الخميس، 3 مايو، 2012
Institute of the History of Art, University of Wrocław
5th Digital Encounters with Cultural Heritage
Wrocław,Monday 19th-Tuesday, 20th November 2012
Invitation to Participate & Call for Papers
Digital recording and other methods of digital documentation of artefacts have become commonplace in research, conservation and communication of cultural heritage.
National strategies, as reflected in the funding of heritage conservation programmes, are being developed by various governmental institutions for the 'digitisation of museum objects and other cultural heritage; the long-term reliable access to virtual heritage; and for the ever-wider adoption of digital documentation methods.'1 But whilst government documents and subject literature frequently reference terms such as 'digitisation', 'visualisation', 'virtual heritage' and 'virtual artefact' the definition of these concepts lacks precision and remains ambiguous.
1Ministery of Culture and National Heritage of Poland 2010 programmes: Digitalizacja zabytków i muzealiów, http://www.mkidn.gov.pl/pages/strona-glowna/finanse/programy-ministra/programy-mkidn-2010/zasoby- cyfrowe/digitalizacja-zabytkow-i-muzealiow.php
The relationship between the original artefact and its visual representation, including copies and fakes, is open to debate. There are still many unanswered questions concerning various methods for communicating the original through an image (in the broadest sense of the term). Digital technologies and in particular high-resolution digital imaging raise issues around the nature and place of the digital image in art analysis as a supplement, surrogate or alternative to the original artefact under investigation.
Digital visualisation is another form of representation of cultural heritage that continues to be popular. To varying degrees heritage visualisations are hypothetical and often the product of a creative process beyond the strict replication of visual characteristics. In this respect the adopted interpretation of any given visualisation is as important as the digital object itself. For this reason, visualisation as a scholarly method in the humanities remains attractive, but continues to be open to criticism. Heritage visualisation is therefore the subject of an on-going debate concerning its value in academic research and public education.
The importance of tools enabling on the one hand, the verification of both the content and reliability of visualisations, and on the other the sustainability of this kind of documentation, have lead to the recognition of the need for 'a set of principles [...] that will ensure that digital heritage visualisation is, and is seen to be, at least as intellectually and technically rigorous as more established cultural heritage research and communication methods'.
Archaeological Research Center (STARC) at the Cyprus Institute — has sought to provide standards that ensure the continuing success and viability of digital visualization in cultural heritage. The advocacy of the principles set out in the London Charter is a key aim of this conference. The London Charter for the Computer-based Visualisation of Cultural Heritage, 2009; Preamble http://www.londoncharter.org/fileadmin/templates/main/docs/london_charter_2_1_en.pdf2 In response to this need the London Charter — an international initiative lead by a group of experts associated with the Department of Digital Humanities of King's College London (UK) and the Science and Technology in
3Paradata – 'Information about human processes of understanding and interpretation of data objects. Examples of paradata include descriptions stored within a structured dataset of how evidence was used to interpret an artefact, or a comment on methodological premises within a research publication. It is closely related, but somewhat different in emphasis, to "contextual metadata", which tend to communicate interpretations of an artefact or collection, rather than the process through which one or more artefacts were processed or interpreted.' in: The London Charter for the Computer-based Visualisation of Cultural Heritage, 2009; p. 11, http://www.londoncharter.org/fileadmin/templates/main/docs/london_charter_2_1_en.pdf
The conference organisers invite 20-minute papers that engage with the following topics:
• ICT developments in the area of image communication
• Legal aspects of the virtual documentation of museum objects
• Digital techniques for recording and documenting art and architecture
• Image metadata and paradata (as defined in the London Charter)3
• Image retrieval systems for picture libraries, including query by image
• Copies and fakes in the age of digital reproduction and computer modelling in 2/3D
• The concept of the original in the age of digital reproduction
• Reliability of the digital image and virtual models
• Digital imaging and visualisation in restoration and reconstruction of artefacts
• Internet browsers for 3D graphics
• Issues in digitisation of art documentation in traditional formats
• Long-term preservation of digital images
Conference information is available at
Instytut Historii Sztuki, http://www.historiasztuki.uni.wroc.pl
Instytut Historyczny, http://www.hist.uni.wroc.pl
Wrocławskie Centrum Transferu Technologii, http://www.wctt.pl/
11 June 2012- deadline for paper abstracts. Please email the title and a 150-word abstract to firstname.lastname@example.org Paper proposals may be submitted in Polish, English or German.
29 June 2012- conference programme announced
28 September 2012- deadline for confirmation of attendance. Please submit the booking form that can be downloaded from the conference page.
5 October 2012
Demonstration of technical applications by the commercial sector is welcome. For rates and further information please contact the Wrocławskie Centrum Transferu Technologii.- deadline for the conference payment of 130 PZL (approx. €30; £25 sterling, depending on the exchange rate). The fee will be waived for the speakers.
Academic Programme Committee
Lucyna Harc, Instytut Historyczny UniwersytetWrocławski
Waldemar Okoń, Instytut Historii Sztuki UniwersytetWrocławski
Piotr Oszczanowski, Instytut Historii Sztuki UniwersytetWrocławski
Anna Pytel,Wrocławskie Centrum Transferu Technologii, PolitechnikaWrocławska Agnieszka Seidel-Grzesińska, Instytut Historii Sztuki UniwersytetWrocławski
Ksenia Stanicka-Brzezicka, Instytut Historyczny UniwersytetWrocławski
PrzemysławWiszewski, Instytut Historyczny UniwersytetWrocławski
Instytut Historii Sztuki UniwersytetuWrocławskiego
ul. Szewska 36, 50-139 Wrocław, http://www.historiasztuki.uni.wroc.pl
Tel +48 71 3752669, +48 71 3752510
Instytut Historyczny UniwersytetuWrocławskiego
ul. Szewska 49, 50-139 Wrocław, http://www.hist.uni.wroc.pl
Wrocławskie Centrum Transferu Technologii (
ul. Mariana Smoluchowskiego 48, 50-001Wrocław, http://www.wctt.pl/
Dr. EMAD HANI ISMAEELConference venue, to be confirmed)
Ph.D. in Technologies for the Exploitation
of the Cultural Heritage .
Senior Lecturer in the Dept. of ArchitectureE-mail: email@example.com
College of Engineering , University of Mosul
Mosul - Iraq .
Web Site: http://sites.google.com/site/emadhanee/
Tel : +964 (0)770 164 93 74
Digital Representation of the Artefact – methods, reliability, sustainability
Institute of History, University of Wrocław
Wrocław Centre for Technology Transfer, Technical University of Wrocław
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