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eCulture: Cultural Content in the Digital Age Softcover reprint of hardcover 1st ed. 2009 [Mīkstie vāki]

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  • Formāts: Paperback / softback, 456 pages, height x width: 242x193 mm, weight: 934 g, XXX, 456 p., 1 Paperback / softback
  • Izdošanas datums: 19-Oct-2010
  • Izdevniecība: Springer-Verlag Berlin and Heidelberg GmbH & Co. K
  • ISBN-10: 3642094554
  • ISBN-13: 9783642094552
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eCulture: Cultural Content in the Digital Age Softcover reprint of hardcover 1st ed. 2009Palielināt
  • Formāts: Paperback / softback, 456 pages, height x width: 242x193 mm, weight: 934 g, XXX, 456 p., 1 Paperback / softback
  • Izdošanas datums: 19-Oct-2010
  • Izdevniecība: Springer-Verlag Berlin and Heidelberg GmbH & Co. K
  • ISBN-10: 3642094554
  • ISBN-13: 9783642094552
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9783642094552.html
Keywords:
Do virtual museums really provide added value to end-users, or do they just contribute to the abundance of images? Does the World Wide Web save endangered cultural heritage, or does it foster a society with less variety? How can information technology help to preserve the diversity of cultures in our fast-changing world? These are the questions that are raised and answered in this book, the result of a long path across the digital heritage landscape.









Alfredo M. Ronchi, Secretary of the EC MEDICI Cooperation Framework, gives a broad overview of eCulture and digital heritage. His presentation is divided into three main sections: the first one devoted to the main issues and general guidelines, the second to technological fundamentals and the main solutions, and the third to applications and services, including a wide range of case studies.



Starting from the basics the reader will be introduced to virtual museums issues and achievements, cataloguing, digitizing, publishing, and sustainable exploitation of cultural content, all exemplified by real-world case studies and applications. Taking into account more than 15 years of experience and results in digital cultural content research, the author provides a comprehensive view on issues and achievements in digital collections and cultural content for "memory institutions", developers of digital content and digital libraries, cultural content managers, publishers, librarians, and museum curators.

Recenzijas

This book looks at a much neglected side of the digital age and considers what the world wide web provides for our culture. It provides much information and discussion about e-collections and their relationship with the culture we are familiar with. The book offers a sound introduction to the subject which is very rarely considered in the massive coverage given to all aspects of the digital age as portrayed by users of the world wide web. D. M. Hutton, Kybernetes, Vol. 39 (2), 2010

"This is an extremely useful book, richly illustrated with examples, with three sections: cultural content, technological framework and exploitation. It is carefully documented and while focussed on European developments, draws on examples from Australia, Canada, China, Japan and the United States. [ ...]" Kim H. Veltman, Scientific Director, VMMI, Maastricht - Please find the whole review in the additional information section.-

Part I Cultural Content and the Information Society
1 Digital Content
3(2)
2 e-Society and the Social Divide
5(4)
3 Quality Content
9(4)
4 Digital Content and Creativity
13(2)
5 Cultural Content
15(6)
5.1 Tangible and Intangible Digital Heritage
19(1)
5.2 UNESCO's "Intangible Heritage"
19(2)
6 Digital Communication: the Role of Context
21(2)
7 Cultural Diversity and Cultural Models
23(10)
7.1 On Culture in a Worldwide Information Society
26(7)
8 Content, Communication and Tools
33(48)
8.1 Why is Digital Communication Revolutionary?
33(3)
8.2 Memetics and the Internet
36(3)
8.3 The Evolution of the Digital Species
39(3)
8.4 Historical Background
42(7)
8.5 Nonlinear Versus Linear, and Many Media Versus Just One Medium
49(2)
8.6 Technology: From the Stylus to the Computer
51(6)
8.7 From Standalone Computers to the Internet and Wireless Communication
57(7)
8.8 Digital Convergence and the History of Movies
64(2)
8.9 Information Transmission
66(2)
8.10 Some Concluding Remarks
68(13)
References
71(10)
Part II The General Technological Framework
9 Native Digital Content
81(20)
9.1 Data Creation
81(1)
9.2 Native "Nondigital" Content
82(1)
9.3 Data Acquisition and Digitisation
83(18)
10 Datasets and Formats
101(12)
10.1 Data Types
101(7)
10.2 Image Compression
108(1)
10.3 Archiving Tools and Standards
109(1)
10.4 Colours and Palettes
109(1)
10.5 The Most Popular Graphics File Formats
110(3)
11 Data Visualisation and Display Technologies
113(26)
11.1 From Two-Dimensional to Three (and Higher)-Dimensional Views
114(4)
11.2 Computer Graphics and Virtual Reality
118(1)
11.3 Evolution of Virtual Reality
119(12)
11.4 Enhanced Reality
131(2)
11.5 Telepresence and Robots
133(6)
12 Interaction Design
139(16)
12.1 Interaction Design and Affective Aspects
142(1)
12.2 Tyrannical or User-Friendly Technology?
142(2)
12.3 Expected Product Life and Life Cycles
144(3)
12.4 Sustainable Development of Menus and Options
147(2)
12.5 Accessibility
149(4)
12.6 Usability
153(2)
13 Computer Games, Edutainment and Theme Parks
155(26)
13.1 Information Technology and the Young
155(1)
13.2 Computer Games and Digital Cultures
156(2)
13.3 Games
158(2)
13.4 Interactivity and Immersivity
160(1)
13.5 Abstract Games
160(1)
13.6 Simulations
161(2)
13.7 Simulators, Dark Rides and Other Nonlinear Formats
163(6)
13.8 A Brief History of Computer Games
169(4)
13.9 The History of Computer Games Viewed From an Application Perspective
173(3)
13.10 Other Kinds of Entertainment
176(1)
13.11 Creative Activities
177(1)
13.12 Smart Phones
178(1)
13.13 Theme Parks and High-Tech Shows
179(2)
14 Customer Relationship Management
181(2)
15 Smart Labels, Smart Tags and RFID
183(2)
16 Standards and Protocols for Interoperability
185(2)
16.1 More on Interoperability
186(1)
17 Data Tags and the Semantic Web
187(14)
17.1 Markup Languages and Data Tagging
187(2)
17.2 Content, Structure, Format and Reference
189(1)
17.3 Data and Metadata
190(1)
17.4 Semantic Web
191(2)
17.5 Advanced Online Services
193(6)
17.6 Advanced W3C Design and Evaluation
199(2)
18 Ambient Intelligence
201(2)
19 Long-Term Preservation of Digital Archives
203(16)
19.1 Graffiti From the Digital Era
203(2)
19.2 Already Lost... and To Be Lost
205(2)
19.3 Historical Background of Initiatives
207(1)
19.4 Digital Fragility: Problems and Issues
208(2)
19.5 The Rationale Behind Preservation
210(3)
19.6 Economy and Infrastructure
213(1)
19.7 Some Closing Remarks
214(5)
20 The Future: the Weave of the Digital Fabric
219(18)
20.1 Predicting the Future
219(1)
20.2 Institutes for the Future
220(17)
References
223(14)
Part III Exploitation, Applications and Services
21 Content, Communication and Tools
237(8)
21.1 Culture, ICT and Emerging Technologies
238(1)
21.2 Which Role?
238(1)
21.3 Cultural Content
238(1)
21.4 Standards and Good Practices
239(1)
21.5 Sustainability and Economic Models
239(1)
21.6 Data Acquisition and Digital Preservation
240(1)
21.7 Comparing Classification Schemes
240(1)
21.8 Data Structure and Interoperability
240(1)
21.9 Maintenance of Large Databanks
240(1)
21.10 Navigation Tools, Interfaces and Metaphors
241(1)
21.11 Experiencing Cultural Heritage
241(1)
21.12 Information Policies: Frameworks and Intellectual Property Rights
242(1)
21.13 Monument Conservation
243(1)
21.14 Education and Training
243(2)
22 Exploitation, Applications and Services
245(4)
22.1 Accessing European Cultural Heritage
247(2)
23 Prioritisation in Digitalisation
249(2)
24 Cataloguing Standards and Archiving Tools
251(18)
24.1 Historical Background of Cataloguing
252(3)
24.2 Data Standards
255(11)
24.4 Some Basic Problems That Must be Solved When Cataloguing Historical Items
266(1)
24.5 Catalogues and Database Management Systems
267(2)
25 Virtual Museum Networks
269(8)
25.1 MCN and the CIMI Initiative
271(1)
25.2 Recent Applications
272(5)
26 Unique Object ID
277(6)
26.1 One of the Proposed Solutions
279(4)
27 Different Channels and Platforms
283(4)
28 Intellectual Property Rights
287(26)
28.1 Introduction
287(1)
28.2 Copyleft
287(2)
28.3 Free Access
289(1)
28.4 Freeware
289(1)
28.5 Copyright
290(4)
28.6 Digital Uncertainties
294(1)
28.7 Image Scanning and Image Security
294(2)
28.8 The Malaysian Experiment
296(4)
28.9 Creative Commons
300(4)
28.10 The Products
304(1)
28.11 Creativity, Production and Market
305(1)
28.12 Final Considerations
305(1)
28.13 Digital Rights Management and Clearance
306(1)
28.14 Protecting Rights
307(3)
28.15 Digital Object Identifiers
310(3)
29 Technology and Privacy
313(4)
29.1 Privacy and Personal Data Management
314(3)
30 Usability, Accessibility and Platforms
317(4)
31 Content Repackaging
321(4)
31.1 The Evolution of Hypertext Markup
324(1)
32 Experiencing Cultural Content
325(34)
32.1 Impact of the Interface on the Enjoyment of Cultural Content
332(2)
32.2 A Quick Overview
334(7)
32.3 Advanced Interaction Models for Cultural Content
341(18)
33 Cultural Tourism
359(16)
33.1 Application Trends
363(12)
34 Games and Edutainment Applications
375(4)
35 Hands-On and Interactive Museums
379(16)
35.1 Science and Technology Museums
380(3)
35.2 Theme Parks
383(10)
35.3 From Conventional to Hi-Tech Exhibits
393(2)
36 Educational Market
395(6)
36.1 The Role of Memory Institutions
398(3)
37 Culture Counts: the Economic Dimension
401(26)
37.1 Some of the Basic Conditions Required to Develop the Cultural Heritage Market
404(1)
37.2 Cultural Heritage as Value Generator in a Post-Industrial Economy
405(6)
37.3 Economic Promotion of Cultural Heritage: Problems and Issues
411(1)
37.4 Cultural Services and Markets
412(1)
37.5 Emerging Professional Profiles
413(2)
37.6 Cultural Services and Markets: the Challenge
415(3)
37.7 The European ICT Market
418(2)
37.8 A European Knowledge Society
420(1)
37.9 The Challenge: Fostering Creativity
421(2)
37.10 The Art Market and Digital Media
423(4)
38 Quality
427(8)
38.1 Affective Quality
430(5)
39 Conclusions and Future Trends
435(18)
References
437(16)
Subject Index 453
Alfredo M. Ronchi is co-founder and coordinator of the Computer Aided Architectural Design Laboratory (1984 - 1990) and founding Director of the HyperMediaGroup Laboratory (1990 - today) at the Politecnico di Milano.

He is currently Secretary of the EC MEDICI Cooperation Framework, a consultant of the Council of Europe, member of the UNESCO OCCAM Mediterranean Programme, Infopoverty, Global Forum, Fondazione Italiana Nuove Comunicazioni, Sacred World Foundation Scientific Committee.