Browsing by Author "Samaroudi, Myrsini"

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    AI-Driven Classification of a Design Photographic Archive
    (The Eurographics Association, 2024) Rodriguez Echavarria, Karina; Samaroudi, Myrsini; Corsini, Massimiliano; Ferdani, Daniele; Kuijper, Arjan; Kutlu, Hasan
    The paper presents a workflow for deploying an Artificial Intelligence (AI) classification of a previously unclassified photographic collection, the Design Archive's glass plate negatives. This involved fine-tuning the DinoV2 self-supervised image retrieval system with a domain-expert taxonomy to classify approximately 10K images within 40 classes. As such, it addresses challenges relevant to the curation, analysis and discovery of large-scale visual collections. A 3D visualisation was implemented for users to access the outputs presenting images as data points using the Uniform Manifold Approximation and Projection for Dimension Reduction (UMAP) to project the embeddings of the neural network. The paper demonstrates the advantages of this approach and reflects how users can participate in the AI processes making them more transparent and trustable.
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    Co-developing Knowledge Documentation for the Intangible Heritage of Egyptian Woodwork Craft
    (The Eurographics Association, 2022) Samaroudi, Myrsini; Rodriguez Echavarria, Karina; Amis, Tim; Sharara, Nesreen; Ali, Noha; Aboulfadl, Abdelrahman; Salah, AbdelHamid; Abdel Barr, Omniya; Weyrich, Tim; Ponchio, Federico; Pintus, Ruggero
    This research contributes towards the need to decolonise material culture knowledge by reaching out to communities across the world who still practice the intangible heritage of craft and linking their knowledge with the historical collections curated and exhibited in western heritage institutions. Craft know-how has been transmitted from past generations and in many instances still plays a key role in the economic development and social welfare within communities. Such development includes creative and handicraft industries which are under threat by mass production and the loss of traditional know-how. For western museums, the documentation of knowledge around craft can enhance our understanding and interpretation of collections. For communities, there is a potential to support preserving their endangered knowledge while offering opportunities to seek innovation through the digital transformation of their practices to benefit at a financial and socioeconomic level. This paper describes an ongoing research project which deploys visual methods and linked data to document and provide access to the intangible knowledge of the craft, which is practised by Egyptian woodwork crafters in the historic centre of Cairo.
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    Digital Workflow for Creating 3D Puzzles to Engage Audiences in the Interpretation of Archaeological Artefacts
    (The Eurographics Association, 2018) Echavarria, Karina Rodriguez; Samaroudi, Myrsini; Sablatnig, Robert and Wimmer, Michael
    3D physical puzzles are typically used to engage audiences in the interpretation of archaeological artefacts in a museum exhibition. The reason for this is that a puzzle can be seen as a game but also as a complex activity that archaeologists undertake to re-assemble fragments. The contribution of this paper is a novel digital worfklow for the design and fabrication of 3D heritage puzzles. The input to the workflow is an authentic artefact from a heritage collection, which is then digitised using technologies such as 3D scanning and 3D modelling. Thereafter, a puzzle generator produces the 3D puzzle pieces using a cell fracture algorithm and generates a set of puzzle pieces (female) and a single core piece (male) for fabrication. Finally, the pieces are fabricated using 3D printing technology and post-processed to facilitate the puzzle assembly. To demonstrate the workflow, we deploy the proposed method to create a 3D puzzle of an artefact, the Saltdean urn, for the Archaeological Gallery of the Brighton Museum and Art Gallery. The significance of this research is that it eases the task of creating puzzle-like activities and maintaining them within a busy museum gallery.
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    Experiencing Art by Means of 3D Printed Replicas: Enriching the Interpretation of Pot Oiseau
    (The Eurographics Association, 2019) Samaroudi, Myrsini; Echavarria, Karina Rodriguez; Rizvic, Selma and Rodriguez Echavarria, Karina
    Digitally fabricated artefacts or 3D replicas have the potential to enrich the interpretation of cultural assets by enhancing visitors' engagement with collections. However, it is still not well understood how replicas work as interpretative means and what are the actual visitors' attitudes towards them. The contribution of this paper is the development and evaluation of a 3D replica within a realistic interpretative scenario. This research deploys a case study focusing on a 3D printed pot representing an ''authentic'' reproduction of a pot made by Pablo Picasso, currently exhibited at the Brighton Museum and Art Gallery. By detailing the research processes and evaluation results, CH professionals can better perceive the dynamics of replicas as interpretative means within realistic situations; understand their positive contributions and weaknesses; and deploy methods and investigation themes, as presented in this paper. In this way, cultural heritage institutions and especially museums can be assisted when introducing replicas to support their audiences. The developments presented in this paper are part of a larger research project which proposes experience designs or experiential frameworks for the provision of 3D replicas to audiences. Our findings highlight that while there is enormous potential, there is also a need to re-educate people on how to engage with cultural heritage through new interpretative frameworks that are less rigid than those traditionally used in museums.
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    Interactive 3D Artefact Puzzles to Support Engagement Beyond the Museum Environment
    (The Eurographics Association, 2021) Rodriguez Echavarria, Karina; Samaroudi, Myrsini; LLoyd, Jack; Weyrich, Tim; Hulusic, Vedad and Chalmers, Alan
    The need for online 3D interactive experiences was evidenced during the COVID-19 lockdowns, as audiences across the world have been unable to visit museums, physically interact with their collections on site or digitally interact with technologies and digital media situated within such settings. As a response, this research addresses gaps identified in a review of the digital offerings from UK and US museums during the 2020 lockdowns, highlighting the limited number and nature of 3D interactive offerings provided, despite the wide efforts on 3D digitisation over the last decade. Thus, the research investigates the development and testing of an online 3D interactive activity, resembling a physical activity situated in the archaeological gallery of Brighton Museum and Art Gallery (UK). Through a pilot user survey, the research aims to understand what is the impact of such online offerings to better contextualise heritage collections; enhance cultural heritage learning and appreciation; and complement physical activities of similar nature. The analysis of audiences’' opinions about these interactions can be of great importance, as such activities have the power to enable active access to cultural heritage resources regardless of the physical location of users and transform heritage experiences in the long term. Our research indicates that, while the physical experience might offer advantages as far as it concerns the familiarity with the tactile nature of interaction, the digital counterpart has potential to allow for the experience of assembling the puzzle to achieve a wider reach.
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    Virtual Reality (VR) Interactions With Multiple Interpretations of Archaeological Artefacts
    (The Eurographics Association, 2018) Gaugne, Ronan; Samaroudi, Myrsini; Nicolas, Théophane; Barreau, Jean-Baptiste; Garnier, Laurent; Echavarria, Karina Rodriguez; Gouranton, Valérie; Sablatnig, Robert and Wimmer, Michael
    Increasingly, the incorporation of 3D printed artefacts into Virtual Reality (VR) and Augmented Reality (AR) experiences is of interest to Cultural Heritage professionals. This is because virtual environments, by themselves, cannot convey information such as the physical properties of artefacts within the environments. This paper presents a methodology for the development of VR experiences which incorporate 3D replicas of artefacts as user interfaces. The methodology is applied on the development of an experience to present various interpretations of an urn which was found at the edge of a cliff on the south east coastal area of the United Kingdom in 1910. In order to support the understanding of the multiple interpretations of this artefact, the system deploys a virtual environment and a physical replica to allow users to interact with the artefacts and the environment. Feedback from heritage users suggests VR technologies along with digitally fabricated replicas can meaningfully engage audiences with multiple interpretations of cultural heritage artefacts.