The course provides students with a deep understanding of the main methodologies and tools used for digitization and management of digital cultural heritage. They are introduced to topics such as the definition and importance of digital cultural heritage, principles of digitization, and the crucial role of Italian and European regulations in managing digital resources. Students will learn to use various digitization techniques, including photography, 3D scanning, and virtual restoration methodologies, to develop the necessary skills in the field. They will also be introduced to the use of major platforms (e.g., Sigec web) managed by the Ministry of Culture for different domains (e.g., ABAP - Art, Artistic and Landscape Heritage) and will become familiar with various issues related to the proper archiving, description, metadata, and preservation of digital objects. The analysis of European and Italian regulations will provide a solid foundation for compliance with existing laws and will be accompanied by the presentation of the history and fundamental functions of ICCD. At the end of the course, students will acquire skills in the use of modern digitization technologies for the enhancement and enjoyment of cultural heritage; they will be able to design, manage, and evaluate digitization and enjoyment projects specific to the cultural heritage sector and critically assess emerging trends in the field of digital methodologies for cultural heritage.

The course includes lectures accompanied by practical exercises aimed at understanding the correct use of procedures and digital tools. It covers, over six weeks, the following topics:

Week I (April 9, 10, 11)

In the first week, the European concept of digital cultural heritage and the digital representation of objects, documents, or culturally significant places are introduced. The necessity and objectives of digitization projects and activities, their role in preservation and accessibility, are explored. The Italian and European regulations governing digital cultural assets are discussed, with a focus on relevant laws and directives. Finally, issues related to digital archiving are addressed, emphasizing the importance of accurate metadata management for the long-term preservation of digital cultural assets.

Week II (April 16, 17, 18)

Specific challenges related to the digitization of three-dimensional objects are analyzed, highlighting advanced solutions and best practices. Specific photographic techniques used to document and enhance cultural assets are presented along with current Italian regulations on digital reproductions, paying attention to restrictions and associated rights. The topic of virtual restoration is then examined, particularly how 3D is employed in the digital preservation process. The use of advanced technologies to digitally restore objects damaged over time is discussed, along with advanced applications of digitization for the enhancement of artistic heritage.

Week III (April 23, 24, 30)

Digitization techniques applied to historical documents and archives are explored, focusing on the preservation of texts, manuscripts, and important documents. Challenges related to the management of digital archives are analyzed, with references to Italian regulations. The major platforms used by the Ministry of Culture (e.g., Sigec for ABAP domain; Sbnweb for library assets; Manus or Siae for archival assets) for managing different digital cultural assets are considered. Methods for organizing data coherently, facilitating search, and ensuring integrity are discussed.

Week IV (May 2, 7, 8)

Practical applications of virtual and augmented reality in the enhancement and accessibility of digital cultural assets are considered. Italian regulations governing the use of these technologies in cultural contexts are explored, addressing aspects of accessibility and user experience. Challenges and issues related to digital storytelling in Virtual Museums are discussed, analyzing case studies and involving students in creating a cultural narrative through the use of digital tools. Digital Humanities and their role in the context of digital cultural assets are also explored.

Week V (May 9, 14, 15)

Tools and methodologies for data analysis in digital cultural assets are presented. Statistical and interpretative analysis practices are examined, with particular attention to the privacy and security of cultural data, in accordance with European and Italian regulations. Students then explore platforms and tools for e-learning in the cultural sector, specifically addressing the design of online courses dedicated to digital cultural assets.

Week VI (May 16, 21, 23)

In the final week, key course concepts are reviewed, reflecting on emerging trends, challenges in the field of digital methodologies for cultural assets, and a special focus on future perspectives. Possibilities for students to present projects in the field of Digital Humanities are discussed, with a specific focus on European funding programs for researcher mobility (e.g., Marie Curie Fellowship), as well as opportunities offered by Specialization Schools and PhD programs.

Knowledge and understanding: The student must demonstrate, through an oral interview, that they have acquired and processed the content and methodological foundations of the discipline. Therefore, the candidate should be able to recognize and effectively frame the topics presented during the course and the European and Italian regulations in the field of Digital Humanities.

Applied knowledge and understanding: The student must show that they possess analytical and conceptual tools for a critical understanding of the methods, issues, and tools relevant to the digitization of cultural heritage.

Judgment autonomy: The student must demonstrate the ability to discuss issues related to the course themes maturely and independently, placing them in broader and interdisciplinary contexts.

Communication skills: By the end of the course, the student should acquire adequate skills and tools to present information appropriately and consciously, using the technical-scientific language appropriate to the field of study.

Learning ability: The student should have developed the learning skills necessary to undertake further studies and in-depth investigations with a high degree of autonomy.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

A) Alongside the lectures, seminars will be conducted by external professors, researchers from research institutes (e.g., CNR), laboratories focusing on digital cultural assets (e.g., DigiLab), or professionals from the digital entrepreneurship world. Names, specific content, and schedules will be communicated during the lectures.

B) Some lessons will be dedicated to learning the methods of using the main digitization equipment. There is also the possibility of experimenting with the use of virtual reality headsets.

C) During the course and before the evaluation session, students can request a meeting with the instructor for any doubts or difficulties in exam preparation, by scheduling an appointment via email (fabio.cavallero@uniurb.it).

D) It is also worth noting the opportunity to complement the course activities with those carried out in the laboratory "Introduction to ICCD ministerial cataloging standards (archaeological and historical-artistic assets)" taught by Professors A. Coen and A. Santucci (https://www.uniurb.it/corsi/1757020/laboratori).

Teaching

Frontal lectures with the use of PowerPoint and equipment/software used for the digitization of cultural heritage.

Innovative teaching methods

Debate: Students will engage in regulated debates on certain topics, addressing potential research challenges posed by the use of digitization tools for cultural heritage.

Problem-based learning: After presenting issues, techniques, and methodologies in digitization and communication of cultural heritage, student groups will be formed for in-depth exploration, such as creating a virtual museum, digitizing and virtually restoring a cultural artifact, or applying innovative technologies like augmented reality.

Learning by doing: Students will have the opportunity to learn, through practical usage, the operation of certain tools for digitizing cultural heritage.

Flipped classroom: Students will collaborate on a common project, presenting weekly developments themselves. The final outcomes will be discussed in the oral exam.

Attendance

Given the technical topics and practical lessons involving equipment, attendance is strongly recommended. Attendance of at least ¾ of the total lessons is mandatory.

Course books

From the following texts, specific sections will be indicated during the course:

R. Sibilano, Digitalizzare e metadatare un bene culturale, Milan 2022.

S. Allegrezza (ed.), La digitalizzazione del patrimonio culturale. Linee guida, standard, esperienze, Rome 2021.

C. Calveri, Metaversi culturali. Nuove frontiere digitali per le imprese e la cultura, Milan 2023.

Articles and chapters from other works related to the topics covered will be specified during the course.

Any materials provided by the instructor on the Moodle platform at blended.uniurb.it.

Assessment

During the oral exam, the assigned projects during the course will be discussed and evaluated. For example, projects related to creating a virtual museum, digitizing and virtually restoring a cultural artifact, or applying innovative technologies like augmented reality. Students must demonstrate the ability to critically analyze their projects and reflect on decisions made during the implementation process. Additionally, knowledge of theories and practical applications of cultural heritage digitization methodologies will be assessed. The discussion may also cover topics such as digital preservation, ethical implications, and new trends in the field. A non-memorized knowledge of European and Italian regulations regarding digital cultural heritage is also required.

Exemplary evaluations will be given to performances demonstrating the student's possession of critical skills, clear content presentation with established connections, and appropriate use of specialized vocabulary.

Satisfactory evaluations will be granted to performances showing the student's more than basic knowledge, supported by critical thinking and orientation using technical language of the discipline.

Adequate evaluations will be assigned to performances indicating the student's attainment of minimal knowledge, even with some educational gaps, and the use of somewhat inappropriate language.

Negative evaluations will be given to performances revealing the student's difficulty in orientation regarding the addressed themes, serious knowledge gaps, and the lack of appropriate use of technical language.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

Individual study and the completion of projects to be agreed upon with the instructor.

Attendance

Non-attendance of the course requires the completion of a project, to be agreed upon personally with the instructor, at least three months before the exam session in which the student intends to participate.

Course books

In addition to the texts indicated for attending students (see above), the following volumes must be added:

AA. VV., Next generation culture. Digital technologies and immersive languages for new audiences of culture, Venice 2022.

C. Calveri, Cultural Metaverses. New digital frontiers for businesses and culture, Milan 2023.

This bibliography must be supplemented with materials used during the lectures, which students will directly coordinate with the instructor.

Assessment

Oral exam

During the oral exam, the assigned projects from the course are discussed and evaluated, such as the creation of a virtual museum, the digitization and virtual restoration of a cultural artifact, or the application of innovative technologies like augmented reality. Students must demonstrate the ability to critically analyze their projects and reflect on decisions made during the implementation process. Additionally, knowledge of theories and practical applications of cultural heritage digitization methodologies will be assessed. The discussion may cover topics such as digital preservation, ethical implications, and new trends in the field. Non-mnemonic knowledge of European and Italian regulations regarding digital cultural heritage is also required. Knowledge of the additional bibliography assigned to non-attending students is also examined.

Exemplary evaluations will be given to performances demonstrating the student's possession of critical skills, clear content presentation with established connections, and appropriate use of specialized vocabulary.

Satisfactory evaluations will be granted to performances showing the student's more than basic knowledge, supported by critical thinking and orientation using technical language of the discipline.

Adequate evaluations will be assigned to performances indicating the student's attainment of minimal knowledge, even with some educational gaps, and the use of somewhat inappropriate language.

Negative evaluations will be given to performances revealing the student's difficulty in orientation regarding the addressed themes, serious knowledge gaps, and the lack of appropriate use of technical language.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

During the course and before the evaluation session, students, by appointment via email (fabio.cavallero@uniurb.it), can request a meeting with the professor for any doubts or difficulties in exam preparation.

Students are encouraged to regularly access the Moodle platform › blended.uniurb.it and check their institutional email.

The professor holds office hours and exams in his office at Palazzo Albani (entrance at via del Balestriere 2 - 0722.303756).