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sustainability
Article
Representation and Preservation of Heritage Crafts
Xenophon Zabulis 1, * , Carlo Meghini 2, Nikolaos Partarakis 1, Cynthia Beisswenger 3,
Arnaud Dubois 4, Maria Fasoula 5, Vito Nitti 6, Stavroula Ntoa 1, Ilia Adami 1,
Antonios Chatziantoniou 1, Valentina Bartalesi 2, Daniele Metilli 2, Nikolaos Stivaktakis 1,
Nikolaos Patsiouras 1, Paraskevi Doulgeraki 1, Effie Karuzaki 1, Evropi Stefanidi 1,7,
Ammar Qammaz 1,7, Danae Kaplanidi 5, Ilka Neumann-Janßen 3, Ulrike Denter 3,
Hansgeorg Hauser 3, Argyro Petraki 1, Ioannis Stivaktakis 1,7, Eleni Mantinaki 1,7,
Anastasia Rigaki 1,7 and George Galanakis 1,7
1Institute of Computer Science, Foundation for Research and Technology (ICS-FORTH), N. Plastira 100,
Vassilika Vouton, GR-700 13 Heraklion, Crete, Greece; partarak@ics.forth.gr (Nikolaos Partarakis);
stant@ics.forth.gr (S.N.); iadami@ics.forth.gr (I.A.); hatjiant@ics.forth.gr (A.C.); nstivaktak@ics.forth.gr (N.S.);
patsiouras@ics.forth.gr (Nikolaos Patsiouras); vdoulger@ics.forth.gr (P.D.); karuzaki@ics.forth.gr (E.K.);
evropi@ics.forth.gr (E.S.); ammarkov@ics.forth.gr (A.Q.); argpet@ics.forth.gr (A.P.);
johnstiv@ics.forth.gr (I.S.); csd3566@csd.uoc.gr (E.M.); rigaki@ics.forth.gr (A.R.); ggalan@ics.forth.gr (G.G.)
2Istituto di Scienza e Tecnologie della Informazione (ISTI), Consiglio Nazionale delle Ricerche (CNR), Area
della Ricerca CNR, via G. Moruzzi 1, 56124 Pisa, Italy; carlo.meghini@isti.cnr.it (C.M.);
valentina.bartalesi@isti.cnr.it (V.B.); metilli@isti.cnr.it (D.M.)
3Förderverein Haus der Seidenkultur (HdS), Paramentenweberei Hubert Gotzes e.V., Luisenstraße 15,
47799 Krefeld, Germany; cynthia.beisswenger@seidenkultur.de (C.B.);
ilka.neumann88@googlemail.com (I.N.-J.); museum@seidenkultur.de (U.D.); hhf38kr@gmail.com (H.H.)
4Histoire des technosciences en société, Conservatoire national des arts et métiers (HT2S-CNAM), Case
1LAB10, 2 rue Conté, 75003 Paris, France; arnaud64.dubois@gmail.com
5Piraeus Bank Group Cultural Foundation, 6 Ang. Gerontas St., 105 58 Athens, Greece;
FasoulaM@piraeusbank.gr (M.F.); danae.kaplanidi@gmail.com (D.K.)
6Imaginary, Piazza Caiazzo, 3 20124 Milano (MI), Italy; vito.nitti@i-maginary.it
7Computer Science Department, University of Crete, Voutes Campus, 700 13 Heraklion, Crete, Greece
*Correspondence: zabulis@ics.forth.gr
Received: 17 January 2020; Accepted: 9 February 2020; Published: 15 February 2020
Abstract:
This work regards the digital representation of tangible and intangible dimensions of
heritage crafts, towards craft preservation. Based on state-of-the-art digital documentation, knowledge
representation and narrative creation approach are presented. Craft presentation methods that use
the represented content to provide accurate, intuitive, engaging, and educational ways for HC
presentation and appreciation are proposed. The proposed methods aim to contribute to HC
preservation, by adding value to the cultural visit, before, and after it.
Keywords: cultural tourism; arts and crafts; intangible heritage
1. Introduction
Heritage Crafts (HCs), or crafts that are transmitted as Cultural Heritage (CH), exhibit tangible
and intangible dimensions. Tangible dimensions regard craft articles and products, materials and
tools, as well as natural resources, built workshops, and workplaces. The tangible, or material,
aspect of HCs is evident in their practice, where materials are transformed with the use of tools, but
also, skill and knowledge. From this perspective, “crafts are probably the most tangible of intangible
heritage” [
1
]. Intangible dimensions regard technical knowledge, as well as the socio-historic content of
Sustainability 2020,12, 1461; doi:10.3390/su12041461 www.mdpi.com/journal/sustainability
Sustainability 2020,12, 1461 2 of 26
the communities and regions in which they are, or were, practiced. HCs are part of the history and
economic life of the regions and communities in which they flourish.
Comparatively to other forms of Intangible Cultural Heritage (ICH), HCs, have received smaller
attention by digitisation projects. Several HCs are threatened with extinction, due to the declining
numbers of practitioners and apprentices. Despite the cultural significance of HCs, pertinent safeguarding
and preservation efforts are scattered geographically and thematically. The ICH, due to traditional
craftsmanship is a component of regional culture and identity, which directly relates to a natural heritage
of a place and other forms of heritage that region hosts. In contrast to material heritage that can be sensed,
intangible heritage is experienced. Digital media technologies facilitate the authoring of narratives and
storytelling that emotionally engage the public. This is relevant in creating experiences that help us
understand, value, and enjoy cultural heritage.
Cultural tourism refers to travel that enables visitors to visit heritage sites and activities that
provide access to the CH of a country or region. The reason a region develops tourism is not anymore
solely related to the particularities of the natural environment and built sites, but also to its their cultural
identity, tourism infrastructure, and services. In particular, cultural tourism related to traditional crafts
exhibits the following potentials:
1.
Craft articles have multiple affordances as traded products. Typically, they are utilitarian objects.
As heritage articles, they carry tradition and aesthetics. As souvenirs, we associate them with
our own memories of presence at a place or event. Last, self-made craft articles in participatory
engagement provide experiences and embodied knowledge.
2.
Craft workshops and pertinent thematic tourism activities exhibit the potential of participatory
experiences and access to local culture. Thematic tourism and workshops can extend visitor stay
on location or enhance the options of day-trips near central sites.
3.
Thematic tourism alleviates visitor load from mass tourism destinations. Crafts flourish in
multiple, distributed, rural areas. Unlike monuments of material heritage, intangible forms of
heritage, have a wider spatial distribution as to the locations that can be practiced.
The rationale of the proposed approach is that attractive, participative, educational, and experiential
and tourism products are expected to motivate the preservation of HCs. In addition, the geographical
context is required to be considered to provide means of collaboration with existing neighbouring
cultural sites, geo-parks, and workshops.
Cultural and thematic tourism can be a motive for the preservation of HCs, given that stakeholders
benefit from it. To achieve this on a distributed, per community basis, documentation and preservation of
HCs are simplified by data collection tools and an approach to their semantic organisation and presentation.
The proposed approach lowers the technical barriers to capacity building for HC communities.
In this work, we focus on representing tangible and intangible content, due to HCs, for uses that
enhance the value of a cultural visit. This is strategized by providing educational content and engaging
experience for uses prior, during, and after a visit. These aim to facilitate engagement with regional
culture, using modern, intuitive, and attractive media that impact a wide range of audiences, including
younger ages. The goal is to support the link between craft practice and new interest participatory
tourism services that provide such experiences, through day visits or workshops. For this reason,
this work proposes (a) a set of digitisation and analysis tools that facilitate the curation of content
for educational visits and workshops and (b) systematic knowledge representation methods and
presentation modalities, tailored for content relevant to HCs.
2. Relevant Work
2.1. Creative and Cultural Industries and Their Contribution to the Economy
The economic potential of the creative and cultural industries is underscored in a number of
studies. The EC [
2
], revealed that the creative economy by 2003 created 2.6% of the EU GDP and
Sustainability 2020,12, 1461 3 of 26
employed around five million people. The report mentions that “culture drives economic and social
development “, as also attested by the UN [
3
], and the EC [
4
]. In 2008, the creative economy created
8.5 million jobs across the EU (3.8% of the total labour force) and 4.5% of the European GDP [
5
]. In 2006,
the global exports of crafts attained 186.5 billion USD [
6
]. According to figures from the International
Tourism Organisation, cultural tourism accounts for 37% of tourist destinations and is growing by 15%
annually. At European level, cultural tourism accounts for about 40% of all European tourism, and it is
very interesting that it is not concentrated exclusively in major cities, but is spread throughout the
European territory. Fifty percent of cultural activity in Europe is relevant to CH, and cultural tourism
is the component of tourism with the largest prospective growth [7].
The UNWTO [
8
] indicates that digitisation of CH supports preservation. The economic resource, due
to heritage is a primary motivator and source of funding for the preservation of CH. Cultural tourists are
generally high-cost and highly-educated people who are interested in cultural activity at the destination [
7
].
Cultural tourism has moved away from the traditional interest in static museums and monuments and
demands interactive experiences, including tangible and digital artefacts, as well as engagement with local
communities. There is a strong need to satisfy demanding visitors, particularly young people who usually
do not find interest unless engaged in activities or games [
9
]. In many cases, participants of thematic
tourism have little knowledge of the place, but a strong intent to become aware and learn. Educational
tools contribute to the preservation and long-term sustainability of the HC economy [2].
2.2. Heritage Digitisation
Approaches towards heritage digitisation presented initial focus on artefacts and monuments
of material heritage. Digitisation guides and good practice guidelines [
10
,
11
] are now the norm in
photographic documentation [
12
]. A decade later, the proliferation of surface digitisation technologies
streamlined the 3D digitisation of artefacts and monuments. Digital 3D models of artefacts have a wide
range of uses, from conservation and preservation to reunification of dispersed heritage [
13
]. File
management, digital preservation, publication, and IPR management guides can be found in [
14
].
A significant online repository of material heritage is Europeana [
15
]. In the domain of verbal and
numerical documentation, as well as meta-data, the CIDOC-CRM [
16
], ISO 21127:2014, is the de facto
standard in the representation of heritage documentation.
Digitisation of intangible heritage attracted attention more recently. Human motion is a key
component of many forms of ICH, such as dances, crafts, and rituals. Motion recordings were used
to document and capture performances in i-Treasures [
17
], MODUL DANCE [
18
], DANCE [
19
],
European Theatre lab [
20
], and TERPSICHORE [
21
]. Digitisation of human motion is achieved by
a number of modalities, which vary in terms of pervasiveness (having to wear an apparatus or requiring
an installation) and robustness to occlusions if visual components are employed.
2.3. Craft Digitisation and Representation
Crafts bring together the intangible dimensions of dexterity, skill, tradition, and knowledge, with
tangible elements such as tools, machines and materials to be transformed into craft articles.
In the humanities, literature exists on the documentation of specific craft instances through
ethnography, e.g., [
22
,
23
]. A significant work towards generic approaches to craft representation
identifies tangible and intangible dimensions [
24
]. From the intangible dimensions, some relate to
the cultural, economic, or religious contexts that identify communities. Others relate to the technical
context of a specific craft and the corresponding skills, knowledge (or “know-how”). In [
25
], social
context, group membership, and social relations relevant to crafts are reviewed. Guidelines for
preservation projects [
26
] stress the representation and consent of the pertinent community. In addition,
intangible dimensions regard the resources of the environment that a craft flourishes, and as such,
regard environmental, and climate context [27].
Mingei (http://www.mingei-project.eu/) is an Innovation Action in the Horizon 2020 Programme
of the EC that proposes the digital and semantic representation of HCs and motivates their preservation,
Sustainability 2020,12, 1461 4 of 26
by supporting pertinent experiential and educational applications in the domain of cultural and
thematic tourism.
In Mingei, a systematic approach to the digital representation of tangible and intangible dimensions
that closely follows the work in [
24
], is proposed. In [
28
], the requirements towards such a representation
are investigated, so that the represented content is sufficient to support authoring of accurate narratives,
curation of educational material, and experiential presentations. In [
29
], an approach towards the
specification, acquisition, and representation of pertinent data and knowledge for HC preservation
is proposed. In [
30
], Motion Vocabularies are proposed to associate recordings of craft practice to
craft actions and remap the recorded human motion to pieces of virtual machinery whose function
is simulated. As a complement to Mingei, systems which leverage semantic information include
automatic image annotation [
31
], and recommendations for users [
32
]. Such approaches could benefit
from the knowledge database which Mingei aims to build.
In this work, we propose content representation and presentation methods that support craft-oriented
thematic tourism, by providing digital content on craft articles and processes, as well as narratives on
the cultural and regional context. This content is used as a basis for tourism, social, and educational
activities with a positive impact on the sustainability of the transmitted heritage. A platform for digital
applications is proposed, that can be used to author a comprehensive picture of the region of application.
The project aims: (a) The unified promotion of intangible dimensions of craft products; (b) to enrich
educational services of cultural tourism and ICH preservation; and (c) to enhance the visitor experience
with participatory and cultural experiences. To the best of our knowledge, Mingei is the first approach
for the systematic digital representation of HCs that encompasses tangible and intangible dimensions,
in a semantic and machine-interpretable fashion. The proposed protocol, tools, and application guides
have been designed with CH professionals, to simplify the representation process for stakeholders of the
CH domain. As such, it contributes to the capacity building of pertinent HC communities.
3. Method
The proposed approach can be described as a series of iterative steps for representing a Craft
Instance (CI), that is the expression of a craft at some geographical region and at a given time period.
In the first steps, we select and acquire digital assets. These assets are digitisations of craft artefacts,
documents, photographs, archives, practitioner recordings, and curated material.
The collection of data and process descriptions are based on ethnographic studies that conform
to the individualities of each craft and its materials. The collaboration with craft practitioners and
community members is deemed a prerequisite [
26
] for a meaningful representation of technical
processes, as well as an emic understanding of cultural context. In this work, the ethnographic
approaches utilised are obtained from [29].
In the next stage, information obtained from data analysis is curated and represented as basic
knowledge. This knowledge is enhanced with semantic associations to create a thick representation,
meaning a description of not only actions and events, but their context as well, so that they can be
better understood. This representation is not a ‘unique’ representation of CI, but rather a representation
possibility as authored by the curator of this knowledge.
In Section 4.1, the obtained CI representation is a knowledge base for retrieving content and
curating narratives on the CI. In Section 4.2, narrative content is provided to presentation modalities,
in the scope of tourism, education and preservation.
3.1. Craft Representation
We follow the approach in [
29
], to collect data and orient the selection of contextual knowledge.
Our point of departure is a selection of topics that comprise a comprehensive picture of a CI, its practice
and products, as well as the geographical, historical, and societal context at the place of practice.
The technical platform can host multiple such organisations, as individual descriptions, i.e., multiple
Sustainability 2020,12, 1461 5 of 26
techniques from individual practitioners for a given task. In this work, following the articulation of
actions as described by the practitioner is proposed.
The proposed method assumes the semantic capability representation of knowledge. A technical
platform for formal, machine-interpretable knowledge representation is required, which, in our case,
is CIDOC-CRM [16].
The remainder of this subsection is organised as follows. First, a selection of cost-efficient digital
recording modalities for the application domain of crafts is provided. Second, a representation
approach is proposed, which associates recordings of craft practice with (i) a semantic articulation of
actions of a craft process and (ii) the 3D motion of body members, objects or materials. Third, a way to
represent social and historical knowledge relevant for a given CI, the community of practitioners, and
the place of its practice is presented.
The purpose of these modalities is a repository of digital assets and information, which is curated
into a knowledge base that is articulated by basic knowledge elements. These are statements that
explain the role and significance of the corresponding digital assets. These elements include any
existing curated information or description about the asset. They are created by new data entry or
linked to existing repositories.
3.1.1. Digitisation
Digitisation of objects and actions supports documentation and illustration of narratives, authoring
of instructions, and training experiences. A breadth of physical objects is of relevance to a heritage
craft, such as materials, tools, machines, protective garments, and working environment. In the
following examples, a selection of material digitisation methods is proposed, orientated towards indoor
workshops, rural environments, and suburban regions that are most often associated with HC and
other, associated forms of ICH.
In Figure 1, a digitisation of rural structure the seasonal droving of livestock, for the hospitality
of sheep and persons [
33
]. The structure is worth seeing in closer detail, as it is constructed by the
technique of dry stone walling [
34
]. Combination of multiple scans from a range of modalities, (aerial
and terrestrial photogrammetry, laser scanning) are employed to produce a realistic indoors and
outdoors 3D reconstruction, which can be used to provide terrain overview and functional explanation
of the settlement components from its inside. In a smaller scale, the digitisation of tools and machinery
using such modalities is demonstrated in Figure 2. More specifically, for photogrammetry-based
reconstruction a GoPro
®
Hero6 camera was used; also mounted on a DJI
®
Phantom 4 Pro V2.0 drone,
in the case of aerial shots. Laser scans were obtained by either FARO
®
Focus M70 (static), or FARO
®
Freestyle 3D X (handheld) laser scanners. All equipment is owned by ICS-FORTH.
Sustainability 2020, 12, x FOR PEER REVIEW 5 of 28
The proposed method assumes the semantic capability representation of knowledge. A technical
platform for formal, machine-interpretable knowledge representation is required, which, in our case,
is CIDOC-CRM [16].
The remainder of this subsection is organised as follows. First, a selection of cost-efficient digital
recording modalities for the application domain of crafts is provided. Second, a representation
approach is proposed, which associates recordings of craft practice with (i) a semantic articulation of
actions of a craft process and (ii) the 3D motion of body members, objects or materials. Third, a way
to represent social and historical knowledge relevant for a given CI, the community of practitioners,
and the place of its practice is presented.
The purpose of these modalities is a repository of digital assets and information, which is curated
into a knowledge base that is articulated by basic knowledge elements. These are statements that
explain the role and significance of the corresponding digital assets. These elements include any
existing curated information or description about the asset. They are created by new data entry or
linked to existing repositories.
3.2.1. Digitisation
Digitisation of objects and actions supports documentation and illustration of narratives,
authoring of instructions, and training experiences. A breadth of physical objects is of relevance to a
heritage craft, such as materials, tools, machines, protective garments, and working environment. In
the following examples, a selection of material digitisation methods is proposed, orientated towards
indoor workshops, rural environments, and suburban regions that are most often associated with HC
and other, associated forms of ICH.
In Figure 1, a digitisation of rural structure the seasonal droving of livestock, for the hospitality
of sheep and persons [33]. The structure is worth seeing in closer detail, as it is constructed by the
technique of dry stone walling [34]. Combination of multiple scans from a range of modalities, (aerial
and terrestrial photogrammetry, laser scanning) are employed to produce a realistic indoors and
outdoors 3D reconstruction, which can be used to provide terrain overview and functional
explanation of the settlement components from its inside. In a smaller scale, the digitisation of tools
and machinery using such modalities is demonstrated in Figure 2. More specifically, for
photogrammetry-based reconstruction a GoPro® Hero6 camera was used; also mounted on a DJI®
Phantom 4 Pro V2.0 drone, in the case of aerial shots. Laser scans were obtained by either FARO®
Focus M70 (static), or FARO® Freestyle 3D X (handheld) laser scanners. All equipment is owned by
ICS-FORTH.
Figure 1. Cont.
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Figure 1. Indoors scans. Top: Static laser scan. Bottom: Handheld scan.
Figure 2. Digitisation of tools and machines.
In terms of digitisation resources, it is not necessary to treat every element with the utmost
possible realism in terms of resolution, and thus, cost-efficient modalities, such as photogrammetry
or handheld scanners suffice the goal. In some cases (see Section 3.2), it is more informative to show
the function of a machine or the proper grip and manipulation of a tool, than vividly reconstructing
its plain wooden handle in high resolution.
On the other hand, accurate digitisation is essential in the conservation of articles of material
heritage, which serve as an exemplar of skill, technical knowledge, and aesthetics in its making. This
is of particular relevance in the outdoors. This is the case in Figure 3, where a photogrammetric
reconstruction of a sculpture of Tinian marble craftsmanship [35] is shown (The 3D reconstruction is
provided in detail here: https://youtu.be/1hyTKpSIIUw). In this way, its condition can be compared
to the condition which the artefact was photographed in the past.
Figure 1. Digitisation of rural structure. Outdoors aerial scan (Top) Indoors laser scan (Bottom).
Sustainability 2020, 12, x FOR PEER REVIEW 6 of 28
Figure 1. Indoors scans. Top: Static laser scan. Bottom: Handheld scan.
Figure 2. Digitisation of tools and machines.
In terms of digitisation resources, it is not necessary to treat every element with the utmost
possible realism in terms of resolution, and thus, cost-efficient modalities, such as photogrammetry
or handheld scanners suffice the goal. In some cases (see Section 3.2), it is more informative to show
the function of a machine or the proper grip and manipulation of a tool, than vividly reconstructing
its plain wooden handle in high resolution.
On the other hand, accurate digitisation is essential in the conservation of articles of material
heritage, which serve as an exemplar of skill, technical knowledge, and aesthetics in its making. This
is of particular relevance in the outdoors. This is the case in Figure 3, where a photogrammetric
reconstruction of a sculpture of Tinian marble craftsmanship [35] is shown (The 3D reconstruction is
provided in detail here: https://youtu.be/1hyTKpSIIUw). In this way, its condition can be compared
to the condition which the artefact was photographed in the past.
Figure 2. Digitisation of tools and machines.
In terms of digitisation resources, it is not necessary to treat every element with the utmost possible
realism in terms of resolution, and thus, cost-efficient modalities, such as photogrammetry or handheld
scanners suffice the goal. In some cases (see Section 3.2), it is more informative to show the function of
a machine or the proper grip and manipulation of a tool, than vividly reconstructing its plain wooden
handle in high resolution.
On the other hand, accurate digitisation is essential in the conservation of articles of material
heritage, which serve as an exemplar of skill, technical knowledge, and aesthetics in its making. This
is of particular relevance in the outdoors. This is the case in Figure 3, where a photogrammetric
reconstruction of a sculpture of Tinian marble craftsmanship [
35
] is shown (The 3D reconstruction is
provided in detail here: https://youtu.be/1hyTKpSIIUw). In this way, its condition can be compared to
the condition which the artefact was photographed in the past.
Sustainability 2020, 12, x FOR PEER REVIEW 6 of 28
Figure 1. Indoors scans. Top: Static laser scan. Bottom: Handheld scan.
Figure 2. Digitisation of tools and machines.
In terms of digitisation resources, it is not necessary to treat every element with the utmost
possible realism in terms of resolution, and thus, cost-efficient modalities, such as photogrammetry
or handheld scanners suffice the goal. In some cases (see Section 3.2), it is more informative to show
the function of a machine or the proper grip and manipulation of a tool, than vividly reconstructing
its plain wooden handle in high resolution.
On the other hand, accurate digitisation is essential in the conservation of articles of material
heritage, which serve as an exemplar of skill, technical knowledge, and aesthetics in its making. This
is of particular relevance in the outdoors. This is the case in Figure 3, where a photogrammetric
reconstruction of a sculpture of Tinian marble craftsmanship [35] is shown (The 3D reconstruction is
provided in detail here: https://youtu.be/1hyTKpSIIUw). In this way, its condition can be compared
to the condition which the artefact was photographed in the past.
Figure 3. Cont.
Sustainability 2020,12, 1461 7 of 26
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Figure 3. Photogrammetric reconstruction of a sculpture.
Relevant to craft representation is the digitisation of garments, either as products or as
equipment. The top two rows of Figure 4, illustrate the rectification of a photogrammetric scan and
its analysis in garment components using computer-aided 3D tools. The result can be later on “worn”
on virtual characters or presented in detailed 3D illustrations. The last row, presents the very high
resolution scanning of textiles in an experimental installation that was implemented. The installation
is based on a Fused Filament Modelling printer combined with a macroscopic camera instead of the
extruder and software that stitches neighbouring images generating image mosaics of very high
resolution
(https://openseadragon.github.io/openseadragonizer/?img=http%3A%2F%2F139.91.186.146%2Fmed
ia%2Fmulti-scale%2Ftextile%2F6.png&encoded=true).
Figure 3. Photogrammetric reconstruction of a sculpture.
Relevant to craft representation is the digitisation of garments, either as products or as equipment.
The top two rows of Figure 4, illustrate the rectification of a photogrammetric scan and its analysis
in garment components using computer-aided 3D tools. The result can be later on “worn” on
virtual characters or presented in detailed 3D illustrations. The last row, presents the very high
resolution scanning of textiles in an experimental installation that was implemented. The installation
is based on a Fused Filament Modelling printer combined with a macroscopic camera instead of
the extruder and software that stitches neighbouring images generating image mosaics of very high
resolution (https://openseadragon.github.io/openseadragonizer/?img=http%3A%2F%2F139.91.186.
146%2Fmedia%2Fmulti-scale%2Ftextile%2F6.png&encoded=true).
Sustainability 2020, 12, x FOR PEER REVIEW 7 of 28
Figure 3. Photogrammetric reconstruction of a sculpture.
Relevant to craft representation is the digitisation of garments, either as products or as
equipment. The top two rows of Figure 4, illustrate the rectification of a photogrammetric scan and
its analysis in garment components using computer-aided 3D tools. The result can be later on “worn”
on virtual characters or presented in detailed 3D illustrations. The last row, presents the very high
resolution scanning of textiles in an experimental installation that was implemented. The installation
is based on a Fused Filament Modelling printer combined with a macroscopic camera instead of the
extruder and software that stitches neighbouring images generating image mosaics of very high
resolution
(https://openseadragon.github.io/openseadragonizer/?img=http%3A%2F%2F139.91.186.146%2Fmed
ia%2Fmulti-scale%2Ftextile%2F6.png&encoded=true).
Figure 4. Cont.
Sustainability 2020,12, 1461 8 of 26
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Figure 4. Garment and textile digitisation.
Craft practice is regarded as an activity that can be organised in actions and processes, where
one or multiple practitioners use handicrafts and tools, to prepare or transform materials. Craft
practice is organised in sequential and parallel steps, which we call activities. Our approach starts
from the 3D digitisation of motion during craft practice.
Human motion recoding methods vary in terms of accuracy, pervasiveness, and robustness to
visual occlusions. Recording is facilitated by inertial MoCap because visual methods are sensitive to
occlusions, which are typical in the narrow and cluttered environments of workshops. Despite their
sensitivity and post-processing requirements, we include visual methods in our digitisation
modalities, due to the wide availability of CCD video. Visual methods are necessary when treating
archive recordings (i.e., documentaries), when the wearable apparatus is restrictive for craft practice,
and when inertial sensors are unusable, due to electromagnetic noise. Most importantly, visual
methods enable the acquisition of data by non-experts.
In Figure 5, the top row, the wearable MoCap apparatus [36] used in the recordings is shown,
and the 3D motion recordings are visualised. In Figure 5, the process and results of motion
digitisation are visualised, for an inertial and a visual modality. On the bottom row, the threading of
fragile, gold thread on a spool is shown. The body posture, thread grip, and periodic motion for
homogeneous rolling of thread on a spool characterise this process. Motion is digitised in 3D by a
visual approach [37], as footage comes for an archive documentary by Haus der Seidenkultur. The
repetitive fine hand motion required to roll the thread on the spool is tracked using uniformly [38].
In the rightmost, this periodic gesture is summarised and explained by the MotiVo annotation editor
(see Section 3.2).
Figure 4. Garment and textile digitisation.
Craft practice is regarded as an activity that can be organised in actions and processes, where one
or multiple practitioners use handicrafts and tools, to prepare or transform materials. Craft practice is
organised in sequential and parallel steps, which we call activities. Our approach starts from the 3D
digitisation of motion during craft practice.
Human motion recoding methods vary in terms of accuracy, pervasiveness, and robustness to
visual occlusions. Recording is facilitated by inertial MoCap because visual methods are sensitive to
occlusions, which are typical in the narrow and cluttered environments of workshops. Despite their
sensitivity and post-processing requirements, we include visual methods in our digitisation modalities,
due to the wide availability of CCD video. Visual methods are necessary when treating archive
recordings (i.e., documentaries), when the wearable apparatus is restrictive for craft practice, and when
inertial sensors are unusable, due to electromagnetic noise. Most importantly, visual methods enable
the acquisition of data by non-experts.
In Figure 5, the top row, the wearable MoCap apparatus [
36
] used in the recordings is shown, and
the 3D motion recordings are visualised. In Figure 5, the process and results of motion digitisation
are visualised, for an inertial and a visual modality. On the bottom row, the threading of fragile, gold
thread on a spool is shown. The body posture, thread grip, and periodic motion for homogeneous
rolling of thread on a spool characterise this process. Motion is digitised in 3D by a visual approach [
37
],
as footage comes for an archive documentary by Haus der Seidenkultur. The repetitive fine hand
motion required to roll the thread on the spool is tracked using uniformly [
38
]. In the rightmost, this
periodic gesture is summarised and explained by the MotiVo annotation editor (see Section 3.2).
Sustainability 2020, 12, x FOR PEER REVIEW 8 of 28
Figure 4. Garment and textile digitisation.
Craft practice is regarded as an activity that can be organised in actions and processes, where
one or multiple practitioners use handicrafts and tools, to prepare or transform materials. Craft
practice is organised in sequential and parallel steps, which we call activities. Our approach starts
from the 3D digitisation of motion during craft practice.
Human motion recoding methods vary in terms of accuracy, pervasiveness, and robustness to
visual occlusions. Recording is facilitated by inertial MoCap because visual methods are sensitive to
occlusions, which are typical in the narrow and cluttered environments of workshops. Despite their
sensitivity and post-processing requirements, we include visual methods in our digitisation
modalities, due to the wide availability of CCD video. Visual methods are necessary when treating
archive recordings (i.e., documentaries), when the wearable apparatus is restrictive for craft practice,
and when inertial sensors are unusable, due to electromagnetic noise. Most importantly, visual
methods enable the acquisition of data by non-experts.
In Figure 5, the top row, the wearable MoCap apparatus [36] used in the recordings is shown,
and the 3D motion recordings are visualised. In Figure 5, the process and results of motion
digitisation are visualised, for an inertial and a visual modality. On the bottom row, the threading of
fragile, gold thread on a spool is shown. The body posture, thread grip, and periodic motion for
homogeneous rolling of thread on a spool characterise this process. Motion is digitised in 3D by a
visual approach [37], as footage comes for an archive documentary by Haus der Seidenkultur. The
repetitive fine hand motion required to roll the thread on the spool is tracked using uniformly [38].
In the rightmost, this periodic gesture is summarised and explained by the MotiVo annotation editor
(see Section 3.2).
Figure 5. Cont.
Sustainability 2020,12, 1461 9 of 26
Sustainability 2020, 12, x FOR PEER REVIEW 9 of 28
Figure 5. Visual human 3D motion estimation and 2D visualisation.
The platform facilitates the formation of knowledge elements for persons, events, objects,
enterprises, and communities. Each element category is accompanied with a data collection form that
allows users to add, modify and delete the respective elements. The users can view the elements of a
category, add new ones, and delete the unwanted. Selecting an element allows to review and edit
generic and category-specific information. Category-specific information refers to fields that are
common within a specific category, such as the dimensions and the material for objects, birth and
death information for persons and foundation date for enterprises. Generic information refers to
common data across categories, such as the name, a short description, a display image, and media
objects that are associated with that entity. Media Objects can be images, videos, motion captures, 3D
reconstructions, 3D objects and motion vocabularies. They are authored independently and can be
previewed to facilitate the association process. Entities and the data that accompany them are stored
in a semantic knowledge base (see Section 3.2).
Figure 6. Knowledge element browsing and entry forms.
3.2.2. Practice
Craft activities are represented as the organisation of actions of craftspeople. Through
ethnography, the relation of human, tool and material can be observed in detail to describe the
process analytically. The analytical description leads to the representation of craft processes as
process schemas. Process schemas are descriptions of the structures of activities that typically
manifest themselves always following the same structure. Examples of such activities are wedding
ceremonies, musical fugues, or soccer games. An occurrence of the schema is a set of (occurred) events
that conforms to the schema. There is a vast amount of literature, and a number of standards in
process schema representation, ranging from mathematical models, such as Petri Nets, to industrial
Figure 5. Visual human 3D motion estimation and 2D visualisation.
The platform facilitates the formation of knowledge elements for persons, events, objects,
enterprises, and communities. Each element category is accompanied with a data collection form
that allows users to add, modify and delete the respective elements. The users can view the elements
of a category, add new ones, and delete the unwanted. Selecting an element allows to review and
edit generic and category-specific information. Category-specific information refers to fields that are
common within a specific category, such as the dimensions and the material for objects, birth and
death information for persons and foundation date for enterprises. Generic information refers to
common data across categories, such as the name, a short description, a display image, and media
objects that are associated with that entity. Media Objects can be images, videos, motion captures,
3D reconstructions, 3D objects and motion vocabularies. They are authored independently and can be
previewed to facilitate the association process. Entities and the data that accompany them are stored in
a semantic knowledge base (see Figure 6).
Sustainability 2020, 12, x FOR PEER REVIEW 9 of 28
Figure 5. Visual human 3D motion estimation and 2D visualisation.
The platform facilitates the formation of knowledge elements for persons, events, objects,
enterprises, and communities. Each element category is accompanied with a data collection form that
allows users to add, modify and delete the respective elements. The users can view the elements of a
category, add new ones, and delete the unwanted. Selecting an element allows to review and edit
generic and category-specific information. Category-specific information refers to fields that are
common within a specific category, such as the dimensions and the material for objects, birth and
death information for persons and foundation date for enterprises. Generic information refers to
common data across categories, such as the name, a short description, a display image, and media
objects that are associated with that entity. Media Objects can be images, videos, motion captures, 3D
reconstructions, 3D objects and motion vocabularies. They are authored independently and can be
previewed to facilitate the association process. Entities and the data that accompany them are stored
in a semantic knowledge base (see Section 3.2).
Figure 6. Knowledge element browsing and entry forms.
3.2.2. Practice
Craft activities are represented as the organisation of actions of craftspeople. Through
ethnography, the relation of human, tool and material can be observed in detail to describe the
process analytically. The analytical description leads to the representation of craft processes as
process schemas. Process schemas are descriptions of the structures of activities that typically
manifest themselves always following the same structure. Examples of such activities are wedding
ceremonies, musical fugues, or soccer games. An occurrence of the schema is a set of (occurred) events
that conforms to the schema. There is a vast amount of literature, and a number of standards in
process schema representation, ranging from mathematical models, such as Petri Nets, to industrial
Figure 6. Knowledge element browsing and entry forms.
3.1.2. Practice
Craft activities are represented as the organisation of actions of craftspeople. Through ethnography,
the relation of human, tool and material can be observed in detail to describe the process analytically.
The analytical description leads to the representation of craft processes as process schemas. Process
schemas are descriptions of the structures of activities that typically manifest themselves always following
the same structure. Examples of such activities are wedding ceremonies, musical fugues, or soccer
games. An occurrence of the schema is a set of (occurred) events that conforms to the schema. There is
a vast amount of literature, and a number of standards in process schema representation, ranging from
Sustainability 2020,12, 1461 10 of 26
mathematical models, such as Petri Nets, to industrial standards, such as the Business Process Modelling
Language. For the purposes of Mingei, we rely on UML activity diagrams, whose basic primitives have
been, therefore, included in the Mingei ontology in the form of classes, properties and axioms on them.
The elements of process schemas are hypothetical actions, organised in processes. Inside a schema,
actions are related to each other temporally, causally, and hierarchically. The implementation also
contains links between the actions and conceptual objects. The digitisations of craft activities are
recordings that contain these actions. Knowledge element digitisations are linked to conceptual actions
as their instances. A tool facilitates the description of the craft process, analysing them in steps and
defining the temporal or logical relationships between them. Each step and sub-step can be further
analysed, thus, enabling the modelling of craft processes, whether linear and simple or complicated
with a deep hierarchy of actions.
For each process the curator fills-in a title and a description. By default, the execution order for
any process step is set to be “Any”, not imposing any restrictions at first. All steps are listed in the
order in which they were provided (see Figure 7). Once a step is listed, the curator defines its execution
order, edit, or delete it. The tool provides support for additional material to describe each step in the
form of textual guidelines, images, instructional videos, as well as the option to preview the graphical
visualisation of the process as it has been defined in the form of UML diagrams.
Sustainability 2020, 12, x FOR PEER REVIEW 10 of 28
standards, such as the Business Process Modelling Language. For the purposes of Mingei, we rely on
UML activity diagrams, whose basic primitives have been, therefore, included in the Mingei ontology
in the form of classes, properties and axioms on them.
The elements of process schemas are hypothetical actions, organised in processes. Inside a
schema, actions are related to each other temporally, causally, and hierarchically. The
implementation also contains links between the actions and conceptual objects. The digitisations of
craft activities are recordings that contain these actions. Knowledge element digitisations are linked
to conceptual actions as their instances. A tool facilitates the description of the craft process, analysing
them in steps and defining the temporal or logical relationships between them. Each step and sub-
step can be further analysed, thus, enabling the modelling of craft processes, whether linear and
simple or complicated with a deep hierarchy of actions.
For each process the curator fills-in a title and a description. By default, the execution order for
any process step is set to be “Any”, not imposing any restrictions at first. All steps are listed in the
order in which they were provided (see Figure 7). Once a step is listed, the curator defines its
execution order, edit, or delete it. The tool provides support for additional material to describe each
step in the form of textual guidelines, images, instructional videos, as well as the option to preview
the graphical visualisation of the process as it has been defined in the form of UML diagrams.
Figure 7. Example of a process (left) first level of steps (right) sub-steps of the first step.
The execution order options that are provided by the tool are explained in Table 1, the listing
also the parameters that the user is asked to define for each one.
Figure 8 illustrates the steps of defining the most complex option, that of condition checking.
Table 1. Execution order options.
Order Option Short Description Parameters
Goes to step Sequential ordering of steps 1. Next step
Goes to parallel
steps
Connection of steps that run in
parallel
1. Steps that will run in parallel. At least
two steps have to be defined.
Waits for
Connection of steps that run in
parallel and definition of the
next action once they are all
completed
1. Steps that have to be completed before
taking a next action.
2. Definition of the action that will follow,
by selecting an order option for the
next action (goes to step, goes to
parallel steps, waits for, condition
checking)
Condition
checking
Denotes focal points in the
process, where the craftsman
1. Condition that is examined
2. Execution order of steps if the
condition is met
Figure 7. Example of a process (left) first level of steps (right) sub-steps of the first step.
The execution order options that are provided by the tool are explained in Table 1, the listing also
the parameters that the user is asked to define for each one.
Table 1. Execution order options.
Order Option Short Description Parameters
Goes to step Sequential ordering of steps 1. Next step
Goes to parallel
steps
Connection of steps that run in
parallel
1. Steps that will run in parallel. At least two steps
have to be defined.
Waits for
Connection of steps that run in
parallel and definition of the next
action once they are all completed
1. Steps that have to be completed before taking
a next action.
2. Definition of the action that will follow, by selecting
an order option for the next action (goes to step, goes
to parallel steps, waits for, condition checking)
Condition
checking
Denotes focal points in the process,
where the craftsman will check if a
condition is met before proceeding
1. Condition that is examined
2. Execution order of steps if the condition is met
3. Execution order of steps if the condition is not met
Figure 8illustrates the steps of defining the most complex option, that of condition checking.
Sustainability 2020,12, 1461 11 of 26
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will check if a condition is met
before proceeding
3. Execution order of steps if the
condition is not met
Figure 8. Definition steps of condition checking.
The representation implies delimitation of actions in high granularity. Recordings contain
sequences of actions, some of which occur concurrently. An association between semantically
represented action and fragments of digital assets is required. The representation of action may be
relevant only to specific body members, e.g., the flying of a loom shuttle. Using computer-aided
annotation on craft practice recordings, we create Motion Vocabulary Items associated with semantic
descriptions of processes. This is facilitated by Animation Studio, an application implemented to
visualise, edit, and annotate 3D animation files, obtained by motion capture or visual tracking.
Pertinent annotation software exists in the linguistics domain [39], but not for 3D motion animations.
Animation Studio facilitates isolation and annotation of animation segments and videos (see Figure
9).
Figure 8. Definition steps of condition checking.
The representation implies delimitation of actions in high granularity. Recordings contain
sequences of actions, some of which occur concurrently. An association between semantically
represented action and fragments of digital assets is required. The representation of action may be
relevant only to specific body members, e.g., the flying of a loom shuttle. Using computer-aided
annotation on craft practice recordings, we create Motion Vocabulary Items associated with semantic
descriptions of processes. This is facilitated by Animation Studio, an application implemented to
visualise, edit, and annotate 3D animation files, obtained by motion capture or visual tracking. Pertinent
annotation software exists in the linguistics domain [
39
], but not for 3D motion animations. Animation
Studio facilitates isolation and annotation of animation segments and videos (see Figure 9).
Sustainability 2020, 12, x FOR PEER REVIEW 12 of 28
Figure 9. Animation Studio showing a visual stream, corresponding 3D motion data, and a timeline.
Through the isolation of elementary physical actions from recordings of craft practice, we create
Motion Vocabularies (MVs) that associate conceptual actions to recordings of these actions. In this
case, the weaving process was decomposed into three actions, according to: (1) Shedding—warp threads
are appropriately raised or lowered to form a shed; (2) picking—weft is passed across the shed using the
shuttle; and (3) beating—weft is pushed against the fabric using the beater. The physical components of
the loom are the shuttle, treadle and beater. The representation associates process steps with visual
recordings and 3D motion of persons and objects, in a way that is intuitive to the practitioner and
analytical for the representation of the process.
This decomposition contains the interplay between
human motion and interacting physical components (see Figure 10).
Figure 10. Process schema for weaving.
Figure 9. Animation Studio showing a visual stream, corresponding 3D motion data, and a timeline.
Sustainability 2020,12, 1461 12 of 26
Through the isolation of elementary physical actions from recordings of craft practice, we create
Motion Vocabularies (MVs) that associate conceptual actions to recordings of these actions. In this case,
the weaving process was decomposed into three actions, according to: (1)
Shedding
—warp threads are
appropriately raised or lowered to form a shed; (2)
picking
—weft is passed across the shed using the
shuttle; and (3)
beating
—weft is pushed against the fabric using the beater. The physical components
of the loom are the shuttle, treadle and beater. The representation associates process steps with visual
recordings and 3D motion of persons and objects, in a way that is intuitive to the practitioner and
analytical for the representation of the process. This decomposition contains the interplay between
human motion and interacting physical components (see Figure 10).
Sustainability 2020, 12, x FOR PEER REVIEW 12 of 28
Figure 9. Animation Studio showing a visual stream, corresponding 3D motion data, and a timeline.
Through the isolation of elementary physical actions from recordings of craft practice, we create
Motion Vocabularies (MVs) that associate conceptual actions to recordings of these actions. In this
case, the weaving process was decomposed into three actions, according to: (1) Shedding—warp threads
are appropriately raised or lowered to form a shed; (2) picking—weft is passed across the shed using the
shuttle; and (3) beating—weft is pushed against the fabric using the beater. The physical components of
the loom are the shuttle, treadle and beater. The representation associates process steps with visual
recordings and 3D motion of persons and objects, in a way that is intuitive to the practitioner and
analytical for the representation of the process.
This decomposition contains the interplay between
human motion and interacting physical components (see Figure 10).
Figure 10. Process schema for weaving.
Figure 10. Process schema for weaving.
Similarly, manipulation of objects is associated with semantic processes, facilitated by the visual
tracking of hands [
38
], and objects [
40
]. In Figure 11, the 3D model of the shuttle (left) is used to
estimate its pose in 3D space and its interaction with the hands of the practitioner (right).
Sustainability 2020, 12, x FOR PEER REVIEW 13 of 28
Similarly, manipulation of objects is associated with semantic processes, facilitated by the visual
tracking of hands [38], and objects [40]. In Figure 11, the 3D model of the shuttle (left) is used to
estimate its pose in 3D space and its interaction with the hands of the practitioner (right).
Figure 11. Hand and object pose estimation for visual recordings of craft practice.
To represent machine functionality, we decompose it in elementary components called
Fundamental Machine Components (FMCs). These FMCs are 3D models enhanced with functionality
that simulates their motion, implemented as described in [41]. As an example, we define the elements
of the loom’s physical interface as FMCs. Each one is comprised of a 3D model of the physical
component and motion rules that represent its feasible motion during operation (see Figure 12).
FMCs are paired with the body members used to operate them; e.g., treadle with foot. Mapping the
motion recording to the FMC simulates the operation, by inference of the machine motion.
Figure 12. Visualisation of induced motion on a loom treadle.
3.2.3. Context
Bibliographic research and ethnography reveal the context in which a craft is or was practiced.
Personal stories, social relations, and local history show the importance of a craft for a community
and its region. Geographical context is relevant, as environmental aspects affect craft practice. The
availability of materials depending on location is of relevance, such as when based on endemic flora
or fauna. Temporal context is relevant to craft description, due to the change of season, technological
progress, economic events, and climate change.
Context is represented through narratives, in the formal representation of the fabulae of
narratives. In a narrative, the fabula is the piece of reality that contains the events narrated, in
chronological order, as well as the facts that surround these events and that are immediately relevant
to the events themselves, such as the people, objects, spatio-temporal regions involved in the events.
Figure 11. Hand and object pose estimation for visual recordings of craft practice.
To represent machine functionality, we decompose it in elementary components called
Fundamental Machine Components (FMCs). These FMCs are 3D models enhanced with functionality
that simulates their motion, implemented as described in [
41
]. As an example, we define the elements of
the loom’s physical interface as FMCs. Each one is comprised of a 3D model of the physical component
and motion rules that represent its feasible motion during operation (see Figure 12). FMCs are paired
Sustainability 2020,12, 1461 13 of 26
with the body members used to operate them; e.g., treadle with foot. Mapping the motion recording to
the FMC simulates the operation, by inference of the machine motion.
Sustainability 2020, 12, x FOR PEER REVIEW 13 of 28
Similarly, manipulation of objects is associated with semantic processes, facilitated by the visual
tracking of hands [38], and objects [40]. In Figure 11, the 3D model of the shuttle (left) is used to
estimate its pose in 3D space and its interaction with the hands of the practitioner (right).
Figure 11. Hand and object pose estimation for visual recordings of craft practice.
To represent machine functionality, we decompose it in elementary components called
Fundamental Machine Components (FMCs). These FMCs are 3D models enhanced with functionality
that simulates their motion, implemented as described in [41]. As an example, we define the elements
of the loom’s physical interface as FMCs. Each one is comprised of a 3D model of the physical
component and motion rules that represent its feasible motion during operation (see Figure 12).
FMCs are paired with the body members used to operate them; e.g., treadle with foot. Mapping the
motion recording to the FMC simulates the operation, by inference of the machine motion.
Figure 12. Visualisation of induced motion on a loom treadle.
3.2.3. Context
Bibliographic research and ethnography reveal the context in which a craft is or was practiced.
Personal stories, social relations, and local history show the importance of a craft for a community
and its region. Geographical context is relevant, as environmental aspects affect craft practice. The
availability of materials depending on location is of relevance, such as when based on endemic flora
or fauna. Temporal context is relevant to craft description, due to the change of season, technological
progress, economic events, and climate change.
Context is represented through narratives, in the formal representation of the fabulae of
narratives. In a narrative, the fabula is the piece of reality that contains the events narrated, in
chronological order, as well as the facts that surround these events and that are immediately relevant
to the events themselves, such as the people, objects, spatio-temporal regions involved in the events.
Figure 12. Visualisation of induced motion on a loom treadle.
3.1.3. Context
Bibliographic research and ethnography reveal the context in which a craft is or was practiced.
Personal stories, social relations, and local history show the importance of a craft for a community and its
region. Geographical context is relevant, as environmental aspects affect craft practice. The availability
of materials depending on location is of relevance, such as when based on endemic flora or fauna.
Temporal context is relevant to craft description, due to the change of season, technological progress,
economic events, and climate change.
Context is represented through narratives, in the formal representation of the fabulae of narratives.
In a narrative, the fabula is the piece of reality that contains the events narrated, in chronological
order, as well as the facts that surround these events and that are immediately relevant to the events
themselves, such as the people, objects, spatio-temporal regions involved in the events. In Mingei, each
narrative comes equipped with a formal representation of the underlying fabula, expressed in terms of
objects and inter-relationships. These objects and relationships form a semantic network, in which the
fabula’s events are explicitly represented as nodes and are linked to (a) the nodes that represent the
people, objects, spatiotemporal regions involved in the events, and (b) the nodes that represent the
media objects documenting the events. This rich, semantical representation of the fabula provides
a contextualisation of the events composing the fabula. The contextualisation can be appreciated upon
visualizing the narratives and can be used to build stories about the crafts and to link the crafts to other
knowledge repositories via linked data mechanisms.
3.2. Craft Presentation
The Mingei project is investing a significant amount of resources to co-create storytelling scenarios
for the crafts and the users addressed by the project. These include games and other activities that the
users can enact in Virtual and Augmented reality scenarios, to appreciate the different phases, skills
and techniques that compose the crafts. An online platform allows the visual representation of basic
knowledge elements, such as events and places using interactive maps and timelines.
A classical storytelling component in narrative visualisation is the time-line visualisation, through
which the user can appreciate the temporal placement of the events composing the narrative on
Sustainability 2020,12, 1461 14 of 26
an absolute scale. The site Mingei Online Platform provides automatic timeline visualisation of
contextual events (Figure 13, left).
Sustainability 2020, 12, x FOR PEER REVIEW 14 of 28
In Mingei, each narrative comes equipped with a formal representation of the underlying fabula,
expressed in terms of objects and inter-relationships. These objects and relationships form a semantic
network, in which the fabula’s events are explicitly represented as nodes and are linked to (a) the
nodes that represent the people, objects, spatiotemporal regions involved in the events, and (b) the
nodes that represent the media objects documenting the events. This rich, semantical representation
of the fabula provides a contextualisation of the events composing the fabula. The contextualisation
can be appreciated upon visualizing the narratives and can be used to build stories about the crafts
and to link the crafts to other knowledge repositories via linked data mechanisms.
3.2. Craft Presentation
The Mingei project is investing a significant amount of resources to co-create storytelling
scenarios for the crafts and the users addressed by the project. These include games and other
activities that the users can enact in Virtual and Augmented reality scenarios, to appreciate the
different phases, skills and techniques that compose the crafts. An online platform allows the visual
representation of basic knowledge elements, such as events and places using interactive maps and
timelines.
A classical storytelling component in narrative visualisation is the time-line visualisation,
through which the user can appreciate the temporal placement of the events composing the narrative
on an absolute scale. The site Mingei Online Platform provides automatic timeline visualisation of
contextual events (Figure 13, left).
Large scale spatial context refers to specific locations on the surface of the Earth, their extent,
and their names over time. Such information is treated by GIS systems using GPS reference
coordinates and location inventories to treat these issues, respectively. The knowledge base keeps
only the GPS association with user names of the location and their specification and classification in
a given hierarchy or regions and countries; in Mingei GeoNames (https://www.geonames.org/) are
used. The stored data can be presented in a variety of ways that show whether a place is neighbouring
to the sea, up in the mountains, or an island. This is important for the presentation of craft context, as
it better explains trade, resources and possible threats. At the same time, GIS visualisations is a way
to relate to neighbouring, complementary destinations. In Mingei, we utilise the stored GIS data to
create customised HC narrations that can be provided through popular media to a wide audience.
Once encoded in GPS coordinates, the represented locations can be exported and integrated into any
GIS system. In this way, the reconstructions produced can be integrated into the GIS platform of
choice. In Figure 13 (right), the import of two locations in the OpenStreetMap [42] system is
illustrated, for two locations in Krefeld, Germany.
Figure 13. Visualisation of timelines and locations.
The presentation of rural and environments often requires more specialised presentation.
Denser spatial data exports of data and environment digitisations can be provided in the form of
Virtual Reality (VR), with places of interest and events that occurred at particular locations to be
added to the map. This way, each location can be enriched with any type of curated digital content
Figure 13. Visualisation of timelines and locations.
Large scale spatial context refers to specific locations on the surface of the Earth, their extent, and
their names over time. Such information is treated by GIS systems using GPS reference coordinates
and location inventories to treat these issues, respectively. The knowledge base keeps only the GPS
association with user names of the location and their specification and classification in a given hierarchy
or regions and countries; in Mingei GeoNames (https://www.geonames.org/) are used. The stored
data can be presented in a variety of ways that show whether a place is neighbouring to the sea, up
in the mountains, or an island. This is important for the presentation of craft context, as it better
explains trade, resources and possible threats. At the same time, GIS visualisations is a way to relate
to neighbouring, complementary destinations. In Mingei, we utilise the stored GIS data to create
customised HC narrations that can be provided through popular media to a wide audience. Once
encoded in GPS coordinates, the represented locations can be exported and integrated into any GIS
system. In this way, the reconstructions produced can be integrated into the GIS platform of choice.
In Figure 13 (right), the import of two locations in the OpenStreetMap [
42
] system is illustrated, for
two locations in Krefeld, Germany.
The presentation of rural and environments often requires more specialised presentation. Denser
spatial data exports of data and environment digitisations can be provided in the form of Virtual Reality
(VR), with places of interest and events that occurred at particular locations to be added to the map.
This way, each location can be enriched with any type of curated digital content (i.e., 3D reconstructions,
historical information, video data, etc.) that have been included in the knowledge base. In Figure 14,
two ways of presenting such data are proposed, for the island of Chios, Greece. The first is a projection
room where overviews of the environment can be interactively presented from aerials trajectories.
The second is a mobile application that presents the island in a 3D geophysical map. A third, more
conventional way is provided by a custom VR viewer implemented in unity3D that allows the user to
perform an indoors and outdoors virtual walkthrough inside the structures of Figure 15.
A piece of orientation material is a glossary of terms that associates triplets of terms, definitions,
and visualisations from the CI representation. As a document, a glossary increases the value of a visit
as pertinent concepts can be communicated prior to it and serves as a reminder after it. Several
games and activities stem from this verbal, semantic, and visual association of content that is not
necessarily restricted to the context of crafts. In this case, the important feature for sustainability relates
to the capacity of communities creating and content upon their own capacities. Such glossaries are
generated from the CI representation dynamically, using appropriate queries, in retrieving context
in the appropriate language and visual context. The example in Figure 16, presents elements of
a glass glossary.
Sustainability 2020,12, 1461 15 of 26
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(i.e., 3D reconstructions, historical information, video data, etc.) that have been included in the
knowledge base. In Figure 14, two ways of presenting such data are proposed, for the island of Chios,
Greece. The first is a projection room where overviews of the environment can be interactively
presented from aerials trajectories. The second is a mobile application that presents the island in a 3D
geophysical map. A third, more conventional way is provided by a custom VR viewer implemented
in unity3D that allows the user to perform an indoors and outdoors virtual walkthrough inside the
structures of Figure 15.
Figure 14. Immersive and VR presentation of geophysical context.
Figure 15. Virtual tour at animal husbandry settlements.
A piece of orientation material is a glossary of terms that associates triplets of terms, definitions,
and visualisations from the CI representation. As a document, a glossary increases the value of a visit
as pertinent concepts can be communicated prior to it and serves as a reminder after it. Several games
and activities stem from this verbal, semantic, and visual association of content that is not necessarily
restricted to the context of crafts. In this case, the important feature for sustainability relates to the
capacity of communities creating and content upon their own capacities. Such glossaries are
generated from the CI representation dynamically, using appropriate queries, in retrieving context
in the appropriate language and visual context. The example in Figure 16, presents elements of a glass
glossary.
Figure 14. Immersive and VR presentation of geophysical context.
Sustainability 2020, 12, x FOR PEER REVIEW 15 of 28
(i.e., 3D reconstructions, historical information, video data, etc.) that have been included in the
knowledge base. In Figure 14, two ways of presenting such data are proposed, for the island of Chios,
Greece. The first is a projection room where overviews of the environment can be interactively
presented from aerials trajectories. The second is a mobile application that presents the island in a 3D
geophysical map. A third, more conventional way is provided by a custom VR viewer implemented
in unity3D that allows the user to perform an indoors and outdoors virtual walkthrough inside the
structures of Figure 15.
Figure 14. Immersive and VR presentation of geophysical context.
Figure 15. Virtual tour at animal husbandry settlements.
A piece of orientation material is a glossary of terms that associates triplets of terms, definitions,
and visualisations from the CI representation. As a document, a glossary increases the value of a visit
as pertinent concepts can be communicated prior to it and serves as a reminder after it. Several games
and activities stem from this verbal, semantic, and visual association of content that is not necessarily
restricted to the context of crafts. In this case, the important feature for sustainability relates to the
capacity of communities creating and content upon their own capacities. Such glossaries are
generated from the CI representation dynamically, using appropriate queries, in retrieving context
in the appropriate language and visual context. The example in Figure 16, presents elements of a glass
glossary.
Figure 15. Virtual tour at animal husbandry settlements.
Craft gestures that include tool manipulation are visualised and trained in an educational context.
The following example, in Figure 17, is a simple training scenario where the user is tasked to grasp
a tool, using VR controllers and use in this case a hammer, a nail, and a wooden surface. The structure
of the training scenario is broken down into smaller sub-tasks. The user is asked to pick up the tool.
Performing this action equips the tool in the virtual hand, and the tool then follows the movement of
the VR controller. Afterwards, a training animation activates which indicates how the tool is to be
used, in this case how the hammer should be moved to hammer the nail down. The user is then asked
to duplicate the indicated motion using the VR controller. Once the nail reaches the maximum depth,
the training scenario is completed. This training scenario was created leveraging the ovidVR SDK,
developed by ORamaVR [43].
MotiVo [
44
] is an interactive system that simplifies the process of motion visualisation by offering
a number of visualisation tools as integrated components to an interactive system and provides
insightful and visually pleasant results requiring minimum expertise and knowledge from the user (see
Figures 18 and 19). A separate tool is used for presenting glass making processes in VR (see Figure 20).
Using those tools, motion is visualised by parameters, such as the blending of key poses of activity,
the visualisation of motion trajectories, the application of image filters to visualisations and their 3D
and 2D combinations so as to create hybrid depictions of motion.
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(a) Furnace: An enclosed structure for production and application of heat. Uses: Melting,
maintaining, reheating, and annealing glass or glass objects
(b) Gather, or gob: A mass of molten glass collected at the end of a blowpipe, pontil, or gathering
iron.
(c) Blowing: The technique of forming an object by inflating a gather or gob of molten glass on
the end of a blowpipe.
Figure 16. Elements from the glass dictionary.
Craft gestures that include tool manipulation are visualised and trained in an educational
context. The following example, in Figure 17, is a simple training scenario where the user is tasked to
grasp a tool, using VR controllers and use in this case a hammer, a nail, and a wooden surface. The
structure of the training scenario is broken down into smaller sub-tasks. The user is asked to pick up
the tool. Performing this action equips the tool in the virtual hand, and the tool then follows the
movement of the VR controller. Afterwards, a training animation activates which indicates how the
tool is to be used, in this case how the hammer should be moved to hammer the nail down. The user
Figure 16. Elements from the glass dictionary.
Sustainability 2020, 12, x FOR PEER REVIEW 17 of 28
is then asked to duplicate the indicated motion using the VR controller. Once the nail reaches the
maximum depth, the training scenario is completed. This training scenario was created leveraging
the ovidVR SDK, developed by ORamaVR [43].
Figure 17. VR training tutorial for hammering a nail. Left: Tutorial animation indicating
recommended motion, Middle: Movement the equipped tool into position for usage. Right:
Hammering a nail.
MotiVo [44] is an interactive system that simplifies the process of motion visualisation by
offering a number of visualisation tools as integrated components to an interactive system and
provides insightful and visually pleasant results requiring minimum expertise and knowledge from
the user (see Figures 18 and 19). A separate tool is used for presenting glass making processes in VR
(see Figure 20). Using those tools, motion is visualised by parameters, such as the blending of key
poses of activity, the visualisation of motion trajectories, the application of image filters to
visualisations and their 3D and 2D combinations so as to create hybrid depictions of motion.
Figure 18. Authoring of gesture visualisations using MotiVo.
Figure 17.
VR training tutorial for hammering a nail. Left: Tutorial animation indicating recommended
motion, Middle: Movement the equipped tool into position for usage. Right: Hammering a nail.
Sustainability 2020,12, 1461 17 of 26
Sustainability 2020, 12, x FOR PEER REVIEW 17 of 28
is then asked to duplicate the indicated motion using the VR controller. Once the nail reaches the
maximum depth, the training scenario is completed. This training scenario was created leveraging
the ovidVR SDK, developed by ORamaVR [43].
Figure 17. VR training tutorial for hammering a nail. Left: Tutorial animation indicating
recommended motion, Middle: Movement the equipped tool into position for usage. Right:
Hammering a nail.
MotiVo [44] is an interactive system that simplifies the process of motion visualisation by
offering a number of visualisation tools as integrated components to an interactive system and
provides insightful and visually pleasant results requiring minimum expertise and knowledge from
the user (see Figures 18 and 19). A separate tool is used for presenting glass making processes in VR
(see Figure 20). Using those tools, motion is visualised by parameters, such as the blending of key
poses of activity, the visualisation of motion trajectories, the application of image filters to
visualisations and their 3D and 2D combinations so as to create hybrid depictions of motion.
Figure 18. Authoring of gesture visualisations using MotiVo.
Figure 18. Authoring of gesture visualisations using MotiVo.
Sustainability 2020, 12, x FOR PEER REVIEW 18 of 28
Figure 19. Authoring of illustrated instructions with MotiVo.
Figure 20. Computer-aided, VR presentation of glass making processes from [45]. Top: Marvering.
Middle: Shaping. Bottom: Illustration of the glass deformation during glass blowing.
4. Use Cases
4.1. Margarites
The island of Crete in Greece is an internationally popular tourist destination. The majority of
tourism concentrates on the seaside locations as the majority of the tourism sector in Crete
concentrates of sun-and-sea tourism. At the same time, the mountains of Crete host traditions that
Figure 19. Authoring of illustrated instructions with MotiVo.
Sustainability 2020, 12, x FOR PEER REVIEW 18 of 28
Figure 19. Authoring of illustrated instructions with MotiVo.
Figure 20. Computer-aided, VR presentation of glass making processes from [45]. Top: Marvering.
Middle: Shaping. Bottom: Illustration of the glass deformation during glass blowing.
4. Use Cases
4.1. Margarites
The island of Crete in Greece is an internationally popular tourist destination. The majority of
tourism concentrates on the seaside locations as the majority of the tourism sector in Crete
concentrates of sun-and-sea tourism. At the same time, the mountains of Crete host traditions that
Figure 20.
Computer-aided, VR presentation of glass making processes from [
45
]. Top: Marvering.
Middle: Shaping. Bottom: Illustration of the glass deformation during glass blowing.
Sustainability 2020,12, 1461 18 of 26
4. Use Cases
4.1. Margarites
The island of Crete in Greece is an internationally popular tourist destination. The majority of
tourism concentrates on the seaside locations as the majority of the tourism sector in Crete concentrates
of sun-and-sea tourism. At the same time, the mountains of Crete host traditions that cover more than
a millennium. Some of the most identifying elements of Cretan culture originate from the region of
Psiloritis a UNESCO Global Geopark [
46
]. The village of Margarites is a simple to reach, mountainous
and off-centre destination at this park, at an altitude of about 300m, within the region of this park and
is one of the largest pottery centres in Greece.
Pottery is one of the oldest human crafts, originating before the Neolithic period, practiced by
elemental materials and processes: Earth, water, and fire. Old and new techniques coexist in the 20
some pottery workshops and showrooms of the village, where traditional and modern pottery is
produced. At Margarites, pottery tradition dates from the Neolithic period and is highly-relevant to
the ample reserve of clay found at its rural surroundings at the mountain of Psiloritis.
Mingei encompasses an action towards cultural tourism relevant to traditional crafts and their
participatory promotion and transmission. In collaboration with local policy makers and businesses,
a tourism network is planned that involves participation in workshops and seminars with more than
a day of the duration. Of relevance to the proposed work are pottery workshops held for students
and visitors. Visitors can view and participate in a demonstration of traditional pottery. An initiation,
educative experience into pottery was designed based on the modelling of traditional pottery in steps,
showing how raw earth materials are transformed into pottery articles (see Figure 21). The process is
modelled in five steps for which descriptions and educational videos are provided. The concept is
showcased in a webpage (http://www.mingei-project.eu/pottery-experience-keramion/) [47].
Sustainability 2020, 12, x FOR PEER REVIEW 19 of 28
cover more than a millennium. Some of the most identifying elements of Cretan culture originate
from the region of Psiloritis a UNESCO Global Geopark [46]. The village of Margarites is a simple to
reach, mountainous and off-centre destination at this park, at an altitude of about 300m, within the
region of this park and is one of the largest pottery centres in Greece.
Pottery is one of the oldest human crafts, originating before the Neolithic period, practiced by
elemental materials and processes: Earth, water, and fire. Old and new techniques coexist in the 20
some pottery workshops and showrooms of the village, where traditional and modern pottery is
produced. At Margarites, pottery tradition dates from the Neolithic period and is highly-relevant to
the ample reserve of clay found at its rural surroundings at the mountain of Psiloritis.
Mingei encompasses an action towards cultural tourism relevant to traditional crafts and their
participatory promotion and transmission. In collaboration with local policy makers and businesses,
a tourism network is planned that involves participation in workshops and seminars with more than
a day of the duration. Of relevance to the proposed work are pottery workshops held for students
and visitors. Visitors can view and participate in a demonstration of traditional pottery. An initiation,
educative experience into pottery was designed based on the modelling of traditional pottery in steps,
showing how raw earth materials are transformed into pottery articles (see Figure 21). The process is
modelled in five steps for which descriptions and educational videos are provided. The concept is
showcased in a webpage (https://medium.com/@mingei.project/keramion-efd40cec6139) [47].
Figure 21. The basic steps of pottery making.
Nearby Locations of Interest are showcased to increase the value of a visit, such as the ancient
city and archaeological museum of Eleutherna, as well as routes at the Psiloritis UNESCO Global
Geopark, transhumance, the seasonal droving of livestock along migratory routes [33] as well as
sample traditional Cretan cuisine is an expression of the Mediterranean diet [48].
4.2. Chios
In the south of the Greek island of Chios, a single type of tree has shaped not only the local trade
and culture, but even the built environment. The tree does not grow anywhere else in the world and
its resin, mastíha, is harvested to be used for a variety of uses, from skincare to medicinal and culinary
use. Chios is well known throughout the world for the cultivation of mastic trees, since the antiquities.
The know-how of cultivating, collecting, and processing mastic on the island of Chios is on the
“Representative List of ICH of Humanity” of UNSECO [49].
Mastic is a natural product collected from the bark of mastic trees, which exclusively flourish in
the southern part of the island, and due to this fact, the medieval settlements in that area are called
“Mastichochoria” (Mastic Villages). These settlements date back to the Byzantine Era, and they are
heritage monuments. During the Genoese occupation (1346–1566), the mastic cultivation becomes
progressively systematic, and 22 mastic villages are founded in the southern part of the island aiming
mainly at exploiting mastic, as a monopolistic product. The villages were not visible from the sea,
Figure 21. The basic steps of pottery making.
Nearby Locations of Interest are showcased to increase the value of a visit, such as the ancient
city and archaeological museum of Eleutherna, as well as routes at the Psiloritis UNESCO Global
Geopark, transhumance, the seasonal droving of livestock along migratory routes [
33
] as well as
sample traditional Cretan cuisine is an expression of the Mediterranean diet [48].
4.2. Chios
In the south of the Greek island of Chios, a single type of tree has shaped not only the local trade
and culture, but even the built environment. The tree does not grow anywhere else in the world
and its resin, mast
í
ha, is harvested to be used for a variety of uses, from skincare to medicinal and
culinary use. Chios is well known throughout the world for the cultivation of mastic trees, since the
Sustainability 2020,12, 1461 19 of 26
antiquities. The know-how of cultivating, collecting, and processing mastic on the island of Chios is on
the “Representative List of ICH of Humanity” of UNSECO [49].
Mastic is a natural product collected from the bark of mastic trees, which exclusively flourish in
the southern part of the island, and due to this fact, the medieval settlements in that area are called
“Mastichochoria” (Mastic Villages). These settlements date back to the Byzantine Era, and they are heritage
monuments. During the Genoese occupation (1346–1566), the mastic cultivation becomes progressively
systematic, and 22 mastic villages are founded in the southern part of the island aiming mainly at
exploiting mastic, as a monopolistic product. The villages were not visible from the sea, and their layout
resembles a fortress, designed to protect the inhabitants from the frequent incursions in the Aegean Sea.
Latin architects, engineers and contractors had local farmers build the villages, according to the
Italian architectural model of that era. In the centre of each settlement, there was a tall rectangular
tower, around of which there were houses very close to each other. The walls of the houses located
circumferentially of the village formed an external wall with a cylindrical turret with crenellations
on each corner to avoid invaders who tried to approach the centre of the village by confusing them.
This architectural draft gave masters the opportunity to close the gates in order to protect the area and
simultaneously keep their subjects under control.
To illustrate this geographical context, an overview was preferred. Aerial images were acquired
via a UAV. The subjects are large building complexes. The building structure is challenging, due to the
complex, rural city planning and fortification. Corresponding reconstructions from villages Pyrgi, Mesta,
Olympoi and Elata are shown in Figure 22. Two figures are provided for each village; an annotated
top view and a close-up near to its central building. The figures are annotated as follows; red lines
represent densely constructed houses which formed continuous external walls, green represents the
location of the central tower where mastic was stored, and blue circles represent rescued turrets. Note
that in later years, the towers in Mesta and Elata were replaced by churches. Detailed videos from the
reconstructions are provided in the Supplementary Material.
Sustainability 2020, 12, x FOR PEER REVIEW 20 of 28
and their layout resembles a fortress, designed to protect the inhabitants from the frequent incursions
in the Aegean Sea.
Latin architects, engineers and contractors had local farmers build the villages, according to the
Italian architectural model of that era. In the centre of each settlement, there was a tall rectangular
tower, around of which there were houses very close to each other. The walls of the houses located
circumferentially of the village formed an external wall with a cylindrical turret with crenellations on
each corner to avoid invaders who tried to approach the centre of the village by confusing them. This
architectural draft gave masters the opportunity to close the gates in order to protect the area and
simultaneously keep their subjects under control.
To illustrate this geographical context, an overview was preferred. Aerial images were acquired
via a UAV. The subjects are large building complexes. The building structure is challenging, due to
the complex, rural city planning and fortification. Corresponding reconstructions from villages Pyrgi,
Mesta, Olympoi and Elata are shown in Figure 22. Two figures are provided for each village; an
annotated top view and a close-up near to its central building. The figures are annotated as follows;
red lines represent densely constructed houses which formed continuous external walls, green
represents the location of the central tower were mastic was stored, and blue circles represent rescued
turrets. Note that in later years, the towers in Mesta and Elata were replaced by churches. Detailed
videos from the reconstructions are provided in the supplementary material.
(a) Pyrgi (b) Mesta
Figure 22. Cont.
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(c) Olympoi (d) Elata
Figure 22. “Mastichochoria” reconstructions.
The crafts related to mastic contain both outdoor and indoor activities that take place around the
house and in a centralised location. Digital representations of machines (i.e., Figure 23) and
traditional garments (i.e., Figure 24) have been acquired from the Mastic Museum at Chios. These are
utilised in a VR application (see Figure 25) that has been developed that allows the exploration of the
natural environment from a terrestrial viewpoint. The terrain of the game was generated by
importing the geophysical map into unity3D. Then flora and fauna were imported together with 3D
reconstructions of villages. The concept of the game is to explore the island in different eras and
acquire knowledge about the cultivation and trade of mastic in each one, through a mission-oriented
approach. Digitised rural environments are also important to the realism of such application.
Figure 23. Digitisation of Machines for mastic processing.
Figure 22. “Mastichochoria” reconstructions.
The crafts related to mastic contain both outdoor and indoor activities that take place around the
house and in a centralised location. Digital representations of machines (i.e., Figure 23) and traditional
garments (i.e., Figure 24) have been acquired from the Mastic Museum at Chios. These are utilised in
a VR application (see Figure 25) that has been developed that allows the exploration of the natural
environment from a terrestrial viewpoint. The terrain of the game was generated by importing the
geophysical map into unity3D. Then flora and fauna were imported together with 3D reconstructions
of villages. The concept of the game is to explore the island in different eras and acquire knowledge
about the cultivation and trade of mastic in each one, through a mission-oriented approach. Digitised
rural environments are also important to the realism of such application.
Sustainability 2020, 12, x FOR PEER REVIEW 21 of 28
(c) Olympoi (d) Elata
Figure 22. “Mastichochoria” reconstructions.
The crafts related to mastic contain both outdoor and indoor activities that take place around the
house and in a centralised location. Digital representations of machines (i.e., Figure 23) and
traditional garments (i.e., Figure 24) have been acquired from the Mastic Museum at Chios. These are
utilised in a VR application (see Figure 25) that has been developed that allows the exploration of the
natural environment from a terrestrial viewpoint. The terrain of the game was generated by
importing the geophysical map into unity3D. Then flora and fauna were imported together with 3D
reconstructions of villages. The concept of the game is to explore the island in different eras and
acquire knowledge about the cultivation and trade of mastic in each one, through a mission-oriented
approach. Digitised rural environments are also important to the realism of such application.
Figure 23. Digitisation of Machines for mastic processing.
Figure 23. Digitisation of Machines for mastic processing.
Sustainability 2020,12, 1461 21 of 26
Sustainability 2020, 12, x FOR PEER REVIEW 22 of 28
Figure 24. Digitisation of traditional garments of Chios.
Figure 25. A VR application for the presentation of mastic trade and the exploration of the natural
environment of Chios.
In Figure 26, a mobile application (a demonstration video of the application can be found here:
https://youtu.be/JjOcxmrQ744) presents a thicker context introducing the traditional knowledge on
how to induce incision on a mastic tree. This practice extends over a period of months, visiting the
trees periodically. Of relevance are not only the direction and depth of the incision, but also the
location on the step, the order, the density and the number and location of incisions per time of year.
The technique and knowledge are presented in multiple ways, in a mobile application, presenting
narratives associated through the “thick” CI representation. In this case, the number of incisions per
time of year is relevant to slowly “wake” the tree in the winter and at its base. The order relates to
the optimisation of production; traditionally, order is from bottom to top. Density, relates to an emic
understanding of the craft, as it is associated with the intention of maximising production on the cost
of the tree’s well-being, as overharvesting is well known to damage the tree and eventually reduce
next year’s production. As such, the overly dense incision has a negative connotation. In Figure 26, a
mobile application that simulated mastic cultivation is presented. In the example, the recommended
motion to create an incision to a mastic tree, in order to collect its resin, is simulated.
Figure 24. Digitisation of traditional garments of Chios.
Sustainability 2020, 12, x FOR PEER REVIEW 22 of 28
Figure 24. Digitisation of traditional garments of Chios.
Figure 25. A VR application for the presentation of mastic trade and the exploration of the natural
environment of Chios.
In Figure 26, a mobile application (a demonstration video of the application can be found here:
https://youtu.be/JjOcxmrQ744) presents a thicker context introducing the traditional knowledge on
how to induce incision on a mastic tree. This practice extends over a period of months, visiting the
trees periodically. Of relevance are not only the direction and depth of the incision, but also the
location on the step, the order, the density and the number and location of incisions per time of year.
The technique and knowledge are presented in multiple ways, in a mobile application, presenting
narratives associated through the “thick” CI representation. In this case, the number of incisions per
time of year is relevant to slowly “wake” the tree in the winter and at its base. The order relates to
the optimisation of production; traditionally, order is from bottom to top. Density, relates to an emic
understanding of the craft, as it is associated with the intention of maximising production on the cost
of the tree’s well-being, as overharvesting is well known to damage the tree and eventually reduce
next year’s production. As such, the overly dense incision has a negative connotation. In Figure 26, a
mobile application that simulated mastic cultivation is presented. In the example, the recommended
motion to create an incision to a mastic tree, in order to collect its resin, is simulated.
Figure 25.
A VR application for the presentation of mastic trade and the exploration of the natural
environment of Chios.
In Figure 26, a mobile application (a demonstration video of the application can be found here:
https://youtu.be/JjOcxmrQ744) presents a thicker context introducing the traditional knowledge on
how to induce incision on a mastic tree. This practice extends over a period of months, visiting the
trees periodically. Of relevance are not only the direction and depth of the incision, but also the
location on the step, the order, the density and the number and location of incisions per time of year.
The technique and knowledge are presented in multiple ways, in a mobile application, presenting
narratives associated through the “thick” CI representation. In this case, the number of incisions per
time of year is relevant to slowly “wake” the tree in the winter and at its base. The order relates to
the optimisation of production; traditionally, order is from bottom to top. Density, relates to an emic
understanding of the craft, as it is associated with the intention of maximising production on the cost
of the tree’s well-being, as overharvesting is well known to damage the tree and eventually reduce
next year’s production. As such, the overly dense incision has a negative connotation. In Figure 26,
a mobile application that simulated mastic cultivation is presented. In the example, the recommended
motion to create an incision to a mastic tree, in order to collect its resin, is simulated.
Sustainability 2020,12, 1461 22 of 26
Sustainability 2020, 12, x FOR PEER REVIEW 23 of 28
Figure 26. A mobile application that simulates the tasks of mastic cultivation.
4.3. Krefeld
Krefeld is a city in North Rhine-Westphalia, Germany, with a rich industrial and cultural history
tied to silk and velvet weaving from the 1600s onwards. Krefeld, also known as the “Town like Silk
and Velvet”, is not a mainstream touristic destination; however, it has a lot to offer to visitors. In the
context of the silk pilot in Mingei and through the collaboration with the Museum “Haus der
Seidenkultur”, a number of narratives have been formulated to support the storyline of the silk
weaving craft in Krefeld. Such narratives include: Krefeld history from its origins to its
transformation to the town of Silk and Velvet, Jacquard weaving, History of the Haus der
Seidenkultur, understanding the craft of silk Jacquard weaving, ecclesiastical fabric weaving in
Krefeld, ecclesiastical textiles, etc.
In Mingei, we are examining how these narratives can be used to support a thematic tourism
use-case scenario with multiple exploitation opportunities. One of the examined methods is to utilise
the silk weaving narratives to create customisable city tours. The vision is to provide a way for the
stakeholder to create city tours customised to various target audiences, i.e., families, individual
visitors, Rhine cruise visitors, etc. Using their mobile devices, the visitors will have access to a
selection of rich CH digital content from the Mingei platform associated with the specific points of
interest included in each tour, formulated in user-friendly multimodal presentations and experiences.
The material can be used in the context of existing guided tours, of creating new tours, or even as a
means of advertising to attract new visitors.
In this example, a city walk for Krefeld has been created. In each location of interest, a video and
when required, a 3D reconstruction is associated with the accompanying online digital content.
Figure 27 shows export of our modelled GIS information in the format of Google Maps (The Krefeld
Silk City Tour Map can be found at the following link. The link to the associated videos are in the
comments of each location: https://drive.google.com/open?id=1BSzZ11JANAOVpqwa-
eB0yaUDHDqHzlu1&usp=sharing). In Figure 27, the 3D reconstruction of a weaver’s house is shown
along with the video narration. In the particular case, the 3D structure of the building is of interest to
the craft, and therefore, its 3D reconstruction is shown. As explained in the accompanying video, the
reason is its windows and the indoor light that they avail. Weaving is a craft that requires light and
prior to electricity windows made it possible to work longer hours. For this reason, weaver’s homes
tended to have multiple windows on more than one face of the house. The route covers locations
relevant to Krefeld’s silk textile manufacturing history, in a recommended order. Each location is
linked to a curated video narration that presents historical and cultural data about it. Building data
that are relevant to the craft can be presented this way, such as the relevance of windows and weaving
in a temporal context.
Figure 26. A mobile application that simulates the tasks of mastic cultivation.
4.3. Krefeld
Krefeld is a city in North Rhine-Westphalia, Germany, with a rich industrial and cultural history
tied to silk and velvet weaving from the 1600s onwards. Krefeld, also known as the “Town like Silk and
Velvet”, is not a mainstream touristic destination; however, it has a lot to offer to visitors. In the context
of the silk pilot in Mingei and through the collaboration with the Museum “Haus der Seidenkultur”,
a number of narratives have been formulated to support the storyline of the silk weaving craft in
Krefeld. Such narratives include: Krefeld history from its origins to its transformation to the town of
Silk and Velvet, Jacquard weaving, History of the Haus der Seidenkultur, understanding the craft of
silk Jacquard weaving, ecclesiastical fabric weaving in Krefeld, ecclesiastical textiles, etc.
In Mingei, we are examining how these narratives can be used to support a thematic tourism
use-case scenario with multiple exploitation opportunities. One of the examined methods is to utilise
the silk weaving narratives to create customisable city tours. The vision is to provide a way for the
stakeholder to create city tours customised to various target audiences, i.e., families, individual visitors,
Rhine cruise visitors, etc. Using their mobile devices, the visitors will have access to a selection of rich
CH digital content from the Mingei platform associated with the specific points of interest included in
each tour, formulated in user-friendly multimodal presentations and experiences. The material can be
used in the context of existing guided tours, of creating new tours, or even as a means of advertising to
attract new visitors.
In this example, a city walk for Krefeld has been created. In each location of interest, a video
and when required, a 3D reconstruction is associated with the accompanying online digital content.
Figure 27 shows export of our modelled GIS information in the format of Google Maps (The Krefeld
Silk City Tour Map can be found at the following link. The link to the associated videos are in the
comments of each location: https://bit.ly/2SBPodn). In Figure 27, the 3D reconstruction of a weaver’s
house is shown along with the video narration. In the particular case, the 3D structure of the building is
of interest to the craft, and therefore, its 3D reconstruction is shown. As explained in the accompanying
video, the reason is its windows and the indoor light that they avail. Weaving is a craft that requires
light and prior to electricity windows made it possible to work longer hours. For this reason, weaver’s
homes tended to have multiple windows on more than one face of the house. The route covers locations
relevant to Krefeld’s silk textile manufacturing history, in a recommended order. Each location is
linked to a curated video narration that presents historical and cultural data about it. Building data
that are relevant to the craft can be presented this way, such as the relevance of windows and weaving
in a temporal context.
More abstract and analytic knowledge, as well as the use of rare machines, can be presented with
the use of VR. In Figure 28, a game explains the connection between the point paper design and the
production of textile motifs (A demonstration of the game can be found here: https://youtu.be/-0ep8g_
A1u0). The game is designed to provide a better understanding of the artistic dimension of textile
Sustainability 2020,12, 1461 23 of 26
design and manufacturing. During the co-creation meetings and talks with stakeholders, an interesting
issue was raised. The work of the various craftsmen to first create a design, to transform this to point
paper and ultimately to punch the cards which control the Jacquard unit whilst weaving is frequently
overlooked or barely even recognised by the visitors to the museum. The first craftsman draws a picture
or motif in pencil; the point paper designer transfers this to the point paper using watercolours. This
point paper design is then used to punch cards for the Jacquard loom. To highlight this feature, a new
game has been designed, in which the user will be able to draw his/her own pattern and then punch
a corresponding card in order to produce the final fabric and see the final textile production.
Sustainability 2020, 12, x FOR PEER REVIEW 24 of 28
Figure 27. A weaver’s house.
More abstract and analytic knowledge, as well as the use of rare machines, can be presented with
the use of VR. In Figure 28, a game explains the connection between the point paper design and the
production of textile motifs (A demonstration of the game can be found here: https://youtu.be/-
0ep8g_A1u0). The game is designed to provide a better understanding of the artistic dimension of
textile design and manufacturing. During the co-creation meetings and talks with stakeholders, an
interesting issue was raised. The work of the various craftsmen to first create a design, to transform
this to point paper and ultimately to punch the cards which control the Jacquard unit whilst weaving
is frequently overlooked or barely even recognised by the visitors to the museum. The first craftsman
draws a picture or motif in pencil; the point paper designer transfers this to the point paper using
watercolours. This point paper design is then used to punch cards for the Jacquard loom. To highlight
this feature, a new game has been designed, in which the us er will b e able to draw his /her own pattern
and then punch a corresponding card in order to produce the final fabric and see the final textile
production.
Figure 28. A mobile application that simulates point paper design, card perforation for the Jacquard
attachment, and actual weaving and visualisation.
6. Conclusions
The contribution of culture in building traditional knowledge and skills, including local
knowledge and cultural diversity, is the core of the Mingei project. Accurate representation of crafts
and educational tool contribute to the transmission of local cultural values, knowledge, and skills.
Empowerment of local, rural communities is supported by simple digital tools in order to
inventorize and represent knowledge, in an inclusive and participatory fashion with communities of
practitioners. The benefit of using simple technologies contributes to the building of the capacity
building, for the preservation of local culture.
To provide relevant educational content and engaging experience for uses prior, during, and
after a cultural tourism visit. The promising possibilities of thematic tourism emphasize the
importance of the preservation and representation of heritage crafts.
In compliance with global, collective efforts, the Mingei approach is oriented towards satisfying
the four basic axes of the 2030 UNESCO agenda [50]. Applications focus on the natural environment
Figure 27. A weaver’s house.
Sustainability 2020, 12, x FOR PEER REVIEW 24 of 28
Figure 27. A weaver’s house.
More abstract and analytic knowledge, as well as the use of rare machines, can be presented with
the use of VR. In Figure 28, a game explains the connection between the point paper design and the
production of textile motifs (A demonstration of the game can be found here: https://youtu.be/-
0ep8g_A1u0). The game is designed to provide a better understanding of the artistic dimension of
textile design and manufacturing. During the co-creation meetings and talks with stakeholders, an
interesting issue was raised. The work of the various craftsmen to first create a design, to transform
this to point paper and ultimately to punch the cards which control the Jacquard unit whilst weaving
is frequently overlooked or barely even recognised by the visitors to the museum. The first craftsman
draws a picture or motif in pencil; the point paper designer transfers this to the point paper using
watercolours. This point paper design is then used to punch cards for the Jacquard loom. To highlight
this feature, a new game has been designed, in which the us er wil l be ab le to dra w his/ her ow n patter n
and then punch a corresponding card in order to produce the final fabric and see the final textile
production.
Figure 28. A mobile application that simulates point paper design, card perforation for the Jacquard
attachment, and actual weaving and visualisation.
6. Conclusions
The contribution of culture in building traditional knowledge and skills, including local
knowledge and cultural diversity, is the core of the Mingei project. Accurate representation of crafts
and educational tool contribute to the transmission of local cultural values, knowledge, and skills.
Empowerment of local, rural communities is supported by simple digital tools in order to
inventorize and represent knowledge, in an inclusive and participatory fashion with communities of
practitioners. The benefit of using simple technologies contributes to the building of the capacity
building, for the preservation of local culture.
To provide relevant educational content and engaging experience for uses prior, during, and
after a cultural tourism visit. The promising possibilities of thematic tourism emphasize the
importance of the preservation and representation of heritage crafts.
In compliance with global, collective efforts, the Mingei approach is oriented towards satisfying
the four basic axes of the 2030 UNESCO agenda [50]. Applications focus on the natural environment
Figure 28.
A mobile application that simulates point paper design, card perforation for the Jacquard
attachment, and actual weaving and visualisation.
5. Conclusions
The contribution of culture in building traditional knowledge and skills, including local knowledge
and cultural diversity, is the core of the Mingei project. Accurate representation of crafts and educational
tool contribute to the transmission of local cultural values, knowledge, and skills.
Empowerment of local, rural communities is supported by simple digital tools in order to
inventorize and represent knowledge, in an inclusive and participatory fashion with communities
of practitioners. The benefit of using simple technologies contributes to the building of the capacity
building, for the preservation of local culture.
To provide relevant educational content and engaging experience for uses prior, during, and after
a cultural tourism visit. The promising possibilities of thematic tourism emphasize the importance of
the preservation and representation of heritage crafts.
In compliance with global, collective efforts, the Mingei approach is oriented towards satisfying
the four basic axes of the 2030 UNESCO agenda [
50
]. Applications focus on the natural environment
and its resilience, presenting the role of natural resources, history, and tradition in the shaping of local
cultural heritage. The applications are oriented toward safeguarding and sustainable management,
by the inclusion of traditional knowledge in cultural tourism services. Applications present traditions,
Sustainability 2020,12, 1461 24 of 26
memories, and values of past generations in local craft communities, obtained through defining events
of prosperity or tension in their history. The recite of difficulties of past generations through stories and
tradition, tends to increase the sense of obligation towards future generations in terms of environmental
protection [
51
]. In the context of the natural environment and ICH, this corresponds to safeguarding
and sustainability of the pertinent environmental resources. Prosperity and livelihood are served
by the contribution of culture in inclusive and sustainable economies, by generating income and
employment in cases where the number of practitioners is declining, as well as stimulating revenue
through cultural goods, services, and enterprises. In other words, Mingei strives to preserve interest
sustainably, and thus, continuation of the practice that is the main prerequisite of ICH preservation.
Supplementary Materials:
The following are available online at http://www.mdpi.com/2071-1050/12/4/1461/
s1. Webpage S1: The demonstration web page for pottery at Margarites, Video S2: The mastic application
demonstration, Video S3: The Krefeld game demonstration, Webpage S4: The Krefeld Silk City Tour Map,
Webpage S5: Textile magnification demonstrator, Video S6: 3D reconstruction of Sleeping Female Figure,
Video S7: The 3D rural reconstruction videos of mastic museum and mastic villages villages Pyrgi, Olympoi,
Mesta, Elata. Reconstructions 3D: (1) Sleeping Female Figure. The sculpture can be viewed in the following
link: https://youtu.be/1hyTKpSIIUw; The sculpture was recorded on November 2019, at Athens, Greece. It is
the “Sleeping Female Figure” (1877), by sculptor Yannoulis Chalepas (1851-1938). (2) Mastic villages. The
3D rural reconstruction videos can be found here: Mastic Museum https://youtu.be/Yw-xQYlKxQs; Pyrgi
https://youtu.be/15NcRlg3360; Olympoi https://youtu.be/adPDVx7RGVc; Mesta https://youtu.be/9xNlrGSBfIE;
Elata https://youtu.be/wUGY3aoP6y4.
Author Contributions:
Conceptualization, X.Z. and N.P. (Nikolaos Partarakis); methodology, X.Z., V.B., D.M.,
C.M., I.A., S.N.; software, A.Q., N.P. (Nikolaos Partarakis), N.S., I.S., A.C., N.P. (Nikolaos Patsiouras), P.D., E.K., E.S.,
V.N., A.R.; validation, I.A., S.N.; formal analysis, C.M.; investigation, C.B., I.N.-J., U.D., H.H., A.D., D.K.; resources,
M.F.; data curation, C.B., A.D., D.K., M.F., A.P.; writing—original draft preparation, X.Z.; writing—review and
editing, G.G.; visualization, N.P. (Nikolaos Patsiouras), E.S., A.R., E.M.; supervision, X.Z.; project administration,
X.Z. All authors have read and agreed to the published version of the manuscript.
Funding:
This work was supported by the European Commission Horizon 2020 Project, Grant No. 822336 and
the Foundation for Research and Technology Hellas-Institute of Computer Science (FORTH-ICS) internal RTD
Programme ‘Ambient Intelligence and Smart Environments’.
Acknowledgments:
The authors thank Dieter Blatt, Guenther Oehms, Manfred Weisters and Dieter Brenner and
the Association of Friends Haus der Seidenkultur for their contribution to the video recordings. Authors thank
Giorgis Dalambelas for the pottery demonstrations.
Conflicts of Interest: The authors declare no conflict of interest.
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