Mar Gaitan
Universitat de València, History of Art, Department Member
- Art historian, Master’s in Cultural Heritage and PhD in Art History from the University of Valencia. Member of ICOM, ... moreArt historian, Master’s in Cultural Heritage and PhD in Art History from the University of Valencia. Member of ICOM, specialist in digital humanities and cultural management. She has worked as a press officer for fashion and art projects, and as a cultural promoter for organizations such as The International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) and the National Office for the Preservation of Cultural Heritage-INAH, where she also performed visitors evaluation research.edit
We develop a multimodal classifier for the cultural heritage domain using a late fusion approach and introduce a novel dataset. The three modalities are Image, Text, and Tabular data. We based the image classifier on a ResNet... more
We develop a multimodal classifier for the cultural heritage domain using a late fusion approach and introduce a novel dataset. The three modalities are Image, Text, and Tabular data. We based the image classifier on a ResNet convolutional neural network architecture and the text classifier on a multilingual transformer architecture (XML-Roberta). Both are trained as multitask classifiers. Tabular data and late fusion are handled by Gradient Tree Boosting. We also show how we leveraged a specific data model and taxonomy in a Knowledge Graph to create the dataset and to store classification results.
Design education is practical and theoretical; however, it does not usually include the study of cultural heritage. Nonetheless, relations with academia have been strong since the 18th century, when the need to educate designers spread... more
Design education is practical and theoretical; however, it does not usually include the study of cultural heritage. Nonetheless, relations with academia have been strong since the 18th century, when the need to educate designers spread across the continent to improve design and make it competitive in the market. In this paper, we recover that spirit and act as mediators between heritage and young people to create links and preserve cultural heritage. A case study was conducted at the Public Valencian Design School with 31 product design students. The methodology applied was based on iterative processes that allowed students to discover design and silk heritage when they proposed innovative ways of approaching it. A qualitative survey was used to evaluate the case study. The results showed that students increased their appreciation for cultural heritage (by more than 90%) as well as their willingness to preserve it and reuse it in their future creations. Collaboration between cultura...
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Textile conservation has given rise to small and medium-sized museums, usually with scarce resources. In Sicily, the little evidence that remains of silk production and opulent imports by the rich and powerful local aristocracy is kept in... more
Textile conservation has given rise to small and medium-sized museums, usually with scarce resources. In Sicily, the little evidence that remains of silk production and opulent imports by the rich and powerful local aristocracy is kept in museums, parishes, and other cultural institutions. The documentation, dissemination, and enhancement of such a fragile heritage is today possible by means of technological tools that provide novel means to preserve, analyze, and exploit digital information. In this paper, we present some outcomes of the SILKNOW project, a project that applies computing research to the needs of diverse users (museums, educational institutions, the tourism industry, creative industries, media, etc.) and preserves the tangible and intangible heritage associated with silk. We show the methodology followed to build end users’ needs into the Virtual Loom, a tool that deals with the 3D reconstruction of silk fabrics at the yarn level. We also provide a real example of ho...
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Historical weaving techniques have evolved in time and space giving as result more or less fabrics with different aesthetical characteristics. These techniques were transferred along the main silk production centers, thanks to the... more
Historical weaving techniques have evolved in time and space giving as result more or less fabrics with different aesthetical characteristics. These techniques were transferred along the main silk production centers, thanks to the European Silk Road and creating a common European Frame on themes and techniques. These had made it complicated to determine whether a fabric corresponds to one century or another. Moreover, in order to understand their creation, it is necessary to determine the number of weaves and interlacements that each textile has, therefore, mathematical models can be extracted from these layers. In this sense, three dimensional (3D) virtual representations of the internal structure of textiles are of interest for a variety of purposes related to fashion, industry, education or other areas. The aim of this paper is to propose a mathematical modelling of historical weaving techniques by means of matrices in order to be easily mapped to a virtual 3D representation. The...
Research Interests: Computer Science, Cultural Heritage, Virtual Reality (Computer Graphics), Cultural Heritage Conservation, Heritage Conservation, and 15 moreSilk Road, Silk Road Studies, European Union, Technologies Applied to Cultural Heritage, Intangible Cultural Heritage (Culture), ICT innovation, Heritage, Textile Technology, Silk, Weaving, Textile, Silk Industry, Woven Fabrics, History of the Silk Road, and Representation Politics
Silk is a unique example of heritage where memory, identity, creativity and knowledge can be found in just one piece. It is a multifaceted, living heritage, as it consists of more than the fabrics themselves, but also the techniques... more
Silk is a unique example of heritage where memory, identity, creativity and knowledge can be found in just one piece. It is a multifaceted, living heritage, as it consists of more than the fabrics themselves, but also the techniques associated with them, historical buildings, trades, festivities, etc. Therefore, designers, weavers, painters, sellers and users are involved in it. However, it is also a fragile heritage, alive in the few industries that still weave with historical looms. Additionally, the COVID19 pandemic has put the entire artisanal and small industrial sector of European silk in risk of disappearing. In this, paper we show some results of the SILKNOW project, whose main objective is to improves the understanding, conservation, and dissemination of European silk heritage. To that aim, we provide a variety of interactive tools and computational technologies, which have been designed and developed in close collaboration among experts in ICT (Information and Communication Technologies) and SSH (Social Sciences and Humanities). We focus the paper in addressing the interdisciplinary work carried out in the project to produce two interactive tools: Virtual Loom and STMaps. Results show that this way of working has been essential to produce such outcomes. © 2021, Springer Nature Switzerland AG.
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El patrimonio europeo de la seda es un patrimonio integral que abarca tanto bienes materiales (telares, tejidos, hilos, etc.) como un importante patrimonio inmaterial lingüístico. Su importancia como patrimonio es indudable, pero aunque... more
El patrimonio europeo de la seda es un patrimonio integral que abarca tanto bienes materiales (telares, tejidos, hilos, etc.) como un importante patrimonio inmaterial lingüístico. Su importancia como patrimonio es indudable, pero aunque la seda ha tejido Europa y se sigue utilizando en numerosos contextos, la tejeduría tradicional está en riesgo por la pérdida gradual de artesanos que salvaguarden el conocimiento ancestral. Además, la seda sigue siendo relevante para las personas que experimentan conexiones vivas, personales y sociales con este patrimonio, el cual está vinculado a tantas historias de vida y relatos colectivos que ha generado numerosos vocablos propios. El modo en se han catalogado los bienes asociados a la seda es muy heterogénea debido a la falta de normalización de los catálogos de los museos que los custodian. Es por ello que el vocabulario del patrimonio de la seda procede de múltiples fuentes que se han mezclado a través del tiempo y el espacio, dando como resu...
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Clothes and textiles make up a very relevant part or religious cultural heritage. This paper presents a selection of liturgical textiles from the 18 th and 19 th centuries. They were created by Garín, a Spanish factory still active today.... more
Clothes and textiles make up a very relevant part or religious cultural heritage. This paper presents a selection of liturgical textiles from the 18 th and 19 th centuries. They were created by Garín, a Spanish factory still active today. The designs and weaving techniques employed in them have provided the starting point for a research project, SILKNOW, in operation between 2018 and 2021. It aims to apply cutting-edge computing technologies to textile heritage, including the religious and liturgical, and thus establish new historical and artistic connections.
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Abstract In this text, we present the contributions of the Spain-based project Rereadings. Museum Itineraries from a Gender Perspective, which aims to present to the public the collections of 11 Valencian museums, of various kinds and... more
Abstract In this text, we present the contributions of the Spain-based project Rereadings. Museum Itineraries from a Gender Perspective, which aims to present to the public the collections of 11 Valencian museums, of various kinds and under different types of ownership, from a gender and queer perspective. Rereadings uses virtual itineraries and QR codes to contribute to the study of gender. Thus, technology is used as a basis for information dissemination, analysis, and debate. The struggle against androcentrism and heteropatriarchy has generated a greater inclusion of women, other genders, and diverse sexualities in traditional museum discourse. New technologies function as one of the fundamental pillars of the project; their purpose is to disseminate museum itineraries as works in progress, and to promote education and access. Rereadings offers a forum for public discussion that questions androcentrism and the Western sexand gender-based binary system, while increasing the visibility and acceptance of alternative and transgender identities.
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El patrimonio de la seda constituye un tipo de patrimonio patrimonio integral, es decir, en él que se pueden encontrar elementos tangibles e intangibles además de ser un patrimonio vivo fuertemente conectado con su comunidad. Es además un... more
El patrimonio de la seda constituye un tipo de patrimonio patrimonio integral, es decir, en él que se pueden encontrar elementos tangibles e intangibles además de ser un patrimonio vivo fuertemente conectado con su comunidad. Es además un caso paradigmático, ya que tiene asociados elementos inmateriales que van desde literatura, a la recogida de la morera, o las técnicas tradicionales de tejido. Además, el desarrollo de su actividad ha dejado una impronta en diversas ciudades con monumentos e incluso marca el urbanismo de las mismas. Es un patrimonio vivo presente en diversas comunidades y constituye un elemento de creatividad presente en los diseños más contemporáneos de la moda actual. En este artículo se abordan los principales resultados del proyecto SILKNOW, financiado por la Unión Europea en el marco de Horizonte 2020 y se da valor a este patrimonio proponiendo la elaboración de un plan nacional que garantizará la salvaguarda de técnicas y saberes ligados a las técnicas de t...
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The cultural heritage domain in general and silk textiles, in particular, are characterized by large, rich and heterogeneous data sets. Silk heritage vocabulary comes from multiple sources that have been mixed up across time and space.... more
The cultural heritage domain in general and silk textiles, in particular, are characterized by large, rich and heterogeneous data sets. Silk heritage vocabulary comes from multiple sources that have been mixed up across time and space. This has led to the use of different terminology in specialized organizations in order to describe their artefacts. This makes data interoperability between independent catalogues very difficult. To address these issues, SILKNOW created a multilingual thesaurus related to silk textiles. It was carried out by experts in textile terminology and art historians and computationally implemented by experts in text mining, multi-/cross-linguality and semantic extraction from text. This paper presents the rationale behind the realization of this thesaurus.
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Nowadays, cultural heritage is more than ever linked to the present. It links us to our cultural past through the conscious act of preserving and bequeathing to future generations, turning society into its custodian. The appreciation of... more
Nowadays, cultural heritage is more than ever linked to the present. It links us to our cultural past through the conscious act of preserving and bequeathing to future generations, turning society into its custodian. The appreciation of cultural heritage happens not only because of its communicative power, but also because of its economic power, through sustainable development and the promotion of creative industries. This paper presents SILKNOW, an EU-H2002 funded project and its application to cultural heritage, as well as to creative industries and design innovation. To this end, it presents the use of image recognition tools applied to cultural heritage, through the interoperability of data in the open-access registers of silk museums and its presentation, analysis and creative process carried out by the design students of EASD Valencia as a case study, in the branches of jewellery and fashion project, inspired by the heritage of silk.
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Symmetry is part of textile art in patterns and motifs that decorate fabrics, which are made by the interlacement of warp and wefts. Moreover, the 3D representation of fabrics have already been studied by some authors; however, they have... more
Symmetry is part of textile art in patterns and motifs that decorate fabrics, which are made by the interlacement of warp and wefts. Moreover, the 3D representation of fabrics have already been studied by some authors; however, they have not specifically dealt with preserving historical weaving techniques. In this paper, we present the SILKNOW’s Virtual Loom, a tool intended to document, preserve and reproduce silk historical weaving techniques from the 15th to the 19th centuries. We focus on the symmetry function and its contribution to art history, textile conservation, and modern design. We analyzed 2028 records from Garin 1820 datasets—a historical industry that still weaves with these techniques—and we reconstructed some historical designs that presented different types of defects. For those images (including fabrics and drawings) that had a symmetrical axis, we applied the symmetry functionality allowing to reconstruct missing parts. Thanks to these results, we were able to ve...
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Symmetry is part of textile art in patterns and motifs that decorate fabrics, which are made by the interlacement of warp and wefts. Moreover, the 3D representation of fabrics have already been studied by some authors; however, they have... more
Symmetry is part of textile art in patterns and motifs that decorate fabrics, which are made by the interlacement of warp and wefts. Moreover, the 3D representation of fabrics have already been studied by some authors; however, they have not specifically dealt with preserving historical weaving techniques. In this paper, we present the SILKNOW's Virtual Loom, a tool intended to document, preserve and reproduce silk historical weaving techniques from the 15th to the 19th centuries. We focus on the symmetry function and its contribution to art history, textile conservation, and modern design. We analyzed 2028 records from Garin 1820 datasets-a historical industry that still weaves with these techniques-and we reconstructed some historical designs that presented different types of defects. For those images (including fabrics and drawings) that had a symmetrical axis, we applied the symmetry functionality allowing to reconstruct missing parts. Thanks to these results, we were able to verify the usefulness of the Virtual Loom for conservation, analysis and new interpretative advantages, thanks to symmetry analysis applied to historical fabrics.
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La historia europea está tejida en seda. Aunque se suele asociar la Ruta de la Seda a sus orígenes asiáticos, sus ramificaciones europeas fueron fundamentales para la construcción de la Europa actual gracias a los numerosos intercambios... more
La historia europea está tejida en seda. Aunque se suele asociar la Ruta de la Seda a sus orígenes asiáticos, sus ramificaciones europeas fueron fundamentales para la construcción de la Europa actual gracias a los numerosos intercambios comerciales derivados de dichas rutas. La herencia de estas rutas ha dejado un legado incalculable: un ejemplo único de patrimonio donde la memoria, la identidad, la creatividad y el conocimiento confluyen en una única pieza. Es además un patrimonio vivo, multifacético en el que tradición y artesanía perviven. Sin embargo, a pesar de su enorme importancia en la construcción de la Europa contemporánea, este patrimonio no ha sido lo suficientemente valorado, esto aunado a su propia naturaleza física lo hace más frágil frente a otro tipo de elementos culturales como pinturas o esculturas. Más aún, cuando el patrimonio inmaterial relacionado con las piezas textiles está gravemente amenazado por el cierre de muchas industrias, la pérdida de memoria oral, la inminente desaparición de los conocedores de las técnicas tradicionales, etc. Esto resulta en que la fragilidad de sus materiales 1 y saberes vinculados con el diseño textil necesiten del uso de la tecnología para la conservación y difusión de este patrimonio. Proyecto de investigación SILKNOW, tejiendo el pasado hacia el futuro
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El patrimonio textil es uno de los varios "primos pobres" dentro de la gran familia del patrimonio cultural. Algo especial-mente lamentable, pues pocas partes del registro histórico o cultural son tan transversales como los tejidos, tan... more
El patrimonio textil es uno de los varios "primos pobres" dentro de la gran familia del patrimonio cultural. Algo especial-mente lamentable, pues pocas partes del registro histórico o cultural son tan transversales como los tejidos, tan ricas en información social y connotaciones culturales, técnicas y vitales. Tradicionalmente la seda ha tenido un lugar principal, como tejido de lujo, cuyos productos eran el máximo de las posibilidades materiales y culturales de muchas socieda-des. Esto hace también que los objetos de seda sean especialmente abundantes en muchas colecciones históricas; no solo por la indumentaria, sino como parte de objetos funcionales, simbólicos, litúrgicos, mobiliario, etc. Esas colecciones, a veces en grandes instituciones de rango nacional o global, a veces en pequeñas entidades locales, han sido documentadas de formas muy diversas a lo largo del tiempo. Tras décadas de informatización en los museos, no son pocos los que cuentan con algún tipo de repositorio digital de sus colecciones. A este respecto, la diversidad de situaciones es abrumadora: desde un sencillo listado en una hoja de cálculo a todo un sistema de gestión de coleccio-nes en la nube. En el caso del patrimonio textil, esa información ya es abundante en soporte digital, pero normalmente se queda dentro de los muros de las instituciones, al alcance solamente de profesionales y especialistas. La propia naturaleza minori-taria de este patrimonio, antes citada, es causa y consecuencia de esta situación. Fichas de catalogación antiguas, de autoría y autoridad dudosas, poco o nada normalizadas en su estructura y su terminología, según metodologías muy diversas, en idiomas diversos… Las instituciones museísticas son custodios de un valioso patrimonio textil; no obstante, es difícil hacerlo atractivo para los canales masivos, pues difícilmente entra en las categorías más habituales en historia del arte, como una autoría asociada a un nombre famoso, una ubicación muy reconocida, o una gran visibilidad pública. En ese sentido, una forma de sacar los tejidos de los expositores y cajones donde son-afortunadamente-preservados es hacerlos máximamente disponibles a través de medios digitales; no ya solo las piezas excepcionales, sino los conjuntos, las series tipológicas, que en estos casos permiten hilar discursos mucho más ricos y significativos. La accesibilidad también ha de ser para el público no especialista o con dificultades de visión o de comprensión intelectual. Desde SILKNOW (Silk heritage in the Knowledge Society: from punched cards to big data, deep learning and visual/ tangible simulations) nos hemos propuesto, entre otras cosas, mejorar el acceso a ese patrimonio y la información digital asociada, mediante diversas herramientas. Como todo proyecto reciente del programa Horizonte2020, seguimos una política de acceso abierto a los datos que recopilemos. Provienen de distintas fuentes: fundamentalmente, bases de datos internas facilitadas por museos y colecciones, con los que llegamos a acuerdos; y datos ya en abierto, co-sechados mediante API o a través de las sedes web. El resultado, todavía en construcción, será un repositorio donde aunar información de muchas fuentes y hacerlas disponibles a los usuarios mediante herramientas mejoradas: interfaz e interrogación multilingüe, gracias a un tesauro especializado, organizando la información mediante un modelo de datos específico para este tipo de patrimonio, basado en CIDOC-CRM. En esta tarea, apoyamos y proponemos enfo-ques de acceso abierto a la cultura, concretamente a la catalogación de las colecciones, tal como hacen Europeana o Wikimedia Commons. Para ello, y dado el tema de este debate, es necesaria una mayor difusión de la cultura de acceso abierto dentro del sector patrimonial y museístico. Las colecciones, los datos en sus catálogos, son la materia prima, no solamente para un proyecto como el nuestro, sino para cualquier desarrollo digital serio en las instituciones del patrimonio. Aunque al-gunos grandes museos están marcando el camino a seguir (en la estela del Rijksmuseum o el Metropolitan), haciendo libremente disponibles grandes cantidades de datos sobre sus colecciones, a otros les está costando seguir el mismo camino. Nuestro Museo del Prado, puntero en algunos aspectos tecnológicos (con su Archivo Digital o su Modelo Se
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Clothes and textiles make up a very relevant part or religious cultural heritage. This paper presents a selection of liturgical textiles from the 18 th and 19 th centuries. They were created by Garín, a Spanish factory still active today.... more
Clothes and textiles make up a very relevant part or religious cultural heritage. This paper presents a selection of liturgical textiles from the 18 th and 19 th centuries. They were created by Garín, a Spanish factory still active today. The designs and weaving techniques employed in them have provided the starting point for a research project, SILKNOW, in operation between 2018 and 2021. It aims to apply cutting-edge computing technologies to textile heritage, including the religious and liturgical, and thus establish new historical and artistic connections.
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El proyecto "Relecturas. Itinerarios museales en clave de género" coordinado por la Universitat de València pretende acercar las colecciones al público desde la perspectiva de género. Este proyecto parte de la mirada conjunta del mundo... more
El proyecto "Relecturas. Itinerarios museales en clave de género" coordinado por la Universitat de València pretende acercar las colecciones al público desde la perspectiva de género. Este proyecto parte de la mirada conjunta del mundo académico y del museal: Museo Nacional de Cerámica y Artes Suntuarias "González Martí", Museu de Prehistòria de València, Museu de Història de València, Museu Valencià d'Etnología, Museo del Palmito d'Aldaia, y el Museu Comarcal de l'Horta Sud Josep Ferris March
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Historical weaving techniques have evolved in time and space giving as result more or less fabrics with different aesthetical characteristics. These techniques were transferred along the main silk production centers, thanks to the... more
Historical weaving techniques have evolved in time and space giving as result more or less fabrics with different aesthetical characteristics. These techniques were transferred along the main silk production centers, thanks to the European Silk Road and creating a common European Frame on themes and techniques. These had made it complicated to determine whether a fabric corresponds to one century or another. Moreover, in order to understand their creation, it is necessary to determine the number of weaves and interlacements that each textile has, therefore, mathematical models can be extracted from these layers. In this sense, three dimensional (3D) virtual representations of the internal structure of textiles are of interest for a variety of purposes related to fashion, industry, education or other areas. The aim of this paper is to propose a mathematical modelling of historical weaving techniques by means of matrices in order to be easily mapped to a virtual 3D representation. The work focuses on historical silk textiles, ranging from the 15th to the 19th centuries. We also propose a computer vision-based strategy to extract relevant information from digital imagery, by considering different types of images (textiles, technical drawings and macro images). The work here presented has been carried out in the scope of the SILKNOW project, which has received funding from the European Union's Horizon 2020 research and innovation program under grant agreement No. 769504. The results shown in the paper are preliminary and will be improved in the scope of the project.
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Silk was a major factor for progress in Europe, mostly along the Western Silk Road’s network of production and market centers. The silk trade also allowed for the exchange of ideas and innovations, having impacts at economic, technical,... more
Silk was a major factor for progress in Europe, mostly along the Western Silk Road’s network of production and market centers. The silk trade also allowed for the exchange of ideas and innovations, having impacts at economic, technical, functional, cultural and symbolic levels. However, silk has today become a seriously endangered heritage. Although many European specialized museums are devoted to its preservation, they usually lack the size and resources to take advantage of state-of-the-art digital technologies. The aim of this paper is twofold; firstly, we introduce SILKNOW, an interdisciplinary project that has been recently funded by the H2020 Programme of the European Union in order to preserve and promote the heritage of silk textiles; secondly, we introduce a set of interactive tools related to the project.
Esta contribución se enmarca dentro del proyecto H2020 Silknow que coordina la Universitat de València a través de un equipo multidisplicinar conformado por investigadores de las TIC y del ámbito de las humanidades y de las ciencias... more
Esta contribución se enmarca dentro del proyecto H2020 Silknow que coordina la Universitat de València a través de un equipo multidisplicinar conformado por investigadores de las TIC y del ámbito de las humanidades y de las ciencias sociales. Hoy el concepto de patrimonio cultural está más que nunca ligado al presente, como punto de partida que nos vincula con nuestro pasado cultural a través del acto consciente de preservar y legar a las generaciones futuras, convirtiendo a la sociedad en custodia. Este acto emerge con la ambición de permanecer en un mundo cada vez más cambiante y mutable, pero en medio de esta corriente surge cada vez con más presencia la apreciación del patrimonio no solo a través de su poder comunicativo que nos liga con nuestro pasado, sino también con su potencial como propiciador de economías innovadoras, a través del desarrollo sostenible y el impulso de las industrias creativas. Centrado en el patrimonio de la seda, se analiza este pasado desde el presente y como motor de desarrollo futuro.
Historical weaving techniques have evolved in time and space giving as result more or less fabrics with different aesthetical characteristics. These techniques were transferred along the main silk production centers, thanks to the... more
Historical weaving techniques have evolved in time and space giving as result more or less fabrics with different aesthetical characteristics. These techniques were transferred along the main silk production centers, thanks to the European Silk Road and creating a common European Frame on themes and techniques. These had made it complicated to determine whether a fabric corresponds to one century or another. Moreover, in order to understand their creation, it is necessary to determine the number of weaves and interlacements that each textile has, therefore, mathematical models can be extracted from these layers. In this sense, three dimensional (3D) virtual representations of the internal structure of textiles are of interest for a variety of purposes related to fashion, industry, education or other areas. The aim of this paper is to propose a mathematical modelling of historical weaving techniques by means of matrices in order to be easily mapped to a virtual 3D representation. The work focuses on historical silk textiles, ranging from the 15th to the 19th centuries. We also propose a computer vision-based strategy to extract relevant information from digital imagery, by considering different types of images (textiles, technical drawings and macro images). The work here presented has been carried out in the scope of the SILKNOW project, which has received funding from the European Union's Horizon 2020 research and innovation program under grant agreement No. 769504. The results shown in the paper are preliminary and will be improved in the scope of the project.
Silk was a major factor for progress in Europe, mostly along the Western Silk Road's network of production and market centers. The silk trade also allowed for the exchange of ideas and innovations, having impacts at economic, technical,... more
Silk was a major factor for progress in Europe, mostly along the Western Silk Road's network of production and market centers. The silk trade also allowed for the exchange of ideas and innovations, having impacts at economic, technical, functional, cultural and symbolic levels. However, silk has today become a seriously endangered heritage. Although many European specialized museums are devoted to its preservation, they usually lack the size and resources to take advantage of state-of-the-art digital technologies. The aim of this paper is twofold; firstly, we introduce SILKNOW, an interdisciplinary project that has been recently funded by the H2020 Programme of the European Union in order to preserve and promote the heritage of silk textiles; secondly, we introduce a set of interactive tools related to the project. We live in a time of change where technology and access to information have forever transformed the way we communicate and how we perceive reality. Our life and work patterns have been transformed and so has the way we communicate and relate to each other. Our current conception of cultural heritage (CH) has considerably changed, and it is not surprising that it continues to do so. Our look into the past must include an understanding how works of art and certain historical goods have been valued, gathered and preserved since antiquity, and whether this was for their aesthetic value, or for the value granted by past societies who appreciated their historical uniqueness, aesthetics or rarity. This appreciation formed a collecting culture, but also gave birth to the first conservation standards, both technical and legal. However, it was not until the twentieth century that the current concept of CH was consolidated in a decisive way. This meant recognition was given to cultural assets as significant evidences of human activity, as either material or intangible testimonies. In short, the recent phenomenon of CH is associated with a critical reflection on the past that recognizes the historical, artistic or cultural values of a given object and if it has a particular meaning that differentiates it from other types of objects and goods [1]. This generic conceptualization has experienced new ramifications that broadened the values we give to CH. Frequently, during the last century, the value of CH was associated with what differentiates and forms our identity as historical beings [2]. Today, the question of identity is one of the most
New technologies have revolutionized the world: nowadays we can communicate instantly to almost everywhere in the world with just a click from our cell phones or laptops. These technologies have also stormed the cultural heritage fi eld,... more
New technologies have revolutionized the world: nowadays we can communicate instantly to almost everywhere in the world with just a click from our cell phones or laptops. These technologies have also stormed the cultural heritage fi eld, causing major changes in how institutions, stakeholders and communities approach their heritage. From taking part directly on the restoration process to social tagging, in this paper I will analyze how social media and cultural institutions have become deeply interconnected.
The intellectual property rights of the contents of the publication are the sole property of IATED Academy and therefore the reproduction, distribution, public disclosure, transformation or any other activity that can be carried out with... more
The intellectual property rights of the contents of the publication are the sole property of IATED Academy and therefore the reproduction, distribution, public disclosure, transformation or any other activity that can be carried out with the contents of its proceedings is forbidden, without written consent from IATED Academy.
El modelo ilustrado francés fue adaptado en la corte española como mecanismo a través del que fomentar los talleres nacionales y generar nuevas manufacturas. Ello supuso la creación de la Real Fábrica de la Seda de los Cinco Gremios de... more
El modelo ilustrado francés fue adaptado en la corte española como mecanismo a través del que fomentar los talleres nacionales y generar nuevas manufacturas. Ello supuso la creación de la Real Fábrica de la Seda de los Cinco Gremios de Madrid en Valencia y la creación de la Escuela de Flores y Ornatos de la Academia de Bellas Artes de San Carlos, por Real Orden del 24 de octubre de 1778, con el fin de formar a artistas en el estudio de flores y ornatos para su aplicación al textil. La aplicación de medios informáticos, que propone el proyecto SILKNOW, al estudio de estos repertorios decorativos permite una nueva mirada sobre la relación entre los modelos franceses y las traslaciones valencianas.
Research Interests:
We present results of collaborative work bringing together semantic technologies, machine learning and cultural heritage to enable advanced search and visualization of textual descriptions of museum artifacts related to silk fabrics.... more
We present results of collaborative work bringing together semantic technologies, machine learning and cultural heritage to enable advanced search and visualization of textual descriptions of museum artifacts related to silk fabrics. Proposed is a multilingual txt analysis approach where the developed domain-specific multilingual thesaurus and domain-specific ontology are utilized in data representation and analysis. In addition, a general multilingual semantic annotation tool Wikifier is applied on thesaurus definitions and descriptions of silk-related museum artefacts. The validation on real-world data of several museums confirms suitability of the developed thesaurus and the ontology.
Research Interests:
SeMap ha creado un mapa interactivo que contiene los bienes culturales depositados en la base de datos de CER.es. Con esta herramienta podemos ubicarlos según procedencia o ubicación en un mapa espacio temporal. Además, sus diferentes... more
SeMap ha creado un mapa interactivo que contiene los bienes culturales depositados en la base de datos de CER.es. Con esta herramienta podemos ubicarlos según procedencia o ubicación en un mapa espacio temporal. Además, sus diferentes filtrados son útiles para la investigación, pero también para la educación patrimonial. De ahí que contemplemos la herramienta como accesible, intuitiva y necesaria para la educación en diferentes niveles. En esta comunicación presentamos la creación y desarrollo de esta herramienta, así como su utilidad en la divulgación y conocimiento del patrimonio.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and... more
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.