Articles – ENIGMA EU

ENIGMA – FastForward News

enigma_admin — Sun, 09 Feb 2025 09:39:42 +0000

ENIGMA Project: Innovative Digital Tools Combat Illegal Trafficking of Cultural Heritage

ENIGMA

Workshop for ArchaeologistsDates: 7-9 April 2025
Location: Nicosia, Cyprus, Hydrid

Advanced digital technologies are being developed to combat the illegal trafficking of cultural heritage, including 3D reconstruction of artifacts from incomplete data, AI-powered detection tools, satellite monitoring of archaeological sites, provenance research mechanisms, and threat simulation systems. These cutting-edge solutions were presented during a hybrid workshop organized as part of the European ENIGMA project, according to the Eratosthenes Centre of Excellence.

The workshop was held at the Archaeological Research Unit of the University of Cyprus in Nicosia, with dozens of participants from various European countries and the global community joining online via teleconference.

Workshop for Archaeologists

More details:

https://fastforward.com.cy/tech/enigma-project-digital-tools-cultural-heritage

Leveraging Blockchain to Safeguard Cultural Heritage: Tracing Provenance to Combat Illicit Trafficking

enigma_admin — Thu, 14 Nov 2024 06:21:11 +0000

In an era where the illicit trade of cultural heritage assets poses a significant threat to our shared human history

innovative solutions are crucial to safeguarding these priceless artifacts

Cultural heritage assets, ranging from ancient artefacts to valuable artworks, often face the perilous journey of being illegally traded across borders. The lack of a robust system to trace the provenance of these items has allowed traffickers to exploit gaps in documentation and regulation. Blockchain offers a transformative solution by providing an immutable and transparent ledger that records each artefact’s origin, ownership history, and movement.

One of the key strengths of blockchain is its immutability, meaning that once information is recorded, it cannot be altered. This feature ensures the integrity of provenance records, making it significantly more difficult for traffickers to manipulate or forge documentation. Every transaction related to the artefact, such as transfers of ownership or sales, is securely and transparently recorded on the blockchain, creating an unalterable history that can be easily verified.

Smart contracts, a component of blockchain technology, add an extra layer of security and efficiency to the process. These self-executing contracts can automate transactions based on predefined conditions. In the context of cultural heritage, smart contracts can be employed to validate and authorize the legal transfer of ownership, ensuring that each transaction complies with established regulations. This reduces the risk of fraudulent transactions and strengthens the overall integrity of the provenance trail.

Furthermore, the collaborative nature of distributed ledger technology allows for the creation a shared database accessible to various stakeholders, including museums, law enforcement agencies, and cultural heritage organizations. This collaborative effort enhances communication and coordination in tracking and preventing illicit trafficking. The global adoption of standardized blockchain protocols ensures interoperability among different systems, creating a unified front against traffickers who attempt to exploit regional disparities.

Public awareness and engagement are vital components of any successful strategy to combat illicit trafficking. Blockchain’s transparent nature allows for open access to provenance records, fostering trust among the public. Individuals can verify the authenticity of artefacts and report any suspicious activities, creating a decentralized network of vigilant stakeholders.

In conclusion, the integration of blockchain and distributed ledger technology in the fight against the illicit trafficking of cultural heritage assets marks a significant step toward preserving our global heritage. By establishing a secure, transparent, and collaborative framework, we can ensure that these invaluable artefacts are protected for future generations, reinforcing the collective responsibility to safeguard our shared cultural legacy.

Advances in 3D Computer Graphic Reconstruction

enigma_admin — Thu, 04 Apr 2024 10:52:00 +0000

Preserving and documenting

historical artifacts, monuments, and sites is crucial for maintaining our global cultural legacy.

However, the challenges posed by incomplete or fragmented information have encouraged the development of sophisticated methods for reconstructing accurate 3D models. Let’s have a look at the state of the art in these methodologies, highlighting key techniques and innovations.

1. 3D Reconstruction from A Single Image

Figure 1.Overview of the method

This technique transforms the 2D image into a three-dimensional representation. The method employs Cross-Domain Diffusion, a process where information is shared and diffused between different domains, enhancing the depth perception of the image.
By taking advantage of this technique, the system can deduce the three-dimensional structure of objects in the image, even if the original input was in a two-dimensional format.
This innovative approach opens the way for creating immersive 3D experiences from simple images, simplifying the transition from 2D to 3D in computer graphics.

Reference: Long, Xiaoxiao, et al. “Wonder3d: Single image to 3d using cross-domain diffusion.” arXiv preprint arXiv:2310.15008 (2023).

2. 3D Reconstruction from multi-view images to Point Cloud: CG-MVSNet

A sophisticated method in computer vision which involves taking multiple images of an object or scene from different viewpoints and then employing GC-MVSNet, a specialized algorithm, to reconstruct a detailed and accurate three-dimensional point cloud representation. GC-MVSNet algorithm excels at handling complex scenes, utilizing global context information to refine the reconstruction and improve the overall quality of the generated point cloud.

Figure 2. Overall Architecture

By combining information from multiple views, this approach enhances the depth perception and spatial accuracy, making it a powerful tool for creating realistic 3D models from a set of 2D images.

Reference: Vats, Vibhas K., et al. “GC-MVSNet: Multi-View, Multi-Scale, Geometrically-Consistent Multi-View Stereo.” Proceedings of the IEEE/CVF Winter Conference on Applications of Computer Vision. 2024.

3. 3D Reconstruction from multi-view images to 3D mesh: RayAug

Figure 4. Some results

This process involves capturing images of an object or scene from different angles and employing RayAug, a specialized algorithm, to convert the information into a detailed and textured 3D mesh.
RayAug optimizes the reconstruction by considering lighting and shading effects, resulting in a more realistic and visually appealing 3D representation. This method is particularly effective in creating accurate and intricate 3D models by leveraging the information gathered from multiple views, offering a powerful tool for generating lifelike 3D meshes from a set of 2D images.

Reference: Yao, Jiawei, et al. “Geometry-guided ray augmentation for neural surface reconstruction with sparse views.” arXiv preprint arXiv:2310.05483 (2023).

4. 3D Reconstruction from Damaged Object: MendNet, Pix2Repair

MENDNET

When dealing with objects that have missing or damaged parts, MendNet utilizes advanced algorithms to reconstruct a complete and accurate 3D model. This process involves analyzing the available information from various viewpoints and intelligently filling in the gaps or repairing damaged areas in the object’s structure.

Figure 5. MendNet: From fractured 3D points

Reference: Lamb, Nikolas, Sean Banerjee, and Natasha K. Banerjee. “Mendnet: Restoration of fractured shapes using learned occupancy functions.” Computer Graphics Forum. Vol. 41. No. 5. 2022.

Pix2Repair

An advanced approach in computer graphics which facilitates 3D Reconstruction of objects that have missing or impaired sections. This method involves analyzing available visual data from different angles and intelligently filling in the missing or damaged parts of the object. Pix2Repair’s ability to restore the geometry of damaged objects makes it a valuable tool in the field of CH.

Figure 6. Pix2Repair: From a single image (Left: Input Images, Middle: Restorations, Right: Ground Truths)

5. Open Datasets:

Tools and platforms that enable interactive and collaborative reconstruction efforts are emerging. Crowdsourced data, combined with expert contributions, transforms the reconstruction process into a joint effort. The following section presents some of the most advanced Open dataset of 3D scans of real world broken objects in cultural heritage.

Platform / SHREC 2021

SHREC 2021 provides a platform for researchers to showcase their advancements in the field of 3D shape retrieval. Participants utilize innovative methods to efficiently retrieve and match 3D models of cultural heritage objects, such as sculptures, artifacts, and monuments. The goal is to enhance the accuracy and effectiveness of retrieving relevant cultural heritage items from vast 3D shape databases.

Figure 7. 3D scanned cultural heritage objects

Reference: Sipiran, Ivan, et al. “SHREC 2021: Retrieval of cultural heritage objects.” Computers & Graphics 100 (2021): 1-20

Dataset and methods / Pix3d

Pix3D is a dataset and methodology designed for modeling 3D shapes from a single image. The dataset includes images representing objects in various interior scenes, together with the corresponding 3D models. Researchers and developers use Pix3D to train and test algorithms capable of generating 3D shapes from a single 2D image. The methods employed involve teaching machines to understand the spatial structure of objects in photographs and translating this knowledge into precise three-dimensional representations.

Figure 8. 2D images – 3D shapes

Dataset / Fantastic Breaks

Fantastic Breaks is a unique dataset that consists of paired 3D scans of real-world broken objects along with their complete, undamaged counterparts. This dataset is invaluable in the field of computer vision and 3D reconstruction as it provides a diverse collection of objects that have undergone various types of damage.
Each pair of scans allows researchers and developers to study and train algorithms on reconstructing the original, intact state of objects from their broken versions. This dataset is particularly useful for advancing techniques related to object restoration, damage analysis, and understanding how 3D reconstruction algorithms perform in challenging scenarios involving damaged objects.

Reference: Sun, Xingyuan, et al. “Pix3d: Dataset and methods for single-image 3d shape modeling.” Proceedings of the IEEE conference on computer vision and pattern recognition. 2018.

Conclusion

The state of the art reflects a dynamic landscape of innovation. From advanced algorithms to the integration of cutting-edge technologies such as deep learning, computer vision and sensor fusion, researchers continue to push the boundaries of what is achievable to reconstruct lost cultural heritage, preserve and understand our rich cultural legacy.

Unique Object Identification

enigma_admin — Mon, 04 Mar 2024 07:21:32 +0000

UNIQUE OBJECT

CULTURE heritage

Identifying and cataloging Unique Objects in Cultural Heritage involves creating a system that ensures accurate documentation, preservation, and accessibility.

The Unique Authenticity Identifier (UAI©) is a system that serves as the key for accessing interoperable databases with dynamic information on objects. The UAI system collects metadata, assigns UAI licenses, and offers other services such as reference linking or metadata lookup. Here are some approaches and technologies commonly used for Unique Authenticity Identifier in Cultural Heritage:

The Unique Authenticity Identifier is a system that serves as the key for accessing
interoperable databases with dynamic information on objects.

1. Barcoding and Radio Frequency Identification (RFID) Technology

Barcoding aims to assign each object a unique barcode and create a database linking barcodes to detailed information about each item. A great deal of image-based techniques applied nowadays can be exploited to directly embed metadata on the resulting data, and different solutions exist to prevent data and metadata permanent linkage issues, such as barcode integration. Barcodes propose today interesting features (robustness, capacity, ease of use) and a high technology readiness level [1].

Next to barcoding, Radio Frequency Identification (RFID) is popular in inventory management systems; it electronically transmits information to track the movement of materials. This technology allows for non-contact identification and can be useful in tracking objects within a controlled environment. The most common application of this technology has been in Art Museums and Galleries, where the RFID transponder can be easily affixed to the backing board, stretcher, or frame of an artwork without damage. Not only is this technology helpful for conducting inventories and tracking object movement, but it is also an effective security tool that can be used to track artwork, notify security of the movement or disturbance of an object, and create an alarm situation if an attempt is made to remove an object from the museum building. One of the benefits of RFID technology over barcodes is the ability to read the transponder without it actually having to be visible to the reader. One of the drawbacks is that metal and water can effectively block the signal if it is between the RFID tag and the reader [2].

2. QR Codes

Employing QR codes for patrimony and Cultural Heritage digitalizes culture-sharing and heritage site visits. Cultural sites, museums, galleries, and even churches integrate QR codes to improve the experience of domestic and international tourists. QR codes facilitate a faster way of sharing information, making it more appealing to heritage site visitors. They can easily access information about a place’s Cultural Heritage in just a single scan using their smartphone. QR codes can store various types of information and link directly to digital databases [3].

When used as a tool for Cultural Heritage promotion and cultural patrimony preservation, QR codes bridge the physical and digital worlds. Information about tangible and intangible cultures is made available digitally. Moreover, QR codes can create an immersive experience through each scanner’s phone. Cultural site curators can upload a document, image, video, or audio file, customize an HTML page or even embed the link of their website into a QR code [3].

3. Database Management Systems

Database Management Systems for Cultural Heritage allow efficient storage and retrieval of information related to cultural objects. This could include details about the object’s origin, history, and any conservation efforts. Database Management Systems are used to manage diverse heritage data (e.g., on the history, value, location, and current condition of cultural heritage), and share this information among interested parties. These systems range in scale from those operated by national governments to those operated by individual experts. With the development of web technology, it is becoming more possible for similar institutions to create and operate databases, with free online tools or platforms supporting this movement. However, despite these improvements, many challenges remain [4].

4. Geolocation mapping

Geolocation mapping is the process of associating geographic coordinates with specific locations or points of interest. By integrating this technology, Cultural Heritage sites can be accurately mapped and showcased to everyone worldwide. This can be particularly useful for outdoor installations, monuments, or artifacts with a strong connection to a particular place [5]. By mapping historical landmarks, architectural marvels and culturally significant landscapes, experts can create comprehensive databases and develop strategies to ensure their longevity. Geolocation technology has opened up new avenues for us to explore and immerse ourselves in the past. By combining historical data with precise geographic coordinates, virtual tours and augmented reality experiences can be created, providing an interactive and engaging way to learn about heritage sites [6].

5. Machine Learning and Artificial Intelligence

The application of Machine Learning (ML) to Cultural Heritage has evolved since basic statistical approaches, such as Linear Regressio,n to complex Deep Learning models. Training machine learning models aims to automatically classify and identify objects based on various attributes. This can help speed up the cataloguing process and improve accuracy. The question remains how much of this actively improves on the underlying algorithm versus using it within a ‘black box’ setting [7].

Artificial Intelligence (AI) and Cultural Heritage represent a combination that for several years has interested both scientific and cultural institutions regarding the potential of possible interactions and aggregations among the various players in these areas [8].

Artificial Intelligence and Machine Learning offer enormous potential for applications in the digitization and digital curation of Cultural Heritage. But Cultural Heritage institutions have also produced large amounts of digital data that can be suitable to improve AI methods and models. At the same time, there are problems and issues with data used in the AI industry and research, which frequently lack quality curation and introduce or reinforce biases [9].

6. Collaborative Platforms

The term ‘Cultural Collaborative Platform’ refers to any digital environment that allows audiences to contribute to the construction of knowledge related to cultural objects in interaction with one or more cultural institutions (support of collaborative cataloguing efforts). This allows experts from different locations to contribute information and collectively build a comprehensive database. Moreover, citizen participation in Cultural Heritage is particularly facilitated in the digital ecosystem by collaborative platforms. But there are substantial differences between amateur and institutional environments. Neither is neutral: in the former, participation is conditioned by political/ideological visions, in the latter by scientific protocols [10].

When implementing a Unique Authenticity Identifier system for Cultural Heritage, it’s essential to consider the specific needs and characteristics of the objects, the available resources, and the long-term preservation requirements. Additionally, ensuring data security, privacy, and standardisation is crucial to any system.

All the above solutions are efficient and can be applied to already known and registered objects. One of ENIGMA’s objectives is the development of the novel concept of the Unique Authenticity Identifier (UAI). A multi-parametric non-destructive digital composite indicator will describe the UAI. ENIGMA aims to use the UAI in order to identify an unknown cultural good by comparing its UAI with the UAIs of known registered cultural goods. The identification solution will provide an easy-to-read visualization presenting the similarity of the unknown cultural good to known registered ones.

References and resources

[1] Pamart, Anthony, et al., A metadata enriched system for the documentation of multi-modal digital imaging surveys, 2022.

https://www.researchgate.net/publication/365039299_metadata_enriched_system_for_the_documentation_of_multi-modal_digital_imaging_surveys

[2] Abdur Rasheed, Digital Technology and Knowledge Management in Museums.

https://www.academia.edu/6541620/Abdur_Rasheed_Digital_Technology_and_Knowledge_Management_in_Museums

[3] Belle B., How to Use QR Codes for Patrimony and Cultural Heritage, QR TIGER, 2023.

https://www.qrcode-tiger.com/qr-codes-for-patrimony-and-cultural-heritage

[4] International Centre for the Study of the Preservation and Restoration of Cultural Property, Information Data Management and Cultural Heritage.

https://www.iccrom.org/events/information-data-management-and-cultural-heritage

[5] Mohamed, Hebatallah A., Vascon, Sebastiano, Hibraj, Feliks, James, Stuart, Pilutti, Diego, Del Bue, Alessio, Pelillo, Marcello, Geolocation of Cultural Heritage using Multi-View Knowledge Graph Embedding, Lecture Notes in Computer Science book series (LNCS), Volume 13645, 2023.

https://link.springer.com/chapter/10.1007/978-3-031-37731-0_12

[6] UTILITIES ONE, Understanding Heritage Through Geolocation Exploring Cultural Significance using Spatial Data, 2023.

https://utilitiesone.com/understanding-heritage-through-geolocation-exploring-cultural-significance-using-spatial-data

[7] Fiorucci, Marco, Khoroshiltseva, Marina, Massimiliano, Pontil, James, Stuart, Machine Learning for Cultural Heritage: A Survey, 2020.

https://www.researchgate.net/publication/339317426_Machine_Learning_for_Cultural_Heritage_A_Survey

[8] Bordoni, Luciana, Mele, Francesco, Sorgente, Antonio, Artificial Intelligence for Cultural Heritage, Cambridge Scholars Publishing, 2016.

https://cambridgescholars.com/product/978-1-4438-9085-4

[9] Neudecker, Clemens, Cultural Heritage as Data: Digital Curation and Artificial Intelligence in Libraries, 3rd Conference on Digital Curation Technologies, 2022.

https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwjsl9_Z_eGDAxVDgP0HHYBFBecQFnoECA4QAQ&url=https%3A%2F%2Fceur-ws.org%2FVol-3234%2Fpaper2.pdf&usg=AOvVaw3i8lLVwbQB-xKEH0ijTv0P&opi=89978449

[10] Marta, Severo, Collaborative Platforms: Cultural Heritage and Participation, Public History Weekly, 2022.

https://www.researchgate.net/publication/357878608_Collaborative_Platforms_Cultural_Heritage_and_Participation

Sharing Cultural Heritage Data

enigma_admin — Sun, 04 Feb 2024 11:52:00 +0000

CULTURAL PROPERTY

EUROPE's CULTURE

Cultural property holds a distinct value, serving as a gateway to understanding the human history and the richness of various cultures [1]. Europe’s culture heritage encompasses a broad spectrum of resources inherited from the past in all forms and aspects and can be distinct as:

These invaluable possessions not only contribute to the identity and customs of European communities but are also acknowledged as an integral part of their cultural heritage, warranting legal and traditional protection [2].

Cultural data can be anything from digital representations of ancient documents, artefacts and environments of virtual worlds. So, they have to been defined by the concepts and methods of how is represented in digital form, managed, analyzed and communicated.

Sharing Cultural Heritage data involves making information about cultural artifacts, artworks, historical documents, traditional practices and historical sites accessible to a wider audience. Numerous digital platforms, databases, museums, educational initiatives, digital platforms and programs can be used for this kind of sharing. The following aspects should be considered while sharing Cultural Heritage data:

Cultural property holds a distinct value, serving as a gateway to understanding the human history and the richness of various cultures

1. Online Platforms

Data related to Cultural Heritage can be stored and retrieved with the creation of digital archives and databases. Digital libraries, websites and online databases are a few examples of these platforms.

Europeana, the European digital cultural platform, is at the basis for building the common data space for cultural heritage by allowing museums, galleries, libraries and archives across Europe to share and reuse the digitized Cultural Heritage images such as 3D models of historical sites and high quality scans of paintings. Europeana currently offers access to 52 million cultural heritage assets, 45% of which can be reused in various sectors. Images and text make up 97.5% of Europeana’s assets, with only 2.47% audiovisual content and 0.03% in 3D [3].

Alongside this, the European Collaborative Cloud on Cultural Heritage (ECCCH) is a European Union initiative for a digital infrastructure that will connect Cultural Heritage institutions and professionals across the European Union. It is intended to help protect European Cultural Heritage while answering to the new requirements of a digitized world. In doing that, it will provide practical benefits to all Cultural Heritage professionals and museums, developing specific digital collaborative tools for the sector while removing barriers for smaller and remote institutions. The goal is to help Cultural Heritage institutions, research organizations and other professionals of all sizes and types work with their digital objects in a more visible, interconnected, harmonized, and informed way, allowing them to successfully cope with the challenges the digital transition poses to the sector [3].

2. Open Access / Open data / Open Cultural Data / Linked Open Data

Cultural Heritage content presents a special situation with regard to Open Access in that most content is in the Public Domain (i.e. the copyright has expired) and curated by publicly funded institutions. The title of a recent anthology of papers on openness and sharing of cultural heritage content, “Sharing is Caring” (Sanderhoff 2014) summarizes very well what open access means in this domain: to take care that cultural heritage is preserved, made accessible, appreciated and shared as wide as possible [4].

Open data has the potential to revolutionize the way Cultural Heritage institutions share their data. By making data openly available, Cultural Heritage organizations can increase public access to their collections, promote collaboration and innovation, and contribute to the preservation of Cultural Heritage. By making data freely available, Cultural Heritage institutions can (I) Increase public access to their collections, (II) Facilitate research and education, (III) Promote collaboration and innovation, (IV) Enhance transparency and accountability and (V) Contribute to the preservation of Cultural Heritage [5].

Open Cultural Data consists of digitized material from cultural institutions that can be re-used to develop, among others: learning and educational content, documentaries, animations and design tools. However, re-use of data is only possible if the digitized data is ‘open’, which means that end users can re-use and further distribute the data. To re-use cultural data, the material must be I) digitized (published online) and II) open (data that can be freely used, re-used and redistributed by anyone) [6] .

The choice to make public data accessible and reusable is part of a search for better sharing and greater dissemination of information [7]. While data is being saved in unstructured databases all over the web, linking data is a way of map and interlink various data [8]. Linked Open Data is a way of publishing structured data that allows their metadata to be connected and enriched, between resources so that different representations of the same content can be found, and links made between related resources, same way The Web function [9].

3. Metadata

Essentially, metadata is data that describes other data to increase its usefulness and meaning. Cultural Heritage institutions often use metadata to assist in the preservation and management of digital collections. For example, a digitized photograph (data) might have an associated title, description, and date (metadata). If this metadata did not exist, the photograph would have less meaning; a person viewing the photograph would not know who was in the photo, why it was taken, or what it showed. Without metadata, items within cultural heritage or special collections would be less discoverable, less protected, and less valuable to researchers [10].

Metadata is an integral part of the successful preservation of digital collections. As well as providing an item’s description or context, metadata can also document file format, file structure, and file fixity. The more quality technical metadata that is included, the better the item will be preserved and accessible in the future. Modern digital preservation tools allow this kind of metadata to be updated throughout the item’s lifecycle [10].

4. Community Engagement

Community participation (involve local communities in the process of documenting and sharing cultural heritage data) is an essential issue within Cultural Heritage management and effective community participation is a process that is vital to enhance long-term sustainable Cultural Heritage management. This can contribute to a more accurate representation of cultural practices and traditions. Furthermore, with the approval of the UNESCO Recommendation on the Historic Urban Landscape, community participation is recognized as a fundamental tool in Cultural Heritage management practices. This recommendation seeks to involve public participation, in order to, among other aims, mediate conflicts between stakeholders, including residents, visitors, developers, experts and governments. Moreover, the Operational Guidelines for the Implementation of the UNESCO World Heritage Convention have emphasized the importance of the participation of a variety of stakeholders in Cultural Heritage identification, protection and preservation as a worldwide strategic policy. These guidelines attempt to ensure that local communities’ needs are included and not solely the interests of experts or governments [11].

5. Copyright and Ethical Considerations

Safeguarding of Cultural Heritage includes important and vital knowledge which requires a robust framework to protect sensitive Cultural Heritage data (copyright issues etc.). Ethical considerations in safeguarding Cultural Heritage data are about building universally accepted norms of acceptable conduct for all those involved from a human or cultural perspective [12].

More specifically, Ethics refers to norms of conduct regarding acceptable and unacceptable behaviors within a society or community – not necessarily from a legal perspective, but from a human or cultural perspective. Much of the discussion and literature on ethics in Cultural Heritage safeguarding relates to situations where non-community members carrying out research or data collection encounter problematic issues relating to disrespect, exploitation or misrepresentations arising from their work. Ethical concerns are, however, not restricted to the role of outsiders and concern all involved in safeguarding activities [12].

6. Interoperability

The Cultural Heritage sector has traditionally been concerned with sharing resources and furthering human knowledge. As these goals appear to align with those of linked data, it follows that this technology could be of great use to those working in the Cultural Heritage sector. These technologies may also be of particular interest to the Cultural Heritage sector as the issue of interoperability of metadata between institutions has been noted as a focus in this sector. Linked data holds the potential to improve interoperability and information sharing in the Cultural Heritage sector, and there is already much being done to create standards and platforms to realize this potential (standardized documentation practices to enhance interoperability and facilitate collaboration among institutions). A number of studies published in recent years have applied the method of systematic literature review to study linked data applications [13].

The sharing of Cultural Heritage data needs to be guided by the values of inclusivity, tolerance for differing viewpoints and perspectives and a dedication to safeguarding the wealth of human history for the present and the future.

The ENIGMA project takes into consideration all the mentioned data sources, communication issues and copyright and ethical considerations. It will leverage the available data sources and utilize them during the development of the platform in order to be able to find similarities between a given cultural good and artifacts registered in CH databases. Another aspect that ENIGMA will tackle is to solve the interoperability issues between different databases and metadata schemas in order to be able to use an much information as possible. Finally through the development of federated modules ENIGMA will address the copyright and ethical considerations regarding Cultural Goods.

References and resources

[1] European Commission, Cultural heritage.

https://culture.ec.europa.eu/cultural-heritage

[2] European Commission, Combatting trafficking in cultural goods.

https://culture.ec.europa.eu/cultural-heritage/cultural-heritage-in-eu-policies/protection-against-illicit-trafficking

[3] Davies, Rob, Europe’s Common Data Space for Cultural Heritage, HERITΛGE, 2023.

https://heritagemanagement.org/european-data-space/

[4] CreativeCH Project Website, Open Access to cultural heritage content.

https://creativech-toolkit.salzburgresearch.at/open-access-to-cultural-heritage-content/

[5] Chiotis, Chris G., The Future of Open Data in Cultural Heritage, Series: Cultural Heritage, 2023.

https://chiotis.eu/the-future-of-open-data-in-cultural-heritage/

[6] European Union, Cultural institutions and cultural Open Data, 2018.

https://data.europa.eu/en/publications/datastories/cultural-institutions-and-cultural-open-data

[7] Ministère de la Culture, Open and reuse data (Open Data).

https://www.culture.gouv.fr/en/Thematic/Digital-innovation/Facilitate-access-to-cultural-data-and-content/Open-share-and-value-cultural-data-and-content/Open-and-reuse-data-Open-Data

[8] European Union, Linking data: what does it mean?, 2022

https://data.europa.eu/en/publications/datastories/linking-data-what-does-it-mean

[9] Europeana Foundation, Linked Open Data, 2017.

https://pro.europeana.eu/page/linked-open-data

[10] Recollect, Metadata and cultural heritage collections.

https://www.recollectcms.com/metadata-and-cultural-heritage-collections/

[11] Li, Ji, Krishnamurthy, Sukanya, Roders, Pereira, Wesemael, Pieter van, Community participation in cultural heritage management: A systematic literature review comparing Chinese and international practices, Cities, Volume 96, 2020.

https://www.sciencedirect.com/science/article/pii/S0264275119305025

[12] Chiweshe, Manase Kudzai, Ethics in the context of Intangible Cultural Heritage Safeguarding, Southern African Intangible Cultural Heritage Platform, 2019.

https://ich.unesco.org/en/ethics-and-ich-00866

[13] Davis, Edie, Heravi, Bahareh, Linked Data and Cultural Heritage: A Systematic Review of Participation, Collaboration, and Motivation, Journal on Computing and Cultural Heritage, Vol. 14, No. 2, Article 21, 2021.

https://dl.acm.org/doi/fullHtml/10.1145/3429458

ANYSOL Partner Stories

enigma_admin — Fri, 24 Nov 2023 10:21:00 +0000

How data spaces in tourism can help protect cultural heritage

ANYSOL

M. Dolores Ordóñez

In this series, we present the partner’s view of regard to the solutions ENIGMA develops. Below, AnySolution, a Spanish solution provider from Mallorca, links tourism data to the protection of cultural heritage.

For some years now data has been at the centre of almost all our daily activities. While for a long time we were not aware of it and it was not given much importance, this has changed since we have become aware of its potential and its value. They evolved from being treated as irrelevant information to becoming an essential and valuable resource for making decisions on everything from large-scale investments to the specific layout of products in a shop.

Increasingly, society is becoming more aware not only of the value of data but also of the need to manage it properly. The European Commission has developed a data strategy and has placed data spaces, their creation, management, governance and use as a key line of work to create a single market for data that will guarantee data sovereignty at the European level. Laws and regulations have been enacted to enable better use of this data for the benefit of all, citizens, businesses, economies, and countries in general.

Europe is the most visited continent in the world, receiving millions of tourists every year who seek to visit its museums, and monuments, walk its streets and enjoy its beaches and mountains. A tourist is a person who provides and consumes data even before arriving at his or her destination. Tourism is one of the economic sectors that contributes most to the GDP of certain countries and it is also a highly transversal sector involving a whole business ecosystem that generates employment and prosperity.

That is why developing a reliable and secure data space in tourism is so essential, it will allow companies to save costs as they will be able to make more accurate and adjusted planning, they will be able to make informed decisions optimising the management of their resources, it will increase the competitiveness of destinations by being able to offer what is most in demand by travellers based on information about their preferences and developing personalised and more effective marketing campaigns, etc. In this regard, AnySolution, one of the Enigma partners has led the European project DATES, aimed at setting the bases for a trusted and secure data space in tourism.

In this context, it is perfectly understandable how tourism data spaces must be closely related and linked to other sectoral data spaces, such as cultural heritage. The tourist is the main target of a destination’s cultural offer, but it is necessary to combine that offering, which provides a tourist experience, with the protection and preservation of the cultural identity.

“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.”

This is how the new data space managed by Europeana Foundation is defined
Data spaces provide information about cultural heritage, historical monuments, museums, and archaeological sites to attract visitors interested in history and culture while facilitating sustainable tourism management. It is crucial, especially in certain locations, to find a balance between visitor inflow and the preservation of cultural heritage. Data related to capacity, conservation measures, and management policies, among others, are essential to ensure that tourist inflow does not compromise the integrity of cultural sites. Similarly, data providing detailed information about sites, objects, documents, conservation methods, restoration, and risk management will facilitate the protection of cultural heritage.

Data related to cultural heritage, its status, and its existence are crucial for academic and scientific research and can also be used for the creation of educational materials for educators, students, and the public. This undoubtedly will contribute to the protection and safeguarding of cultural heritage.

European Commission fighting illicit trafficking of cultural goods

enigma_admin — Mon, 30 Oct 2023 10:41:00 +0000

Cultural heritage in eu policies

EU - Culture and creativity

Fighting against illicit trafficking

Cultural objects are of major cultural, artistic, historical and scientific importance. Yet, they are often subject to crime, including looting, theft and trafficking. This has a devastating impact on cultural heritage inside and outside the EU, in particular in crisis and conflict areas.

Trafficking of cultural goods is the illicit import, export and transfer of ownership of cultural property (items of importance for archaeology, prehistory, history, literature, art or science). This can take different forms, for example

theft from cultural heritage institutions or private collections
looting of archaeological sites
displacement of artefacts due to war

To efficiently protect cultural heritage against illicit trafficking, a sound legislative framework, international cooperation and a solid base of evidence and well-targeted projects are needed.

Find out more at the official website of EU

International organisations fighting Illicit Trafficking in Cultural Property

enigma_admin — Sat, 30 Sep 2023 10:58:00 +0000

fighting Illicit Trafficking Initiatives

International organisations

Illicit Trafficking

Illicit Trafficking is a phenomenon that needs worldwide attention and is reflected in many initiatives that are taken. Below we highlight a few.

The World Customs Orgnisation developed the Cultural Heritage Programme in cooperation with UNESCO, ICOM and Interpol.

UNESCO does not need further introduction. Do remember that November 14 is the International Day against Illicit Trafficking of Cultural Goods. The Manifest dates already from 1970.

INTERPOL provides databases, apps and alerts on stolen goods and trafficking. Here is how they do it.

KMPG Partner Stories

enigma_admin — Sat, 24 Jun 2023 05:25:00 +0000

Royal Museums of Art and History

KMKG

Dr. Serge Lemaitre, Curator of Pre-Columbian collections

Partner Stories: Royal Museums of Art and History

In this series, we present the partners in view of the end-user with regard to the solutions ENIGMA develops.

We start with the Royal Museums of Art and History (Brussels, Belgium) curator from the Pre-Columbian collections, Dr Serge Lemaitre. But before a few words from him, some information on the museum: The Royal Museums of Art and History (KMKG) is one of eleven Federal Scientific Research Institutes resorting under BELSPO, Belgium Science Policy.

The museums present a worldwide variety of collections, ranging from antiquities to art nouveau, in 4 locations in Brussels. The Art and History Museum is located in the Cinquantenaire Parc, adjacent to the European Institutions. In the ENIGMA project, KMKG is responsible for communication, dissemination and training the end-users on the solutions developed by the project.

Serge’s view on ENIGMA: “The present project ENIGMA is an important contribution to the general strategy of the Art & History Museum. The protection of cultural goods and sites the becoming more and more important. Recently the wars in Syria gave looters and smugglers plenty of opportunity to exploit the situation. Artefacts were recovered and transported by drug traffickers all over the world.

My colleagues at the Middle East department were involved in some rescue operations. But I am more familiar with the crafty forgers from South America, who recreate the past and try to have their material authenticated. That is where police, customs, trade officers and heritage experts come into play. Where for me, as an expert on the culture, identification and authentication are more or less straightforward, for non-experts, this must be very difficult to do. Currently, information that would help the non-experts is sparse, distributed and not easy to find.

There are for example already 10 international databases on stolen cultural goods. ENIGMA’s plans to link these resources will be beneficial to all authorities involved. The colleagues in the field will have better information available more easily. And help me, as they will probably consult me less with inquiries on provenance, forgeries etc, leaving room for other tasks.

I also see that the European Commission and UNESCO become more and more active in this domain. That is probably why ENIGMA along with 2 other projects was selected for funding last year and the websites from these organisations are expensive and up to date. (Ed. Find the link here….) .

I am also particularly interested in 3D technology. I look forward to the results of 3D models that have been created both from an original model with added digital completion and to see how they will be put to use in the field.”