Search Results (14)

Museums in Dispute: Artificial Intelligence, Digital Culture, and Critical Curation analyzes contemporary debates in the museum field through the lens of tensions between technology, digital culture, and political and epistemological disputes. Structured in three parts, the article develops a critical approach that, in the first section, revisits critiques of the modernist museum model, highlighting how discourses from New Museology, institutional critique, and decolonial perspectives challenge the idea of neutral, universal, and Eurocentric museums. The second part explores the shift from temple-like museums to interface-museums, focusing on the analysis of practices such as digitization, immersive exhibitions, and gamification. It argues that while these technologies may expand access, their uncritical use can reproduce inequalities and render plural and inclusive narratives invisible. The third part addresses the emergence of hyperconnected museums and the application of artificial intelligence (AI) in curatorial, mediating, and reconstructive processes, analyzing collaborative and artistic projects such as Demonumenta and Curationist that critically reinterpret collections. Throughout the article, the concept of meta-algorithmic curation is developed, which is understood as a practice that makes algorithms visible, open to critique, and reconfigurable as cultural and political devices. Methodologically, the article combines critical theoretical review with analysis of institutional and artistic case studies, highlighting practices that appropriate the supposed neutrality of data to develop a critical pesrpective and advocate for more inclusive, distributed, and politically engaged curatorial narratives. Full article

Contemplation is a unique way of seeing that enables us to perceive the truth of the invisible beyond what is visible. Through contemplation, one can become deeply connected with, and possibly even identify with, what they have observed. This study analyzes the spatial arrangement of “A Room of Quiet Contemplation” at the National Museum of Korea and explores its interaction with visitors. Although the room prominently features two Buddhist pensive bodhisattva statues, giving it a Buddhist appearance, it must meet certain necessary conditions due to its location in a national museum. Respect for religious diversity and the neutralization of religious bias are crucial. We examine how the statues are de-contextualized from their original temporal and local contexts, allowing them to function as universal (non-religious) signs in the museum. Furthermore, the room must be accessible to foreign visitors from various cultural and religious backgrounds. Thus, this research investigates the universality and singularity of the tradition of contemplation. Additionally, we explore how the experience of contemplation can be enhanced through various forms of the spatial expansion of “A Room of Quiet Contemplation”. Full article

The urgent need for research and study with nondestructive and noninvasive methods and the preservation of cultural heritage led to the development and application of methodologies for the multi-level digitization of cultural elements. Photogrammetry and three-dimensional scanning offer photorealistic and accurate digital representations, while X-rays and computed tomography reveal properties and characteristics of the internal and invisible structure of objects. However, the investigation of and access to these datasets are, in several cases, limited due to the increased computing resources and the special knowledge required for their processing and analysis. The evolution of immersive technologies and the creative industry of video games offers unique user experiences. Game engines are the ideal platform to host the development of easy-to-use applications that combine heterogeneous data while simultaneously integrating immersive and emerging technologies. This article seeks to shed light on how heterogeneous digital representations of 3D imaging and tomography can be harmoniously combined in a virtual space and, through simple interactions, provide holistic knowledge and enhanced experience to end users. This research builds on previous experience concerning the virtual museum for the Antikythera Mechanism and describes a conceptual framework for the design and development of an affordable and easy-to-use display tool for combined representations of heterogeneous datasets in the virtual space. Our solution was validated by 62 users who participated in tests and evaluations. The results show that the proposed methodology met its objectives. Apart from cultural heritage, the specific methodology could be easily extended and adapted for training purposes in a wide field of application, such as in education, health, engineering, industry, and more. Full article

Ancient manuscripts are precious and fragile objects, preserved in libraries, museums, and archives. Some of them are masterpieces, made with several materials and insights, but generally they are not accessible to wide communities of users. The purpose of this study is to present the preliminary results of the Codex4D project: a holographic showcase, conceived for museums, presenting the first 4D model of an ancient manuscript to the public at the Science Festival in Genoa in 2022. The manuscript, preserved in the Angelica Library in Rome, has been represented in a multidimensional digital model, documenting both its visible and invisible aspects, on the surface and in the stratigraphic layers. We analysed the visitor experience: informal learning, the meaning-making process, interactions between visitors, and gesture-based interaction with the showcase. The methodology used for evaluation is based on four different qualitative methods (grounded theory, narrative inquiry, case study, and digital ethnography). We collected notes from observation, narratives from interviews, and answers from structured interviews. The main findings are patterns of the visitors’ experiences with a digital interactive 4D model of an ancient manuscript, supported by storytelling, and a list of design issues and possible improvements for the next version of the Codex4D holographic showcase. Full article

On 6 January 1973, Chilean media artist Juan Downey exhibited Plato Now at the Everson Museum of Art in Syracuse, New York. A hybrid multichannel video installation and performance, this was Downey’s restaging of Plato’s Parable of the Cave—the “Now” registering what the myth might look like from the vantage of his own historical moment. And whereas Plato’s original operated through an inflexible division between the space of the mind and a derivative sensual reality, Plato Now explicitly sought to blur those philosophical lines by assembling a relay of invisible energies, brain waves, video signals, and telepathic communications, such that the space of mind and sensual reality became speculatively entangled. This article clarifies just how Plato Now did this, and situates its philosophical vision as a significant, if relatively unremarked, aesthetic prefiguration of the new materialist tendencies towards relationality, hybrid assemblages, and vibrant conceptions of energy and matter. Full article

In knowledge representation systems for Cultural Heritage (CH) there is a vast amount of curated textual information for CH objects and sites. However, the large-scale study of the accumulated knowledge is difficult as long as it is provided in the form of free text. By extracting the most significant pieces of information from textual descriptions of CH objects and sites and compiling them in a single comprehensive knowledge graph, conforming to a standard would facilitate its exploitation from multiple perspectives including study, presentation and narratives. The method proposed by this research work was to employ Natural Language Processing, and reinforcement learning for semantic knowledge extraction, and a knowledge representation standard of the CH domain for the knowledge graph thus making the extracted knowledge directly compatible with linked open data platforms and CH representation systems. Full article

Mina’i ceramics dating to the late 12th and early 13th century made in the Kashan region of Iran represent a novel period of overglaze enamelling technology in ceramic history. New colours were used to produce stylistically attractive and dynamic polychrome motifs. Due to their archaeological context, and popularity in the art market since the mid-20th century, these objects often have complex conditions involving reconstruction and overpainting. The aesthetic and technological significance of these pieces warrants further study, but in practice, removing restorations can lead to structural destabilisation, requiring time-consuming and potentially unplanned for conservation treatment. To determine if it is possible to gain useful information from the study of these artworks without disturbing existing restorations, a group of objects were drawn from the Sarikhani and Ashmolean Museum of Art and Archaeology collections. The objective of this project was twofold, first to assess the merits of the imaging techniques for understanding condition, and second to propose a protocol for imaging with the aim of encouraging collaborative projects with international partners. The techniques used in this study include digital photography under visible and ultraviolet light, infrared reflectography, and radiography. The results show that important information invisible to the naked eye can be obtained about the decorative surfaces, using ultraviolet light and infrared reflectography. Digital radiography proved to be equally effective when studying the condition of the ceramic body. The results of this project were used to produce guidance on these techniques as a collaborative documentation package for the study of Mina’i ceramics. Full article

In recent years, digitization of cultural heritage objects, for the purpose of creating virtual museums, is becoming increasingly popular. Moreover, cultural institutions use modern digitization methods to create three-dimensional (3D) models of objects of historical significance to form digital libraries and archives. This research aims to suggest a method for protecting these 3D models from abuse while making them available on the Internet. The proposed method was applied to a sculpture, an object of cultural heritage. It is based on the digitization of the sculpture altered by adding local clay details proposed by the sculptor and on sharing on the Internet a 3D model obtained by digitizing the sculpture with a built-in error. The clay details embedded in the sculpture are asymmetrical and discreet to be unnoticeable to an average observer. The original sculpture was also digitized and its 3D model created. The obtained 3D models were compared and the geometry deviation was measured to determine that the embedded error was invisible to an average observer and that the watermark can be extracted. The proposed method simultaneously protects the digitized image of the artwork while preserving its visual experience. Other methods cannot guarantee this. Full article

The seabed can be considered as the world’s largest museum, and underwater sites explored and studied so far provide priceless information on human interaction with the sea. In recognition of the importance of this cultural resource, UNESCO, in its 2001 Convention on the Protection of the Underwater Cultural Heritage, determined that objects/sites should be preserved in situ, whilst also advocating for public access and sharing. The implementation of these principles is not without difficulties. Some states have opened up underwater sites to the public—mainly through diving, yet the vast majority of the world’s population does not dive. In Malta, 7000 years of human occupation is reflected in and on the landscape, and recent offshore surveys show that the islands’ long and complex history has also left an indelible mark on the seabed. Besides difficulties related to their protection and management, these sites also present a challenge with regard to sharing and communicating. Recent advances in underwater imaging and processing software have accelerated the development of 3D photogrammetry of submerged sites and the idea for a virtual museum was born. The virtual museum, UnderwaterMalta, was created out of a need to share the plethora of underwater sites located on the seabed of the Maltese Islands. A multitude of digital tools are used to share and communicate these sites, offering visitors a dry dive into submerged sites that would otherwise remain invisible to the vast majority of the public. This paper discusses the basic principle of the sharing of underwater cultural heritage and the difficulties that beset the implementation of such a principle. A detailed explanation and evaluation of the methods used to gather the raw data needed is set in the context of the particular and unique working conditions related to deep water sites. The workings of this paper are based on first-hand experiences garnered through the recording of numerous wrecks over the years and the creation and launch of The Virtual Museum-Underwater Malta—a comprehensive virtual museum specifically built for “displaying” underwater archaeological sites that are otherwise invisible to the general public. Full article

With the ever-advancing availability of digitized museum artifacts, the question of how to make the vast collection of exhibits accessible and explorable beyond what museums traditionally offer via their websites and exposed databases has recently gained increased attention. This research work introduces the Invisible Museum: a user-centric platform that allows users to create interactive and immersive virtual 3D/VR exhibitions using a unified collaborative authoring environment. The platform itself was designed following a Human-Centered Design approach, with the active participation of museum curators and end-users. Content representation adheres to domain standards such as International Committee for Documentation of the International Council of Museums (CIDOC-CRM) and the Europeana Data Model and exploits state-of-the-art deep learning technologies to assist the curators by generating ontology bindings for textual data. The platform enables the formulation and semantic representation of narratives that guide storytelling experiences and bind the presented artifacts with their socio-historic context. Main contributions are pertinent to the fields of (a) user-designed dynamic virtual exhibitions, (b) personalized suggestions and exhibition tours, (c) visualization in web-based 3D/VR technologies, and (d) immersive navigation and interaction. The Invisible Museum has been evaluated using a combination of different methodologies, ensuring the delivery of a high-quality user experience, leading to valuable lessons learned, which are discussed in the article. Full article

This paper uses Stephen Best’s None Like Us and Charles H. Long’s Significations: Signs, Symbols, and Images in the Interpretation of Religion to redescribe the notion of sacred space in light of the national African American museum. After highlighting religion and the museum’s mutual Romantic origins, it underscores the invisible institution of slave religion as a modern counterpoint that is harrowingly evocative of the indeterminacy of human meaning-making. The national African American museum, represented by offerings from the Smithsonian Institution and the Equal Justice Initiative, operates as a social technology for working through the tensions of history. “Hallowed Haunts” examines its function as a matrix of haunting, where a variety of multi-sensory experiences lead visitors into a participatory reckoning with the legacy of slavery, one through which they determine how to face the challenges and potential opportunities that await them. As such, the national African American museum exemplifies Long’s thesis of sacred space as human centers, a metonym for the places humans visit for orientation. Full article

As a representation of Korea’s modern architecture, Kim Swoo Geun described the Space Group of Korea Building as an “enclosed but endless space”. The Space Group Building is currently Korea’s Registered Cultural Heritage No. 586. Its name was changed to Arario Museum in Space; since 2013, it has been used as a museum. This study aims to reveal what spatial features of the Arario Museum have value as cultural heritage to make its sustainable architectural message. This research will analyze spatial traits within thresholds, beyond the general spatial traits of the architecture itself. The threshold gives Arario Museum meaning as a registered cultural property of Korea. The fundamental methodology to analyze the issue of threshold is to document the architectural experience based on the architect’s interviews, sketches and diagrams for design intention and strategy. Kim’s space displays the unification of physical structure and invisible phenomenon and cognition. The definition of threshold and the elements that constitute it discussed in this research were those that cover such multileveled concepts as materials that constitute the threshold. In addition, the phenomenon and status of these elements extracted in such manner being actually dispersed was verified, and the obtained characteristics of the threshold can result in the following: the concealment, juxtaposition, and flexibility are ultimately expanded to the ambiguity which is unique to Arario Museum in Space. Concealment started from observing the surface of threshold itself, and juxtaposition is the relational interpretation among the various elements. After the analysis on the dispersion and contacts, the status and phenomena of the building’s thresholds were concluded as a flexibility connection to its heritage value. Full article

This paper explores the spatial coverage potential of a vision sensor to implement a dual service for a museum security system. Services include object monitoring and invisible visual Multiple-Input and Multiple-Output (MIMO) communication. For object monitoring, the Kalman filter algorithm is used. To implement a secret visual MIMO communication, an Adaptive Row-Column (ARC)-based LSB substitution technique is used along with the Integer Wavelet Transform method. These proposed services are implemented using existing electronic visual displays and surveillance cameras. Experiments are carried out using a sample object and four stego images. The performance of the object tracking system is measured in terms of accuracy by comparing the actual and estimated position of an object. Similarly, the performance of the covert visual MIMO system is measured at two different stages. On the transmitter side, differences between the cover and stego-images are used to measure imperceptibility. Likewise, at the receiver, differences between the original and the reconstructed data images are used to measure the accuracy. Results illustrate that the proposed system has improved imperceptibility, accuracy, and robustness, as compared to existing techniques. Full article

Environmental control in galleries and museums is a necessity and is informed by the knowledge of ongoing processes of deterioration which can threaten the integrity and stability of artworks. Invisible dimensional changes in many works of art occur following environmental fluctuations as materials respond to the changes in humidity and temperature. The constant influence of dimensional changes usually remains invisible until displacement generates visible deterioration and irreversible damage. This paper exploits fully non contact coherent interferometry in a sequential masking procedure for visualising and studying surface deformation which is the direct effect of dimensional alterations induced by humidity changes. Surface deformation during dimensional displacements of constituent materials may occur on any artwork within an unstable environment. In this context, the presented research study explores the diagnostic potential of fully non contact sensors for the direct structural assessment of environmental effects as they occur in real time on works of art. The method is employed to characterise material responses, complementing and improving understanding of material behaviour in unstable environments. Full article