来源

[1]Windhager Florian,Federico Paolo,Schreder Gunther,Glinka Katrin,Dork Marian,Miksch Silvia,Mayr Eva. Visualization of Cultural Heritage Collection Data: State of the Art and Future Challenges.[J]. IEEE Transactions on Visualization and Computer graphics,2019.

背景

经过数十年的现代化，网络上出现了大量的来自美术馆、图书馆、档案馆和博物馆的文化遗产藏品，数字文化遗产数据不断增加，相关学者和一般用户的访问量也不断增多。最近许多方法已经开始允许可视化地访问文化收藏，并通过交互可视化的方式将其作为复杂全面的信息空间进行解释。与传统的Web界面不同，转为文化遗产部门的藏品设计的可视化类型更具有创新型和交互的多样性。

研究方法和贡献

1.论文作者团队调查并回顾了数字文化遗产藏品的信息可视化方法，分析了70个文化遗产藏品的可视化系统（主要搜索包括信息视觉、视觉分析、人机交互、数字人文关系、数字艺术史和博物馆研究领域中相关期刊、出版物和会议中的作品），多角度对文化遗产藏品可视化界面设计的现状进行了研究和分析，并设计了一个网站来探索这个集合的可视化。

2.作为一个跨学科的团队，论文作者团队讨论了新的设计原则和策略，以及它们是如何解决了文化遗产藏品相关研究的挑战的。

什么是“CH DATA”? （文化遗产藏品数据）

Tangible Assets:objects, tools, artworks, building

Intangible Assets: arts, performing arts, crafts, expressions, customs, rites…

Visualization of CH collections 文物藏品的可视化系统

作者团队选取了70个可视化系统，其中50个来自学术文献，20个来自面向公众的文物展示平台。在选择研究可视化系统时，遵循了以下的一系列限制:

focus on approaches and
interface designs utilize InfoVis techniques

3D objects ×

2.
the search space is restricted to the culture sector

personal photo/music × scientific text documents ×

3.
focus on CH object and asset collections

cultural-historical entities( e.g. actors, events) ×

这张图片中左侧显示了所有类型的文物数据，右侧是展现了单个文物的类型以及与它相关联的其他信息，如时间、创造地点、作者、时间或是与其他文物的关联。

Classification

作者先就所有的文物可视化系统进行了分类，一共分出了七类。

1.Data

1.Object-centric approach 2.Event-centric approach

2.Users

Distinguish 2 classes of users: 1.Experts 2.Casual users

3. Tasks

1.Elementary tasks 2.Synoptic tasks

4.Granularity

1.Single Object Previews

2.Multi-Object Previews

3.Collection Overviews Utilizing Discrete Surrogates

4.Collection Overviews Utilizing Abstractions

5.Interactivity

1.Object Search

2.Overview and Orientation

3.Vertical Immersion or Abstraction

4.Accessing Object Details

5.Horizontal Exploration 6.Curated Path

6.Temporal Visualization Methods

7.Non-Temporal Visualization Methods

最终基于这些分类呈现出了一个很大的表格。

**Survey And Analysis of The Interface

1.The development of CH visualization

2.Casual VS. Expert Use

Interfaces for casual users focus more on
image objects **than
approaches for professional
users, and
often also display a thumbnail of the image itself;

Expert interfaces use fewer lists, grids, and tag
clouds than casual
interfaces.

Casual users interface should be simpler and provide few ways of visualization data

*3.A founding *

No hybrid systems integrating InfoVis techniques with 3D rendering techniques( e.g. of real or virtual museums)

a particularly interesting unexplored possibility and future potential (also for VR/AR guides)

4.Intangible CH data

a remarkable shortage of interfaces enabling access to intangible
objects or practices,
such as
music, film,
performing arts,
or linguistic entities(e.g., narratives, folk tales, or
poems).

Discussion

1.Serendipity

Serendipity -> concept in
library and information sciences

“the faculty or phenomenon of
finding valuable or agreeable things not sought for”

Options for Operationalization

1.emulating the serendipitous information space of a library or museum in digital CH interfaces

2.offer a slightly more serendipitous access in the sense that related or similar objects to the one searched for are also recommended based on existing object taxonomies or user-generated tags

2.Generosity

provide rich and navigable representations that encourage exploration and browsing， while overviews establish context and maintain orientation during
access to details at
multiple scales.

playful extensions of information seeking towards less goal-oriented information activities, such as satisfying curiosity, enjoying aesthetics, and avoiding boredom

3.criticality

criticality -> reflections and design strategies, that can help to meet
specific epistemic

standards in various humanities,
arts, and CH communities.

the understanding of CH collections as dynamic entities *that can be formed, re-arranged, contextualized, and annotated through innovative forms of participation can be specifically supported. Equally, *InfoVis and interface design holds the potential to allow for multiple, uncertain, and sometimes even conflicting perspectives and narratives to surface.

4.User Guidance and Narration

User
Guidance: Existing
metadata
of CH
collections often
support faceted browsing and recommendations
corresponding
to data dimensions

narrating
the collection:telling a story by selectingand presenting
objects in a purposeful manner, accompanying them
with additional information, and even guiding
visitors through
and between exhibits

narrative
guidance can be implemented, for example, as animated
movements across a map,
which may
include different textual and visual source materials .

5.Remote Access VS Being There

InfoVis systems developed primarily for remote use will not
necessarily serve the

information needs (or maybe rather
expectations) of museum
visitors

We consider the in-situ use of exploratory interfaces and collection visualizations inreal CH exhibition settings to be a largely unexplored area of application.

Uncertainty:
how to deal with uncertain data already belongs to
one of the standard
exercises of
the field

a lack of discussion on the same level

challenging metadata :“date”

The acknowledgment of imprecision and interpretative openness that is present in textual sources in the humanities have hardly been acknowledged in the design of CH interfaces and visualizations.

7.Contextualization

Linked data is a way of publishing structured
data that allows
metadata of
different local databases to be connected and enriched

uniquely identifying entities (such as cultural artifacts, creators, institutions, places, or events) and drawing typified (e.g., temporal, spatial, contextual, and conceptual)links between them, linked data initiatives weave CH-specific knowledge graphs and relational tissues into the Semantic Web.

【论文精读笔记1】文物数据可视化系统调查综述

文章目录

来源

背景