format (JSON or XML).
The following are the main functionalities implemented in the Homer text media processor:
language detection: the service determines the language of the text being analyzed
and is a useful pre-processing step for other analysis functions. In particular it is the
base to perform stop-word elimination in documents for which the language is not
known;
stop-word elimination: the goal is to eliminate all the words that do not bring any
semantic meaning, like conjunctions, articles, etc. This process is based on the use of
lists of stop-words and requires to know the language of the document to be
processed. It can be considered as a filtering process, and is beneficial for other text
analysis techniques. In case of language detection uncertainty the computation of
detected stop-words is used to disambiguate the detected language;
tag-cloud computation: this service is useful to provide a concise representation of a

document. Basically it performs a frequency analysis of the words of the document

and selects the N most common words. In order to be effective the stop-words have to
be eliminated, otherwise it is very probable that the most common words are picked
among them, according to the empirical Zipfs Law;
topic detection: this service selects keywords from a document based on statistical
analysis. Using the LDA technique it is possible to select keywords that are not
necessarily the most common, unlike in tag-cloud computation. Stop-words are
eliminated from the text being processed;
named entity detection: this service identifies classes of specific entities like names
of persons or cities. This service is useful to identify important semantic concepts in
documents, whether these words are common or not (this latter case is more probable).
VIVIT uses Homer service output for document classification, since it can be considered as
a low-dimensional representation of the document, and as input for a discriminative
classification algorithm. The list of keywords is also used as annotations or tags, to later
retrieve the documents in a repository.
The VIVIT project connects to Homer through the API provided by a Tagging module,
passing the main content of the document to the servlet by http. The result of the analysis is
returned and parsed as an associative array of terms and weights which is then formatted by
the Tagging module and visualized as a list of suggested tags on content edit action, provided
the users are granted with sufficient permissions to use the Tagging feature. (Fig. 1).
Additional resources
The VIVIT project (Fig. 2), as part of a larger FIRB project, gives users access to larger
scope external resources developed internally at MICC or externally, which are connected to
the field of language research and computational analysis; in particular, MICC developed the
LIT (Lessico dell'Italiano Televisivo) [4] [5] [6] and LIR (Lessico dell'Italiano
Radiofonico) web-based archives, that offer audiovisual streams from national TV and radio
networks presenting extracts of speech from broadcasts that have been marked up with
TEI/XML tags in order to be searchable through their interfaces, also developed at MICC and
maintained by the IT department of Accademia della Crusca.
FIGURES AND TABLES
Fig. 1 The Tagging widget, showing results (Suggerimenti)

from the Homer text analysis

Fig.
2
The
VIV
IT
front
page
(top
porti
on)
A
C
K
N
OWLEDGEMENTS
MICC would like to thank the following institutions for their precious work on source
materials:
Accademia della Crusca (Firenze);
Dip. Scienze del linguaggio e della cultura (Universit degli Studi di Modena e
Reggio Emilia);
Dip. Romanistica (Universit degli Studi di Padova).
References
[1]
[2]
[3]
[4]
http://trinity.micc.unifi.it/firb-vivit
http://drupal.org
http://shrek.micc.unifi.it:8080/homer/
M. Biffi, Il LIT Lessico Italiano Televisivo: l'italiano televisivo in rete, in L'italiano
televisivo: 1976-2006. Atti del convegno Milano, 15-16 giugno 2009, Accademia della
Crusca ed., pp. 35-69, Firenze, presso l'Accademia, 2010.
[5] T. Alisi, A. Del Bimbo and A. Ferracani, Dalla parte degli informatici. Arneb-TEI:
annotazione e consultazione di video annotato, in L'italiano televisivo: 1976-2006. Atti
del convegno Milano, 15-16 giugno 2009, Accademia della Crusca ed., pp. 77-80,
Firenze, presso l'Accademia, 2010.
[6] T. Alisi, A. Del Bimbo, A. Ferracani, T. Uricchio, E. Hoxha and B. Bregasi, LIT:
transcription, annotation, search and visualization tools for the Lexicon of the Italian
Television, Multimedia Tools and Applications, Volume 60, Number 2, pp. 327-346,
2012.

INDEX
STRATEGIC ISSUES
Excellence Digital Archive Project for Polo

Museale Fiorentino: Developed Activities
Cristina Acidini
Vito Cappellini
Takayuki Morioka
Marco Cappellini
20
22
VisLab OSAKA and Knowledge Capital Project
Shinji Shimojo,
Masaki Chikama,
Kaori Fukunaga,
Rieko Kadobayashi
Tsuneo Jozen
26
28
"3D Technologies at the Museums" :

A Perspective of the Staatliche Museen
zu Berlin (National Museums in Berlin)
Andreas Bienert
30
32
EC PROJECTS AND RELATED NETWORKS & INITIATIVES
Europeanaphotography: early Photography Accessible

in Europeana
Antonella Fresa,
Valentina Bachi,
Andrea De Polo,
Marzia Piccininno,
Frederik Truyen,
Sofie Taes
Reengineering and Construction of a Relief for
Christine Schoene
34
40
36
42
an Organ Loft Based on Drafts by Friedrich

Press
F. Niccolucci, S. Hermon
3D in Archaeology: 15 Years of Research.

46
48
The Role of EU Projects
Jrgen Sieck
52
54
CENDARI: a Collaborative EuropeaN Digital ARchive

Infrastructure for Medieval studies
58
60
The Marcopolo Project: Agile Development of
L. Garulli,
J. Gutierrez,
F. Spadoni,
R. Rossi,
64
66
Context Sensitive Services and

Information Systems in the
Pergamonmuseum and the Jewish
Museum in Berlin
Mobile Cross-Platform Tourism Applications on

the Cloud
2D - 3D TECHNOLOGIES & APPLICATIONS
Advanced Super-Resolution Techniques

for Digital Image Quality Enhancement
Fabrizio Argenti,
Alessandro Lapini,
Giovanni Giusti,
Luca Bencini
72
74
Image Registration Using 3D Models
F. Uccheddu,
A. Pelagotti,
P. Ferrara
77
79
Challenging 3D Scanning Applications

in Arts and Cultural Heritage
Bernd Breuckmann
83
85
"3D Surface Reconstruction Using

Multiple Kinects
J.K. Aggarwal,
Lu Xia
89
91
Integrating Real 3D Data Historical Sources

for the Digital Reconstruction of Five Hindu
Temples
G. Guidi,
M. Russo,
D. Angheleddu
95
97
An Introduction to Gait Recognition
Haiping Lu,
Anastasios N. Venetsanopoulos
101103

VIRTUAL GALLERIES MUSEUMS AND RELATED INITIATIVES
Luca Toschi,
Lorenza Orlandini,
Marco Sbardella,
Gianluca Simonetta
Museums Outside Museums as districts

of Knowledge
108
110
116
Bringing back the Fontana di Sala Grande to

its Original Setup according to Bartolomeo
Ammannatis Project
Giorgio Verdiani,
Giacomo Pirazzoli
The creation of a multimedia information

resource <the Church of the Savior on Ilyina
street in Novgorod the Great>
T. Laska,
S.Golubkov
120
122
ROME MVR
A. Furlan
126
128
Integrating museum archive and town.

An app for a fortified town
Johan R. Mhlenfeldt Jensen
130
132
HTML Responsive Design and Apps

for Museums: Needs and Options at
Museo Galileo
Marco Berni,
Fabrizio Butini,
Elena Fani
131
133

114
ACCESS TO THE CULTURE INFORMATION
Filippo Micheletti,
Lorenzo Stefani,
Costanza Cucci,
Marcello Picollo
138
140
through Interactive Network Access (CRISTINA)
Penco System
Sara Penco
144
146
Introducing a Virtual Reality EEG-BCI and

Priming-Based Tool to Make Art Interactive:
a Technological and Linguistic Challenge
Miriam Bait,
Annalisa Banzi,
Raffaella Folgieri,
Sabrina Minetti
150
152
Virtual Museum Ancient Fortresses of the

Northwest of Russia: Koporye Fortress
Virtual Reconstruction
Nikolay Borisov,
Vera Slobodyanuk,
Artyom Smolin,
Iren Haustova
155
157
DOCART900: A Web Application

for Cultural Heritage
A. Del Bimbo,
A. Ferracani,
L. Landucci,
G. Serra
161
163
167
169
CNR Retrieval of Images from Hyper-Spectral Data
Travel Industry
Giovanni Gasbarrone
VIVIT: A Semantic Web System for the Promotion

of Italian Linguistic and Cultural Heritage

M. Bertini,
A. Del Bimbo,
A. Ferracani,
N. Hosseini,
D. Pezzatini
169
171

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Proceedings e report

Electronic Imaging the Visual Arts

EVA 2013 Florence

Firenze University Press

Electronic Imaging & the Visual Arts : EVA 2013

Peer Review Process

Electronic Imaging the Visual Arts

WHO SHOULD ATTEND

ALINARI, ICESP, and CASSA DI RISPARMIO DI FIRENZE

SPONSORS & SUPPORTERS INCLUDE:

EUROPEAN COMMISSION, THE UNIVERSITY OF FLORENCE,

EVA 2013 Florence Advisory Committee includes:

EVA Conferences Organiser: Monica Kaayk, [email protected]

EVA 2013 Florence Technical Organising Committee includes:

Centro per la Comunicazione e lIntegrazione dei Media (MICC)

For general information: Prof. Vito Cappellini & Secretariat

Vito Cappellini, Florence University

Representatives of Sponsors and Supporters

SESSION 1 STRATEGIC ISSUES

Excellence Digital Archive Project for Polo

Cristina Acidini1, Vito Cappellini2, Takayuki

Polo Museale Fiorentino, Italy

Cybermedia Center, Osaka University, Ibaraki, Japan

"3D Technologies at the Museums":

SESSION 2 EC PROJECTS AND RELATED NETWORKS & INITIATIVES

Europeanaphotography: early Photography

Promoter SRL, Italy

Reengineering and Construction of a Relief for

3D in Archaeology: 15 Years of Research.

PIN, Prato, Italy

STARC The Cyprus Institute,

Context Sensitive Services and

University of Applied Sciences Berlin,

CENDARI: a Collaborative EuropeaN Digital

L. Garulli1, J. Gutierrez2, F. Spadoni3, R. Rossi3,

The Marcopolo Project: Agile Development of

Asset Data S.r.l., Roma, Italy

INTERNATIONAL FORUM ON CULTURE & TECHNOLOGY

The structure of the FORUM is presented.

SESSION 3 2D - 3D TECHNOLOGIES & APPLICATIONS

Advanced Super-Resolution Techniques for

Fabrizio Argenti1, Alessandro Lapini1,

Department of Information Engineering, University of

Image Registration Using 3D Models

F. Uccheddu1, A. Pelagotti2, P. Ferrara2

Dept. of Information Engineering DINFO,

INO (National Institute of Optics), Firenze, Italy

Challenging 3D Scanning Applications

3D Surface Reconstruction Using

J.K. Aggarwal, Lu Xia

Integrating Real 3D Data and Historical

Breuckmann GmbH, Meersburg, Germany

Department of Electrical and Computer Engineering,

G. Guidi1, M. Russo2, D. Angheleddu1

Dept. of Mechanics, Politecnico di Milano, Milan, Italy

Dept. of Design, Politecnico di Milano, Milan, Italy

Haiping Lu , Anastasios N. Venetsanopoulos ,

SESSION 4 VIRTUAL GALLERIES MUSEUMS

Museums Outside Museums: Districts