Deliverable D3.1: Ongoing verification of the use of digital heritage objects within the emerging platforms

IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 102 Deliverable D3.1: Ongoing verification of the use of digital heritage objects within the emerging platforms Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 1 Document Information Document Identification Status Final Due Date 31 October 2024 Version 8.0 Submission Date 30 October 2024 Related WP WP3 Document Reference D3.1 Related Task(s) 3.1.1 Document Type Report Related Deliverable(s) D3.1(D17) Dissemination Level Public Lead Participant KU Leuven Lead Author Theodora Rontzova Reviewers (KU Nele Gabriëls Leuven) Bohdan Widła (JU) Afroditi Andreou (NKUA) Charalampos Rizopoulos (NKUA) Andrew Pace (MZ) Dimitris Charitos (NKUA) Document History Version Date Modified by Modification reason 1.0 29/09/2024 Theodora Rontzova First draft 2.0 30/09/2024 Bruno Vandermeulen Internal review Author(s) First Name Last Name Partner Theodora Rontzova KU Leuven Bruno Vandermeulen KU Leuven Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 2 3.0 02/10/2024 Theodora Rontzova Internal reviewer’s comments implementation 4.0 03/10/2024 Bruno Vandermeulen Second internal review 5.0 18/10/2024 Afroditi Andreou, Nele Gabriëls, Andrew Pace, Bohdan Widła, Dimitris Charitos, Charalampos Rizopoulos Evaluation by the assigned experts 6.0 23/10/2024 Theodora Rontzova Assigned Experts comments implementation 7.0 23/10/2024 Bruno Vandermeulen Second evaluation by the assigned experts 8.0 30/10/2024 Łukasz Pieczonka, Żaneta Żegleń Quality Team approval and final version Quality Control Role Who (Partner short name) Approval Date Deliverable leader Bruno Vandermeulen (KU Leuven) 29/10/2024 Quality manager Łukasz Pieczonka (JU) 30/10/2024 Project Coordinator Żaneta Żegleń (JU) 30/10/2024 Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 3 Table of Contents Document Information ....................................................................................................................... 1 Table of Contents ................................................................................................................................ 3 Abbreviations and Acronyms .......................................................................................................... 5 Executive Summary ........................................................................................................................... 6 Introduction ......................................................................................................................................... 7 Objectives ........................................................................................................................................... 10 Objectives of Work Package 3 (STAND) ................................................................................................................... 10 Objectives of the Task 3.1.1 .................................................................................................................................................. 12 Methodological approaches .......................................................................................................... 14 Selection of literature review type ................................................................................................................................ 14 From 2D to Virtual Reality: The concept of data ................................................................................................ 15 Two-Dimensional data .................................................................................................................................................... 15 Three-Dimensional data ..................................................................................................................................................17 Four-Dimensional Data/time-based data ....................................................................................................... 18 Six-Dimensional data ....................................................................................................................................................... 20 Metadata .................................................................................................................................................................................... 21 The 3-phase approach to data lifecycle span ................................................................................................. 23 Data creation .......................................................................................................................................................................... 23 Data management ............................................................................................................................................................ 23 Data sharing ............................................................................................................................................................................ 24 Analysis of findings .......................................................................................................................... 27 2D data ............................................................................................................................................................................................. 27 Literature .................................................................................................................................................................................... 27 Standards and guidelines ............................................................................................................................................ 28 Networks and Projects ...................................................................................................................................................... 31 Immersive environments ............................................................................................................................................... 32 3D DATA ............................................................................................................................................................................................ 36 Academic literature ........................................................................................................................................................ 366 Guidelines .................................................................................................................................................................................. 37 Projects and Networks ..................................................................................................................................................... 38 Immersive Platforms ......................................................................................................................................................... 39 4D Data .............................................................................................................................................................................................. 41 Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 4 Academic literature ............................................................................................................................................................ 41 Guidelines .................................................................................................................................................................................. 42 Projects and Networks .................................................................................................................................................. 433 6D Data ............................................................................................................................................................................................. 46 Academic literature ........................................................................................................................................................... 46 Standards and guidelines ............................................................................................................................................ 47 Projects and Networks ..................................................................................................................................................... 48 Immersive platforms ......................................................................................................................................................... 49 Conclusions ....................................................................................................................................... 51 References ......................................................................................................................................... 53 Scoping sources ................................................................................................................................ 61 Policy Documents Standards Projects Networks Guidelines Literature Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 5 Abbreviations and Acronyms Abbreviation / acronym Description 2D Two-Dimensional 3D Tree-Dimensional 4D Four-Dimensional 6D Six-Dimensional AAC Advanced Audio Coding AIFF Audio Interchange File Format ALTO Analysed Layout and text Object AVCDH Advanced Video Coding High Definition AVI Audio Video Interleave Cidoc/CRM Conceptual Reference Model D17.3 Deliverable number 17 belonging to WP3 DV Digital Video EAD Encoded Archival Description EC European Commission EDM Europeana Data Model EU European Union exif Exchangeable image file format FADGI Federal Agencies Digital Guidelines Initiative FLAC Free Lossless Audio Codec GLTF GL Transmission Format H264 High-Efficiency Video Coding HOCR Hierarchical Optical Character Recognition IIIF International Image Interoperability Framework IPTC International Press and Telecommunications Council JPG Joint Photographic Experts Group Marc Machine-Readable Cataloguing, METS Metadata Encoding and Transmission Standard MKV Matroska Video File Mods Metadata Object Description Schema MOV Apple QuickTime Movie file MP3 MPEG-1 Audio Layer 3 MP4 MPEG-4 Part 14 MTL Wavefront Material Template Library OAIP-MH Open Archives Initiative Protocol for Metadata Harvesting OAIS Open Archival Information System Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 6 OBJ Wavefront Object PC Project Coordinator PDF Portable Document Format PLY Polygon File Format PS Photometric Stereo RDF Resource Description Framework, RTF Rich Text Format RTI Reflectance Transformation Imaging SKOS Simple Knowledge Organisation System SfM Structure from Motion TIFF Tagged Image File Format TXT Text USD Universal Scene Description US United States WAV Waveform Audio File Format WMV Windows Media Video WP Work Package Executive Summary The following document is the first Deliverable of WP3 within the scope of the IMPULSE project (funded by Horizon Europe). The Deliverable 3.1.(D17) presents an overview of the ongoing verification of the use of digital heritage objects within emerging platforms. The report is divided into five sections. The first section offers an introduction to IMPULSE, a project that received funding under the Cluster 2 of Horizon Europe dedicated to “Culture, creativity and inclusive society”, specifically the call on: Re-visiting the digitisation of cultural heritage: what, how and why? (HORIZON-CL2-2023-HERITAGE-01-03) (European Commission, 2022). The second section briefly outlines the aims of IMPULSE and then presents the objectives of WP3 with specific emphasis on task 3.1.1, which resulted into the present scoping review of the current literature, best practices, standards, guidelines, projects and platforms in the field of cultural heritage digitisation. The third section offers an introduction to the selected sources that this report is based upon (academic literature, policy reports and recommendations, standards, guidelines, case studies, projects with a similar theme and immersive environments) and then analyses the methodologic approach followed in the deliverable: namely, our concept of data subdivided in 2D, 3D, 4D (time-based) data, 6D data and metadata, as well as a 3-phase Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 7 approach to the data life cycle comprising of data creation, data management and data sharing. This is followed by the main analysis of the findings. The axes of the analysis are the different data types, therefore the current state of art in cultural heritage digitisation is examined separately for each type of data. The scoping review results into the conclusions, which offers a recap of the principal findings, academic and institutional gaps as well as recommendations for future research directions. Finally, there is an appendix with all the scoping sources used in our review, ranging from academic papers and EU documents to guidelines, standards, EUfunded projects and novel immersive environments dealing with digital heritage artifacts. The scoping review will continue throughout the duration of the project. It is important to note that while this deliverable maintains academic integrity, the perspective of WP3, and thus this report, is primarily focused on institutional practices. This deliverable aligns with and complements the work developed within the other Work Packages. Keywords: cultural heritage, digitisation, standards, data management, metadata, data aggregation, 2D data, 3D data, audiovisual data, immersive platforms, virtual reality. Introduction IMPULSE emerged out of the vision of a European immersive digitisation framework, driven by the forces of culture, creativity, storytelling, upcycled technology and safe, simplified standards. The project aims to synthesise innovative, multifaceted solutions and methodologies addressing the digitisation and accessibility processes of the collections that make up digital cultural heritage. These initiatives aim to promote the innovative (re)use of digital cultural heritage, address challenges in platform interoperability and enhance the use of already digitised cultural heritage materials in novel contexts, such as the Metaverse and other immersive platforms. In those platforms, (whether they encompass MR, VR or AR technologies) the upcycling and appropriate reuse of digital assets remains a desideratum that our project will actively address. Additionally, IMPULSE seeks to develop pioneering standardisation protocols and update the legal framework to better tackle contemporary challenges. Ultimately, the end goal of the project is to be achieved through a set of specific, measurable, achievable, realistic and timebound (SMART) specific objectives, which entail: Solutions that will augment the quantity and range of cultural heritage objects that are displayed through VR/XR technologies. The now easily accessible collections shall act Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 8 as a powerhouse for a diverse set of demographic audiences and underrepresented communities, to empower them and help them engage with the topics and themes on display. • Technological solutions developed within the project that will enable the efficient (re)use of digitised cultural heritage content in novel contexts and immersive environments, with a focus on educational/teaching, artistic and creative dimensions, on par with the three prototypes that are being developed within the project (see IMPULSE proposal). • Innovative standardisation procedures and simplified strategies specifically targeted towards digitisation processes in emerging platforms, immersive and multi-user fictional environments to achieve easily comprehended formats by deploying existing (technical) standards and metadata/paradata simplification protocols, tailored for the utilisation of education, arts, and the CCSI. • Legal and organisational frameworks with detailed evaluations of risks and barriers in fields such as the copyrights, database rights, ownership, provenance, personal data protection and other related rights in the field of digital cultural heritage in novel environments. The lack of proper legal frameworks is an identified gap that IMPULSE aims to address, all while working within multiple national jurisdictions (namely the ones of the selected partners, i.e. Poland, Greece, Belgium, Italy, Germany and Malta) aiming to achieve harmonisation. • Connections among researchers, artists, cultural heritage practitioners and other relevant stakeholders through initiatives such as the IMPULSE Community of Practice (referred to as IMCo), the Hackathon and the three thematic Workshops surrounding it, as well as the Acceleration & Mentoring Hub, all aiming to promote dialogue, cocreation and capacity building in immersive digitisation. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 15 cultural heritage objects in virtual environments, an activity that will serve as the baseline for an iterative process of mapping the overview of new technologies in the fields of data processing and sharing. Finally, this scoping review attempts to include an extensive inventory of projects and networks that present a high degree of similarity with IMPULSE and deal with topics in (digital) cultural heritage, digitisation, data management and aggregation. The majority of the projects identified have also received funding from the European Commission under cluster 2 “Culture, Creativity and Inclusive Society” in cultural heritage. Following a synergistic approach, IMPULSE seeks to establish appropriate links with related actions funded by Horizon Europe. For this reason, the central coordination unit of IMPULSE along with WP3 have been liaising with the projects funded under the same call (HORIZON-CL2-2023HERITAGE-01-03), namely REEVALUATE (REEVALUATE, 2024) and DIGICher. Also, to the extent appropriate, we have established contacts with projects within the same theme, but from previous calls and with cultural and academic institutions specialising in digital cultural heritage. This initiative's end goal is to establish a network of shared best practices and resources and to enrich and complement each other's research activities. From 2D to Virtual Reality: The concept of data The exploration and analysis of the digitisation landscape and all the factors that influence it had to be studied not only in depth but also on a broad thematic range. In order for WP3 to safely and precisely conduct a desk research examination of the digitisation standards in cultural heritage, the preferred methodological scheme was that of a double axis: that of the data type and that of the 3-phase approach of the data lifecycle. These two axes will be further analised in the following sub-sections. As the project progresses, the information will be supplemented and if needed refined. The first axis of our analysis, and that which our interpretation of the findings is based on, is that of the type of data. Data is divided into the categories of 2D, 3D, 4D and 6D data. Two-Dimensional data In the context of cultural heritage, two-dimensional (2D) data refers to digital representations of cultural artifacts, sites, or documents captured in two dimensions by camera or scanner. This category includes flat materials such as books; photos in various forms such as prints, negatives, slides; graphic art, maps, etc. and other forms of visual documentation of threedimensional objects used for conservation, analysis, and dissemination. These 2D datasets are crucial for documenting the appearance and condition of cultural heritage objects, enabling detailed study and monitoring over time (Haddad, 2022). These 2D file formats can also form the basis for the creation of more complex datasets such as Multi-Light Reflectance Imaging (Reflectance Transformation Imaging or Photometric Stereo) or 3D data through Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 16 processing algorithm such as photogrammetry2D data is typically stored in a variety of file formats, depending on the type of data and its intended use. Some of the most common formats are: File Format Description Standard Description Link TIFF Tagged Image File Format; a versatile image format that supports a wide range of colour depths, compression schemes, and metadata. https://www.iso.org/standard/34342 .html JPG Joint Photographic Experts Group; a lossy image format that is widely used for digital photography due to its high compression ratio and good image quality. https://jpeg.org/jpeg/index.html JPG 2000 A newer image format that offers superior compression to JPG while maintaining high image quality, especially for images with high levels of detail or low contrast. https://jpeg.org/jpeg2000/index.html PDF Portable Document Format; a universal file format for viewing and printing documents, regardless of the software used to create them. https://pdfa.org/pdf-standards/ After deploying specific algorithms such as Optical Character Recognition (OCR) during postprocessing image data of digitised documents with text, derivative file formats are created making the text machine readable: File Format Description Standard Description Link DOCX Office Open XML; a file format for storing documents created by Microsoft Word, based on XML. https://learn.microsoft.com/enus/openspecs/office_standards/msdocx/b839fe1f-e1ca-4fa6-8c265954d0abbccd TXT Plain text; a simple format for storing text without any formatting or layout information. https://www.unicode.org/versions/ Unicode14.0.0/UnicodeStandard14.0.pdf Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 17 ODF The ODF (Open Document Format) is an open, XML-based file format standard for office documents like text, spreadsheets, and presentations, designed to ensure compatibility and long-term access across different software. https://docs.oasisopen.org/office/v1.2/OpenDocum ent-v1.2-part1.html RTF Rich Text Format; a format for storing formatted text, including fonts, styles, and layout information. https://en.wikipedia.org/wiki/Rich_ Text_Format ALTO Automated Layout Extraction; a format for storing the layout information of a document, including the location of text, images, and other elements. https://www.loc.gov/standards/alto METS Metadata Encoding and Transmission Standard; a format for storing metadata about digital objects, including documents, images, and audio files. https://www.loc.gov/standards/met s/ HOCR Hierarchical Optical Character Recognition; a format for storing the results of optical character recognition, including the recognised text and its layout information. https://kba.github.io/hocr-spec/1.2/ PDF Portable Document Format; a universal file format for viewing and printing documents, regardless of the software used to create them https://pdfa.org/pdf-standards/ Three-Dimensional data Three-Dimensional data (3D data) on cultural heritage refers to the digital representation of cultural heritage objects, sites, or practices using three-dimensional technologies. This data is acquired through various methods such as photogrammetry, laser scanning, structured light and 3D modelling, capturing the shape, texture, and spatial relationships of the objects. The purpose of 3D data in cultural heritage is to document, preserve, and present tangible and intangible cultural assets, enabling detailed analysis, virtual restoration and interactive visualisation for educational, research, and conservation purposes (Skublewska-Paszkowska et al, 2022). 3D data is typically stored in a variety of file formats, depending on the type of data and its intended use. Some of the more common formats are: Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 18 File Format Description Standard Description Link OBJ Wavefront Object; a simple 3D model file format that stores 3D geometry, texture coordinates, and normals. https://fegemo.github.io/cefetcg/attachments/obj-spec.pdf MTL The MTL file format is a companion file to 3D object files (such as OBJ) that defines the material properties of the object's surfaces, including colour, texture maps, and reflectivity, to be used in rendering the 3D model. https://paulbourke.net/dataformats /mtl/ PLY Polygon File Format; a versatile format that can store various types of 3D data, including geometry, colours, and normals. https://people.math.sc.edu/Burkard t/data/ply/ply.txt FBX Autodesk Interchange File Format; a versatile format that can store 3D models, animations, and materials. https://www.autodesk.com/products /fbx/overview GLTF GL Transmission Format; a relatively new format that is designed for efficient delivery of 3D content on the web. https://www.khronos.org/gltf/ USD The Universal Scene Description (USD) file format is an efficient, scalable system for authoring, reading, and streaming timesampled scene description for interchange between graphics applications. https://openusd.org/ Four-Dimensional Data/time-based data The use of the concept of four-dimensional data (4D data) in the scoping does not relate to the theories of 4D in certain cultural heritage sources referring to the integration of threedimensional spatial data with the fourth dimension of time. It is important to know that in our scoping review we consider 4D data as time-based media such as audio and audiovisual data, differentiating two-dimensional, three-dimensional and time-based data sources. It should be clarified that 4D data in our study (and the project in general) does not relate to theories of fourdimensional geometries, such as the ones discussed by (Anderson et al, 2013). Audio-visual data is typically stored in a variety of file formats, depending on the type of data and its intended use. Some of the more common formats are: Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 19 Audio File Extension Description Specification Link MP3 Lossy compression format, widely used due to its small file size. https://en.wikipedia.org/wiki/MP 3 WAV Lossless compression format, often used for high-quality audio recordings. https://www.mmsp.ece.mcgill.ca/ Documents/AudioFormats/WAVE/ WAVE.html FLAC Lossless compression format, known for its high compression ratio while preserving audio quality. https://xiph.org/flac/ AAC Lossy compression format, commonly used for streaming audio and digital downloads. https://en.wikipedia.org/wiki/Adv anced_Audio_Coding AIFF Lossless compression format, primarily used on Apple devices. https://en.wikipedia.org/wiki/Aud io_Interchange_File_Format Audio Visual File format Description Specification Link MP4 Most common container format for video and audio, supports various codecs. https://mp4ra.org/ AVI Older video container format, supporting various codecs. https://en.wikipedia.org/wiki/Audi o_Video_Interleave MOV Apple's proprietary video container format, often used for QuickTime. https://en.wikipedia.org/wiki/Quic kTime_File_Format MKV Versatile container format supporting various codecs, including high-quality video and audio. https://en.wikipedia.org/wiki/Quic kTime_File_Format WMV Microsoft's proprietary video format, often used for Windows Media Player. https://en.wikipedia.org/wiki/Win dows_Media_Video AVCDH High-definition video format, commonly used for camcorders. https://en.wikipedia.org/wiki/AVC HD DV Digital Video format, often used for camcorders. https://en.wikipedia.org/wiki/DV_ (video_format) H264 High-Efficiency Video Coding (HEVC) standard, widely used for video compression. https://en.wikipedia.org/wiki/Adv anced_Video_Coding MPEG Moving Pictures Experts Group, a group of standards organisations that develop https://en.wikipedia.org/wiki/Mov ing_Picture_Experts_Group Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 20 standards for audio, video, and related technologies. Six-Dimensional data Within the scoping review we consider six-dimensional data (6D data) as data that has been used within virtual environments, integrating 2D, 3D and/or 4D data and reformatted to dedicated file formats allowing interaction, representation or simulations in the virtual space. This multidimensional methodology allows digitised heritage collections—such as artefacts or reconstructions of historical environments—to be shared in virtual platforms, where the data can be displayed, processed, integrated, and reformatted for different purposes. It enhances the capacity for visualisation, research, and preservation by creating a more comprehensive, immersive, and reusable digital model of cultural heritage. 6D data is stored in a variety of file formats, depending on the source data and its intended use. Some of the more common formats, some also used in 3D, can be found below. Next to these file formats specific software tools are likely to use their own proprietary formats to save and retrieve simulation. File Format Description Standard Description Link OBJ Wavefront Object; a simple 3D model file format that stores 3D geometry, texture coordinates, and normals. https://fegemo.github.io/cefetcg/attachments/obj-spec.pdf FBX Autodesk Interchange File Format; a versatile format that can store 3D models, animations, and materials. https://www.autodesk.com/produ cts/fbx/overview glTF gl Transmission Format; a relatively new format that is designed for efficient delivery of 3D content on the web. https://www.khronos.org/gltf/ PLY Polygon File Format, a simple format for storing 3D geometric data. https://people.math.sc.edu/Burk ardt/data/ply/ply.txt USD The Universal Scene Description (USD) file format is an efficient, scalable system for authoring, reading, and streaming timesampled scene description for interchange between graphics applications. https://openusd.org/ X3D Extensible 3D (X3D), a platform-independent format for 3D graphics. https://www.web3d.org/specificat ions/ Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 21 VRML Virtual Reality Modelling Language, an older format for 3D graphics. https://www.web3d.org/docume nts/specifications/197762/V3.3/index.html Metadata Metadata is the foundational element of any successful digitisation project. It is the invisible ecosystem that gives digital objects meaning and context. Without metadata, digitised content in the long run becomes mere dead data of no value. Administrative metadata details the administrative history of the digital object, including creation date, creator, and copyright information. Contextual metadata describes the content and subject matter of the digital object. Technical metadata provides information about the technical characteristics of the digital object, such as file format, resolution, and size. Paradata records the circumstances surrounding the creation or collection of the digital object(s). Different types of collections (libraries, museums, archives) have their own metadata requirements and metadata standards vary depending on the type of data being digitised (text, images, audio, video). Different standards exist for each step in the data lifecycle, from creation to preservation. Developing thesauri and controlled vocabularies ensures consistency and facilitates searching and linking. Metadata enables the aggregation and interoperability of data from various sources. Metadata-driven gateways like the International Image Interoperability Framework (IIIF) provide access to digital content. Metadata is the key to unlocking the full potential of digitised content. By investing in deploying robust metadata standards and practices, digital heritage becomes FAIR data (Findable, Accessible, Interoperable and Reusable). Some of the more common metadata standards are: Metadata Standard Description Specification Link Dublin Core The Dublin Core Metadata Element Set is a standardised vocabulary of fifteen properties for describing resources. https://www.dublincore.org/sp ecifications/dublin-core/dcmiterms/ EDM The Europeana Data Model (EDM) is an interoperable framework that structures and represents data contributed by various cultural heritage institutions to Europeana. https://pro.europeana.eu/page /edm-documentation Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 22 MARC21 Machine-Readable Cataloguing, a standard for cataloguing library materials. https://www.loc.gov/marc/ CIDOC/CRM Conceptual Reference Model, a standard for describing cultural heritage objects. https://www.cidoc-crm.org/ PREMIS Preservation Metadata for the Electronic Resources of Libraries and Archives, a standard for describing preservation metadata. https://www.loc.gov/standards /premis/ Spectrum A standard for describing digital objects in museums and galleries. https://collectionstrust.org.uk/s pectrum/ MODS Metadata Object Description Schema, a flexible metadata schema for describing digital objects. https://www.loc.gov/standards /mods/ EAD Encoded Archival Description, a standard for describing archival materials. https://www.loc.gov/ead/ RDF Resource Description Framework, a framework for representing metadata as a graph of interconnected resources. https://www.w3.org/TR/rdfaprimer/ METS Metadata Encoding and Transmission Standard, a standard for describing digital objects and their relationships. https://www.loc.gov/standards /mets/ IIIF International Image Interoperability Framework, a framework for delivering images and their associated metadata. https://iiif.io/ OAIP-MH Open Archives Initiative Protocol for Metadata Harvesting, a protocol for harvesting metadata from different repositories. https://www.openarchives.org/ OAI/openarchivesprotocol.html LIDO The LIDO schema is intended for delivering metadata, for use in a variety of online services, from an organisation’s online collections database to portals of aggregated resources, as well as exposing, sharing, and connecting data on the web. https://cidoc.mini.icom.museu m/working-groups/lido/lidooverview/about-lido/what-islido/ Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 23 The 3-phase approach to data lifecycle span The second pillar of our analysis is the data lifecycle span, divided into a tripartite approach: data creation, data management and data sharing. Data creation Concerning digitisation, this phase involves converting information from a physical object into binary data. It is a crucial step in preserving and making information accessible in the digital age. The process includes scanning documents, photographing 3D objects/artefacts, and converting audio and video recordings into digital formats. Our analysis specifically examines academic papers, reports, case studies, and guidelines related to digitisation. This includes exploring standards and best practices for digitisation, as well as the various file formats used to ensure the longevity and accessibility of digital content. Proper digitisation ensures that valuable information is preserved accurately and can be easily accessed and shared in the future. It also lays the foundation for effective data management and sharing.In the data creation phase, standardisation is essential to ensure consistency, reliability, and interoperability across different systems and platforms. Standardisation in this phase also facilitates easier data exchange and collaboration between different entities, enhancing the overall value and utility of the digitised information. Important to note, however, is that digitisation only converts partial information about the object. Some features are only visible through the application of special techniques such as multi-spectral imaging, multi-light reflectance imaging, or through more analytical techniques such as Macro X-ray Fluorescence Scanning (MA-XRF). These advanced techniques allow for a more comprehensive capture of the object’s details, which are crucial for certain types of analysis and research. Moreover, the data creation phase is not just about the technical process of digitisation but also involves careful planning and documentation. This includes creating detailed records of the digitisation process, the equipment used, and the conditions under which the digitisation took place. Such documentation is vital for ensuring the reproducibility and reliability of the digitised data. It also helps in troubleshooting any issues that may arise during the digitisation process and provides a clear audit trail for future reference. Data management This phase focuses on the long-term preservation of digital data. It involves implementing strategies to maintain the integrity and accessibility of data over time. Key aspects include the use of technical and descriptive metadata, as well as paradata. Metadata provides essential information about the data, such as its origin, structure, and context. Paradata, on the other hand, documents the processes and methodologies used to create and manage the data. Both are crucial for ensuring that data remains understandable and usable Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 24 in the long term. This phase is particularly relevant to the development of Work Package 3 in year two of the project. Standardisation plays a pivotal role in this phase. By adhering to established standards for metadata and paradata, organisations can ensure consistency, interoperability, and reliability across different systems and platforms. Standardised metadata facilitates easier data sharing and integration, while also enhancing the discoverability and reusability of data. Moreover, it helps to maintain the authenticity and provenance of data, which is essential for long-term trust and verification. In addition to metadata and paradata, data management also involves implementing robust storage solutions. This includes using redundant storage systems to protect against data loss, regularly backing up data, and employing data migration strategies to ensure data remains accessible as technology evolves. Effective data management also requires regular monitoring and maintenance to identify and address any issues that may arise. Furthermore, data management encompasses the development of policies and procedures for data access and use. This includes defining who can access the data, under what conditions, and how the data can be used. Such policies are essential for protecting sensitive information and complying to copyright and other judicial aspects. Data sharing Sharing data in the field of cultural heritage is essential for expanding access, discoverability, and interoperability of cultural resources. It allows researchers, educators, and the public to benefit from the wealth of information preserved in digital formats. Our scoping review focused on sources, networks, and projects dealing with data aggregation. Notable examples include Europeana and the upcoming common European data space for cultural heritage (2024). These platforms aggregate cultural heritage data from various institutions across Europe, making it accessible to a wide audience. A significant development in this phase is the upcoming launch of the European Collaborative Cloud platform for Cultural Heritage. This platform aims to enhance collaboration and data sharing among cultural heritage institutions, further improving the accessibility and interoperability of cultural resources. By adopting common standards for data formats, metadata, and protocols, cultural heritage institutions can ensure that their resources are compatible and easily integrated with other datasets. This not only facilitates seamless data exchange but also enhances the quality and reliability of shared information. Standardisation helps in overcoming technical barriers, enabling diverse systems to communicate effectively. Moreover, it supports the long-term preservation of digital assets by ensuring that data remains accessible and usable over time, regardless of technological changes. In essence, standardisation is the backbone of efficient data aggregation and sharing, enabling a more connected and collaborative cultural heritage community. Additionally, data sharing initiatives often involve the development of digital platforms and repositories that provide centralised access to cultural heritage data. These platforms typically offer advanced Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 31 recordings, a type of data we will further analise below) and one explaining the minutiae of digital preservation. The toolkit aims to assist museums, archives and independent researchers to digitise their existing collections and provide guidelines to implement digital preservation procedures (Ontario Museums Association, 2020). Although prominent institutions like the Rijksmuseum, IFLA, and the US National Archives have established comprehensive guidelines and standards for digitisation, their implementation varies significantly across cultural heritage institutions. Larger organisations often possess the necessary resources, expertise, and funding to adhere closely to these standards. In contrast, mid-sized and smaller institutions face considerable obstacles, such as limited resources, skills, and infrastructure. This disparity results in a wide gap in the quality and consistency of digitisation practices. As a result, while the guidelines offer a solid framework, their practical application differs greatly, underscoring the need for tailored support and resources to help all institutions achieve high-quality digitisation outcomes. Networks and Projects Two-dimensional cultural heritage has been at the heart of many European projects, consortia and networks. Among the most commonly identifiable organisations dealing with digital cultural heritage is Europeana, a web portal created by the European Union with the goal to provide access to millions of digitised cultural heritage items from institutions across Europe. Although not limited to two-dimensional material (the collection is also rich in audiovisual archives), Europeana hosts a vast collection of digitised 2D data originating from books, newspapers, postcards and photographs. Europeana does not work directly with each institution Instead, a network of aggregators collects their items and its related data, checks it thoroughly, and enriches it with information like geo-location, or links it to other material or datasets through associated people, places, or topics. (Europeana, 2024). Regarding the documentation and aggregation phases of digitized data, the Europeana Data Model (EDM) is an interoperable framework that allows the collection, link and enrichment of cultural heritage metadata. As a theoretical data model, it allows data to be presented in different ways according to the practices of the various domains which contribute data to Europeana. The mapping guidelines of the EDM offer guidance to the institutions that want to map their data in compliance with the EDM. These guidelines show which property relates to each class and contain information on the data types that can be used as values, as well as the obligation level of each property. They also include examples of original data and data converted to EDM, showing the distribution of the properties across the classes (EDM Mapping Guidelines, 2017). Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 32 PHOTOCONSORTIUM (International Consortium for Photographic Heritage) is a non-profit association whose purpose is the promotion and enhancement of the culture of photography and photographic heritage. It organises and promotes conferences, exhibitions, events and training courses. It is Europeana's main aggregator network, specialised in photographic content. Since 2014 it has rendered accessible over 500.000 photographs from around 50 partners, showcasing famous heritage collections from public institutions and private agencies, and unveiling the previously unknown photographic content of private collectors, small local archives and institutions. Additionally, PHOTOCONSORTIUM offers advice services on digitisation, digital curation, management and aggregation practices (PHOTOCONSORTIUM, 2024). PHOTOCONSORTIUM approaches the concept of digitisation to safeguard the memories and stories stored in cultural heritage objects, and this process naturally brings together complex and heterogenous data associated with digital objects. To leverage on both the volume and quality of this information, new approaches for improved searchability/retrievability and metadata enrichment have been developed (Bachi et al, 2018). Albeit a field with a demonstrated history, two-dimensional data are still the main topic of research projects, either in Academia or in cultural institutions. TEXTaiLES (TEXTile digitisAtIon tooLs and mEthodS for cultural heritage) is a recently funded Horizon Europe project dealing with novel methods of digitising textile materials (traditionally classified as twodimensional) with the assistance of AIdeveloped tools, aiming to establish a standardised protocol that seamlessly integrates into the ECCCH. The project is expected to take an all-encompassing approach to standardisation, integrate state-of-the-art AI technologies and merge into a 4D multi scale annotation interface, coupled with a digital twin model (TEXTile digitisAtIon tooLs and mEthodS for cultural heritage | TEXTaiLES | Project | Fact sheet | HORIZON | CORDIS | European Commission (europa.eu) Moving on to Germany, in 2018, a grant from the Deutsche Forschungsgemeinschaft (German Research Foundation) allowed for the digitisation of all the collection inventories, files, and other associated documentation currently held by the Ethnologisches Museum, dating from the year 1830 up until 1947. The digitisation process was completed this year, and the 1.600 historical documents are accessible to the public. These digitised materials constitute one of the most completely preserved archival holdings within the Staatliche Museen zu Berlin network. As such, they are of use not only for research on topics relating to the history of the museum and its collection, but also for better understanding broader administrative procedures within the museum. (SMB, 2024). A detailed document about the digitisation process is available in German (Ethnologisches Museum, 2024). Immersive environments Two-dimensional data is also present in several immersive heritage applications. Cecotti (2022) offers an extensive review of the currently available software dealing with cultural heritage in fully immersive virtual reality. The paper also highlights the progress Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 33 in the implementation of applications that provide immersive learning experiences related to cultural heritage, from 360 images to photogrammetry and 3D models. Regarding 2D data, a plethora of cultural heritage immersive environments are in fact 3D representations of 2D models and contain 2D scans of digitised cultural heritage objects. We will indicatively present five case studies. Great Paintings VR: (released in 2021). Great Paintings VR allows users to browse among more than 1000 famous paintings from the early Renaissance to the beginning of the twentieth century [20]. The images are taken from Wikipedia with many images coming from the Google Art project, in which museums provide content in high resolution for free. Some images were upsampled using artificial intelligence techniques, i.e., deep learning, to increase the quality of the images (Cecotti 2022). Image 1. Great Paintings VR. Städel Time Machine: (released in 2016). It is a virtual museum dedicated to Frankfurt’s Städel Museum and how it looked in 1878 (Cecotti, 2022). The project has its roots in the 1990s, when historical inventory books were transcribed and painting provenances evaluated for the Old Masters Department's inventory research (Städel Museum, 2016). The app contains 3D reconstructions of paintings. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 34 Image 2. Städel Time Machine. Mona Lisa Beyond the Glass (released in 2019). It is the first VR experience presented to the public by the Louvre Museum and is conceived as part of the Museum’s seminal Leonardo da Vinci exhibition. Mona Lisa: Beyond the Glass reveals the latest scientific research on da Vinci’s artistic innovation and his painting techniques and processes through visualisation. (Steam: 2019). Image 3. Mona Lisa: Beyond the Walls. Claude MonetThe Water Lily Obsession (released in 2019). This is not a traditional VR museum, but rather a contemplative passive experience that invites the viewer to a journey starting from Claude Monet's Garden and ending up in the exhibition room of the Orangerie Museum, where his large paintings are exposed (Cecotti 2022) Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 35 Image 4. Claude MonetThe Water Lily Obsession IL DIVINO: Michelangelo's Sistine Ceiling (released in 2019): This is a is a fully immersive VR experience where the user can walk through and learn about the Sistine Chapel ceiling, acquiring a genuine experience of the highest fidelity with high-resolution textures. This application allows the user to step onto Michelangelo’s own scaffold and learn about how he painted the ceiling or enter a Vatican conservator’s mobile aerial platform to see the ceiling up close and learn about the controversial cleaning (Cecotti 2022). Image 5. IL DIVINO: Michelangelo's Sistine Ceiling in VR Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 36 3D DATA Academic literature There is a substantial amount of academic literature on the 3D digitisation of cultural heritage, as the field has gained substantial expansion due to its potential to preserve and document tangible heritage materials. Pavlidis and Koutsoudis (2022) explain the demanding process of creating digital copies for 3D real-worlds objects, especially when their geometric complexity goes beyond elementary solid shapes. They present an overview of the principal 3D digitisation methods that can be found in scientific literature, namely i) measurement techniques using lasers (i.e triangulation), ii) shape/ structure form X, iii) traditional approaches (photogrammetry, topography), iv) special techniques (digital holography, Xray tomography). Each method is analised according to its individual principles, strengths and weaknesses. Lastly, the paper discusses the influence of object characteristics in the selection and application of the most appropriate methods and particularly on how the objects’ size is a decisive factor in cultural heritage 3D digitisation projects. Gervasi et al. (2022) depart from the detrimental consequences of the pandemic to the cultural heritage landscape and aim to establish a set of best practices defining methods and technologies that will enable the effective digitisation of cultural heritage on a large scale. They focus on the issues that may arise with the manual realisation of works using Blender and Unity software and analise the digitisation process of the Piazza IV Novembre in Perugia, the Fontana Maggiore, the Republic Square in Foligno, the Palazzo Trinci and the Cathedral of San Feliciano, reaffirming that the photogrammetry technology is able to reconstruct threedimensional elements and produce very detailed immersive models. 3D Data Creation to Curation: Community Standards for 3D Data Preservation is a volume edited by Moore, Rountrey and Scares Kettler (2022) dealing with the often overlooked and as rapidly developed (as opposed to data creation) sub-field of data preservation. This volume includes surveys of current practices, recommendations for implementation of standards, and identification of areas in which further development is required in the areas of 3D data preservation, management and storage for 3D data, metadata requirements, copyright and legal issues, as well as access and discoverability issues (Moore, Rountry and Kettler 2022). When it comes to standards, Storeide et al (2023) have issued a review of standards implementation in 3D in cultural heritage. The review aims to underline the current Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 37 limitations in implementing 3D workflows for various cultural heritage purposes. 45 projects and institutions are analised and reviewed, along with the most prominent guidelines for workflows and ways of implementing the 3D data on the web. The review also touches on issues of public accessibility, standardisation and interoperability. The Commission Recommendation (EU) 2021/1970 on a common European Data Space for Cultural Heritage is to pave the way for a common data space for heritage, enhancing digitisation and preservation efforts by heritage institutions. It encourages member states to develop digital strategies, adopt advanced technologies, and set clear digitisation goals. The recommendation also emphasises partnerships, innovation, and addressing the digital skills gap to help cultural heritage institutions become more resilient in the future. It covers all types of cultural heritage (tangible, intangible, natural, born digital), including all the categories of cultural heritage at risk. (European Commission, 2021) Guidelines Concerning three-dimensional data, in the more recent years several institutional guidelines emerged out of day-to-day digitisation practices within cultural institutions, repositories or relevant projects and which may deviate substantially from the academic studies or policy recommendations in the sector. The European Commission's study on quality in 3D digitisation of tangible cultural heritage is a key document and contains valuable information on 3D datacentered processes. As a practicebased document, the study focuses on the terminology (accuracy and precision), the different multi-sensory and multi-spectral scanning technologies, interviews with professionals as well as well as standards, data formats and metadata schemes for 3D structures. What is particular in this study is the mention to Extended Reality, the Metaverse, Digital Twins, Artificial Intelligence and Machine Learning (European Commission, 2020). The Society for Imaging Science and Technology (commonly referred to as imaging.org) is a large platform where technical and academic professionals and users go for knowledge of techniques, processes, and systems for imaging. The Recommended 3D Workflow for Digital Heritage Practices is a document that resulted from the International Archiving Conference of 2023. This specific document addresses the concerns in the field of digital heritage by setting out a series of recommendations for establishing a workflow for 3D objects, with focus on long term preservation and dissemination. The recommended workflow consists of components data acquisition, data preservation, data description, data curation and processing, data dissemination, as well as data interoperability, analysis and exploration. Each component is supplemented by suggestions for standards and tools, which are either already common in 3D practices or represent a high potential component Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 38 seeking consensus to formalise a 3D environment fit for the Humanities, such as efforts carried out by the International Image Interoperability Framework (IIIF) (Manz et al, 2023). 3D Digitisation in Cultural Heritage Institutions Guidebook (Cieslik, 2020) is a document solely based on the experience of museum professionals. The guide primarily addresses 3D digitisation technologies, including what techniques are used for different objects, sites, and settings, which methods are used to avoid or correct troubleshoot problems, and which techniques are best implemented in archives, libraries, and museums, specific to this guide. Specifically, it consists of sections on a 3D Pipeline of Developing a 3D Model from Raw Data, file formats, metadata preservation and metadata standards. The Consortium of Academic and Research Libraries of Illinois (CARLI) has published their own guide of best practices for the digitisation of threedimensional objects. Topics covered in this document include image capture (equipment needed, camera settings, photography techniques) image management, adding compound objects to CONTENTdm, and metadata (descriptive, technical etc.) (CARLI, 2020). The EUreka 3D project (which will be further analised below) has issued a set of 3D Digitisation Guidelines based on the European Commission's Report (2020). The guide is specifically aimed at cultural heritage professionals responsible for the digitisation of tangible collections. It outlines and simplifies the recommended methodologies highlighted in the European Commission report (Study on quality in 3D digitisation of tangible cultural heritage, 2020). After addressing the issues of quality and complexity, the process of 3D digitisation is mapped in all its stages (project planning, documentation, technical aspects, object analysis, proposed recording methods and tools, agreed levels of accuracy, precision and error, data management, metadata and paradata, and ultimately publication and dissemination strategies). Α partner in several cultural heritage projects, the association "Historic England” provides their own Guide for good practices in Photogrammetric Applications in Cultural Heritage. The guide covers the practical application of photogrammetry in recording cultural heritage, with reference to structure from motion (SfM) techniques. (Historic England, 2017). Projects and Networks Regarding the three-dimensional digitisation of cultural heritage, there are many projects aiming to preserve and share cultural artifacts using advanced technologies such as 3D scanning. The field of 3D digitisation has additionally been a constant priority of the European Union, as it is demonstrated by European Commissions’ Recommendation on the digitisation and online accessibility of cultural material and digital preservation (2011/711/EU) and the Recommendation on a common European data space for cultural heritage (C/2021/7953). Therefore, several cultural heritage projects centred around 3D digitisation Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 39 have received funding from the European Union. Some exemplary projects will be analysed below. The EUreka 3D project (2023, funded by the Digital Europe Programme of the European Union) addresses the need for facilitating the digital transformation in the sector of cultural heritage by offering capacity building, (re)training and new service to cultural institutions. The project's actions focus specifically on 3D digitisation, accessibility, storage and sharing. To achieve these goals, EUreka 3D engages in a variety of CH institutions in piloting actions that i) set up dedicated cloud-based services for the preservation and management of cultural content, ii) generate highquality 3D digitisation of selected items and their related metadata and paradata ready to be harvested by Europeana, iii) perform aggregation of the digitised content to the platform of Europeana. The project has so far issued a set of 3D digitisation guidelines (2023), related deliverable reports as well as a milestone achievement report on high quality 3D digitisation within the project. (EUreka 3D, 2024). 5Dculture is a project dedicated to the deployment and demonstration of 3D cultural heritage. 5Dculture enriches existing European 3D digital cultural heritage assets in the data space and fosters their reuse in crucial domains such as education, tourism and the wider cultural and creative sectors, towards socially and economically sustainable outcomes. The project has been delivering highquality 3D content taken form the datasets of the partners’ collections and given focus on the reuse scenario in the domains of fashion, 3D archaeological content, historical buildings and cityscapes. The project AUTOMATA (AUTOMated enriched digitisation of Archaeological liThics and cerAmics) is a recentlyfunded Horizon project dealing with 3D digitisation in archaeology. AUTOMATA envisions to transform the time-and-resources-consuming digitisation process by enabling low-cost and time-efficient digitisation. Using AI-augmented robotics and sensors, the project will create 3D models enriched with archaeometric data, providing a practical and cost-effective solution for digitisation. Robotic tools with newly developed AI methodologies will improve the digitisation process of visible and non-visible properties of archaeological finds, enhance the robustness and efficiency of 3D digitisation, improve surface appearance acquisition, and additionally integrate 2D representations. This approach streamlines data acquisition, aided by human-AI collaboration, and, consequently, the collection of big, well-identified data will empower the development of AI models (European Commission, 2024). Immersive Platforms In his study, Cecotti (2022) lso includes immersive platforms that display three-dimensional digitised cultural heritage objects. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 40 Nefertari: Journey to Eternity (2018). It is an educational immersive environment that guides the player through the tomb of the famous Egyptian queen. The player can explore the dark tomb to look the way it would have over 3000 years ago, with two light-wielding controllers. The player can take a richly detailed and close-up look at painted hieroglyphics, interact with them and receive voiced information. In this application, the player can learn about Nefertari and the most famous Egyptian gods and goddesses. The high-resolution texture and the work for modelling the environment and the lights are key assets of this application (Cecotti 2022). Image 6. Nefertari: Journey to Eternity. Guildford Castle VR (2022). Inspired by one of England's oldest castles, this is a roaming, narrative VR experience that allows the user to visit the 14th century version of the castle and surroundings. The VR includes a hyper-realistic digital double of the castle as it stands today, created using state-of-the-art 3D scanning techniques (Historic VR, 2022). Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 47 Reality and the Metaverse in Cultural Heritage, with topics such as: case studies of VR reconstructions of ancient/medieval monuments, to be featured in immersive platforms, enhanced accessibility in VR, conceptual frameworks for VR integration in museums, VR/AR/XR applications in modern history, education, digital ethnography and many more. (De Paolis et al, 2023). A thorough review of the software that is currently available that deals with cultural heritage in fully immersive virtual reality is presented by Cecotti (2022). The applications are grouped according to their content (galleries, museums, specific artists or artworks) and according to workload, usability, flow, and potential VR symptoms surveys. Although a lot of progress has been made, the paper highlights the discrepancy between academic scholarship dealing with VR cultural heritage and the actual software available to the public audience. A more recent article presents a ten-year bibliometric analysis of publications in the field, resulting in a detailed overview of virtual reality (VR), augmented reality (AR), and mixed reality (MR) technologies in cultural heritage. The contribution of this research lies in offering valuable insights for practitioners and researchers, helping them make informed decisions on the use of immersive technologies in heritage contexts. (Zhang et al, 2024). Standards and guidelines It is noteworthy that, while the topic of digitised 2D,3D and 4D data is being increasingly studied in an academic context, the management and sharing of new forms of data that emerge is still unexplored in academic sources. A similar imbalance is observed in policy recommendations, institutional documents and guidelines. However, as it will be shown below, a lot of projects on immersive heritage have received funding very recently and are currently developing material within their deliverable goals, so the landscape may differ soon. The Metaverse Standards Forum is an independent consortium that provides a venue for cooperation between standards organisations and companies to foster the development of interoperability standards for an open and inclusive metaverse (Metaverse Standards, 2024). Although not creating standards itself, the Forum coordinates requirements and resources to foster standard evolution within relevant domains. It has also initiated a pipeline of Exploratory and Working Groups, carrying out projects such as ‘3D Asset Interoperability using USD and glTF’, ‘3D Web Interoperability‘, ‘Accessibility in the Metaverse’, ‘Digital Asset Management’, ‘Digital Fashion Wearables for Avatars’, ‘Metaverse Educational Register’, ‘Interoperable Characters/Avatars’, ‘Industrial Metaverse Interoperability’, ‘Metaverse Standards Register’, ‘Network Requirements and Capabilities’, ‘Privacy, Cybersecurity & Identity’, ‘Real/Virtual World Integration‘ and ‘Technical Interoperability and End-User Troubleshooting’, ‘Volumetric Media Interoperability.’ The exploratory groups currently include ‘Ethical Principles for the Metaverse’, ‘XR Device Interoperability.’ Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 48 Projects and Networks CAPHE (Communities and Artistic Participation in Hybrid Environment, 2023) a four-year project aiming to investigate, perform and elaborate upon an enhanced model of interaction and somatic participation in hybrid environments that comprise both physical and virtual layers among artists and communities from traditional and virtual cultural backgrounds. The three focus areas of CAPHE are art, education and community, within which the concept of eXtended Reality Participation is being developed. The project makes use of diverse methodologies including field research, interviews and virtual cooperation though the use of Augmented Reality, Mixed Reality and Virtual Reality technologies (CAPHE, 2023). Five projects that received funding under the same call and share a similar thematic and methodological approach have formed the Digital Cultural Heritage Cluster. Work across the cluster includes digitisation of cultural artefacts, improving the accessibility of cultural objects and spaces, and facilitating engagement with history and culture in a digital age. These projects are namely: MEMENTOES, PERCEIVE, SHIFT, MuseIT and PREMIERE. i) MEMENTOES (immersive games for museums as vehicles to engage visitors in empathetic responses): This project addresses how historical information and cultural memory gets lost in today's inflated media environment. MEMENTOES seeks to preserve this valuable information through video games. By pairing three museums focused on historical injustices – the USSR’s gulags, wars impacting children, and a mining disaster – with independent game developers, the players will inhabit different perspectives and experience the daily lives of marginalised groups. (MEMENTOES, 2024). ii) PERCEIVE (Perceptive Enhanced Realities of Coloured Collections through AI and Virtual Experiences): PERCEIVE seeks to advance the digital capability of scientists and cultural institutions through a service-based AI architecture and toolkit, and by developing a new design theory for on-site and remote VR/AR/MR experiences, based on the concepts of “Care”, “Accessibility”, and “Authenticity”, with and for the creative industries, expanding the access to Cultural Heritage and Art outside museums for wider integration with society. (PERCEIVE, 2024). iii) MuseIT (Multisensory, User-centred, Shared cultural Experiences through Interactive Technologies): The core principles of the project are inclusion and equal opportunities for all. Despite critical advances in immersive cultural heritage, structural deficiencies remain lack of accessibility for all, limited opportunities and limited interoperable digital repositories for archiving accessible multisensory cultural assets and related archival structures. The MuseIT project aims to co-design, develop, and co-evaluate a multisensory, user-centred platform for enriched engagement with cultural assets with inclusion and equal opportunity for all as core principles. The MuseIT innovation is rooted in multisensory representations of cultural heritage which extend beyond the visual and auditory senses (MuseIT, 2024). Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 49 iv) PREMIERE (Preserving and enhancing cultural heritage with advanced digital technologies): The overall objective of PREMIERE is to develop and validate a comprehensive ecosystem of digital applications, powered by leading edge AI, XR and 3D technologies, designed to fulfil the needs of diverse end-user communities involved in the main stages of the of the lifecycle of performing arts productions, including amateur and professional performers, performance art producers and curators, performance art spectators and scholars (PREMIERE, 2024). v) SHIFT (MetamorphoSis of cultural Heritage Into augmented hypermedia assets For enhanced accessibiliTy and inclusion): SHIFT envisions to strengthen the cultural heritage assets and increase the accessibility and usability of artifacts through appealing content representation, enriched user experience, inclusive designing and engaging business models. To achieve these objectives, SHIFT is using new AI technologies, machine learning, semantic representations and haptic interfaces (SHIFT, 2024). OPENVERSE (2023) is a coordination and support action funded by Horizon Europe. Its overarching goal is to create inclusive, open, and ethically responsible European virtual worlds thar will leverage the European Union's technological position in the global arena. OPENVERSE aims to lay the foundational framework for these virtual worlds, combining user co-creation with extended reality technologies, addressing legal and ethical challenges, and guiding future policy and industry standards for globally influential virtual worlds. The guiding objectives of the project are inclusivity, accessibility, interoperability, security, innovation and collaboration (OPENVERSE, 2024). Immersive platforms i-MareCulture (Advanced VR, iMmersive serious games and Augmented as tools to raise awareness and access to European underwater CULTURal heritagE) focuses on the naturally unreachable and understudied field of underwater cultural heritage. The project's aim is to raise awareness of Europe's rich underwater heritage by implementing virtual visits, games with immersive technologies and underwater augmented reality. Scope of the project is to design, analyse, develop and validate pioneer applications and systems in the context of Virtual Museums through collaborative and innovative research from a diverse group of scientists, researchers, archaeologists, experts and museums (i-MareCulture, 2018) MEMORISE (2022) is another project dealing with memory studies and the Holocaust. As most witnesses of the Nazi persecution pass away, MEMORISE aims to keep their memories alive though novel digital storytelling strategies. To do so, the project digitised the diaries, testimonials and recordings of the victims and import them in virtual environments. The plans include the development of a smartphone application that narrates victims’ experiences based on augmented reality (AR) solutions to enhance memorial site visitor experiences, as well as a web-based interface that gives access to all materials and supports narrative virtual experiences for everyone. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 50 Outside European Union funding schemes, some higher education institutions also develop their own immersive heritage projects. The University of Amsterdam, for instance, has developed “Virtual Past Places”, a website aimed to give access to the virtual reality rooms created by the 4D Research Lab (also run by the same university). The virtual places present the results of archaeological excavations and give tours within virtual exhibitions (Virtual Past Places, 2024). Image 12. Virtual Past Places The University of Glasgow is developing the Museums in the Metaverse (MIM), a project that will create a two-sided Extended Reality (XR) Cultural Heritage platform that aims to empower diverse visitors to explore cultural assets in new and engaging ways and enable cultural heritage professionals and non-specialist users to create new content. One side of the proposed platform is intended for visitors and the other is for virtual curators, where experts and beginners alike can build enriching and entertaining narratives using (mostly Scottish) objects and virtual environments that have never been placed together in the real world (University of Glasgow, 2023). Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 51 Conclusions The IMPULSE project, as outlined in the document, aims to investigate the digitisation and management of cultural heritage data, particularly focusing on the challenges and opportunities presented by immersive platforms. This report, written from the perspective of a heritage institution, targets professionals and institutions in the field, providing insights and recommendations based on the lens of WP3 on standardisation. The scoping review provided a wealth of literature and established practices in the management and sharing of 2D, 3D, and 4D data. 2D data has been extensively studied, and there are well-defined standards and methodologies for their digitisation, metadata creation, and sharing. For instance, 2D data creation, is well-supported by standards on file formats and guidelines like the Metamorfoze Preservation Imaging Guidelines and FADGI Guidelines. 3D data (digital models of physical objects) is also moving towards more standardisation with documents such as the Study on quality in 3D digitisation of tangible cultural heritage and the guidelines developed in projects like EUreka3D and 3D-ICONS. 4D data, what we consider as time-based media, is also well-documented, particularly in the context of audiovisual materials, with guidelines from organisations like IASA and FIAT/IFTA. In contrast to the rich literature on 2D, 3D, and 4D data, there is a notable gap in the management and sharing of 6D data. 6D data involves the integration of 2D, 3D, and 4D data within immersive environments, allowing for interactive, immersive and multidimensional experiences. This gap legitimizes the mission of the IMPULSE project, which aims to research new methodologies and standards for 6D data for enhanced sustainability. The lack of established practices and standards for 6D data poses challenges for heritage institutions in terms of management, sharing and digital preservation of their digitised collections to create immersive experiences to engage with the public. The document identifies a significant discrepancy between theoretical frameworks and practical applications in the field of digitisation. While academic literature often provides theoretical frameworks and highlights specific case studies, their practical implementation at the institutional level is less evident. Developing workflows and implementing processes for -at times fragile and uniqueobjects in a high-volume and data intensive digitisation facility in a sustainable manner is less evident than it seems, and practical documentation such as guidelines, departmental workflows etc. is hard to find. It is precisely this grey literature, which includes reports, workflows, step-by-step plans, and other non-peer-reviewed sources, that often contains practical insights and real-world applications that are not captured in academic publications. However, the discoverability of grey literature poses a challenge, as it is not always easily accessible or indexed in conventional academic databases or even published online. It underscores the need Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 52 for better integration of theoretical and practical knowledge, and on a broader scale the openness of institutions to share their policy documents, internal documents with workflows, processes, practices, etc. Metadata is crucial for the management and sharing of digital heritage data, and WP3 will focus on this area in the two following years of the project. For 2D, 3D, and 4D data, there are well-established metadata schemas and practices with specific standards for different collection types (library, archive, museum) and specific standards for each phase of the data life cycle. However, there is again a significant gap in metadata standards, as well as their implementation and searchability when it comes to immersive platforms and 6D data. The lack of standardised metadata for 6D data hampers the ability to make these data findable, accessible, interoperable, and reusable (FAIR principles) on immersive platforms. This gap in metadata standards and implementation is a critical barrier to the effective management and sharing of immersive digital heritage experiences. The research and scoping review we have conducted is by no means complete and finished, as sources will continue to be added to the references. The ongoing document will serve as a foundation for further development of the IMPULSE project in general, and WP3 in particular. It will allow to build on the findings and address the identified gaps in the future research. The ongoing nature of the review highlights the dynamic and evolving landscape of digital or digitised heritage, where new technologies and methodologies continuously emerge. The IMPULSE project aims to stay at the forefront of these developments, ensuring that heritage institutions can effectively leverage digital technologies to preserve, manage, and share cultural heritage in innovative and impactful ways. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 53 References 5DCulture (2023). Retrieved from: Home | 5Dculture.eu Beeld & Geluid (2024). Retrieved from: Home | The Netherlands Institute for Sound & Vision (beeldengeluid.nl) Brecko, J., & Mathys, A. (2020). Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections. European Journal of Taxonomy, 623. https://doi.org/10.5852/ejt.2020.623 CAPHE (Communities and Artistic Participation in Hybrid Environment, 2023). Retrieved from: CAPHE – Communities and Artistic Participation in Hybrid Environments Cecotti, H. (2021). Great Paintings VR. Available online: https://store.steampowered.com/app/1511090/Great_Paintings_VR/ Cecotti, H. (2022). "Cultural Heritage in Fully Immersive Virtual Reality" Virtual Worlds 1, no. 1: 82-102. https://doi.org/10.3390/virtualworlds1010006. Retrieved from: Cultural Heritage in Fully Immersive Virtual Reality (mdpi.com) Cieslik, E. (2020). 3D Digitisation in Cultural Heritage Institutions Guidebook. Retrieved from: (36) 3D Digitisation in Cultural Heritage Institutions Guidebook | Emma Cieslik - Academia.edu Consortium of Academic and Research Libraries of Illinois (2020). GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS Digitisation Best Practices for Three-Dimensional Objects. Retrieved from: guidelines_for_3D.pdf (illinois.edu) De Paolis, L. T., Arpaia, P., & Sacco, M. (Eds.). (2023). Extended Reality: International Conference, XR Salento 2023, Lecce, Italy, September 6-9, 2023, Proceedings, Part II (Vol. 14219). Springer Nature Switzerland. https://doi.org/10.1007/978-3-031-43404-4 Declercq, B. (2017). Canalising the Maelstrom of Metadata: Extensions on the Hourglass Model. In Sustainable Audiovisual Collections Through Collaboration. Indiana: Indiana University Press. EKinas (2018-) Retrieved from: About E-Cinema | E-kinas Emissive, H.V (2019). Mona Lisa Beyond The Glass. Available online: https://store.steampowered.com/app/1172310/Mona_Lisa_Beyond_The_Glass/ Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 54 EUscreen (2009-2024). Retrieved from: Home - EUscreen EUreka 3D (2024). Retrieved from: Home - eureka3d EUreka 3D (2024). 3D DIGITISATION GUIDELINES: Steps to Success. A guide based on the EU VIGIE2020/654 Study on quality in 3D digitisation of tangible cultural heritage. 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TEXTile digitisAtIon tooLs and mEthodS for cultural heritage | TEXTaiLES | Project | Fact sheet | HORIZON | CORDIS | European Commission (europa.eu) European Commission. Directorate General for Communications Networks, Content and Technology. (2020). Study on quality in 3D digitisation of tangible cultural heritage: mapping parameters, formats, standards, benchmarks, methodologies, and guidelines. VIGIE 2020/654 Final Study Report. https://data.europa.eu/doi/10.2759/471776 European Film Getaway (2008-2024). Retrieved from: | European Film Gateway Evans, C.; Huston, P.; Bunn, W.; Dixson, E.; Norden, C. (2019). IL DIVINO: Michelangelo’s Sistine Ceiling in VR. Available online: https://store.steampowered.com/app/1165850/IL_DIVINO_Michelangelos_Sistine_Ceilin g_in_VR/ Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 55 Experius VR (2018). Nefertari: Journey to Eternity. Available online: Nefertari: Journey to Eternity on Steam (steampowered.com) Gervasi, O., Perri, D., Simonetti, M., Tasso, S. (2022). Strategies for the Digitalisation of Cultural Heritage. In: Gervasi, O., Murgante, B., Misra, S., Rocha, A.M.A.C., Garau, C. (eds) Computational Science and Its Applications – ICCSA 2022 Workshops. ICCSA 2022. Lecture Notes in Computer Science, vol 13382. Springer, Cham. https://doi.org/10.1007/978-3-03110592-0_35 Government of Canada, (2020). Digital preservation. Retrieved from: Digital preservation - Canada.ca FADGI Guidelines: Technical Guidelines for Digitising Cultural Heritage Materials - Federal Agencies Digital Guidelines Initiative (digitisationguidelines.gov) FIAT/IFTA (2021). PRESERVATION & MIGRATION SEMINAR 2021. Acceptance criteria in the context of massive migration processes. Retrieved from: PRESERVATION & MIGRATION SEMINAR 2021 - FIAT/IFTA (fiatifta.org) FIAT/IFTA (2022). PRESERVATION & MIGRATION SEMINAR 2022. Film in Television archives. What is to be done? Retrieved from: PRESERVATION & MIGRATION SEMINAR 2022 (fiatifta.org) FIAT/ IFTA (2023). PRESERVATION & MIGRATION SEMINAR 2023. The Preservation Life Cycle. Retrieved from: PRESERVATION & MIGRATION SEMINAR 2023 - FIAT/IFTA (fiatifta.org) FIAT/ IFTA (2024). PRESERVATION & MIGRATION SEMINAR 2024. Preserving authenticity of media archives content. Retrieved from: PRESERVATION & MIGRATION SEMINAR 2024 - FIAT/IFTA (fiatifta.org) Government of Canada, (2020). Digitising Intangible Cultural Heritage. Retrieved from: Digitising Intangible Cultural Heritage : A How-To Guide - Canada.ca Haddad, N. (2022). 3D and 2D Visual Digital Technologies and Cultural Heritage Documentation for Conservation and Monitoring: A Critical Review and Assessment. In: Sergiyenko, O. (eds) Optoelectronic Devices in Robotic Systems. Springer, Cham. https://doi.org/10.1007/978-3-031-09791-1_10 Henderson, L. D. (2013). The fourth dimension and non-Euclidean geometry in modern art. Revised edition. The MIT Press. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 56 Historic England (2017). Photogrammetric Applications for Cultural Heritage. Guidance for Good Practice. Retrieved from: Photogrammetric Applications for Cultural Heritage | Historic England Historic VR (2022). Guildford Castle VR. Available at: Guildford Castle VR on Steam (steampowered.com) iMareCulture (Advanced VR, iMmersive serious games and Augmented as tools to raise awareness and access to European underwater CULTURal heritagE, 2018). Retrieved from: iMareCulture – H2020 funded EU research and innovation project (imareculture.eu) Innocente, C., Ulrich, L., Moos, S., & Vezzetti, E. (2023). A framework study on the use of immersive XR technologies in the cultural heritage domain. Journal of Cultural Heritage, 62, 268–283. https://doi.org/10.1016/j.culher.2023.06.001 International Association of Sound and Audiovisual Archives, Technical Committee (2017). The Safeguarding of the Audiovisual Heritage: Ethics, Principles and Preservation Strategy. Retrieved from: TC03_English.pdf (iasa-web.org) International Association of Sound and Audiovisual Archives (2019). IASATC6 Guidelines for the Preservation of Video Recordings. Retrieved from: IASA-TC 06 Guidelines for the Preservation of Video Recordings | International Association of Sound and Audiovisual Archives (iasa-web.org) International Federation of Library Associations and Institutions (2021). Guidelines for Planning the Digitisation of Rare Book and Manuscript Collections. Retrieved from: Guidelines for Planning the Digitisation of Rare Book and Manuscript Collections – IFLA ISO/TR 19263-1 (2017-03). Photography — Archiving systems — Part 1: Best practices for digital image capture of cultural heritage material. Retrieved from: ISO TR 19263-1-2017.pdf (dig4e.com) ISO/TS 19264-1 (2021). Photography — Archiving systems Image quality analysis Part 1 https://www.iso.org/standard/79172.html ISO/TR 17321-3 (2017-04). Graphic technology and photography — Colour characterisation of digital still cameras (DSCs) Part 3: User controls and readouts for scene-referred imaging applications. https://www.iso.org/standard/69475.html Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 1 COMMISSION RECOMMENDATION of 27 October 2011 on the digitisation and online accessibility of cultural material and digital preservation (2011/711/EU) https://eur-lex.europa.eu/legalcontent/EN/TXT/PDF/?uri=CELEX:32 011H0711 The document is about digitising and preserving cultural heritage in Europe. It discusses the benefits of digitisation and the challenges of ensuring access to cultural material. The article also outlines recommendations to address these challenges, such as collaborating with the private sector and promoting the use of open standards. Some important points are that the cost of digitisation is high and that there are not always clear policies for preserving digital content. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 2 Common European data space for cultural heritage Annual Report 2022/2023 x x x https://pro.europeana.eu/files/Euro peana_Professional/Publications/da ta_space_annual_report_2022_202 3.pdf The common European data space for cultural heritage is the flagship initiative of the European Commission to accelerate the digital transformation of Europe’s cultural sector. The data space builds on the Europeana Digital Service Infrastructure (Europeana DSI) and the Europeana Strategy 2020-2025. The data space is deployed by a consortium of 19 partners from nine EU countries, coordinated by the Europeana Foundation. The work of the consortium is supported by the Europeana Network Association (ENA), a strong and democratic community with over 4,300 experts working in the field of digital heritage, and the Europeana Aggregators’ Forum (EAF), the network of national, domain and thematic aggregators who support cultural institutions providing data. Collaboratively, EF, ENA and EAF form the Europeana Initiative. The data space is overseen by the Member States in the framework of the Commission Expert Group on the common European Data Space for Cultural Heritage (CEDCHE). Deployment and maintenance of the data space is organised in four strands of work: 1. Development and operation of the data space infrastructure 2.Integration of high-quality data 3.Capacity building and fostering reuse 4. Digital services for the public Cultural heritage: digitisation, online accessibility and digital preservation: consolidated progress report on the x x x https://digitalstrategy.ec.europa.eu/en/library/eu ropean-commission-report-culturalheritage-digitisation-onlineaccessibility-and-digital The report is structured in five chapters, each focusing respectively on: 1) how Member States plan, organise, and monitor digitisation of cultural heritage, 2) the scope of promoting public domain status after CH is digitised 3) the digitisation and accessibility of works that are orphan or out of commerce, 4) the quantitative targets achieved by Europeana and 5) the status of digital preservation among member states. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 3 implementation of Commission Recommendation (2011/711/EU)2015-2017 Digitisation and online accessibility of Europe’s cultural heritage and digital preservation. x x x x https://op.europa.eu/en/publicatio n-detail/-/publication/ce2f5d673a5d-4882-975e-29721cf87fce This document provides 10 basic tips for the 3D digitisation workflow that are further developped. It is useful for cultural professionals/institutions with no prior expertise to quickly get acquainted with the field. Getting cultural heritage to work for Europe Report of the Horizon 2020 Expert Group on Cultural Heritage https://data.europa.eu/doi/10.2777 /745666 The digitisation of cultural heritage, whilst initially framed by institutions, is now increasingly a collective process involving community access and collective sharing of knowledge. Citizens' engagement in cultural heritage management and preservation could be further investigated in order to build on the emerging practice through new investment and the use of digital technologies. (p.9) NUMERIC. Developing a statistical framework for measuring the progress made in the digitisation of cultural materials and content x NUMERIC - Publications Office of the EU (europa.eu) The Numeric study has sought to establish a framework to measure the pace and cost of translating their collections into this rich resource. The study was conducted over two years (May 2007 to May 2009), and this report outlines the findings of a survey conducted among cultural institutions in member states of the European Union; and, based upon this experience, sets out recommendations for monitoring their digitisation activities in future. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 4 Stakeholders’ survey on a European collaborative cloud for cultural heritage: report on the online survey results. x https://data.europa.eu/doi/10.2777 /691331 This survey has been a very successful consultation exercise on the digital transition: more than 1000 detailed replies from people working in relation to Cultural Heritage. The 4 highest prioritised tools among the respondents have in common the aspect of digital interaction: tools for creating, sharing and re-using interactive content on the Cloud (43.3%), tools for AI-assisted metadata enrichment i.e. to make cultural heritage content interoperable (37%), tools for advanced interaction with the digital content of the Cloud (36.4%), and tools for analysing, designing and testing interaction with visitors (33.6%). Study on quality in 3D digitisation of tangible cultural heritage: mapping parameters, formats, standards, benchmarks, methodologies, and guidelines. x x x x https://data.europa.eu/doi/10.2759 /471776 Important document, which is particularly relevant to WP1, WP2 AND WP3. This study pays special attention to the fact that 3D digitisation of movable and immovable CH can be an exceptionally complex process, with numerous factors limiting the eventual quality of the 3D CH asset. Parameters such as budget, available time, object location and conditions, accuracy and precision, expertise become significant in setting both the production effort and output standard. At the time of finishing this report, there is a lack of internationally recognised standards or guidelines for planning, organising, setting up, managing, implementing, using paradata or metadata or evaluating CH 3D data acquisition results and projects. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 5 The New Renaissance. Report of the "Comité des Sages " on bringing Europe's cultural heritage online x x https://data.europa.eu/doi/10.2759 /45571 The report urges EU Member States to step up their efforts to put online the collections held in all their libraries, archives and museums. It stresses the benefits of making Europe's culture and knowledge more easily accessible. It also points to the potential economic benefits of digitisation, including through public-private partnerships, for the development of innovative services in sectors like tourism, research and education. The report endorses the Digital Agenda's objective of strengthening Europe's digital library, Europeana, and suggests solutions for making works covered by copyright available online. NEMO: Final report Digitisation and IPR in European Museums https://www.nemo.org/fileadmin/Dateien/public/P ublications/NEMO_Final_Report_Di gitisation_and_IPR_in_European_M useums_WG_07.2020.pdf This is an article about digitisation and intellectual property rights in European museums. It discusses the challenges museums face in digitising their collections and providing online access. The article also discusses the opportunities that digitisation offers museums, such as increased visibility and access. Some of the challenges that museums face include insufficient resources, staff, and equipment. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 6 100 million hours of audiovisual content: digital preservation and access in the PrestoPRIME project x x https://dl.acm.org/doi/10.1145/203 9263.2039266 We report preliminary results of PrestoPRIME, an EU FP7 integrated project, including audiovisual (AV) archives, academics and industrial partners, focused on long-term digital preservation of AV media objects and on improving access by integrating media archives with European on-line digital libraries, specifically Europeana. Project outcomes will result in tools and services to ensure the permanence of digital AV content in archives, libraries, museums and other collections, enabling long-term future access in dynamically changing contexts. PrestoPRIME has a special focus on digital preservation in broadcast environments, where very large files of digital video must be preserved at high quality (suitable for future re-use in an AV production environment) in affordable distributed and federated archives. The adoption of standard solutions for digital preservation processes (metadata representation, content storage, digital rights governance, search and access) enables the interoperability of the proposed preservation framework and guidelines. The OAIS model was chosen for the reference architecture, METS is adopted as wrapper for metadata representation, while relevant standards (e.g. from W3C, ISO/IEC and others) are used for content and rights description. Project outcomes will be delivered through a European networked Competence Centre, to gather knowledge and deliver advanced digital preservation advice and services in conjunction with Europeana and other initiatives. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 7 Recommendations for Standards and Trusted Audiovisual Repositories x x https://pro.europeana.eu/files/Euro peana_Professional/Projects/Projec t_list/Presto4U/Deliverables/deliver able_d4.3_presto4u_02_01_2015_v 5r.pdf The scope of D4.3 is to provide an overview of the importance of standards in audiovisual preservation and their adoption by the multifarious communities involved in preservation workflows. Even within different institutions, Communities of Practice (CoPs) have common needs and face the same challenges in audiovisual preservation. Standards form the backbone of tools and services responding to the needs of those involved in audiovisual preservation by providing reliable and sustainable frameworks around which services can be developed. This report builds upon the knowledge gathered throughout the duration of the project to present guidelines and recommendations on the use of standards and related best practices for long-term audiovisual preservation 4CH D1.3-Final-surveyof-the-experiences-andtechnology-state-of-theart x x x Deliverables – 4CH-Project This report describes the results of Task T1.1 concerning European experiences and best practices in Conservation, Preservation and Valorisation of monuments and sites, and of Task T1.3 concerning the state of the art in relevant technologies. WP1 defines the basis for the achievement of project objective 1, collecting and relating experiences, skills and best practices acquired and implemented so far in the European Countries, with specific reference to EU-funded research. The WP’s activities identify innovative approaches in initiatives, policies and strategies for the preservation and conservation of monuments and sites. In this way, it will help define in detail the fields which the Competence Centre will operate on. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 8 D4.3 Updated report on standards and guidelines x x x https://www.4ch-project.eu/wpcontent/uploads/2024/04/D4.3Updated-report-on-standards-andguidelines.pdf This is the final report on standards and guidelines of the 4CH project, an initiative to design and prepare for a European Competence Centre focusing on the preservation and conservation of cultural heritage. This report provides an update on the earlier project reports (D4.1) on standards, procedures and protocols and (D4.2) on training. Its focus is on activities in 4CH to develop training and support services to facilitate the take up of state-of the art ICT technology. Deliverable 5.1 Report on data management recommendations and guidelines x x https://www.4ch-project.eu/wpcontent/uploads/2024/04/D5.1Report-on-data-managementrecommendations-andguidelines.pdf The 4CH project aims to prepare the establishment of an international Competence Centre (CC) on the digitisation, preservation and valorisation of cultural heritage objects. In this 4CH competence center digital data will play an important role, especially 3D models of cultural heritage objects. This report covers data management aspects related to 4CH. Data management concerns the handling and organisation of data throughout its life cycle, from creation to storage and reuse. This report constitutes the results of Work Package 5 “Data Management” of the 4CH project. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 9 Standards Relevant Standards to Impulse (ongoing scoping, standards to be added during the project) Source Title 2D 3D 4D 6D Data creation Data Management Data Sharing References Relevance to IMPULSE Metadata CIDOC/CRM x x http://cidoc.ics.forth.gr/ The CIDOC Conceptual Reference Model (CRM) is a theoretical and practical tool for integrating cultural heritage information. It provides a formal structure for describing concepts and relationships used in cultural heritage documentation, enabling data integration across diverse datasets1. It doesn’t define terms but focuses on relationships between entities2. Dublin Core Metadata Element Set x x DCMI: Dublin Core™ Metadata Element Set, Version 1.1: Reference Description The Dublin Core Metadata Element Set is a standardised vocabulary of fifteen properties for describing resources. Encoded Archival Description x x EAD: Encoded Archival Description (EAD Official Site, Library of Congress) (loc.gov) Encoded Archival Description (EAD) is an XML. standard for encoding archival finding aids, maintained by the Technical Subcommittee for Encoded Archival Standards of the Society of American Archivists, in partnership with the Library of Congress. Europeana Data Model (EDM) x x https://pro.europeana.eu/page/e dm-documentation The Europeana Data Model (EDM) is an interoperable framework that structures and represents data contributed by various cultural heritage institutions to Europeana. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 10 METS x x x x https://www.loc.gov/standards/m ets/ The METS schema is a standard test for encoding descriptive, administrative, and structural metadata regarding objects within a digital library, expressed using the XML schema language of the World Wide Web Consortium. The standard is maintained by the METS Board in collaboration with the Network Development and MARC Standards Office of the Library of Congress and started as an initiative of the Digital Library Federation. LIDO schema x https://www.lido-schema.org LIDO – Lightweight Information Describing Objects is an XML harvesting schema. The LIDO schema is intended for delivering metadata, for use in a variety of online services, from an organisation’s online collections database to portals of aggregated resources, as well as exposing, sharing, and connecting data on the web. MODS (Metadata Object Description Schema) x x http://www.loc.gov/standards/m ods/ Metadata Object Description Schema (MODS) is a schema for a bibliographic element set that may be used for a variety of purposes, and particularly for library applications. The standard is maintained by the Network Development and MARC Standards Office of the Library of Congress with input from users. -- More about MODS Premis x x PREMIS Data Dictionary for Preservation Metadata, Version 3.0 (Library of Congress) (loc.gov) The PREMIS Data Dictionary and its supporting documentation is a comprehensive, practical resource for implementing preservation metadata in digital archiving systems. The Data Dictionary is built on a data model that defines four entities: Objects, Events, Rights, and Agents. Each semantic unit defined in the Data Dictionary is a property of one of the entities in the data model. Resource Description Framework x x https://www.w3.org/RDF/ RDF (Resource Description Framework) is a standard for describing web resources using triples (subject, predicate, object) to facilitate data interchange and interoperability on the web. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 17 Digitisation: standards landscape for European museums, archives, libraries x x x https://admin.biodiversitylibrary.o rg/wikiarchive/mainSpace/files/imp%20a thena_digitisation_standardslandscape.pdf It is the aim of the ATHENA project to support especially museums in providing object data for publication in Europeana. However, it is known that in the museum landscape in particular there is a great variety of standards used. It was therefore necessary to gain an overview of the different standards which are in use with the partners in the ATHENA project. Therefore, a survey has been carried out by Working Group 3 of ATHENA and the results were published within one of the deliverables of the project. Making 4D: principles and standards for virtual reconstruction in the humanities by the 4D Research Lab x x x x https://uvaauas.figshare.com/arti cles/journal_contribution/4DRL_r eport_series_1__Making_4D_principles_and_stan dards_for_virtual_reconstruction_ in_the_humanities_by_the_4D_R esearch_Lab/14932461?backTo=% 2Fcollections%2F4DRL_Report_Se ries%2F5503110&file=28965351 In this document, the first instalment of the 4DRL Report Series, we discuss our approach and important related concepts for the creation of 3D models. The use and creation of 3D models for scientific purpose, or simply within an academic context, raises the issue of transparency. Also, in a general context, concern has been raised about the absence of contextual information, and the potential impact of 3D models on the popular perception about the past. As an ethical code that all researchers should adhere to, the scientific process should be fundamentally transparent, and all models should come with paraand metadata. This not only provides the necessary caption and disclaimers to a digital representation, but also opens the models for further research and refinement. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 18 Standards, recommended practices and strategies: the safeguarding of the audio heritage; ethics, principles and preservation strategy x x https://www.iasaweb.org/sites/default/files/downl oads/publications/TC03_English.p df Through this document, the Technical Committee of the International Association of Sound and Audiovisual Archives seeks to inform the evolving challenge of safeguarding audiovisual heritage by offering these general principles and strategies for preservation. This advice identifies the tasks before us as archives, the nature of the objects for which we are responsible, the potential pitfalls and problem areas of preservation, and it guides the reader to focus on what is most important for their content, to enhance its survival in an unknowable future. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 19 Projects Relevant projects to Impulse (ongoing scoping, projects to be added during the project) Source Link Project Name 2D 3D 4D 6D Data creation Data Management Data Sharing Relevance to IMPULSE 3D-ICONS – 3D Digitisation of Icons of European Architectural and Archaeological Heritage (3diconsproject.eu) 3DICONS x x The goal of the 3D-ICONS project, funded under the European Commission’s ICT Policy Support Program which builds on the results of CARARE (www.carare.eu) and 3D-COFORM (www.3d-coform.eu), was to provide Europeana with 3D models of architectural and archaeological monuments of remarkable cultural importance. The project brought together 16 partners from across Europe (11 countries) with relevant expertise in 3D modelling and digitisation. The main purpose of the project was to produce around 4000 accurate 3D models which had to be processed into a simplified form to be visualised on low end personal computers and on the web. https://www.4ch-project.eu/ 4 CH x x x x x 4CH starts on the 1st of January 2021 for a duration of three years. The project aims to set up the methodological, procedural, and organisational framework of a Competence Centre able to seamlessly work with a network of national, regional, and local Cultural Institutions, providing them with advice, support, and services focused on the preservation and conservation of historical monuments and sites. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 20 https://www.5dculture.eu/ 5Dculture x x x 5Dculture enriches the offer of European 3D digital cultural heritage assets in the data space and fosters their reuse in important domains such as education, tourism and the wider cultural and creative sectors towards socially and economically sustainable outcomes. In particular, the project will: a) deliver high-quality 3D content by identifying and engaging existing datasets from partners’ collections focusing on topics of fashion, archaeology and architecture, all of which occupy a central place in the vast cultural heritage of Europe and b) develop several reuse scenarios, which will experiment with the aforementioned assets in their complexity (from highquality to derivatives) in the following domains: https://pro.europeana.eu/project/a i4culture-an-ai-platform-for-thecultural-heritage-data-space AI4Culture x x The project aims to develop the ‘AI4Culture platform’, an online capacity building hub for the application of artificial intelligence technologies in the cultural heritage sector. The platform will offer access to a pool of AI-related resources (such as openly labelled datasets for training and testing AI models), a set of deployable and reusable tools and capacity building materials.Additionally, the project will customise the platform’s components so that they can be reused by cultural heritage institutions in the following scenarios: multilingual text recognition in scanned documents; multilingual subtitles generation and validation; enrichment with information extracted from images and semantic linking;machine translation for cultural heritage metadata. All components will be interoperable with the common European data space for cultural heritage to facilitate data sharing and reusability of cultural content as well as strengthen Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 21 the connection between the data space and cultural heritage institutions. Animal Mummies < 4D Research Lab Animal Mummies x x x x This project aims at making CT scans of the animal mummy collection from the Allard Pierson available to the wider public. A 3D viewer was developed that allowed museum visitors to interact with volumetric 3D visualisations of the CT data as well as with surface scans of their exteriors. https://cordis.europa.eu/project/id /101158046 AYTOMATA: AUTOMated enriched digitisation of Archaeological liThics and cerAmics (x) x x Objects connect us to memories and experiences. They possess biographies that reveal their human relationships. This is why archaeologists focus on material culture, gathering countless archaeological finds to preserve what we can learn and the stories they create for current and future generations. Archaeology unlocks these stories, enabling objects to speak about their origins, uses, and evolution. They offer insights into technology, daily life, relationships, the environment, and human history. Pottery and lithics are common forms of archaeological evidence, holding crucial information. However, documenting and classifying these finds is labourintensive, it limits our understanding of these objects. While digitisation campaigns have been undertaken, they remain complex, time-consuming, and costly, leaving millions of artefacts inaccessible. AUTOMATA will transform this process by enabling low-cost and time-efficient digitisation. Using AIaugmented robotics and sensors, AUTOMATA will create 3D models enriched with archaeometric data, providing a practical and cost-effective solution for digitisation. Robotic tools with newly developed AI methodologies will improve the digitisation process of visible and non-visible properties of archaeological finds, enhance the robustness and efficiency Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 22 of 3D digitisation, improve surface appearance acquisition, and integrate 2D representations. This approach streamlines data acquisition, aided by human-AI collaboration, and, in turn, the collection of big, well-identified data will empower the development of AI models. This cost-effective technology will democratise access to digitisation, benefiting museums and smaller institutions, aid preservation methods and restorers’ work, and foster inclusive knowledge-sharing via a dedicated crowdsourcing platform. Finally, the data collected by AUTOMATA will ensure seamless integration of data into the ECCCH Cloud and facilitate data sharing and innovative usage strategies by CCIs. https://www.caphe.space/ CAPHE x x x CAPHE is a multinational four-year research project whose aim is to investigate, perform and elaborate upon an enhanced model of interaction and somatic participation in hybrid environments that comprise both physical and virtual layers among artists and communities that come from traditional and virtual cultural backgrounds. https://www.uu.se/en/department/ alm/research/researchprojects/ongoing-projects/capture Capture x x CAPTURE investigates what information about the creation and use of research data (that is, paradata) is needed and how to capture enough of that information to make the data reusable in the future. The wickedness of the problem lies in the practical impossibility of documenting and keeping everything, and the difficulty to determine how to capture just enough.The empirical focus of CAPTURE is archaeological and cultural heritage data, which stands out by its extreme heterogeneity and rapid accumulation due to the scale of ongoing development-led archaeological fieldwork. Within and beyond this specific context, CAPTURE develops an in-depth understanding of how paradata is being created and used today Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 23 and elicits methods for capturing paradata. CAPTURE tests new methods in field trials and synthesises the findings in a reference model to inform the capturing of paradata. Enabling dataintensive research using heterogeneous research data stemming from diverse origins. https://pro.europeana.eu/project/d igicher DIGICHer x x x Cultural heritage (CH) digitisation brought great opportunities to preserve, maintain and promote it. Yet, it also triggers challenges in terms of representation and content exhibition. This becomes particularly pressing in the context of CH of minorities. Overall, this reduces participation and inclusion of minorities, hindering equitable representations of diverse values in digitisation, leading to increased risks of misuse of digital CH. DIGICHer tackles these challenges by providing new understanding on key legal and policy, socio-economic and technological factors governing digitisation of minorities’ CH. Following the citizen science and co-creation approach DIGICHer develops a novel scalable framework and methods to promote equitable, diverse and inclusive practices, verified via user-centric approaches through pilots with three minority groups in the EU: the Sámi, the Jewish and the Ladin people with a further exploitation in other minorities groups. On these bases, it develops recommendations for policy and decision makers, as well as CH institutions, and delivers methods for decision support to monitor the field of digital heritage with specific regards to its diversity long-term. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 24 https://www.smb.museum/en/wha ts-new/detail/extensivedigitisation-of-the-historicalarchive-at-the-ethnologischesmuseum/ Digitisation of the Historical Archive of the Ethnology Museum of Berlin x x In 2018, a grant from the Deutsche Forschungsgemeinschaft (German Research Foundation) allowed for the digitisation of all the collection inventories, files, and other associated documentation currently held by the Ethnologisches Museum, dating from the year 1830 up until 1947. In early 2024, the process of digitising this material as completed, and they were published online, with some 1,600 historical documents being made available, comprising a total of 588,000 pages. The documents that are now accessible to the public online include important written material and inventories that shed light on the often-complicated context in which the collection was acquired. With this digitisation project, the Ethnologisches Museum is providing researchers with direct and independent access, regardless of their location, to the museum’s historical collection documentation. A near-complete reconstruction of the historical holdings of the collection is now available to all interested parties. https://www.e-kinas.lt/apie-ekinas e kinas x x x The aim of the project – to modernise the activities of the Ecinema information system by creating and developing advanced electronic services based on it, adapting the system to mobile devices and establishing a National Centre of Competence for the Digitisation of Audiovisual Heritage. The equipment for digitisation, digital restoration, storage and online presentation of films was upgraded during the implementation of the Project. Currently, LCVA is the only place in Lithuania digitising films in 4K resolution. During the Project, 229 hours of film content stored in the archive was digitised and made available on the Internet, including important events in Lithuania's history in 1988–1992. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 25 https://cordis.europa.eu/project/id /101157364 ECHOES x x x ECHOES aims to create the European Collaborative Cloud for Cultural Heritage (ECCCH) as a shared platform for heritage professionals and researchers to access data, innovative scientific and training resources and advanced digital tools codeveloped by the heritage community according to their specific needs. ECHOES will bring together fragmented communities of the Cultural Heritage (CH) field, which consists of various actors from different sectors and disciplines, into a new community around the Digital Commons. Going beyond the strict focus on assets and the mere digitisation of Heritage, ECHOES intends to generate a visionary paradigm shift in the CH field. Adopting a holistic approach, ECHOES will also enable digitising the existing knowledge of Heritage objects, whether tangible or intangible. It will create a digital environment enabling collaborative analysis of CH assets, facts, and phenomena. In this environment, actors – humans or Artificial Intelligence – can develop their interpretations, thereby enriching the knowledge of CH and their surroundings. The digital environment proposed by ECHOES will empower users to interact with, manipulate and enrich Digital Twins, leading to new, jointly developed scientific knowledge. The ECCCH built by ECHOES is anchored in the principles of Open Access and Open Science. It thus promotes inclusion and democratises access to knowledge and digital assets, which are understood as public goods by and for all. This digital environment will allow the creation of a new generation of heritage objects, the Digital Commons, which are semantically rich and collectively produced – we see this as “the heritage of tomorrow”. At the end of the project, ECHOES will deliver a single platform to integrate results of EU Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 26 and national projects on CH. The ECCCH will be sustainable thanks to its inclusive legal entity, which will be created before the end of ECHOES. https://eu-enigma.eu/ euenigma x x ENIGMA - EU-funded project - shall achieve excellence in the protection of Cultural Goods and artefacts from manmade threats by contributing to identification, traceability, and provenance research of Cultural Goods as well as by safeguarding and monitoring of endangered heritage sites. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 33 https://www.parthenos-project.eu/ PARTHENOS project x x PARTHENOS is a consortium of national research organisations (e.g. CNR, Italy and INRIA, France), cultural heritage institutions and existing Research Infrastructures (as listed in the previous answer), which in turn often consist of many member organisations based across Europe.The project is led by PIN Scrl, a research and educational public body organised as a consortium formed by the University of Florence and local institutions. There are fifteen other partners. You can visit each of the participating organisations via this web page: http://www.parthenos-project.eu/consortium/ The acronym PARTHENOS stands for “Pooling Activities, Resources and Tools for Heritage E-research Networking, Optimisation and Synergies”. It is inspired by Athena Parthenos, the Greek goddess of wisdom, inspiration and civilisation. https://perceive-horizon.eu/ PERCEIVE x x x x PERCEIVE aims at advancing the digital capability of scientists and cultural institutions through a service-based AI architecture and toolkit, and by developing a new design theory for on-site and remote VR/AR/MR experiences, based on the concepts of “Care”, “Accessibility”, and “Authenticity”, with and for the creative industries, expanding the access to Cultural Heritage and Art outside museums for wider integration with society. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 34 https://www.photoconsortium.net/ european-ds4ch/ Photoconsortium x x The common European Data Space for Cultural Heritage is the new flagship initiative of the European Commission to accelerate the digital transformation of Europe’s cultural sector and foster the creation and reuse of content in the cultural and creative sectors. The project builds on and expands the existing functionalities and services of the Europeana DSI Digital Service Infrastructure. The new service is provided by a consortium of 19 partners, coordinated by the Europeana Foundation. https://premiere-project.eu/ premiere x x x The overall objective of PREMIERE is to develop and validate a comprehensive ecosystem of digital applications, powered by leading edge AI, XR and 3D technologies, designed to fulfil the needs of diverse end-user communities involved in the main stages of the of the lifecycle of performing arts productions, including amateur and professional performers, performance art producers and curators, performance art spectators and scholars. https://wasphs.org/project/quantifying-culturea-study-of-ai-and-cultural-heritagecollections/ Quantifying Culture x The project group are setting out to investigate both how AI is currently applied and what its future potential might be for digital cultural heritage collections. The project aims to show how critical perspectives can be used for Swedish cultural heritage collections, in a context where AI is used to label archival material. The technology is reminiscent of that used for computer facial recognition or automatic online translation, for example.Various archives and collections from the 19th and 20th centuries from collaborating partners serve as the basis for the researchers’ work. They want to demonstrate how descriptions of visual and textual material generated through AI Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 35 and ML can be adapted to make them inclusive and avoid adherence to standardised narratives from a single perspective. ROOTS (radici-icc.it) RADICI RADICI represents the prototype of a management process between research centers and universities, for the design of an Infrastructure and a Competence Shop functional to trigger supply chain processes based on the digitalisation and accessibility of cultural heritage. Through co-design and the active participation of the cultural and creative companies involved, the aim is to promote the interconnection between information from different archive sources, the interaction between data producers and consumers and the growth of skills and future competences. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 36 https://reevaluate.eu/ REEVALUATE x EVALUATE is a HORIZON EUROPE project that aims to provide a holistic solution to the challenges of Cultural Heritage (CH) digitisation management, that enables collaboration, boosts creative reuse and promotes democratic and inclusive prioritisation and contextualisation. After assessing the current pitfalls and opportunities of CH digitisation, the project will develop a modular framework that facilitates each stage of a digitised artefact’s life cycle (prioritisation, contextualisation, storage, collaboration and reuse) through a set of technological enablers, free versions of which will be made available by the consortium for integration to the ECCCH. The whole framework is centered around the participation of all involved stakeholders, to whom it provides enablers to express their view on CH artefacts but also to reuse them effectively. AI techniques will be employed throughout the framework to assist the manual contextualisation, to improve prioritisation through public sensing, to visualise creative ideas of reuse, to propose collaborations and cases for reuse, and to validate the context of the reused artefacts. The framework also deals with the secure storage of the digitised artefacts and frames the intellectual property rights through CH object tokenisation and the introduction of smart contracts for reuse. The framework also comes with a standardised semantic representation of the artefact’s metadata to improve its accessibility and discoverability and enable automated discovery of digitised CH object misuses. The aforementioned enablers of REEVALUATE can be used separately or as whole depending on the needs of the CH institution. REEVALUATE will provide a toolset to the European CH sector for managing their digitised collections effectively, Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 37 opening the process to the society and potentially empower the creation of societal value, through the creative reuse of digitised CH. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 38 https://shift-europe.eu/ SHIFT x x x The project is strategically conceived to deliver, by advancing beyond the state-of-the-art, a set of loosely coupled technological tools that offers cultural heritage institutions (CHI) the impetus to stimulate growth and communicate new experiences to all citizens (including people with disabilities) by embracing the latest technological innovations, inartificial intelligence, machine learning, multi-modal data processing, digital content transformation methodologies, semantic representation, linguistic analysis of historical records, use of haptics interfaces https://steccihorizoneu.com/ STECCI The project’s aim is to produce innovative and sustainable protection strategies for cultural heritage from the climate change (CC) impact and consequential natural hazards, environmental pollution, and anthropogenic threats. By means of an interdisciplinary approach, the future of medieval tombstones (bos. stećak., stećci, pl.) and similar stone monuments across Europe will be assessed in the context of a changing climate, more precisely under two climate scenarios (SSP2-4.5 and SSP5-8.5) in three periods: 2021-2040 (near-term), 2041-2060 (medium-term), and 2081-2100 (longterm), as per IPCC. The unique shapes, ornaments, inscriptions, cultural and documentary values, and medieval roots have singled out stećci as a tangible phenomenon included on the UNESCO World Heritage list. STECCI will use state-of-the-art research equipment, digital technologies, the newest approaches in social sciences, and conservation practice excellence to achieve the set objectives based on demo cases, which will be translated and applicable beyond Europe. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 39 https://cordis.europa.eu/project/id /101158328 TEXTaiLES: TEXTile digitisAtIon tooLs and mEthodS for cultural heritage x x x x TEXTaiLES goal is to redefine the digitisation of Cultural Heritage (CH) textile objects and the development of AI-based processing tools, aiming to establish a standardised protocol that seamlessly integrates into the ECCCH. By studying past and present practices in textile digitisation, we methodically explore their strengths and limitations. This comprehensive assessment, enriched by contributions from co-designer groups across various use cases, helps us identify the essentials of textile digitisation. Our approach to standardisation is allencompassing. We develop advanced tools that address the entire digitisation life cycle of textile objects, focusing on non-destructive methods. Using robotic, cost-effective multisensor solutions, we ensure the preservation of artefacts during digitisation, complemented by reliable data analysis workflows. Innovation lies within the core of TEXTaiLES. We integrate stateof-the-art AI technologies to shed light on the intricate details of textiles. From revealing their weaving patterns and microstructures to identifying degradation factors, our AIdriven toolkit offers in-depth insights. It further excels in motion modelling, dynamics, and the reconstruction of fragmented or lost objects. All these capabilities merge into a groundbreaking 4D multi-scale annotation interface, coupled with a digital twin model and enhanced by human-in-loop interactions. Our commitment to the CH community remains strong. We aim to embed the tools and techniques developed by TEXTaiLES into archaeological research, facilitated by the ECCCH. By supporting interdisciplinary research communities and providing upskilling opportunities, we aim to raise the textile CH domain to new heights. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 40 https://thesceneproject.eu/ The Scene Project x x x x The SCENE project (running from 02/2023 until 01/2026) is designed to enhance the European filmmaking industry's global competitiveness. It leverages semantically cognitive AI technologies and tangible/intangible European Cultural assets, aligning with European values and policies. SCENE revolutionises the entire film-making pipeline, introducing innovations such as high-quality 3D models of European cultural sites and multi-dimensional knowledge graphs. It facilitates efficient simulation and assessment mechanisms for production and post-production, as well as privacy-preserving interaction between stakeholders and the audience. SCENE promises a groundbreaking proof-of-concept prototype, set to propel the film industry into a new era post-COVID on scientific, commercial, business, and policy fronts. SCENE project will combine cutting-edge technology with a commitment to social responsibility and sustainability. From AI-based audience scouting, distribution mechanisms, and blockchain for IPR protection to 3D representations of monuments, the project is revolutionising the industry while respecting the values of the European Bauhaus. https://thesceneproject.eu/ The Scene Project Building a globally competitive European film industry through AI and cultural heritage. https://www.timemachine.eu/ Time Machine x x x Time Machine is aiming to join Europe’s rich past with up-todate digital technologies and infrastructures, creating a collective digital information system mapping the European economic, social, cultural and geographical evolution across times. In the proposed approach, digitisation is only the first step of a long series of extraction processes, including document segmentation and understanding enhanced Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 41 by Augmented/Virtual Reality (AR/VR) applications, leading to simulations of hypothetical spatiotemporal 4D reconstructions. https://www.vi-mm.eu/ ViMM x x ViMMPlus builds on the results of the Virtual Multimodal Museum (ViMM) ve Coordination and Support Action (CSA), funded under the EU Horizon 2020 programme, bringing together Europe and the world’s leading public and private sector organisations working on DCH, supporting high quality policy development, decision making, competence building and the use of technical advances. Virtual Past Places – Travel to the past in VR Virtual Past Places x x x x x Virtual Past Places is a website aimed to give access to the virtual reality rooms created by the 4D Research Lab in Mozilla hubs. Hubs is the open-source virtual reality platform by Mozilla, which can be used to design your own scenes, and use them as virtual meeting rooms.The virtual spaces created by us are used to present the results of archaeological or historical research, give guided tours or as virtual museum exhibitions. https://www.vhh-project.eu/ Visual History of the Holocaust x x x x The EU Horizon 2020 project “Visual History of the Holocaust: Rethinking Curation in the Digital Age” (2019–2022) explores the potentials as well as the limitations of digital technologies in the ongoing effort to preserve, analise and communicate historical evidence of the Holocaust, and in particular audiovisual records. It is coordinated by the Ludwig Boltzm ann Institute for Digital History (Vienna), in close collaboration with the Austrian Film Museum (Vienna). Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 42 Networks Relevant Networks to Impulse (ongoing scoping, networks to be added during the project) Network Name Link Short Description 4D Research Lab, (UVA) https://4dresearchlab.nl/ The 4D Research Lab facilitates researchers from different disciplines in the Humanities who have specific spatial and architectural i.e. three-dimensional questions that cannot be answered with traditional methods, nor have the knowledge of 3D modelling programs and computing facilities. The Lab offers these computers and computational specialists to support the analysis of transformations in the built environment. The 4D Research Lab has 3D scanner, drones and specialised software and hardware at its disposal. Archives portal Archives Portal Europe Homepage Archives Portal Europe makes myriads of archives dispersed on the territory available in one click, anywhere in the world: it brings together descriptive records from more than 30 countries, in more than 20 languages (and 5 different alphabets), and from a large variety of institutions: national archives, community archives, parish archives, university archives, corporate and private archives. The portal currently holds information on around 7000 archival institutions, of which over a thousand actively contribute with content, and it holds more than 280 million archival descriptive units - however, it is constantly expanding to make more material available for research. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 49 3D Digitisation in Cultural Heritage Institutions Guidebook x x x https://www.academia.edu/68906660/3D_ Digitisation_in_Cultural_Heritage_Institutio ns_Guidebook This guide specifically refers to objects, sites, or buildings that are digitised from a real-life counterpart, as few 3D models are born digital, i.e., a 3D object without a real-world counterpart (Flynn 2019b). This guide will primarily address 3D digitisation technologies, including what techniques are used for different objects, sites, and settings, which methods are used to avoid or correct troubleshoot problems, and which techniques are best implemented in archives, libraries, and museums, specific to this guide. This guide will also contain references to advanced 2D+ technologies, which are augmented two-dimensional recording technologies that can be combined with 3D technologies to obtain a more accurate and informative image. Community Standards for 3D Data Preservation (CS3DP) initiative to move toward establishment of standards.2 The goal of this work is to identify the broad, shared preservation needs of the whole community, and it is viewed as essential to use a collaborative approach for standards development that promotes individual investment and broad adoption. 3D icons project case studies x x http://3dicons-project.eu/wpcontent/uploads/2018/08/Case-Studies-forTesting-the-Digitisation-Process-interimreport.pdf This interim report and the accompanying case studies are being developed as part of 3D ICONS Work Package 2. The aim of this work is to perform evaluation tests on specific parts of the 3D data collection and 3D data post-processing pipeline that will be set in use to prepare the 3D content by the partners. The evaluation is based on the implementation of five 3D digitisation case studies followed by a critical assessment and analysis of important properties and key factors of each 3D digitisation project. Several key 3D digitisation methodologies are applied in each case study and their advantages and disadvantages are discussed in detail. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 50 3D-ICONS: D7.3Guidelines and Case Studies x x https://zenodo.org/records/1311797#.W1X nMdhKh7M Documentation of the digitisation, modelling and online access pipeline for the creation of online 3D models of cultural heritage objects. A Guide to Approaching Audiovisual Digitisation for Artists and Arts and Culture Organisations https://www.bavc.org/wpcontent/uploads/2019/07/BAVC-Guide-ToAudiovisual-Preservation-2019.pdf The paper discusses the preparation of a collection before digitisation, the stewarding of files post-digitisation, and which tasks are best left to a digitisation vendor. The paper also discusses common errors found in all parts of digitisation and preservation workflows, and methods for selecting a preservation file format. Finally, the paper discusses updates made to BAVC’s tape preparation and digitisation workflows which were enabled by the funding from Mellon. These workflow updates were informed by data collected by BAVC technicians throughout the digitisation process and are being shared to help advance the general expertise in the field of audiovisual preservation. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 51 AN UPDATE ON AS-07: MXF APPLICATION SPECIFICATION FOR MOVING IMAGE ARCHIVING AND PRESERVATION x x x https://www.iasaweb.org/sites/default/files/iasa_journal_42 _part5.pdf The Federal Agencies Digitisation Guidelines Initiative (FADGI) is an inter-agency activity led by the Library of Congress with membership from eighteen U.S. federal government agencies.21 FADGI includes two working groups. The Still Image Working Group develops guidelines and tools that pertain to the scanning of materials that can be reproduced as still images(often with accompanying texts), e.g., books, photos, manuscripts, and maps. The Audio-Visual Working Group develops guidelines and tools that support the digitisation of sound recordings, video, and motion picture film. This article describes an activity of the FADGI Audio-Visual Working Group: the development of an MXF digital format Application Specification22 dubbed AS-07. The Material eXchange Format (MXF) is a container format (aka wrapper) for digital moving image and audio media,standardised by the Society of Motion Picture and Television Engineers (SMPTE). The AS-07 profile will specify a constrained version of MXF, intended to serve as the wrapper for a preservation target format, i.e., the digital format that you digitise or transcode “to” when producing a master file for an archive. Although picture encodings—the other main part of the target format—are not our main thrust, they are referenced in the specification and discussed in this article. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 52 AUDIOVISUAL ARCHIVES: AN ESSAY ON THE POLICIES OF ACCESS TO AUDIOVISUAL ARCHIVES FOR ACADEMICS, TEACHERS, RESEARCHERS, AND STUDENTS x x x x https://www.iasaweb.org/sites/default/files/iasa_journal_42 _part11.pdf The year is 2013. The issue highlighted thirteen years ago in Oslo is still on the agenda of international conferences and seminars. The main goal of presenting a paper on the same issued evaluated in 2000 is to see if changes have taken place among the most important libraries and archives that have dominated the debate and the agenda of international conferences throughout the last thirteen years. Most of these archives are still members of FIAT/IFTA, IASA, and BAAC. The question I asked thirteen years ago was, “Access for university studies, a national responsibility: yes, or no?” Twentyfive members answered negative to the question, which meant that none of the archives were advocates for a policy for those who wanted to use the collections for university studies. Sixtynine members gave a positive answer to the question, stating yes, we do support university studies.The Norwegian Broadcasting Corporation (NRK) was one of the institutions that answered no to this question in 2000. It is of great importance to study the reasons why twenty-five archives said they did not have a positive approach to academic studies in 2000 and to compare these reasons to information gathered in 2013. Has there been any change over these thirteen years Bodleian Libraries, University of Oxford. Imaging Guidelines for the Digitisation of Rare and Special Materials x x x x Barrett, J. (2021). Imaging Guidelines for the Digitisation of Rare and Special Materials. Oxford: England. This report aims to 1) provide a readable interpretation of the available guidelines for the benefit of non-specialists; 2) evaluate the Bodleian’s performance against the guidelines to serve as an example for peer institutions; 3) present a set of modified guidelines adhered to by the Bodleian and explain the tools and methods used to meet them. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 53 Canalising the maelstrom of metadata: extensions on the Hourglass Model x x x https://publish.iupress.indiana.edu/read/su stainable-audiovisualcollections/section/54039112-c044-4d97a08c-e697fea75f64 This article presents the Hourglass Model, a theoretical framework allowing to redesign the strategies for the creation and use of mainly descriptive metadata in audiovisual archives. The model outlines four main categories of metadata creation (manual annotation by archivists, metadata coming from production, user-generated metadata, and automatically extracted metadata) and three main categories of use (preservation and collection management, search and retrieval, and enhancement and contextualisation). Archives can plan an effective and efficient metadata strategy by connecting one or more creation methods with one or more purposes. CARARE aggregation services x x x x https://www.carare.eu/en/training/3d-andvirtual-reality/ CARARE works with state heritage authorities, museums, libraries, research teams, digital archives, companies and individuals to share the digital archaeological and architectural heritage internationally for education, research and enjoyment.CARARE collaborates with Europeana, the cultural heritage platform, and with ARIADNE Plus the archaeology research infrastructure. Carli GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS x x x https://www.carli.illinois.edu/sites/files/dig ital_collections/documentation/guidelines_ for_3D.pdf This document serves as a comprehensive guide for libraries and archives to create digital collections of three-dimensional artifacts. CCO (Cataloguing Cultural Objects) https://www.vraweb.org/cco Cataloging Cultural Objects (CCO) is a manual to help you describe, document, and catalog cultural artifacts (like art and architecture) and visual media that represent them. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 54 Creating Metadata Best Practices for Digital A/V Resources x x https://www.iasaweb.org/sites/default/files/iasa_journal_43 _part6.pdf The University of Illinois Library is in the process of creating new and updated metadata best practices documentation for digital audiovisual (A/V) resources to augment guidelines established in 2007. The goal has been to create documentation that is simple enough to provide general guidelines to the entire campus community while ensuring the integrity ofthe metadata submitted with A/V resources to the library that work for both the access and the preservation of resources created and purchased by the campus. The library underwent a research phase that spanned a period of several months, interviewing stakeholders and surveying the current state of the art in the broader metadata landscape. After the research phase, it was decided to limit the scope of the recommendations to a set of required and optional metadata elements only, leaving the choice of schema selection to the ingesting repository systems. However, recommendations for potential schemas have also been included for reference. Further recommendations have been made for automated metadata extraction tools such as MediaInfo22 and Jhove23 that will increase the level of metadata uniformity in the digital A/V resources currently being created and managed by the campus, while facilitating submissionto the library’s preservation repository. This paper will outline the findings from the research phase and share the new and updated library’s Digital A/V Metadata Best Practices. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 55 Cultural Heritage Imaging: Photogrammetry x https://culturalheritageimaging.org/Techno logies/Photogrammetry/ Fundamentally, photogrammetry is about measurement: the measuring of the imaging subject. To perform high-quality photogrammetric measurement, the photographer capturing the photogrammetry data set must follow a rule-based procedure. This procedure will guide users regarding how to configure, position, and orient the camera towards the imaging subject in a way that provides the most useful information to the processing software and minimises the uncertainty in the resulting measurements. These measurements will be as good or as poor as the design of the measurement structure, or lack thereof, that underlies the collection of the photographic data. Recent technological advances in digital cameras, computer processors, and computational techniques, such as sub-pixel image matching, make photogrammetry a portable and powerful technique. It yields extremely dense and precise 3D surface data with an appropriately limited number of photos, captured with standard digital photography equipment, in a relatively short period of time. In the last five years, the variety and power of photogrammetry and related processes have increased dramatically. Digital Imaging for Photographic Collections x x https://www.cultura.gob.es/planesnacionales/eu/dam/jcr:7e9458c1-82584459-9e71-60f7a3598c96/digital-imagingphotographic-collections.pdf Digitisation of photographic collections Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 56 DIGITAL LEARNING AND EDUCATION IN MUSEUMS INNOVATIVE APPROACHES AND INSIGHTS x x x x x https://www.nemo.org/fileadmin/Dateien/public/Publicatio ns/NEMO_Working_Group_LEM_Report_Di gital_Learning_and_Education_in_Museum s_12.2022.pdf In the fifteen case studies selected, which are based on in-depth expert interviews with museum professionals, ranging from directorsto educators and staff in digital capacities, and with experts from the tech world, and which took place between April and March 2023, we review the concepts of the projects, background information, identify objectives, challenges and obstacles, learning benefits, and institutional approaches to digital learning, and present major takeaways and recommendations from the interviewed professionals. The collection of these case studies is followed by key findings drawn from interviews and desk research that will be useful for the community of museum practitioners and policymakers interested in fostering digital engagement, learning and education in the cultural heritage sector. DIGITAL PHOTOGRAPHY FOR OBJECT DOCUMENTATIO N x x https://www.archives.gov/files/preservatio n/heritage-science/digital-photography-forobject-documentation.pdf Photography for object documentation. Digitisation at the National Archives x x x https://cdn.nationalarchives.gov.uk/docum ents/information-management/digitisationat-the-national-archives.pdf The document provides The National Archives’ standards for digitising records, covering scanning processes, image quality, file formats, metadata, and validation. It distinguishes between digitised records and digital surrogates for legal preservation. DIGITISATION QUALITY MANAGEMENT GUIDE x x Digitisation Quality Management Guide (archives.gov) The NARA Digitisation Quality Management Guide 2023 outlines best practices for digitising records, emphasising quality management (QM), quality assurance (QA), and quality control (QC) to ensure digital records are authentic, accurate, and usable for future generations. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 57 EUreka3D project: 3D Digitisation Guidelines x x https://eureka3d.eu/3d-digitisationguidelines/ This guide is designed to help anyone on their 3D digitisation journey. It is specifically aimed at Cultural Heritage professionals who are considering, or in the middle of, digitising their cultural heritage collections using three dimensional models. It outlines and simplifies the recommended standards highlighted in the EU VIGIE Study 2020/654 (Study on quality in 3D digitisation of tangible cultural heritage, published April 2022) and written in response to the EU recommendation (EU 2021/1970 on a common European data space for cultural heritage, published November 2021) for Member States to digitise all moments and sites at risk in 3D by 2030. This guide has been created within the framework of EUreka3D an EU project cofunded by the European Union (grant no. 101100685). Europeana Publishing guide for 3D content x x x https://europeana.atlassian.net/wiki/space s/EF/pages/2365227031/Publishing+guide+ for+3D+content List of sources on publishing 3D content to Europeana. FADGI on a Budget: Improving FADGI on a Budget: Improving Digital Images for Libraries x x x x https://digitalcommons.kennesaw.edu/pro venance/vol38/iss1/2/ This case study describes the photography equipment and setup of San Francisco State University’s Digital Scholarship Center, and the testing and manipulation of these elements to reach the 4-star tier of the Federal Agencies Digital Guidelines Initiative (FADGI) technical guidelines. It describes how, with a few tools like a colour target and image analysis software, cultural heritage digitisation units with limited photography skills can markedly increase the quality of their digital images with experimentation, creativity, and the photography equipment they already have. FIAT/ IFTA 2021 Preservation and Migration Seminar x x https://fiatifta.org/seminar/preservationmigration-seminar-2021/ Acceptance criteria in the context of massive migration processes. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 58 FIAT/ IFTA 2022 Preservation and Migration Seminar x x https://fiatifta.org/seminar/preservationmigration-seminar-2022/ Film in television archives. What can be done? FIAT/ IFTA 2023 Preservation and Migration Seminar x x https://fiatifta.org/seminar/preservationmigration-seminar-2023/ The Preservation Life Cycle. FIAT/ IFTA 2024 Preservation and Migration Seminar x x https://fiatifta.org/seminar/preservationmigration-seminar-2024/ Preserving Authenticity from media archives content. FIAT/IFTA 2020 Preservation and Migration Guide Guide x x https://fiatifta.org/commissions/preservati on-and-migration-commission/ This document, the Background Document, is the last one of a set of three, which makes a guide, issued by the International Federation of Television Archives FIAT/IFTA, to help everyone who considers writing a tender for the outsourced migration of content from physical audiovisual carriers. The first document, Introduction Document, provides a general introduction, in the form of a list of questions and answers. The second document, Overview Document, gives detail on the tendering procedure itself, discussing elements that are independent of most legal constraints, specific from country to country. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 65 instructions are provided for both Windows and Mac operating systems. PARTHENOS Guidelines to FAIRify data management and make data reusable x https://zenodo.org/records/2668479#.XXYd fC1abUo This guide offers a series of guidelines to align the efforts of data producers, data archivists and data users in humanities and social sciences to make research data as reusable as possible. The guidelines result from the work of over fifty PARTHENOS project members. They were responsible for investigating commonalities in the implementation of policies and strategies for research data management and used results from desk research, questionnaires and interviews with selected experts to gather around 100 current data management policies (including guides for preferred formats, data review policies and best practices, both formal as well as tacit). Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 66 PHOTOCONSORTI UM: opening up the riches of Europe's Photographic Heritage x (x ) (x ) x x https://www.photoconsortium.net/wpcontent/uploads/2017/08/Euromed-2018Photoconsortium-paper-revised-14-8-2018v1.pdf Digitisation and crowdsourcing actions are fostered by the European Union for enhancing access and citizens’ participation in culture and research. Several experiences are demonstrating how tangible and intangible heritage is moving nowadays from the concept of representing objects to that of safeguarding memories and stories related to those objects. This process means to have richer, more complex and heterogeneous metadata associated to digital objects. To leverage on such richness of information, new approaches for improving searchability/retrievability of digital resources, storytelling and reuse are developing. Also, dealing with crowdsourced contributions of various types poses new challenges for curation and preservation methods in heritage institutions and across separated repositories, where linked objects and resources lie. PHOTOCONSORTIUM, the international consortium for photographic heritage, is exploring the potential of technologies, which can make possible to enrich metadata and utilise photographic heritage at best for different purposes in education, creative industry, and research. Principles of Seville. International Principles of Virtual Archaeology x x x http://sevilleprinciples.com/ The principles discussed below aim to provide practical applications of the principles of the London Charter to improve its implementation in the field of archaeological heritage, including industrial archaeological heritage, simplifying and organising its bases sequentially, while at the same time offering new recommendations considering the specific nature of archaeological heritage in relation to cultural heritage. Recommended 3D Workflow for Digital Heritage Practices x x x https://library.imaging.org/archiving/article s/20/1/5 This paper addresses the concerns of the digital heritage field by setting out a series of recommendations for establishing a workflow for 3D objects, increasingly prevalent but still lacking Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 67 a standardised process, in terms of long-term preservation and dissemination. Rijksmuseum Manual for the Photography of 3D objects. x https://colostateprofessionalpractices.weeb ly.com/uploads/5/8/8/5/58856297/rijksmu seum_manual-3d.pdf The Rijksmuseum Manual for the photography of 3D objects gives an overview of the way in which the Rijksmuseum studios photograph object groups. The manual provides instructions about the different lighting setups for photographing objects which fall into one of two categories: standing objects or lying objects. We use examples of photographs to illustrate which perspectives and object-specific images are chosen. The Rijksmuseum came to the consensus that object photography of the collection must comply with the following quality standards: • The object always has a neutral background. • The object is of paramount significance and readable, in other words, all the objects’ specific characteristics are clearly visible. • All objects are always photographed from the same perspective, in consultation with the conservator or curator. Rijksmuseum. Instruction manual for photographing 2D objects. x https://assets.foleon.com/eu-central-1/deuploads-7e3kk3/109/manual-2d2021_v6.8c8ade34970e.pdf The manual concerns photography of 2-dimensional objects. Archiving x x x x x x x https://library.imaging.org/archiving/volum es Access to the open access repository of the Archiving conference papers. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 68 SHARE: a guide to digitisation x x digitisation-FINAL-FULL.pdf (sharemuseumseast.org.uk) This resource is designed to be used in one of two ways, as a digital desktop document or as a printed document. The resource contains hyperlinks to take you to the relevant places within the resource when using it as a desktop document, but these are labelled in such a way so that you will still be able to follow it in a printed version. Smithsonian Institution Archives: Digitising Collections x x x x https://siarchives.si.edu/what-wedo/digital-curation/digitising-collections To broaden access to the Archives’ collections, and reduce the impact of frequent handling, the Archives is digitising its most valuable and used collections. High-resolution surrogates of the Archives’ digitised collections are created and available online for researchers, scholars and the public to view, and download for personal and educational purposes. A portion of our digitised holdings are placed in the Smithsonian Transcription Center where volunteers help to transcribe these original, handwritten documents online. The Metropolitan Museum of Art. Scene Referred Colour Managed Image Capture Workflow https://www.conservationwiki.com/w/images/5/5f/Met_SceneReferr ed_LR_Workflow_V1_0.pdf This document will present the framework of a custom calibrated colour managed Adobe Lightroom photographic workflow that will work with any camera that produces a RAW file and any lighting set-up to produce digital image files that are, within the limits of the camera sensor’s capabilities, consistently accurate based on objective standards. The safeguarding of the audio heritage: ethics, principles and preservation strategy x x https://www.iasaweb.org/IASA_TC03/TC03_English.pdf This document constitutes a revision of earlier versions of IASATC 03 issued in September 2001 and February 1997. The revision is a consequence of the most recent developments in digital audio archiving. The document has also taken account of IASATC 04, Guidelines on the Production and Preservation of Digital Audio Objects, published in 2004. Accordingly, TC 03 concentrates on the principles while TC 04 provides detailed explanations of the practical consequences of TC 03. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 69 Literature Relevant Academic Literature to Impulse (ongoing scoping, literature to be added during the project) Title 2D data 3D data 4D data 6D data Data creation Data Management Data Sharing Reference Relevance to IMPULSE. Archivist in the ma chine: paradata for AI-bas ed automati on in the arc hives x x Franks, P. (2023). Archivist in the machine: Paradata for AI-based automation in the archives. Archival Science, 23(2), 275–295. https://doi.org/10.1007/s10502-023-094088 The visualisation of 3D data and virtual models using a headset is extremely important in sharing and learning about the history of a place. The integration of XR in 3D reconstruction is a very powerful learning tool. full-quality data and measurements cannot be used directly for visualisation due to the actual limitations of game engines and hardware processing power, introducing the need for additional data preparation processes. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 70 A framewor k study on the use of immersiv e XR technolog ies in the cultural heritage domain. x x Innocente, C., Ulrich, L., Moos, S., & Vezzetti, E. (2023). A framework study on the use of immersive XR technologies in the cultural heritage domain. Journal of Cultural Heritage, 62, 268–283. https://doi.org/10.1016/j.culher.2023.06.001 There are several techniques for 3D survey that can be used for VR applications, such as digital photogrammetry or 3D scanning by laser or structured light projection systems. These techniques involve capturing data on the subject’s geometry and texture, which are then processed and optimised to create a 3D model suitable for VR. The instruments employed for a 3D survey are very diverse in their purposes andfunctions. These include devices that allow to acquire very accurate geometric data. Bringing Back Lost Heritage into Life by 3D Reconstruction in Metaverse designed for small to medium-sized objects, at the micrometer level of accuracy. For large objects or areas other types of instruments are available, such as laser scanners that present long ranges and thus offer the possibility of obtaining geometric information atthe architectural level or even over very large areas. The choice of an instrument depends on the needs in terms of precision and accuracy but also on the characteristics of the object to be surveyed from the point of view of size and material. Bringing Back Lost Heritage into Life by 3D Reconstru ction in Metavers e and Virtual Environm x Yara Jamil Alkhatib1(B), Anna Forte1, Gabriele Bitelli1, Roberto Pierdicca2, and Eva Malinverni2. (n.d.). Bringing Back Lost Heritage into Life by 3D Reconstruction in Metaverse and Virtual Environments: The Case Study of Palmyra, Syria. The paper highlights the transformative role of metaverse technologies in preserving cultural heritage, particularly in the face of conflict and destruction. By digitally reconstructing ancient sites like the Palmyra theater, we can offer immersive experiences that allow users to explore lost heritage and recognise our duty to safeguard cultural treasures. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 71 ents: The Case Study of Palmyra, Syria Paradata and transpare ncy in virtual heritage. x x x x BentkowskaKafel, A. Denard, H (eds.) (2016). Paradata and transparency in virtual heritage. https://doi.org/10.4324/9781315599366 By focusing on 3D visualisation as a valid methodology, the volume addresses challenges faced by archaeologists, cultural historians, computer scientists, and ICT practitioners. The concept of “paradata” is central, documenting interpretative processes to enhance reliability and peer review. Survey and literature study to provide insights on the applicatio n of 3D technolog ies in objects conservat ion and restoratio n x Acke, L., De Vis, K., Verwulgen, S., & Verlinden, J. (2021). Survey and literature study to provide insights on the application of 3D technologies in objects conservation and restoration. Journal of Cultural Heritage, 49, 272–288. https://doi.org/10.1016/j.culher.2020.12.003 A general state of the art is given concerning the adoption of 3D models in CH and for virtual reconstruction of missing parts in conservation-restoration work. Although an increased use of 3D technologies is noticed in research, preservation, dissemination and conservation-restoration, the opinion, experience and concerns of the restorer on the application of 3D technologies in their work is unclear. The conservation community was therefore asked to complete an online questionnaire, and a literature study provided 65 case studies to demonstrate the practical use of 3D technologies for loss compensation. The results of the questionnaire showed a positive trend towards 3D technologies in restoration projects. This article and the accompanying mind maps can as such assist the restorer in decision-making when considering using 3D technologies in restoration projects. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 72 Access to digital cultural heritage: innovativ e applicatio ns of automate d metadata generatio n. x x Ivanova, K., Dobreva, M., Stanchev, P., & Totkov, G. (Eds.). (2012). Access to digital cultural heritage: Innovative applications of automated metadata generation. Plovdiv University Publishing House. https://doi.org/10.1016/j.culher.2020.12.003 This volume contains chapters on Digitisation standards, initiatives and institutions, OpenAccess Initiatives accross the worlds, Data Management, Metadata extraction and Generation. It also provides case studies from cultural institutions. Cultural heritage informati on: artefacts and digitisatio n technolog ies x x Terras, M., Ruthven, I., & Chowdhury, G. G. (2015). Cultural heritage information: artefacts and digitisation technologies. In Cultural Heritage Information: Access and Management (pp. 63–88). Chapter, Facet. This chapter scopes out the background to the current digitisation environment, giving an overview of the methods and approaches involved. It points to current developments, highlighting the use of both twoand three-dimensional capture methods for thecreation of digital surrogates of objects and artefacts, indicating the potential for further development in the sector, whilst drawing attention to current issues faced when digitising objects and artefacts, including cost, sustainability, impact evaluation and expectation management in thechanging information environment. Best practice in newer areas of digitisation, such as 3D capture and printing, or the use of multi-spectral imaging, is still being investigated, and it will continue to be the case that as new technologies emerge their affordances should be explored for the particular use requirements of the cultural and heritage sectors. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 73 Extended Reality: Internatio nal Conferen ce, XR Salento 2023, Lecce, Italy, Septemb er 6-9, 2023, Proceedin gs, Part II x x De Paolis, L. T., Arpaia, P., & Sacco, M. (Eds.). (2023). Extended Reality: International Conference, XR Salento 2023, Lecce, Italy, September 6-9, 2023, Proceedings, Part II (Vol. 14219). Springer Nature Switzerland. https://doi.org/10.1007/978-3-031-43404-4 The volume is structured in three chapters, and each includes case studies of the application of eXtended Reality in 1) Cultural Heritage, 2) Health and Medicine, 3) the Industrial Field. It can be especially relevant for WP1. Handboo k of best practice and standards for 2D+ and 3D imaging of natural history collection s x x x x Brecko, J., & Mathys, A. (2020). Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections. European Journal of Taxonomy, 623. https://doi.org/10.5852/ejt.2020.623 Almost all the techniques currently available to digitise a natural history collection in 2D+ and 3D are listed herein. The techniques are explained in a way that even one without any knowledge on the subject may understand their principle. The strong and weak points of the techniques are discussed, and an overview of suitable collections and specimens are given for each one of them. Also, plenty of examples already digitised with each technique are provided together with the links to visualise them in 3D. After explaining all the different digitisation options, the subsequent chapters provide information on how to improve the 2D+ and 3D digital twins of the specimens and techniques are compared to each other by means of test specimens. These give a fast overview of the capabilities of the digitisation techniques. Possible solutions to avoid digitisation errors are equally provided. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 74 3D Research Challeng es in Cultural Heritage III x https://doi.org/10.1007/978-3-031-35593-6. 1. Challenges related to the digitisation of CH objects and transforming them to digital/virtual twins 2. The interplay of geometry and semantics for CH 3. The organisation of large 3D databases in CH 4. Handling 3D data in CH over the Internet and using mobile devices 5. Presenting CH content in 3D to the general public 6. Contributing to the research efforts of CH professionals 7. Reconstruction of CH objects from virtual to real and their 3D production and use. Journal of Cultural Heritage. Survey and literature study to provide insights on the applicatio n of 3D technolog ies in objects conservat ion and restoratio n x x Acke, L., De Vis, K., Verwulgen, S., & Verlinden, J. (2021). Survey and literature study to provide insights on the application of 3D technologies in objects conservation and restoration. Journal of Cultural Heritage, 49, 272–288. https://doi.org/10.1016/j.culher.2020.12.003 Although the main concerns are justified as there are many challenges to overcome, reassurance or first answers to these concerns have been found in the varied applications of 3D technologies presented in the case studies. The arguments pro and con 3D technologies, possible solutions for the mentioned concerns and further research possibilities are subsequently presented in informative mind maps. This article and the accompanying mind maps can as such assist the restorer in decision-making when considering using 3D technologies in restoration projects. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 81 Harvestin g communi ty annotatio ns on 3D models of museum artefacts to enhance knowledg e, discovery and reuse x x Hunter, J., & Gerber, A. (2010). Harvesting community annotations on 3D models of museum artefacts to enhance knowledge, discovery and re-use. Journal of Cultural Heritage, 11(1), 81–90. https://doi.org/10.1016/j.culher.2009.04.004 Many cultural heritage organisations responsible for providing access to large online collections recognise the potential value that social tagging systems can add to their collections. Projects such as Steve. Museum aim to give online users a voice in describing the content of publicly held collections of digital heritage, through online social tagging and annotation tools. However, there are a number of unresolved challenges associated with re-using community tags, aggregating them within the museum's authoritative metadata stores and incorporating them within museum “metasearch” services. Although social tagging sites provide simple, user-relevant tags, there are issues associated with the quality of the metadata, the scalability compared with conventional indexing systems and a lack of interoperability across social tagging and annotation systems. In this paper, we propose an integrated system that overcomes many of the limitations of social tagging systems and maximizes their potential value-add within the context of museum collections. The Harvesting and Aggregating Networked Annotations (HarvANA) system firstly enables communities to attach tags/annotations to digitised 3D museum artefacts through web-based annotation services. The annotations/tags are represented using a standardised but extensible Resource Description Framework (RDF) model and an ontology-directed folksonomy. This approach facilitates interoperability between tags/annotations. Secondly, the system uses the Open Archives Initiative Protocol for Metadata Harvesting (OAI-PMH) API to automatically harvest the annotations/tags from distributed community servers. The harvested annotations are aggregated with the authoritative museum metadata in a centralised metadata store. The HarvANA system provides a streamlined, interoperable, scalable approach that enables cultural organisations to leverage community enthusiasm for tagging and annotation, augment their institutional metadata with community tags and enhance their discovery and browse services over 3D models. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 82 Archives in motion: Concrete steps towards the digital disclosure of audiovisu al content x x x x Hauttekeete, L., Evens, T., De Moor, K., Schuurman, D., Mannens, E., & Van De Walle, R. (2011). Archives in motion: Concrete steps towards the digital disclosure of audiovisual content. Journal of Cultural Heritage, 12(4), 459–465. https://doi.org/10.1016/j.culher.2011.04.004 Various authors have stressed the need for an adequate archiving and preservation policy of audiovisual material, given its cultural, historical, juridical, social and economic value. In view of the sustainable preservation of audiovisual material, the opening up of the archive is seen as a real challenge. Various aspects, such as requirements concerning formats, metadata standards and legal implications, need to be considered. Furthermore, different types of users should be able to consult the archive in a user-friendly way, a factor which should not be neglected. This article studies and discusses the current situation in Flanders regarding the digitisation and disclosure of the Flemish audiovisual cultural heritage, comprising the audiovisual material in the archives of different Flemish institutions, including broadcasters, (post-) production companies, government institutions and cultural organisations. Based on 45 qualitative interviews, a SWOT analysis is created to assess the strengths, weaknesses, opportunities and threats concerning the digitisation and disclosure of the audiovisual archive. Moreover, this environmental analysis includes some recommendations concerning the future preservation of this audiovisual cultural heritage. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 83 Integrate d documen tation protocols enabling decision making in cultural heritage protectio n x Kioussi, A., Karoglou, M., Labropoulos, K., Bakolas, A., & Moropoulou, A. (2013). Integrated documentation protocols enabling decision making in cultural heritage protection. Journal of Cultural Heritage, 14(3), e141–e146. https://doi.org/10.1016/j.culher.2013.01.007 Documentation on cultural heritage assets is an indispensable part of an overall strategy for cultural heritage protection. Sustainable conservation and management are not feasible without a systematic data collection and registration that identifies the history of the monument, its architectural attributes, preservation state and its possible alterations during its entire lifetime. Integrated documentation protocols for data collection and organising are developed that built upon certain documentation procedures, encompassing all parameters relating to the monument. These were developed based on the current documentation methodologies survey, revealing the prerequisite main attributes of such protocols, and the need to incorporate quality control principles. Their structure follows a three-level classification of data that reflect the overall information to be documented at an increasing complexity. They constitute a solid basis for any knowledge-based decision-making process to establish priorities of cultural heritage protection, through the use of specific necessity indices that utilize the information collected and stored. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 84 Audiovisu al productio n, restoratio narchiving and content managem ent methods to preserve local tradition and folkloric heritage x Dimoulas, C. A., Kalliris, G. M., Chatzara, E. G., Tsipas, N. K., & Papanikolaou, G. V. (2014). Audiovisual production, restoration-archiving and content management methods to preserve local tradition and folkloric heritage. Journal of Cultural Heritage, 15(3), 234–241. https://doi.org/10.1016/j.culher.2013.05.003 The current work focuses on the implementation of audiovisual production technologies for preservation and demonstration of local tradition and Cultural Heritage (CH). A methodological framework is proposed for the production, digitisation, authoring and presentation of audiovisual (AV) content, related to traditional music and dances. The production chain involves content restoration, description and management of archived material, direction of documentary biographies, demonstration of folk customs and filming of chore-theatrical acts, aiming at creating historical, informative and educational video entities. User-friendly interactive environments are employed by means of media browsing menus and multilingual narration, utilising new AV authoring. The proposed methodology has been implemented on the occasion of a folk-heritage multilingual DVD video production and its enhanced Web-TV edition1. The paper brings forward novel theoretical, technical and mostly methodological guidelines in preserving and disseminating CH, using state of the art AV production technologies. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 85 The Complexit y and Quality in 3D Digitisatio n of the Past: Challenge s and Risks x x x Ioannides, M., & Patias, P. (2023). The Complexity and Quality in 3D Digitisation of the Past: Challenges and Risks. In M. Ioannides & P. Patias (Eds.), 3D Research Challenges in Cultural Heritage III (Vol. 13125, pp. 1–33). Springer International Publishing. https://doi.org/10.1007/978-3-031-355936_1 This paper is focusing on the exceptional results of the EU Study (VIGIE2020/654) to map the parameters, formats, standards, benchmarks, and methodologies relating to 3D digitisation of tangible cultural heritage (CH). The overall objective of the paper is to further the quality of 3D digitisation process by enabling cultural heritage professionals, institutions, content-developers, stakeholders, and academics to define and produce highquality digitisation standards for tangible cultural heritage assets. This study identified for the first time in this domain, key parameters of the digitisation process, estimated the relative complexity and how it is linked to technology, its impact on quality and its various factors. It will also present standards and formats used for 3D digitisation, including data types, data formats and metadata schemas for 3D structures. Advanced Technolo gies in Digitising Cultural Heritage x x https://www.mdpi.com/journal/applsci/spec ial_issues/digitising_cultural_heritage#info Current advances in technologies (e.g., linked data, virtual/augmented/extended reality, chatbots and digital storytelling), when combined with fundamental technological fields, such as artificial intelligence and machine learning, create new opportunities to explore innovative technological solutions for the effective (re)use of digital cultural heritage assets. This Special Issue aims to spotlight cutting-edge research in technology-driven cultural heritage, as well as help in the alignment of these endeavors. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 86 Safeguard ing Cultural Heritage in the Digital Era – A Critical Challenge ( x ) x x Wagner, A., & De Clippele, M.-S. (2023). Safeguarding Cultural Heritage in the Digital Era – A Critical Challenge. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique, 36(5), 1915–1923. https://doi.org/10.1007/s11196023-10040-z This paper explores the disruptive impact of digitisation on cultural heritage preservation, focusing on the challenges posed by intellectual property rights, access, and enforcement. It emphasises the need to balance innovation and preservation in the digital landscape, addressing issues such as copyright complexities, the commodification of cultural knowledge, and the Western-centric bias in policy shaping. By fostering global cooperation, cultural sensitivity, and public awareness, we will aim at achieving an inclusive and sustainable approach to safeguarding our diverse cultural heritage in the digital era. Photogra mmetric texture mapping: A method for increasing the Fidelity of 3D models of cultural heritage materials x x Dostal, C., & Yamafune, K. (2018). Photogrammetric texture mapping: A method for increasing the Fidelity of 3D models of cultural heritage materials. Journal of Archaeological Science: Reports, 18, 430– 436. https://doi.org/10.1016/j.jasrep.2018.01.024 Accurately recording information is the single most important stage of an archaeological project. The biggest technological improvement to documentation techniques in the last 15 years has been the spread of various 3D digitization technologies, such as computer vision photogrammetry and 3D laser scanning. These technologies have allowed archaeologists to quickly and accurately capture and reconstruct the geometry and colors of the subjects being studied. Each of the various methods for 3D digitization of cultural heritage materials has advantages and disadvantages, such as processing speed, cost of equipment, and the accuracy of the captured data. Laser scanned data is among the most accurate geometrical data available in modern scanning techniques, but it lacks in its ability to accurately capture textures and diagnostic coloration information. Photogrammetric data produces highly detailed photographic textures on models, but the geometric data tends to be of a lower definition than the laser scanned data. In this paper, the authors discuss a new methodology that combines the advantages of computer vision photogrammetry with those of laser scanning by applying the photographic textures produced with photogrammetry to the geometric data obtained from laser scanning. This method allows archaeologists to achieve the best possible fidelity 3D models for interpretation and study. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 87 Digitisatio n and Sharing of Collection s: Museum Practices and Copyright During the COVID-19 Pandemic x x x x Klinowski, M., & Szafarowicz, K. (2023). Digitisation and Sharing of Collections: Museum Practices and Copyright During the COVID-19 Pandemic. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique, 36(5), 1991–2019. https://doi.org/10.1007/s11196-023-09986-x This article concerns the conflict between copyright and museums’ digitisation and online sharing of collections. This issue has recently become particularly important in connection with the COVID-19 pandemic. The authors outline the concept of a virtual museum and present the most important copyright provisions in EU law that may create obstacles for cultural institutions in realising virtual counterparts. To perceive copyright as the main obstacle in the process of digitisation and online sharing of collections is not unusual. Hence, the article briefly presents legal framework of the European copyright applicable to such situations. The authors argue that although copyright offers a range of possibilities for museums interested in digitising their collections, at the same time it is responsible for a chilling effect, resulting in fear of potential infringement and liability. The authors conclude that the EU’s development of new legislation, coinciding with the need for digitisation and online sharing of cultural heritage caused by the pandemic, has favored public interest at the expense of creators’ rights, but still lacks satisfactory legal tools for effectively allowing cultural institutions to digitise and share their collections. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 88 Standards for Digitisatio n in Cases of Maps, Documen ts, and other Relics in the Service of Cultural Heritage x x x Malaperdas, G. (2021). Standards for Digitisation in Cases of Maps, Documents, and other Relics in the Service of Cultural Heritage. Trends Journal of Sciences Research, 1(1), 24–32. https://doi.org/10.31586/ojer.2021.99 This paper discusses the analysis of correct digitisation practices to follow for maximum performance of the technique. Although it is written for cases that fall within the broader context of culture and cultural heritage, it is ultimately about writing rules that are not limited to the above-mentioned cases, but can be used in more general situations, particularly printed materials. This paper will therefore discuss the technical characteristics of the choice of digital imaging devices and distinguish the types of quality calculation in the different cases of digitised text, digitised manuscript, digitised maps, and photographs. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 89 metadata enriched system for the documen tation of multimodal digital imaging surveys x Pamart, A., De Luca, L., & Véron, P. (2022). Metadata enriched system for the documentation of multi-modal digital imaging surveys. Studies in Digital Heritage, 6(1), 1– 24. https://doi.org/10.14434/sdh.v6i1.33767 In the field of Digital Heritage Studies, data provenance has always been an open and challenging issue. As Cultural Heritage objects are unique by definition, the methods, the practices and the strategies to build digital documentation are not homogeneous, universal or standardised. Metadata is a minimalistic yet powerful form to source and describe a digital document. They are often required or mandatory at an advanced stage of a Digital Heritage project. Our approach is to integrate since data capture steps meaningful information to document a Digital Heritage asset as it is moreover being composed nowadays from multiple sources or multimodal imaging surveys. This article exposes the methodological and technical aspects related to the ongoing development of MEMoS; standing for Metadata Enriched Multimodal Documentation System. MEMoS aims to contribute to data provenance issues in current multimodal imaging surveys. It explores a way to document CH oriented capture data sets with a versatile descriptive metadata scheme inspired from the W7 ontological model. In addition, an experiment illustrated by several case studies, explores the possibility to integrate those metadata encoded into 2D barcodes directly to the captured image set. The article lays the foundation of a three parted methodology namely describe - encode and display toward metadata enriched documentation of CH objects. Deliverable D3.1. Ongoing verification of the use of digital heritage objects within the emerging platforms. IMPULSE IMmersive digitisation: uPcycling cULtural heritage towards new reviving Strategies| 90 Photogra mmetry and macro photogra phy. The experienc e of the MUSINT II Project in the 3D digitising process of small size archaeolo gical artifacts x Marziali, S., & Dionisio, G. (2017). Photogrammetry and macro photography. The experience of the MUSINT II Project in the 3D digitising process of small size archaeological artifacts. Studies in Digital Heritage, 1(2), 298–309. https://doi.org/10.14434/sdh.v1i2.23250 The MUSINT II project was created to publicize and promote the Minoan glyptic, a littleknown archaeological heritage. Its contents were designed to involve both specialists and a general public (adults and children). The project focuses on the 3D digitalisation of seventeen very small (about 15mm diameter) seals, stored in the archives of the National Archaeological Museum of Florence. The digitalisation of these artifacts required a high-quality resolution technique capable of capturing their morphology and decorative motives and, at the same time, appeal to the educational targets. For this reason, the Structure from Motion (SfM) Photogrammetry was chosen. This technology makes it possible to obtain three-dimensional reproductions from random photographs made by non-dedicated devices, but the tiny-object survey required specific instruments and skills. A macrophotography technique was applied together with a specific workflow to obtain high quality photogrammetric models and to save time in acquiring and processing images. With this methodology, 3D models of high metric precision mesh and maximum colour fidelity textures were obtained. This process delivers results of high-level detail for low capital costs and minimal acquisition and processing time. Virtually Real or x Virtually Real or Really Virtual: Towards a Heritage Metaverse.