This chapter consists of the following sections:
Multimedia (defined as a combination of text, images and sound) is used in a variety of disciplines in science: medicine, biology, engineering, surface examination, etc. These 'exact science applications' have an impact on reserach in a museum context. Taking this a bit further, one can discern a set of applications relevant to museums: - access to full documentation, - comparison of objects, - restauration and conservation, - transport related topics, - reconstruction
For good management and care of collections it is necessary to have a full overview of the content of that collection and the state it is in. Such an overview is not needed when building multimedia systems for exhibitions and/or educational purposes. For these applications a selection of material is needed. One could maintain that researchers and managers of collections need to have access to all data, or at least to a nearly comprehensive selection of data.
Another difference between these groups of users is that researchers rely more on accuracy and quality of data, i.e. a standard VGA image will normally not satisfy them because it does not allow for zooming in and studying material in detail. These functionalities are necessary for conservation applications, for instance. Museum professionals need full information to perform the museums' tasks: publishing of collection catalogues, preparation of exhibitions, answering queries from people outside the museum, etc. If use has to be made of card indexes and the occasional photograph or the object itself, these tasks take longer and are costlier. It seems as if the multimedia aspect here is limited to images and text. However, depending on the collection (e.g. history of filmmaking, the Jazz museum) other media such as moving images and sound are needed. This relationship is even stronger when focusing on another important task of the museum: conserving the objects .
Typically research oriented applications deal with in-depth study of the objects, their composition and origin/date. A good example of such an application may be found in the article on the analysis of paper texture in Van Dyck's Antwerp Sketchbook [Dessipris]. In this research study, digital imaging was used to determine whether all folios in the sketchbook came from the same mould, an investigation which only can be done using computer and computer related technology. Another type is a system which allows the sampling of 3D images, which makes it possible for users to view these objects on all sides, to measure objects acccurately, to visualize the objects for demonstration purposes [Stanke]. Taking this a step further, the resulting file can be used to manipulate a moulding machine which can produces an exact replica of an object.
When preparing an exhibition it is important to select the works most relevant to the theme of the exhibition. Selection may be made on the basis of full textual documentation, but in many cases similar objects reside in the collection, and a final selection can only be made by viewing (and consequently handling) the objects themselves. Digital images may help in this respect.
In art history related research, comparison of paintings and drawings is one of the most essential techniques. The 'old fashioned' way is to spread out on a table a large number of photographs of paintings and shuffle them around, placing one next to the other, changing the order, etc. Systems as the Morelli system [Vaughan], which will form part of the Van Eyck information system are an enhancement, and partly replacement of such manual techniques. Morelli allows users to retrieve from a database of many images the one(s) which bears close resemblance to one selected. Thus the image itself has become a search argument. It is planned to take this a step further, allowing researchers to select a part of an image and use that as search argument. Other systems allow for texture searching, opening up a range of other possibilities of selecting material.
As already mentioned, digital imaging is very relevant for conservation purposes. Restoration may be added to this, witness some recent publications [McDonnel, Lagerqvist]. Imaging is used as a recording means for the restoration process and results, thus documenting and proving the methods and techniques used. Some systems need to not only do imaging, but also must produce derived graphic representations of objects. Underdrawing research also relies heavily upon computers and computer related technology. By documenting the underdrawing, and especially when combining it with analyses of paint samples, valuable information is put together which helps the restorer and the researcher both [Russo].
An exiting and relatively new application is discussed in an
article on monitoring transportation related changes in
paintings [Muller]. Again, a strong relation with conservation
and restoration may be detected here.
A system is set up to monitor the condition of a painting by
taking digital images of the surface of the work and detecting
cracks by using line detection algorithms. The images (crack
pattern and image itself) are superimposed, thus showing any
damage to the surface. By sampling data before and after
transportation, differences in the crack pattern may be
derived.
By using existing expertise on the meaning of
various patterns (i.e. cracks in the middle of the painting or
on the edges) it can be decided which event caused the further
deterioration of the surface.
Digital images can be used to reconstruct objects [Iwainsky],
photographs [Gschwind], architectural details [Stenvert] or
even city centers [Alkhoven]. Images of elements
can be put together using specially developed software.
Multimedia systems for research mostly concentrate on
two media, text and image, often enhanced by specially
designed software for manipulation. It is to be expected that
similar techniques for moving images and sound will become
available, presenting museums with a whole range of tools to
be used to fulfill their goals: preserving, documenting and
exhibiting cultural heritage.
REFERENCES
Dessipris Analysing the paper texture in Van Dyck's Antwerp
sketchn\book / Nikolaos G. Dessipris and David
Saunders, In: Computers and the history of art
5(1995)1, p. 65-77
Vaughan Automated picture referencing: a further look at
'Morelli' / William Vaughan, In: Computers and
the history of art 2(1992)2, p. 7-18
McDonnell Electronic imaging in conservation, collaborating
on small systems / Kathleen McDonnel and Barbara
Snyder, In: EVA '93 (Electronic imaging and the
visual arts), proceedings of Wednesday 28th July
1993, p. 44-54
Lagerqvist A system approach to the management of
photographs and other information sources within
the conservation field, In: EVA '95 (Electronic
imaging and the visual arts), proceedings, p. 19-
33
Russo Underdrawing documentation with infrared
reflectography and Mosart / Teresa M. Russo, In:
Computers and the history of art 2(1991)1, p. 29-
37
Muller The monitoring of transportation related surface
texture changes on paintings by digital imaging /
Manfred Muller and Andreas Burmester, In: EVA '93
(Electronic imaging and the visual arts),
proceedings of Thursday 29th July 1993, p. 45-54
Stanke 3-D-measurement and modelling in cultural
applications / Gerd Stanke and Lothar Paul, In:
EVA '95 (Electronic imaging and the visual arts),
proceedings, p. 23-35
Iwainsky Virtual reconstruction of cultural objects /
Alfred Iwainsky and Joachim Schulze, In: EVA '95
(Electronic imaging and the visual arts),
proceedings, p. 39-56
Gschwind Reconstruction of faded colour photographs by
digital imaging / Rudolf Gschwind and Franziska
Frey, In: EVA '92 (Electronic imaging and the
visual arts), proceedings 31st July
Stenvert Constructing the past: computer-assisted
architectural-historical research / Ronald
Stenvert. - Utrecht: University of Utrecht, 492
p.
Alkhoven reference to follow
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3. Multimedia in Education
5. Project Definition