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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Carvalho, Jason; Daga, Enrico; Asprino, Luigi; Gangemi, Aldo; +4 Authors

    SPICE is an EU H-2020 project dedicated to research on novel methods for citizen curation of cultural heritage through an ecosystem of tools co-designed by an interdisciplinary team of researchers, technologists, and museum curators and engagement experts, and user communities. This demo paper presents the output of Work Package 4 of the SPICE project, focusing on improving the state of the art of content management and delivery strategies of museums. Within this context, we analysed the challenges of integrating citizen experiences in cultural heritage archives. Objective of the work is developing an approach to giving citizen curation partner organisations (e.g. museums or engagement companies) meaningful control over their data, by expressing fine-grained, user-tailored policies and terms of use and by developing an approach to dealing with privacy violations in user-contributed content. The work capitalise on the research on managing data catalogues and integration metadata in the smart cities context. Crucially, the SPICE LDH integrates data from museum collections and user-generated content from applications, leveraging a multiplicity of ontological viewpoints, using the novel SPARQL Anything system. Alongside presenting novel functionalities of the Linked Data Hub, we illustrate concrete applications within the SPICE pilot 'Deep Viewpoints', which focuses on supporting the Irish Museum of Modern Art (IMMA) in citizen curation activities.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.5...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.5281/zenodo...
    Other ORP type . 2023
    License: CC BY
    Data sources: Sygma
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.5...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.5281/zenodo...
      Other ORP type . 2023
      License: CC BY
      Data sources: Sygma
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Trujillo-Vazquez, Abigail; Rodriguez, Karina; Weyrich, Tim;

    Printing applications for heritage recreation are a means to allow audiences to appreciate details and engage with cultural materials through closer interaction. A 2.5D print is a media suitable to incorporate visual and tactile qualities such as colour, low relief, textures and roughness. Designing a colour-accurate tactile print requires, nevertheless, anticipating how specific shapes and meso-geometries will affect the reflective properties of the surface, thus changing its appearance. Hence, this paper contributes to improve the understanding of the interaction between geometry and colour when deploying 2.5D prints so that tactile portable replicas can be easily produced. For this, we have produced a series of 2.5D printed patches with varying meso-textures, based on procedural noise functions, and measured their colour coordinates and glossiness. We aim to find a correlation between colour shift (expressed as lightness, chroma and ?E) and the scale and distribution of surface details.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.2312/gch.20...
    Other ORP type . 2022
    License: CC BY
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.2312/gch.20...
      Other ORP type . 2022
      License: CC BY
      Data sources: Sygma
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ahsan, Moonisa; Altea, Giuliana; Bettio, Fabio; Callieri, Marco; +8 Authors

    We report on the outcomes of a large multi-disciplinary project targeting the physical reproduction and virtual documentation and exploration of the Olivetti sandcast, a monumental (over 100m2) semi-abstract frieze by the Italian sculptor Costantino Nivola. After summarizing the goal and motivation of the project, we provide details on the acquisition and processing steps that led to the creation of a 3D digital model. We then discuss the technical details and the challenges that we have faced for the physical fabrication process of a massive physical replica, which was the centerpiece of a recent exhibition. We finally discuss the design and application of an interactive web-based tool for the exploration of an annotated virtual replica. The main components of the tool will be released as open source.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.2312/gch.20...
    Other ORP type . 2022
    License: CC BY
    Data sources: Sygma
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.2312/gch.20...
      Other ORP type . 2022
      License: CC BY
      Data sources: Sygma
  • Authors: Thompson, Elia Moscoso; Biasotti, Silvia;

    In this paper we target the problem of the retrieval of colour patterns over surfaces. We generalize to surface tessellations the well known Local Binary Pattern (LBP) descriptor for images. The key concept of the LBP is to code the variability of the colour values around each pixel. In the case of a surface tessellation we adopt rings around vertices that are obtained with a sphere-mesh intersection driven by the edges of the mesh; for this reason, we name our method edgeLBP. Experimental results are provided to show how this description performs well for pattern retrieval, also when patterns come from degraded and corrupted archaeological fragments.

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  • Authors: Moscoso Thompson, E.; Tortorici, C.; Werghi, N.; Berretti, S.; +2 Authors

    This paper presents the results of the SHREC'18 track: Retrieval of gray patterns depicted on 3D models. The task proposed in the contest challenges the possibility of retrieving surfaces with the same texture pattern of a given query model. This task, which can be seen as a simplified version of many real world applications, requires a characterization of the surfaces based on local features, rather then considering the surface size and/or bending. All runs submitted to this track are based on feature vectors. The retrieval performances of the runs submitted for evaluation reveal that texture pattern retrieval is a challenging issue. Indeed, a good balance between the size of the pattern and the dimension of the region around a vertex used to locally analyze the color evolution is crucial for pattern description.

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  • Authors: Biasotti, S.; Moscoso Thompson, E.; Barthe, L.; Berretti, S.; +12 Authors

    This track of the SHREC 2018 originally aimed at recognizing relief patterns over a set of triangle meshes from laser scan acquisitions of archaeological fragments. This track approaches a lively and very challenging problem that remains open after the end of the track. In this report we discuss the challenges to face to successfully address geometric pattern recognition over surfaces; how the existing techniques can go further in this direction, what is currently missing and what is necessary to be further developed.

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  • Authors: Biasotti, Silvia; Thompson, Elia Moscoso; Spagnuolo, Michela;

    In the Visual Heritage domain, search engines are expected to support archaeologists and curators to address cross-correlation and searching across multiple collections. Archaeological excavations return artifacts that often are damaged with parts that are fragmented in more pieces or totally missing. The notion of similarity among fragments cannot simply base on the geometric shape but style, material, color, decorations, etc. are all important factors that concur to this concept. In this work, we discuss to which extent the existing techniques for 3D similarity matching are able to approach fragment similarity, what is missing and what is necessary to be further developed.

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  • Authors: Mortara, Michela; Pizzi, Corrado; Spagnuolo, Michela;

    Digitally acquired 3D models of cultural assets are not always ready for further processing. Sometimes, the digital surface presents geometric or topological defects that may hinder downstream surface analysis algorithms. Furthermore, the high resolution meshes provided by acquisition might pose complexity issues to the processing afterwards. Preprocessing models can be a tedious and sometimes manual work. We present the processing needs for a set of cultural artifacts in the framework of the GRAVITATE project and describe a fully automatic procedure to fix and adaptively simplify 3D models of cultural interest.

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  • Authors: Pratikakis, Ioannis; Dupont, Florent; Ovsjanikov, Maks;
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  • Authors: Catalano, Chiara Eva; Repetto, Andrea; Spagnuolo, Michela;

    Digital manipulation and analysis of tangible cultural objects has the potential to bring about a revolution in the way classification, stylistic analysis, and refitting of fragments are handled in the cultural heritage area: 3D modelling, processing and analysis are now mature enough to allow handling 3D digitized objects as if they were physical, and semantic models allow for a rich documentation of many different aspects of artefacts or assets of any complexity, as well as of contextual information about them. In this perspective, the paper presents the ongoing development of a software workbench which integrates several tools that can be used, combined, and customized to provide scientists with a working environment to process and analyse digital assets. The general objective is to exemplify the potential of new platforms to work on digital models beyond the simple rendering and visualization of assets. In particular, the paper presents the design of the workbench - the Dashboard - which reflects the analysis of the requirements gathered in a specific community of archaeologists and curators: the functionalities included in the case study target mostly the ReUnification, ReAssembly and ReAssociation of fragmented or dispersed cultural assets.

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The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Carvalho, Jason; Daga, Enrico; Asprino, Luigi; Gangemi, Aldo; +4 Authors

    SPICE is an EU H-2020 project dedicated to research on novel methods for citizen curation of cultural heritage through an ecosystem of tools co-designed by an interdisciplinary team of researchers, technologists, and museum curators and engagement experts, and user communities. This demo paper presents the output of Work Package 4 of the SPICE project, focusing on improving the state of the art of content management and delivery strategies of museums. Within this context, we analysed the challenges of integrating citizen experiences in cultural heritage archives. Objective of the work is developing an approach to giving citizen curation partner organisations (e.g. museums or engagement companies) meaningful control over their data, by expressing fine-grained, user-tailored policies and terms of use and by developing an approach to dealing with privacy violations in user-contributed content. The work capitalise on the research on managing data catalogues and integration metadata in the smart cities context. Crucially, the SPICE LDH integrates data from museum collections and user-generated content from applications, leveraging a multiplicity of ontological viewpoints, using the novel SPARQL Anything system. Alongside presenting novel functionalities of the Linked Data Hub, we illustrate concrete applications within the SPICE pilot 'Deep Viewpoints', which focuses on supporting the Irish Museum of Modern Art (IMMA) in citizen curation activities.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.5...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.5281/zenodo...
    Other ORP type . 2023
    License: CC BY
    Data sources: Sygma
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.5...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.5281/zenodo...
      Other ORP type . 2023
      License: CC BY
      Data sources: Sygma
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Trujillo-Vazquez, Abigail; Rodriguez, Karina; Weyrich, Tim;

    Printing applications for heritage recreation are a means to allow audiences to appreciate details and engage with cultural materials through closer interaction. A 2.5D print is a media suitable to incorporate visual and tactile qualities such as colour, low relief, textures and roughness. Designing a colour-accurate tactile print requires, nevertheless, anticipating how specific shapes and meso-geometries will affect the reflective properties of the surface, thus changing its appearance. Hence, this paper contributes to improve the understanding of the interaction between geometry and colour when deploying 2.5D prints so that tactile portable replicas can be easily produced. For this, we have produced a series of 2.5D printed patches with varying meso-textures, based on procedural noise functions, and measured their colour coordinates and glossiness. We aim to find a correlation between colour shift (expressed as lightness, chroma and ?E) and the scale and distribution of surface details.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.2312/gch.20...
    Other ORP type . 2022
    License: CC BY
    Data sources: Sygma
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.2312/gch.20...
      Other ORP type . 2022
      License: CC BY
      Data sources: Sygma
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ahsan, Moonisa; Altea, Giuliana; Bettio, Fabio; Callieri, Marco; +8 Authors

    We report on the outcomes of a large multi-disciplinary project targeting the physical reproduction and virtual documentation and exploration of the Olivetti sandcast, a monumental (over 100m2) semi-abstract frieze by the Italian sculptor Costantino Nivola. After summarizing the goal and motivation of the project, we provide details on the acquisition and processing steps that led to the creation of a 3D digital model. We then discuss the technical details and the challenges that we have faced for the physical fabrication process of a massive physical replica, which was the centerpiece of a recent exhibition. We finally discuss the design and application of an interactive web-based tool for the exploration of an annotated virtual replica. The main components of the tool will be released as open source.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.2312/gch.20...
    Other ORP type . 2022
    License: CC BY
    Data sources: Sygma
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.2...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.2312/gch.20...
      Other ORP type . 2022
      License: CC BY
      Data sources: Sygma
  • Authors: Thompson, Elia Moscoso; Biasotti, Silvia;

    In this paper we target the problem of the retrieval of colour patterns over surfaces. We generalize to surface tessellations the well known Local Binary Pattern (LBP) descriptor for images. The key concept of the LBP is to code the variability of the colour values around each pixel. In the case of a surface tessellation we adopt rings around vertices that are obtained with a sphere-mesh intersection driven by the edges of the mesh; for this reason, we name our method edgeLBP. Experimental results are provided to show how this description performs well for pattern retrieval, also when patterns come from degraded and corrupted archaeological fragments.

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  • Authors: Moscoso Thompson, E.; Tortorici, C.; Werghi, N.; Berretti, S.; +2 Authors

    This paper presents the results of the SHREC'18 track: Retrieval of gray patterns depicted on 3D models. The task proposed in the contest challenges the possibility of retrieving surfaces with the same texture pattern of a given query model. This task, which can be seen as a simplified version of many real world applications, requires a characterization of the surfaces based on local features, rather then considering the surface size and/or bending. All runs submitted to this track are based on feature vectors. The retrieval performances of the runs submitted for evaluation reveal that texture pattern retrieval is a challenging issue. Indeed, a good balance between the size of the pattern and the dimension of the region around a vertex used to locally analyze the color evolution is crucial for pattern description.

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  • Authors: Biasotti, S.; Moscoso Thompson, E.; Barthe, L.; Berretti, S.; +12 Authors

    This track of the SHREC 2018 originally aimed at recognizing relief patterns over a set of triangle meshes from laser scan acquisitions of archaeological fragments. This track approaches a lively and very challenging problem that remains open after the end of the track. In this report we discuss the challenges to face to successfully address geometric pattern recognition over surfaces; how the existing techniques can go further in this direction, what is currently missing and what is necessary to be further developed.

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  • Authors: Biasotti, Silvia; Thompson, Elia Moscoso; Spagnuolo, Michela;

    In the Visual Heritage domain, search engines are expected to support archaeologists and curators to address cross-correlation and searching across multiple collections. Archaeological excavations return artifacts that often are damaged with parts that are fragmented in more pieces or totally missing. The notion of similarity among fragments cannot simply base on the geometric shape but style, material, color, decorations, etc. are all important factors that concur to this concept. In this work, we discuss to which extent the existing techniques for 3D similarity matching are able to approach fragment similarity, what is missing and what is necessary to be further developed.

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  • Authors: Mortara, Michela; Pizzi, Corrado; Spagnuolo, Michela;

    Digitally acquired 3D models of cultural assets are not always ready for further processing. Sometimes, the digital surface presents geometric or topological defects that may hinder downstream surface analysis algorithms. Furthermore, the high resolution meshes provided by acquisition might pose complexity issues to the processing afterwards. Preprocessing models can be a tedious and sometimes manual work. We present the processing needs for a set of cultural artifacts in the framework of the GRAVITATE project and describe a fully automatic procedure to fix and adaptively simplify 3D models of cultural interest.

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  • Authors: Pratikakis, Ioannis; Dupont, Florent; Ovsjanikov, Maks;
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  • Authors: Catalano, Chiara Eva; Repetto, Andrea; Spagnuolo, Michela;

    Digital manipulation and analysis of tangible cultural objects has the potential to bring about a revolution in the way classification, stylistic analysis, and refitting of fragments are handled in the cultural heritage area: 3D modelling, processing and analysis are now mature enough to allow handling 3D digitized objects as if they were physical, and semantic models allow for a rich documentation of many different aspects of artefacts or assets of any complexity, as well as of contextual information about them. In this perspective, the paper presents the ongoing development of a software workbench which integrates several tools that can be used, combined, and customized to provide scientists with a working environment to process and analyse digital assets. The general objective is to exemplify the potential of new platforms to work on digital models beyond the simple rendering and visualization of assets. In particular, the paper presents the design of the workbench - the Dashboard - which reflects the analysis of the requirements gathered in a specific community of archaeologists and curators: the functionalities included in the case study target mostly the ReUnification, ReAssembly and ReAssociation of fragmented or dispersed cultural assets.

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