Understanding the similarities, differences, and relationships between cultural heritage artifacts is critical for determining their significance and their provenance. It also provides valuable information for ensuring the long-term preservation of cultural heritage artifacts. Consequently, as more museums develop online three-dimensional (3D) collections, curators and scholars are demanding online tools that enable them to document and interpret variances and similarities between related 3D digital objects. This article describes a system that was developed to enable museum curators and/or scholars to document relationships between multiple 3D digital representations of museum objects using web-based annotation tools. The 3D Semantic Association (3DSA) system enables users to annotate relationships between multiple whole objects, parts of objects, or features on objects (surface features or volumetric segments). The annotations are stored on a server in an interoperable format that can be shared, discovered, browsed, and retrieved through a web browser interface. This approach not only improves scholars’ capabilities to undertake cultural heritage research but also enables researchers to document, share, discuss, and compare alternative hypotheses about the relationships between artifacts.
Abstract. This paper presents a smart home system prototype which employs an indoor positioning system called the Best Beacon Match (BBM) positioning method to intelligently trigger the appropriately services for the home members. To overcome the ninja problem in the BBM method, the signal filtering, adjustment and smooth procedures are proposed. We employ the Zigbee module to implement the prototypes of the components for the BBM positioning method, and the prototypes were pass the ZigBee Compliant Platform (ZCP) certification test. The proposed system prototype which intelligently controls the air condition and light system for smart home applications is also verifying in our demo room and in the smart house in National Taiwan University.
The 3D Semantic Annotation (3DSA) system expedites the classification of 3D digital surrogates from the cultural heritage domain, by leveraging crowd-sourced semantic annotations. More specifically, the 3DSA system generates high-level classifications of 3D objects by applying rule-based reasoning across community-generated annotations and low-level shape and size attributes. This paper describes a particular use of the 3DSA system -cataloguing Greek pottery. It also describes our novel approach to rule-based reasoning that is modelled on concepts inspired from Markov logic networks. Our evaluation of this approach demonstrates its efficiency, accuracy and versatility, compared to classical rule-based reasoning.
International audienceIncreasing numbers of museums and cultural institutions are using 3D laser scanning techniques to preserve cultural artefacts as 3D digital models, that are then accessible to curators, scholars and the general public via Web interfaces to online galleries. Museums are finding the cost of providing metadata for such collections prohibitive and are keen to explore how they might exploit Web 2.0 social tagging and annotation services to capture community knowledge and enrich the contextual metadata associated with their collections. Although there exist some annotation services for 3D objects, they are designed for specific disciplines, not Web-based or depend on proprietary software and formats. The majority also only support the attachment of annotations to whole objects - not points, 3D surface regions or 3D segments. This paper describes the 3DSA (3D Semantic Annotation) system developed at the University of Queensland that enables users to attach annotations to 3D digital artefacts. The 3DSA system is based on a common interoperable annotation model (the Open Annotations Collaboration (OAC) model) and uses ontology-based tags to support further semantic annotation and reasoning. This common approach enables annotations to be re-used, migrated and shared - across annotation clients and across different 3D and 2.5D digital representations of the one cultural artifact. Such interoperability is essential if cultural institutions are to easily harness knowledge from a broad range of users, including curators, students and remote Indigenous communities, with different client capabilities
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