Digitalisation of Cultural Heritage

In this article the authors present a method for obtaining a line-art representation of a mural painting using colour photography. First, the information concerning colour components was separated and then the contours of graphic representations were ex- tracted. The result is an exact copy of the original and this level of precision makes it an important solution to the problem of registering and recording mural paintings. This method has been shown to be a useful solution for the documentation of the state of conservation of paintings, as well as a means for keeping track of restoration work; fur- thermore, it provides a fundamental material for analysing paint compositions. The present approach was developed keeping in mind the possibility of usage by computer non-spe- cialists; no programming knowledge is assumed and the use of shareware software was always preferred.

Piracy has been around for a while. The concept has existed since ancient times. Piracy has preserved its originally negative connotation until today, being infused with the idea of robbery and cruelty. Now, if we follow the metamorphoses that it has gone through in economic history, especially as far as industrial economics is concerned, we shall discover that not only piracy has preserved its romantically criminal tune, but it has also become an even more controversial issue today than it was several centuries ago. Especially what concerns economics.

Il diritto d'autore sulle edizioni musicali a stampa: restrizioni legislative e nuove prospettive per la
digitalizzazione
L'articolo intende offrire un sintetico vademecum sul diritto d’autore nelle edizioni musicali a stampa, per
i bibliotecari che si trovino ad affrontare il trattamento di fondi musicali o di singoli documenti contenenti
musica notata. Quali sono le caratteristiche fisiche e di contenuto che differenziano la musica a stampa
dagli altri prodotti editoriali? Di quali strumenti dispone il bibliotecario, dovendo gestire spartiti e partiture,
per evitare di violare le leggi in materia di diritto d’autore e copyright? Facendo il punto sulla legislazione
nazionale e comunitaria in materia, l’autrice analizza le ripercussioni della normativa vigente sulla gestione
della musica a stampa in biblioteca, con una particolare attenzione alla possibilità di diffusione legale
della musica a stampa in ambiente digitale.
Printed music and copyright: legislative restrictions and new perspectives for digitization
The article provides a concise copyright handbook for printed music for librarians who have to deal with
musical funds or documents containing musical notations. What are the differences between printed music
and other publishing products? Which are the available instruments in order to avoid any copyright violation
by the librarian that has to manage sheet music and scores? The author takes stock of the Italian and
European laws on the subject and focuses on how current regulations affect libraries and librarians, trying
to identify possible options for the digital dissemination of printed music within the confines of the law.

The digitization of cultural heritage is one of the crucial issues for libraries in the twenty-first century and a priority for the European Digital Agenda. It is applied as part of the Conservation of Cultural Heritage in general and of the library in particular , through experimental methods and standards that lead to results and goals that differ from country to country.

This article sketches key concerns surrounding the digital reproduction of enslaved and colonized subjects held in cultural heritage collections. It centralizes one photograph of a crying Afro-Caribbean child from St. Croix, housed in the Royal Danish Library, to demonstrate the unresolved ethical matters present in retrospective attempts to visualize colonialism. Working with affect and haunting as research material, the inquiry questions how museums and other cultural heritage institutions are caretaking historical violations, identifying themselves as hosting agents, and navigating issues of trust and accountability as they make their colonial collections available online. Speculating about what an ethics of care in representation could look like, the article draws on reparatory artistic engagements with such imagery and proposes how metadata could be rethought as a cataloging space with the potential to alter historical imbalances of power.

The development of Information Technology and Digital Humanities has brought numerous significant changes to the Cultural Heritage domain. The Digital Humanities has become a dynamic and fertile research field, and new projects and opportunities are constantly flourishing. The BYZART project perfectly fits this context. This project is coordinated by the Department of History and Cultures of the University of Bologna, embracing a wide consortium of partners from Bulgaria, Greece and Italy. It aims at enhancing Byzantine and Post-Byzantine artistic and cultural heritage within the Europeana platform. This project will enrich the existing Europeanacollections with about 75,000 new cultural and artistic multimedia objects relevant to Byzantine history and culture, including collections of digitized photos, video and audio content, and 3-D surveys and reconstructions. We have also established a liaison between the new materials and Byzantine-related content already existing on Europeana...

Questo lavoro, che costituisce l’aggiornamento della ricerca della Tesi di Dottorato di Ricerca in Scienze Umanistiche e dei Beni Culturali (intitolato La valorizzazione digitale del ptrimonio culturale in Europa e in Italia. Forme di fruizione e valorizzazione museale attraverso le nuove tecnologie e i social media. Una proposta di turismo wireless per Catania, A.A. 2011-2013), si organizza in due parti. Nella Parte I, dopo un inquadramento generale su Internet, sulle nuove tecnologie e sul loro impatto nel settore dalla comunicazione e valorizzazione culturale, con una particolare attenzione al fenomeno del divario digitale in Italia e in Sicilia, agli sviluppi del Web 2.0 e alle forme di partecipazione digitale dell’utenza alla produzione di contenuti culturali, l’interesse si focalizza dapprima sulle politiche culturali di valorizzazione digitale del patrimonio culturale europeo, dunque sulle corrispondenti politiche culturali italiane e siciliane, valutando anche i dati statistici sulla penetrazione delle ICT nella popolazione (europea, italiana e siciliana), sull’uso di Internet e dei dispositivi portatili, per il consumo di beni e servizi culturali. La Parte II della ricerca si apre con una presentazione delle tecnologie digitali variamente utilizzate nel settore della comunicazione mobile e delle possibilità di interazione che le nuove piattaforme digitali offrono nel campo della comunicazione culturale, con un ampio repertorio di esempi di dispositivi ad applicativi per la fruizione in modalità mobile del patrimonio culturale, sia all’estero che, soprattutto, in Italia e in Sicilia.



INDICE

INTRODUZIONE
La rivoluzione digitale e il suo impatto sulla comunicazione culturale

PARTE I
La cultura e le politiche culturali nell’epoca di Internet

CAPITOLO PRIMO
Internet e le nuove tecnologie per la comunicazione e la cultura
1.1 La diffusione di Internet, il digital divide e il digibetismo
1.2 Internet e l’accessibilità linguistica alla rete
1.3 Prosumers e social network, netnografia e information on demand nell’era del Web 2.0
1.4 Il settore culturale fra ICT, Virtual heritage e web marketing
1.5 Avatar e consumo d’arte a domicilio: il caso di Second Life
1.6 La comunicazione culturale tra reale e virtuale e le indagini sull’utenza museale remota
1.7 Il museo partecipativo sul web e le forme di partecipazione dell’utente alla produzione culturale e alla creazione di valore culturale

CAPITOLO SECONDO
La valorizzazione digitale del patrimonio culturale in Europa
2.1 Politiche europee di valorizzazione digitale del patrimonio culturale
2.2 Le statistiche culturali europee

CAPITOLO TERZO
La valorizzazione digitale del patrimonio culturale in Italia e in Sicilia fra digital divide, potenzialità economiche inespresse e co-creazione di valore culturale
3.1 Politiche italiane di valorizzazione digitale del patrimonio culturale
3.2 Diffusione di Internet in Italia, fra digital divide e consumo digitale di cultura
3.3 Diffusione di Internet in Sicilia, fra digital divide e consumo digitale di cultura
3.4 Il gap infrastrutturale italiano fra Terzo Mondo digitale e Agenda Digitale Italiana
3.5 Il progetto di un Federalismo Digitale e Free Italia Wi-Fi
3.6 Il potenziale economico (inespresso) di Cultura e Internet in Italia
3.7 Gli italiani e l’adozione di mobile devices
3.8 Google e la comunicazione e valorizzazione del patrimonio culturale italiano
3.9 Il progetto #invasionidigitali 2013 e #siciliainvasa: forme di co-creazione di valore culturale in modalità crowd
3.10 Lo stato dell’arte in Sicilia: la visibilità sul web del patrimonio culturale siciliano

PARTE II
Tecnologie per la comunicazione culturale mobile

CAPITOLO QUARTO
Tecnologie per la comunicazione culturale in mobilità
4.1 L’interesse degli operatori alle tecnologie per la comunicazione culturale in mobilità
4.2 Wi-fi, Bluetooth, GPS, Tag RFId, QR code e tecnologia NFC
4.3 Storie sulle Geografie tra web e mobile: forme digitali di appartenenza territoriale fra geo-blog, geo-social tagging, tagging emozionale e urban digital storytelling
4.4 Soluzioni di visita multimediali su PDA e visitatori wireless
4.5 iPod, smartphone e tablet: la rivoluzione nella comunicazione culturale mobile
4.6 Esempi di guided tour app nei musei e nelle biblioteche internazionali
4.7 Esempi di guided tour app per la fruizione mobile del patrimonio culturale italiano
4.7.1 Le i-MiBAC app
4.7.2 App per cultura e turismo nelle regioni e città italiane
4.7.3 Le app dei musei e delle biblioteche italiane
4.7.4 Le mostre temporanee e le app
4.7.5 Touring e gli altri
4.8 Le ultime frontiere delle guided tour apps fra Augmented reality, Bubble Viewer e emotional browsing
4.8.1 Augmented reality e Bubble Viewer: modalità aumentate di comunicazione culturale mobile del patrimonio culturale italiano
4.8.2 La frontiera emozionale nella comunicazione culturale mobile del patrimonio culturale italiano

CAPITOLO QUINTO
Tecnologie per la comunicazione culturale in mobilità in Sicilia: una panoramica
5.1 Esempi di guided tour per la fruizione mobile del patrimonio culturale siciliano
5.1.1 Guided tour in mp3
5.1.2 Guided tour con i Qr Code
5.1.3 Guide tour multimediali con PDA, smartphone e iPod, tra Qr Code, RFiD e NFC
5.2 Esempi di guided tour app per la fruizione mobile del patrimonio culturale siciliano
5.2.1 Le app istituzionali sulla Sicilia e i beni culturali siciliani
5.2.2 Le app istituzionali dei Comuni siciliani
5.2.3 Le app sulla Sicilia dal Touring agli operatori turistici
5.2.4 App per cultura e turismo nelle città siciliane
5.2.4.1 App per cultura e turismo a Palermo e provincia
5.2.4.2 App per cultura e turismo a Trapani e provincia
5.2.4.3 App per cultura e turismo a Caltanissetta e provincia
5.2.4.4 App per cultura e turismo a Enna e provincia
5.2.4.5 App per cultura e turismo a Agrigento e provincia
5.2.4.6 App per cultura e turismo a Siracusa e provincia
5.2.4.7 App per cultura e turismo a Ragusa e provincia
5.2.4.8 App per cultura e turismo a Messina e provincia
5.2.4.9 App per cultura e turismo a Catania e provincia
5.2.5 Le app dei musei
5.3 Soluzioni tecnologiche per il monitoraggio dell’utenza e la customer satisfaction: il caso di WiFiguide
5.4 Per una breve conclusione

BIBLIOGRAFIA E SITOGRAFIA

In the year 1969, the oldest part of the school library of Herlufsholm in Næstved was sold to the newly
founded University Library of Odense, including the special Groothoff book collection, Bibliotheca
Groothoffiana. Today, the joint collections are administered by the University Library of Southern
Denmark.
The Herlufsholm library contains very many works of great historical value, including many first editions
of spectacular scientific books, priceless maps, and etchings/woodcuts, not to mention numerous
handwritten names and annotations, added in the books by prominent figures of the past.
Tycho Brahe, René Descartes, Otto von Guericke, Johannes Kepler and Andreas Vesalius are among the
many famous authors to be found in the collection. Among the previous owners of the books are several
members of the Danish and foreign aristocracy as well as leading Danish scientists and scholars of all
kinds.
This book explains important parts of the school library history and presents selected items from the
collection, drawing forth examples of exquisite materials of both Danish and foreign origin.

Between 2013-2016, within the context of the multidisciplinary EU-funded cultural project "TAG CLOUD: Lifelong Engagement with Culture Through the Cloud" our team at the University of Birmingham created-in collaboration with ICT experts-the illustrated storyline "The Varangian Road to the Greeks", a virtual journey through time and space through a multidisciplinary approach. The purpose was to highlight the Viking itinerary from Scandinavia to Byzantium-one of the most significant, yet little illustrated European Cultural Routes-and the connection between the Norsemen and the eastern Mediterranean using innovative technologies. In their search for profit and plunder in the 8 th and 9 th centuries, Vikings sailed the Dnieper and Dniester rivers reaching the Black Sea, and came into contact with the Byzantine Empire and the Islamic Caliphate. They sold furs, amber and slaves in Constantinople, carrying silver, silk, and wine on the trip back home. Norse people formed the famed and feared Varangian imperial guard in Constantinople, and played a major role in disseminating Byzantine coinage and culture in northern Europe. With the combination of an array of digital resources, historical maps and georeferenced sites aided by the implementation of modern technologies we aimed to show how we can further social engagement and alert audiences of the potential of cultural heritage as a major connecting thread of Europe's diverse cultural communities.

Digital transformation of Collaborative Enterprise (CE), both in terms of planning and implementation, relies on new business models and innovative technologies. One of such technologies is Distributed Ledger Technology (DLT) which deploys a decentralised approach requiring no need for intermediaries, thereby facilitating decentralised enterprise operations. Accordingly, this article provides a systematic review and theoretical background of the current state and applications of DLTs within CEs by exploring how this disruptive technology can digitally transform CE practices. Grounded on the review of existing literature, a comprehensive characteristics, application, governance, stakeholders, and emerging security threats faced during DLT adoption and mitigation strategies are presented. More importantly, a model is proposed based on the factors that inhibit DLT adoption in CE. Findings from this study provide implications to support smart digital transition in CE for smart enterprise operations.

The digital capture of artifacts and the subsequent free dissemination of those digital assets is becoming increasingly important in contemporary museum and archaeological practices. The proper capture of an object does more than just representing it or producing a visual record. It ideally forms the basis for research, comparative analysis (paleography, sealings, joins, etc.), collation, and much more. Collection care takers are faced with the challenge of visually document their holdings in a sustainable, but also cost-efficient manner, as they often rely on third party funding. This session engages with two artifact groups that are regularly found in collections of materials from West Asia: (1) inscribed cuneiform artifacts and (2) cylinder and stamp seals. Each group comes with its own set of challenges and considerations. This workshop will highlight specific methods and best practices of digital capture, while addressing the various considerations involved in the choice of proper imaging technique (Photography, RTI, Photogrammetry, 3D-scanning) including: time, resources, purposes. The workshop will consist of a series of ten-minute talks, followed by a one-hour live demonstration of the capture methods used by the Digitizing the Yale Babylonian Collection project.

Дигитализација у архивима у Србији – изазови и замке АПСТРАКТУМ: Рад разматра један од проблема савремене архивистике – дигитализацију у архивима у Србији. Један број архива упустио се у подухват дигитализације самостално, без утврђених заједничких стандарда на нивоу државе и струке. У времену када смо на путу прихватања међународних стандарда, јасно је колико такви појединачни иступи могу представљати проблем на том путу, а са друге стране такве иницијативе су и неопходне како би се српска архивистика померила са, већ годинама, мртве тачке. КЉУЧНЕ РЕЧИ: дигитализација, компјутеризација, архив, архивска грађа, документ, информација Због све веће потребе савременог друштва за информацијама које ће бити доступне на брз, једноставан и јефтин начин – преко рачунара, у свим областима живота започела је примена информационих технологија. Та по-треба није мимоишла ни архиве као установе које у својим депоима чувају велике количине података – информација. Одговарајући на те потребе то-ком 90-их година прошлог века и архиви у Србији су се сусрели са новим изазовима – компјутеризацијом архива и дигитализацијом архивских доку-мената. У том смислу покренут је пројекат јединственог информационог си-стема – ЈАИС, који је требало да информационо обједини мрежу архива у Србији. До данас тај пројекат није заживео из различитих разлога. Поједини архиви кренули су у процес дигитализације архивских докумената самоини-цијативно, ослањајући се на сопствена знања и креативност, што је у неку руку похвално, али и исхитрено. Тако архивистика делује као оркестар без диригента, без јасних циљева и смерница за будућност. Да ли је и колико српска архивистика спремна да се носи са изазовом дигитализације и свиме што она доноси у погледу заштите докумената и информација које садрже? Овим прилогом желимо да скренемо пажњу на проблеме чије решавање представља предуслов за успешну дигитализацију у српским архивима и њихов улазак у друштво модерних архива. Значај увођења информационих технологија у архиве је неспоран. До-ступност информација о архивској грађи је на тај начин већа. Корисници

The TEI Guidelines represent today an essential standard in the world of textual encoding for digital editions. However, some problems concerning TEI encoding, both theoretical and practical, are far from being definitively resolved. In this context we firstly discuss a theoretical question: what is the nature of the encoding? Are we interested in the Text or in its documentary image? What is the difference between a descriptive encoding and an editorial one? Secondly, we analyse the specific case of the TEI Guidelines application to the Medieval textual and writing reality: indeed, this application risks being anything but automatic, as TEI tags were set in the context of contemporary printed books.

TAG CLOUD project - Technologies Lead to Adaptabilities and Lifelong Engagement with Culture throughout the CLOUD.
Workpackage title: Project Management.
Activity title: Ethical and Legal Issues.
The TAG CLOUD project focuses on cultural heritage, tangible and intangible, which is being preserved and promoted by museums, research collections, cultural organizations, and historical and archaeological sites. At the dawn of the 21st century the cultural sector is facing some of the most serious challenges in its history. Financial pressure and the decline of the humanities in education are just some of the factors that account for a steady decrease in visitor numbers in many cultural organisations. In order to combat these challenges cultural organisations have been increasingly using technologies and presenting cultural heritage in a new digital way. However, the use of digital technologies, unless clearly described, may affect the institutions’ ethical code, as visitors/participants in projects based on digital content may themselves be the subjects of research.
The current document, prepared by UoB, TAG CLOUD’s Ethical Management Team, constitutes the Deliverable 6.3: “TAG CLOUD Project Ethics Handbook” of TAG CLOUD project. It has been prepared in the Activity A6.4 “Ethical and Legal Issues” within the context of Work Package 6. Its purpose is to define the ethical code of conduct of research undertaken by the TAG CLOUD consortium. The document is organised in five chapters:
Chapter 1 induces to the ethical issues and describes the methodological framework of the TAG CLOUD project. Then, it presents and explains the ethical issues related to the project and how they are addressed.
Chapter 2 mentions the data regulation laws and EU directives taken into account during the project.
Chapter 3 addresses the gender action plan.
Chapter 4 contains the concluding remarks.
Chapter 5 mentions the sources consulted and relevant literature for further reading.
The annexes include the following official documents: the UoB Code of Practice for research; the UoB code of ethics and data protection policy; codes of ethics of other cultural bodies; principles from the European Directive 95/46/EC; EU policies and Inter- service Group on Ethics; and the Community Research and Development Information Service (CORDIS, FP 7).
The current manual written by the Ethical Management Team (E. Georganteli and I. Koukouni, UoB) provides guidelines as to how the content used and created by visitors/users will be managed. It also addresses copyright issues (for photographs taken by visitors and for images of artefacts, GIS data, games used in the development of scenarios), and issues of personal data as well as ethical and legal issues related to participants/visitors of the three pilot sites. Relevant international and European conventions (i.e. Helsinki Declaration, ICOM, UNESCO) are fully integrated in the present manual.

The Centre for Virtual Environments (VE) Projects overview: ARSyS Augmented Reality for intra-operative Navigation, Virtual Reality-Interactions-Baukasten (Deutsches Museum Bonn), Virtual Showcase (Ebda., Technisches Museum Wien), CubicMouse(TM) , i-CONE™ – Displaysystem for VE, CAVE™ , Responsive Workbench (RWB)™ (Bonn Bundeskunsthalle), Digital cultural and ecological exchange (EU-project), Digital Beethovenhouse (DFG),  Virtualization fo sculpture – Bernini (DFG / Villa Borghese, Univ. Siegen), LISTEN –  Audiosystem for Museums (EU , Kunstmuseum Bonn) , Virtual MIR, Virtual Museum
Virtual Planetarium / Virtual Reality Games, Virtual Presentation a Marketinginstrument, Virtuelle Architecture– Joschka Fischers Office, CAVEland on CyberStage , Camera Musica, AudioDome, Virtual Anima, CAVE-Festival 2002 in Bonn Animax Multimedia Theatre, Virtual Archäology – Xanten, HuModAn – Automatic Human Model Animation Environment , Virtual Human, AVANGO™ – Virtual Reality Framework, alVRed – nonlinear Dramaturgy in VE, Acustic Seismology, Conceptual Styling in VE, ProViT – Digitale Produktentstehung, VEonPC – VE-Technologie, VRGeo.

On-site heritage interpretation plays a vital role in cultural heritage sites in conveying the significance and multiple heritage values to the visitors. In an era where the world is transforming with innovative digital applications, the heritage sites are also being integrated with digital interpretation techniques to deliver a better interpretation and new dimensional experience to the visitors. Though multiple digital solutions are available, not all the techniques are appropriate, applicable and feasible to every site. Besides, neither proper worldwide principles nor framework has been exerted for these digital heritage interpretation developments. Therefore, this study is focused on building a generic conceptual framework to select the most appropriate digital interpretation technique(s) that fit the context of the heritage site, giving special reference to the six Cultural World Heritage Sites of Sri Lanka. The relevant qualitative and quantitative data were gathered via in-depth interviews, field observation, literature survey and a visitor survey questionnaire. The main themes and sub-themes derived through the thematic analysis were adopted as the theoretical framework for the research to analyze the collected data of the six Cultural World Heritage Sites and the selected digital techniques. Based on the results, the study recommends appropriate digital techniques for each Cultural World Heritage Sites of the country. Further as aimed, the study presents a conceptual framework for on-site digital interpretation developments for cultural heritage sites by categorizing the 24 criteria derived for data analysis under five phases namely ‘Prepare’, ‘Assess’, ‘Design’, ‘Implement’ and ‘Sustain’.

The texst presents a research and a design for the ‘regeneration of the cultural heritage’ of a specific geographical area, corresponding to the stretch of coastline that faces the Ionian Sea and is rooted at the bottom of Etna, in Sicily. This “terracqueus landscape” has in the past been punctually marked by vertical architectures, the coastal watchtowers, which can be found all over the Mediterranean. Artifacts hat, like “time machines”, still allow us to travel motionless to contemplate that horizon made of sky and sea, which we contemporaries are all too familiar with by now, but where that elsewhere still reigns, reaching out towards a desire that unites the present, memory and the near future. Among hese, the Archirafi and Laviefuille Towers are two military architectures that no longer exist, ‘invisible’, which stood on the coast of Riposto in the province of Catania, belonging to a much larger fortified system defending the Contea of Mascali. The study of these artefacts, the analysis, examination of texts, historical cartographies, maps, drawings of the past, their critical analogical drawing, restitution and 3D modelling, have led the authors to develop a strategic programme of regeneration of the ‘invisible cultural heritage’ of this portion of the terracqueous landscape. Developing new scenarios and itineraries between the real and the virtual, analogue and digital representation, with the aim of providing institutions and administrators who manage local heritage with pilot projects to bring to the surface and re-connect the distracted contemporary resident with those latent and invisible places that populate, albeit unconsciously, his memory.

La animación didáctica de la reconstrucción
virtual del templo ibérico de La Alcudia de Elche posee una
narrativa audiovisual intencionada con un fin didáctico,
desde el punto de vista museográfico y desde el punto de
vista educativo en el aula. Encuadres, angulación de la
cámara, tiempos, ritmo o efectos sonoros se han realizado y
se describen de acuerdo a este objetivo, y se han tenido en
cuenta los estudios de público anteriores con exposiciones
virtuales similares. Se añade un breve resumen sobre las
conclusiones del estudio de público realizado, así como
limitaciones y recomendaciones de accesibilidad para el
futuro.
The didactic virtual animation reconstruction of the Iberian temple of La Alcudia de Elche has an intentional cinematic storytelling with a didactic purpose, from the point of view of museums and from the educational point of view in the classroom. Framing, camera angle, timing, rhythm or sound effects have been performed and described according to this goal, and have taken into account previous studies with similar public virtual exhibitions. A brief summary of the study's findings made public, as well as limitations and accessibility recommendations for the future is added.

Digitalising the Museum is an online repository created as a substitute for physical visits to London’s museums and galleries and art centres that were meant to be undertaken by undergraduates from the London College of Communication (LCC) in 2020. In an attempt to provide a version of the exhibition experience whilst arts venues were in lockdown due to pandemic, the author began exploring their online provision, featuring it in a virtual learning resource and theorising ‘digital museum’. This became the groundwork for a project conducted with the alumni who started evaluating digital exhibitions, tours,
and artefacts at London art venues with an interest to support them whilst their doors were closed, their staff furloughed, and decolonisation agenda become reinvigorated with the Black Lives Matter movement. The author reflected on the alumni’s findings to map the museums engagement with digital technology throughout the pandemic caused by COVID-19.

Singapore tops multiple global rankings for the consumption of luxury products. In this land-scarce and densely-populated city-state, to purchase a high-end car, landed property, or to have a fine dining experience, ranks amongst the most expensive in all Asian cities. That luxurious approach in life, however, does not find a parallel in death. As this paper indicates, a life of luxuries in Singapore does not necessarily mean deluxe burials, graves, mausoleums, or shrines. In fact, due to scarcity of land and the tight control on its usage, there are limited options for the well-off to display the same sense of wealth in death as they did in life. This paper explores the correlation between elaborate burials and the right to eternal rest, and investigates how a land-deprived country faces the challenge of sustainably balancing modernisation aspirations with respect for burial customs and cultural heritage.

The process of digitising archives, widespread in the previous decade, has not omitted musical resources, and offers their users new functionalities. These measures can improve researchers’ work, as digital material is easy to localise and access. However, a question still remains of the subject of oral history, which acts like audiovisual documents, of its value and dura- bility, the present results and the consequences of the common access to the materials. It is also a question of the effectiveness of multidimensional grassroot initiatives, such as creating common virtual collections of materi- als. What possibilities have we got for the folklore musical archives currently being discovered? Will their digitisation make them suddenly valuable in the society? In this text, the author attempts to diagnose the problem of digitisation of musical archives as exemplified by the ethnomusicological collection of Adolf Dygacz. The author highlights the importance of lo- cal history that is typical for human studies, which has always been part of folklore studies, but has not been considered in the light of memory studies until recently.

Il paper  descrive le potenzialità del Museo delle Regole, un museo che ancora non esiste se non nella fase progettuale, pur essendo stato presentato già nel 2015 e poi inserito dalla Fondazione Castelcapuano fra gli obiettivi per la rinascita del Monumento dove ha già la sua sede.
I suoi ideatori lo hanno immaginato come luogo nel quale si ricordano, si illustrano, si discutono, si studiano le regole, nel loro formularsi storico e nel loro avvicendarsi e modificarsi, con l’obiettivo ultimo di formare una coscienza delle regole e della loro necessità, a garanzia della stessa libertà personale e collettiva: tutti i momenti della storia culturale dell’uomo sono stati scanditi da regole, non sempre da immaginare come espressione di potere o di forza, ma come consapevolezza nell’individuo della loro necessaria socialità. Il Museo delle Regole sarà perciò, e soprattutto nella città di Napoli, un luogo di formazione, di divulgazione e illustrazione dei diritti e dei doveri.

La tendencia a la desmaterialización del arte durante el siglo XX verá su culminación definitiva en el desarrollo de los nuevos medios digitales actuales. Con ellos las creaciones artísticas acentuarán la carga de la información contenida sobre cualquier otro elemento físico. Los medios quedarán reducidos a materializadores circunstanciales de las obras. En este contexto, dominado por la rápida obsolescencia de las nuevas tecnologías, la cuestión será la de las posibles estrategias de conservación de las obras de cara al futuro. El patrimonio cultural digital producido en nuestros días corre un peligro constante de pérdida. Ante ello debe redifinirse el papel de la institución, un medio ya no almacenador de creaciones moribundas, sino punto neurálgico que debe mantener abierto el proceso de comunicación con el público-usuario.

The arrival of new digital media has meant the end of the trend toward dematerialization started at the beginning of the 20th century. Because of this fact, artistic creations make the information burden a priority compared to any other physical element. Media have been reduced to mere materializers of the works. Early obsolescence of new technologies focus the question on the possible strategies of the conservation of works for the future. Digital heritage produced today is in an unceasing danger of loss. Therefore, the role of the institution must be redefined. The museum is not going to be a storehouse for dying works of art anymore, on the contrary it will become a main core that must keep the process of communication open to the public-user.