Creative digital culture in virtual systems and multimedia 2002 Chan-Mo Park Dept. of CSE, Postech, San 31, Hyoja-Dong, Pohang, Korea parkcm@postech.ac.kr Abstract. These instructions are designed for both author and typist and should be read carefully. If they are not adhered to, it could result in delay in publication and/or in sub-optimal reproduction quality. 1. Typing Area Use paper of A4 size, with the following typing area: length: 25 cm (or 10''), and width: 15.6 cm (or 6'' 1/8). The recommend typefont is Times. As a second choice, use Garamond. Only for tables and figures (illustrations) may you use Helvetica, Univers or other sans-serif fonts. Use Roman as default type and keep italics and/or bold for special text parts. Recommended typefont sizes:    a. For the title: 24 pts.    b. For the main text (including headings): 12 pts.    c. For abstract, footnotes, references, figures and tables: 10 pts. Settings for the line spacing are: 12 pts. in cases (b) and (c), 14 pts. in case (a). 2. Typographical Style and Layout Type the title approx. 2 cm below the first line of the page. Center the title (horizontally) on the page. Leave approx. 1 cm between title and the name and address of yourself (and of your co-authors, if any). Type name(s) and addresse(s) in 12 pts. and center them (horizontally) on the page. Use for addresses italics. Type the abstract at a maximum width of 12 cm. Center the abstract (horizontally) on the page. Number section and subsection headings consecutively in Arabic numbers and type them in bold, respectively italics. Keep headings and subheadings always flushed left. Do not include references to the literature, illustrations or tables in headings and subheadings. Keep two blank lines above a section heading and one above a subheading. Put one blank line under a heading and a subheading. Only if you want to emphasize specific parts of the main text, use italics. Otherwise, use Roman. Start a new paragraph by indenting it from the left margin (and not by inserting a blank line), except under a heading and subheading. All illustrations should be original drawings or photographic prints of originals. Photographs should be glossy prints. Photocopies are often not good enough and should be avoided. All illustrations must be numbered consecutively (i.e., not section-wise), using Arabic numbers. All illustrations should be centered, except for very small figures (no wider than 7 cm), which may be placed side by side. Center figure captions beneath the figure. Position figures at the top or at the bottom of a page. Do not assemble figures at the back of your article, but place them as close as possible to where they are mentioned in the main text. Please keep in mind the distinction between figures and tables (the latter only contain alpha-numerical characters and no graphical elements). All tables must be numbered consecutively (in Arabic numbers). Table headings should be placed above the table. References to the literature should be mentioned in the main text by an Arabic number in square brackets. List these (in numerical order) at the very end of your paper (under the heading 'References'). After proofreading and correcting the typed sheets, write in pencil on the back (top right-hand corner) of each sheet (1) your name, and (2) the sheet number. Mark the very last sheet by 'last page'. 3. Fine Tuning - Do not end a page with a heading or sub-heading. - Do not end a page with one or more blank lines, except to avoid 'widow' headings and to end your article. - Avoid starting a page with an incomplete line. - Keep changes in fonts and style to a minimum so as to avoid a disorderly page layout. - Do not underline headings, sub-headings, title, figure captions and table headings. - Make sure that in figures the size of the largest characters and numbers is in proportion to the size of the smallest ones (i.e., alpha-numeric symbols should not be larger than approx. 150% of the smallest ones). - Keep footnotes to a minimum or else list them in a special section before the References. References [1] N. Nescio, Instructions for the Preparation of a Camera-Ready Manuscript. IOS Press, Amsterdam, 1991. [2] Sir Karl Popper, The Critical Approach Versus the Mystique of Leadership, Human Systems Management 8 (1989) 259-266. [3] J. Edwards and P. Lawson, The Advancement of Transputers and Occam. In: J. Edwards (ed.), Occam and the Transputer - Current Developments. ISBN: 90 5199 063 4. IOS Press, Amsterdam, 1991, pp. 1-12. [4] P. Welch et al., Transputing '91. ISBN: 90 5199 045 6. IOS Press, Amsterdam, 1991. Download ============================== example 1 ================================= Communicating Culture & Exploring Landscape: An Experiment in Digital Heritage in the Loire Valley Alonzo C. Addison (1), Rachel M. Strickland (2), Nicolo Ceccarelli (3) (1) Director, Center for Design Visualization, University of California, Berkeley, U.S.A. (2) Videographer and Media Architect, San Francisco, U.S.A. (3) Professore Incaricato, School of Industrial Design, Polytechnic of Milan, ITALY addison5@socrates.berkeley.edu, rms@dnai.com, nicolo.ceccarelli@polimi.it Abstract The application of new media to the capture and communication of the "genius loci" or spirit of place, is discussed in the context of the Loire Valley World Heritage Site Nomination. In collaboration with the UNESCO World Heritage Center and numerous local, regional, and national agencies, a multi-university team explored the use of accessible and inexpensive digital media for the documentation, narration and communication of "cultural landscapes" during a short, focused workshop in the summer of 2000. The workshop model offers an inexpensive vehicle for cultural and natural site managers across the globe to utilize digital media in the management, recording, and dissemination of heritage to officials, professionals, and the general public. 1. Introduction In 1998 a 260-kilometer stretch of the Loire River - and its adjoining parklands, vineyards, chateaux, churches, abbeys and prehistoric sites - from Sully-sur-Loire to Chalonnes, was nominated by the government of France as a World Heritage Site. Because of the enormity of the proposed site, the newness of UNESCO's 'cultural landscape' classification, and concerns about nuclear power generation along the river, the nomination stalled in the international committee. Officials turned to digital media to re-energize the community around the complex proposal, to help explain its merits, and to aid in the coordination of multiple agencies' efforts in plans for the region's future. For one extended week in July 2000 a small group of skilled volunteers descended upon the Loire Valley to digitally record, narrate, and interpret its history. More than simply an exercise in multimedia documentation, the team was forced to grapple with definitions of cultural landscape, embodiment of place, and vanishing heritage in a time of global consumerism. With the worldwide web as a unifying instrument of expression, the interdisciplinary assembly of twenty some students, teachers, professionals, and government officials was charged with modeling a clear and sustainable vehicle for cultural memory. What transpired is a story of landscape exploration and cultural narration in the age of internet. ============================== example 2 ================================= Mosaicing for High Resolution Acquisition of Paintings Massimiliano Corsini, Franco Bartolini, Vito Cappellini Dipartimento di Elettronica e Telecomunicazioni, Universita di Firenze, e-mail: barto@lci.det.unifi.it Abstract There is an every day increasing interest toward the applications of image processing techniques to the field of Cultural Heritage, the main objectives being high quality archival, image reductions enhancement, virtual reconstruction, virtual restoration. This paper deals with the problem of setting up a simple and automatic procedure for obtaining a high resolution picture of a painting starting from a set of overlapped images showing different parts of the painting itself. With respect to other mosicing techniques the proposed method allows to compose the whole picture even in the presence of strong colour distortions. This is possible thanks to the use of an ordinal measure as a similarity criterion for evaluating the correspondences between the images. Experimental results have demonstrated the good performances of the proposed method. 1. Introduction In recent years many image processing and computer vision techniques have been used to develop various applications in the Cultural Heritage area. One application, for example, regards the assembly in a unique picture of images depicting parts of a painting and where the images can be of several types (e.g. infrared reflectograms, image acquired by X-rays, or in the visible band). In many cases the size of the painting under examination is too large with respect to the acquisition device capacity, so it is not possible to obtain, in a single step, the desired spatial accuracy. In these cases it is necessary to repeat the acquisition process on several parts of the painting, and then to join the obtained sub-images in order to put together the data of the whole painting. For this purpose, several kinds of mosicing techniques have been developed for a semiautomatic assembling of infrared refletograms [1], for reconstruction of painting on curved surfaces [5], for colour images acquired under perspective distortion [2], for panoramic images [3], and so on. The present work deals with colour images taken manually by a photographic machine and then scanned at high resolution. This acquisition process produces images characterized by strong colour distortions and small geometric distortions introduced when the operator translates the photo camera. In particular, during the camera translation, small rotations along all three-axis are inevitably introduced. The proposed method, in the hypothesis that translational motion of the camera is dominant with respect to tilt, slant and rotation, performs a fully automatic reconstruction of the acquired painting, based on a set of partially overlapped colour images.