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1.
Precise documentation of cultural heritage status is essential for its protection and scientific studies carried out during the restoration and renovation process. The close range photogrammetry has been used successfully for documentation of cultural heritage. With recent developments in computer and information technologies, this well-known traditional method has been replaced with digital close-range photogrammetry. This new method offers us new opportunities such as automatic orientation and measurement procedures, generation of 3D vector data, digital ortho-image and digital surface model. Terrestrial laser scanning is another technology that in recent years has become increasingly popular for documentation which provides very dense 3D points on an object surface with high accuracy. In addition, the 3D model and digital ortho-image can be easily generated using generated 3D point cloud and recorded digital images. 相似文献
2.
Learning cultural heritage by serious games 总被引：1，自引：0，他引：1
《Journal of Cultural Heritage》2014,15(3):318-325
Immersive technologies such as virtual environments and augmented reality have a clear potential to support the experiencing of cultural heritage by the large public, complementing the current tools and practices based on tangible goods such as museums, exhibitions, books and visual content. Serious games – videogames designed for educational objectives – appear as a new tool to learn cultural content in an engaging way. In this paper, we will provide an extensive portrait of the current proposition of serious games in the cultural sector, highlighting the educational objectives of games in this domain and analysing the complex relations between genre, context of use, technological solutions and learning effectiveness. We finally identify and discuss the most significant challenges in the design and adoption of educational games in cultural heritage. 相似文献
3.
The purpose of this contribution is to move the study of performing rights forward and away from discussion of matters of principle to matters of implementation. Our procedure is to identify the chronological steps which have to be taken by composers or their representatives in ensuring that their property right can be exploited, resulting in payment for performances. At each step we shall attempt to offer observations, based principally but by no means solely on UK experience, on both the economic and legal issues that arise. The first stage in the exploitation of copyright is to create a work in a discernible form. In music this has traditionally taken the form of a score. However, today most popular music will take the form of a taped performance. This is followed by critical discussion of the term of copyright protection and whether a monopoly is created in respect of performing rights. In addition to performing rights, account has also to be taken of performers' rights, raising issues of where copyright protection ends and performers' rights begin. The second stage of exploitation is publication, promotion and performance of the work, a matter so complex that it has necessitated the establishment of collective organisations of authors and publishers to be effective. Policy issues arise about the relations between the members of such organisationsinter se, and between the organisations and users, and these are illustrated by a number of examples from the history of the British Performing Right Society. Disputes led to the establishment of specialist tribunals in the UK and elsewhere, and there have also been investigations of collecting societies by the British and EC competition authorities. The global market for music means that such issues transcend national frontiers, and there is some discussion of how performing rights are enforced internationally. The paper concludes by identifying a number of major issues: whether or not collecting societies operate against the consumer interest (it is suggested, generally not); the extent to which serious music is or should be subsidised by diversion of the income of the collecting societies in its support; and the possible extension of collective copyright administration into other fields, against the background of ever-increasing cross-border activity in cultural matters generally. 相似文献
4.
Marcello Carrozzino Nicoletta Bruno Massimo Bergamasco 《Journal of Cultural Heritage》2013,14(2):146-155
In the last few years the improved performances of graphics hardware and the growing availability of broadband internet connections have eventually led to effectively adding a third dimension to web interfaces, achieving what is commonly referred to as Web3D. Nevertheless, these technologies are not yet widespread, especially in the cultural sector, for at least two factors: technological limitations, mostly in the lack of coherent and effective metaphors to visualize and interact with digital cultural assets using the third-dimension as an added value rather than as a stylish gadget, and communication issues, as, despite the principles stated in the London Charter aimed at ensuring technical and intellectual rigor for the digital visualization of cultural heritage, a proper way to deal with relevant and sustainable 3D information is not yet completely established. For this reason this paper focuses on identifying and analyzing the aspects that may contribute to a more efficient use of Web3D technologies to access cultural content, in order to set up a set of development standards aiming to encourage web-based learning and guaranteeing systems accessible and usable by the widest possible audience. 相似文献
5.
《Journal of International and Intercultural Communication》2013,6(4):298-317
Abstract China's entry into the global networked society has raised considerable debate over what is derived from the development and expansion of information and communication technologies (ICTs). One of the hotly debated issues is Internet copyright piracy, which is critical to the credibility and stability of China's membership to the global networked society. This paper examines Chinese users’ online discussion about Internet software piracy as local resistance to global copyright enforcement exercised through globalization processes. The study uses Mittelman and Chin's (2005) framework of Polanyi's (1957) counter-hegemony and Gramsci's (1971) counter-movements as a heuristic device to conceptualize the resistance points to globalization located within the dominant discourse on intellectual property rights, specifically Internet software piracy, by Chinese Internet users. Gee's (2002) discourse analysis framework is applied to produce seven recurring themes within online postings: cost, convenience, software companies, foreign developed countries, China's development, Chinese culture, and moral dilemma. The analysis on these dominant themes illustrates the cultural models held by Chinese users towards the issues of Internet software piracy: Internet as a public domain, socialist market economy, patriotism, and Chinese culture. These cultural models represent different types of resistance in Mittelman and Chin's (2005) framework. Meanwhile, these resistance positions are integrated under the notion of Chinese nationalism to constitute a complete set of counter-discourses to global software copyright enforcement. 相似文献
6.
ABSTRACTPrevious studies have overlooked how intermediaries and their digital cultural capital enhance the relationship between brand values and consumer identities; their specific uses of digital technologies; and how those uses are displayed in activities where intermediaries create consumer experiences. This paper thus explores the role that cultural intermediaries (music bloggers and an advertising agency) and their digital cultural capital play in making and communicating a branded music event. Briefly, intermediaries used a set of digital technologies (social media, guest lists, blogs, and websites) to create and orchestrate an authentic and exclusive experience between brands and consumers. We draw on empirical material from interviews and ethnographic work conducted in Santiago, Chile. Our study identifies digital technologies used by cultural intermediaries in communicating branded music events, including as: promotional tools; advertising campaign efficacy evaluation mechanisms; and relational objects that connect advertising agencies, music bloggers, brands, and consumers. By exploring the tensions and conflicts that arise among bloggers and advertising executives, we shed light on the uses and exchanges of digital cultural capital for commercial purposes, resulting from the connections between intermediaries that come from different fields of cultural production. 相似文献
7.
Staffan Albinsson 《Journal of Cultural Economics》2013,37(2):175-184
For this study, data from the annual reports of the STIM (the Swedish Performing Right Society) (By Swedes it is read as a word: ‘stim’ and not as four separate initials S.T.I.M.) were collected and analysed. If the general hypothesis that a digital technology shift has resulted in illegal downloading holds true, there should be a decrease in total revenues for composers from record sales. This is what the STIM data show. There has, however, been a simultaneous growth in income from other sources, which compensates for the loss from record royalties. This study also includes a unique data set from the STIM showing revenues for individual music IPR owners. The general finding is that a very small group of composers receives a very large share of the copyright revenues. Music as a ‘winner-takes-all’ arena is apparent. 相似文献
8.
《Journal of Cultural Heritage》2014,15(2):196-198
In most cases, the polychrome paintings that decorated heritage buildings no longer exist or are reduced to mere remnants. These facts decontextualize the sites in their historical and artistic evolution, distort the intention under which they were conceived, and hamper their accomplishment. Current recovery methods are restricted to the stabilization of the remains in their present status, requiring a lot of completely manual work that is expensive and almost unrelated to the use of new technologies. Three-dimensional digitalization and modelling is proved to be the basis for the virtual recovery of paintings in a significant edifice. To do so, an innovative methodology is presented that allows the 3D geometric information of a site (captured using a laser scanner) to be combined with specially designed 2D artistic images. The resulting 3D digital models can then be focused, with high efficiency projectors, on the equivalent area of the original site, and also used as raw material to compose a video-projection without perspective effects to emulate, with due rigour, the primitive appearance, its evolution along time, the effects of the deterioration, or other interesting aspects. The results obtained at Sta. María de Mave (Palencia, Spain) are presented, supporting the potential of this new methodology not only as a scientific way to discuss possible restoration hypotheses with experts or as a didactic tool for narrating the historical evolution of a monument, but also as a spectacular show for tourists. 相似文献
9.
Intellectual property and optimal copyright protection 总被引：1，自引：1，他引：0
Christian Koboldt 《Journal of Cultural Economics》1995,19(2):131-155
Copyright protection, or more generally, intellectual property rights, can be regarded as a means for the stimulation of production of information goods. This paper analyses the basic problem of production and dissemination of information and the role of copyright protection as an incentive for the producers of creative works. Using a simple model, it is shown that not only a cause for limiting the extent of copyright protection does exist, but that also an argument for a minimum level of protection can be found. Even optimal copyright protection, given the restriction that production and dissemination of information goods has to be co-ordinated by a market mechanism, however, does not lead to a first-best (allocatively efficient) solution. Hence, the judgment that copyright protection is the best solution to the basic problem can be grounded only on a comparative institutional approach.Indeed, one has ample reason to despair of finding a legal tenet that governs the rights of authors and artists. There exists no legal principle by which the state is forced to grant to authors a right in their creation. They cannot claim any right thereupon. This is not to say that the state shall not award such a right. On the contrary, there is every reason to treat them like the most favoured workers, as they deliver a work that is more robust than ashlar, and bring food that does not decay... 相似文献
10.
The protection of copyrights in the music industry has been of paramount concern as the popularity of digital music players,
personal websites, and file-sharing continues to grow, each of which subsequently contributes to the persistence of Internet
music piracy. While the Recording Industry Association of America (RIAA) links file-sharing to copyright piracy, others argue
that file-sharing allows maximum exposure of artists’ music which in turn increases its value. While this debate continues,
little empirical research has specifically addressed the behavioral aspects of the consumer. In this paper, we use survey
data on university students to study how attitudes toward copyright law along with economic and demographic factors affect
the extent of music copyright violations. We find that while students are responsive to economic incentives and perceptions
of risk, the extent of these incentives has not reversed the overall propensity to engage in file-sharing.
相似文献
| Djeto AssaneEmail: |
11.
Why has cultural economics ignored copyright? 总被引：1，自引：1，他引：0
Ruth Towse 《Journal of Cultural Economics》2008,32(4):243-259
My stance is that copyright policy should be viewed as part of cultural policy; cultural economists have had a great deal
to say about subsidy and cultural policy but very little about copyright, though cultural economics is well placed to analyse
copyright as an incentive to creativity in the creative industries because of its understanding of cultural policy and of
artists’ labour markets. The article contrasts subsidy and copyright as policy tools and briefly discusses two current policy
problems in relation to copyright—regulating copyright collection societies and the so-called ‘copyright levy’—arguing that
these are the sort of issues cultural economists could (and should) be dealing with.
相似文献
| Ruth TowseEmail: |
12.
Contemporary museums are much more than places devoted to the placement and the exhibition of collections and artworks; indeed, they are nowadays considered as a privileged means for communication and play a central role in making culture accessible to the mass audience. One of the keys to approach the general public is the use of new technologies and novel interaction paradigms. These means, which bring with them an undeniable appeal, allow curators to modulate the cultural proposal by structuring different courses for different user profiles. Immersive Virtual reality (VR) is probably one of the most appealing and potentially effective technologies to serve this purpose; nevertheless, it is still quite uncommon to find immersive installations in museums. Starting from our 10 years’ experience in this topic, and following an in-depth survey about these technologies and their use in cultural contexts, we propose a classification of VR installations, specifically oriented to cultural heritage applications, based on their features in terms of interaction and immersion. On the basis of this classification, aiming to provide a tool for framing VR systems which would hopefully suggest indications related to costs, usability and quality of the sensorial experience, we analyze a series of live examples of which we point out strengths and weak points. We then summarize the current state and the very next future, identifying the major issues that prevent these technologies from being actually widespread, and outline proposals for a more pervasive and effective use of Immersive VR for cultural purposes. 相似文献
13.
Michael Rushton 《Journal of Cultural Economics》1999,23(3):137-146
This paper considers the communitarian critique of the method of economics, especially in regard to its methodological individualism, with reference in particular to cultural economics. It asks whether cultural goods can be modelled in a meaningful way under the usual assumptions in neoclassical economics about individual economic agents. Special attention is paid to Charles Taylor's critique of 'atomism', and his suggestion that some goods are 'irreducibly social'. The implications of the critique for (1) public funding of the arts, and (2) copyright policy, are considered. 相似文献
14.
通过多个历史文化名城的相关保护规划文本、地方保护条例(办法)以及地方规划编制技术导则的分析,对历史文化风貌区的地方实践进行总结。"历史文化风貌区"较历史文化街区具有更丰富内涵与复杂性特征,保护规划过程中应注意识别"历史文化风貌区"中出现的新类型与内部价值要素,在探索和完善地方历史文化遗产保护体系的前提下,秉承不同于历史文化街区的保护思路,探索差异化的、量体裁衣式的历史文化风貌区保护方法。 相似文献
15.
Ruth Towse 《Journal of Cultural Economics》2017,41(4):403-420
The paper argues that the paradigmatic shift from the sale of printed music to exploiting and managing musical rights that took place in music publishing during the early years of the twentieth century was due to the changing market rather than to changes in copyright law. On the one hand, copyright law was ineffectual in controlling piracy throughout the nineteenth century, and on the other hand, performing rights were ignored by music publishers for over 70 years; these points suggest that copyright was not the main reason behind the success of the industry. Rather than leading entrepreneurially (the current view of dynamism in the creative industries), publishers ‘followed the money’ and adapted their business models only when new streams of income from new forms of exploitation through sound recording, broadcasting and film became available as a result of exogenous technical progress. Publishers were locked-in to sales revenue as their business model, though when switching to the new business model of rights management took place, the costs seem not to have been greatly significant. The paper takes an historical approach to the development of music publishing viewed through the lens of present-day issues. The research has resonance for the transition from sales to licensing digital works that is taking place in the creative industries today and puts into perspective the relative significance of market forces and copyright law in the process. 相似文献
16.
中国大运河是流动着的活态廊道遗产,如何保护、传承和利用运河遗产资源已上升到国家战略的高度。通过实地考察与文献分析,客观归纳当前苏州段运河的发展瓶颈,并借鉴国内外典型线性遗产廊道的成功经验及发展模式,从完善基础设施、美化生态环境、统筹规划旅游产品谱系、创建运河文旅品牌、推动产业融合创新等方面,构建苏州段运河遗产廊道的核心竞争力,服务于地方生态文明建设与社会文化事业发展的同时,以期为中国大运河遗产资源的统筹保护、有效传承与活态利用提供有益参考。 相似文献
17.
This paper combines the travel cost method (TCM) with contingent behavior questions to estimate domestic visitors’ use values for cultural heritage sites in Armenia, a transition economy in which conservation of cultural monuments is hampered by limited resources. Respondents intercepted at four cultural monuments provided information on their visitation patterns, experience at the site, perception of the state of conservation of the monuments, and rating of the quality of the services and infrastructure. We combine actual trips with stated trips under hypothetical programs that would enhance the conservation of the monuments and improve one of (i) the cultural experience at the site, (ii) the quality of the infrastructure, or (iii) the quality of the services, and use the combined actual and stated trips to fit a panel data model. Our study is one of the few applications of the TCM to value cultural heritage sites. Our investigation shows that (i) significant use values are associated with the four study monuments, and (ii) conservation programs and initiatives that improve the cultural experience, or simply make it easier for the respondent to reach and spend time at the monument, are valued by domestic visitors and would encourage higher visitation rates. Actual and intended trips reported by the respondents exhibit good construct validity, in the sense that they are well predicted by price, location, hypothetical scenario and other individual characteristics of the respondents.
相似文献
| Anna AlberiniEmail: Phone: +1-301-4051267Fax: +1-301-3149091 |
18.
The technological shift of museums is extensively documented, even if research on the impact of technologies on cultural practices and social patterns at large is still lacking. As part of a research programme conducted by the Louvre and HEC Paris, the article proposes a conceptual analysis of ‘real’ (visiting the museum) and ‘virtual’ (visiting its website) experiences of museums. It contributes to the understanding of whether the two experiences are substitutes or complements using a newly created measurement scale. In addition, the article also aims at enriching the contemporary discussion on the artworks’ aura and the authenticity of the cultural experience in the digital age. 相似文献
19.
20.
Beatriz Trinchão Andrade Olga Regina Pereira Bellon Luciano Silva Alexandre Vrubel 《Journal of Cultural Heritage》2012,13(1):28-39
Three-dimensional (3D) digital preservation aims at generating 3D models of objects that have cultural or scientific value. It allows realistic visualization of objects through virtual museums or scientific applications, and the restoration of the preserved object in case of natural wear or accidents. This work contributes to this research area by presenting a method to improve color texture quality of 3D models obtained from color and depth images of a laser scanner. Although this device offers precise depth information, the resulting color information is still poor and limits the generation of realistic textures. Our approach is to capture photographs of the object with a high-resolution digital camera and use them to generate a new color texture for the 3D model. Our work proposes a practical technique, easy to replicate, to generate high quality textures for 3D models from photographs. The method is composed by three main steps: (1) calibration of the image acquisition devices; (2) data acquisition; and (3) texture generation. In this paper, we detail our color texture generation method and apply it on the digital preservation of many artworks made by native Brazilians (indians) from the Wauja and Karaja communities. These indigenous communities are acknowledged as great ceramic artists, each bearing their own main themes, using a very rich symbolism in their paintings. Their artworks represent important aspects of the native South American culture and their digital preservation is motivated by three main reasons: (1) their fragility; (2) the paintings loose their original appearance with time; and (3) the possibility of extinction of these communities. We present several results of preserved artworks with enhanced quality realistic texture maps. Also, we present a methodology to analyze the quality and accuracy of texture maps. The resulting 3D models can be visualized through a tool we developed to support the virtual exhibit of 3D preserved heritage. 相似文献