Cultural Heritage

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Cultural Heritage by Mind Map: Cultural Heritage

1. Common Values

1.1. Aesthetic

1.2. Historical

1.3. Economic

1.4. Educational

1.5. Social

1.6. Iconic

2. The steps to assess

2.1. 1.Assess the values of the CH.

2.2. 2.Evaluate what elements/aspects of the CH contribute to the overall significance.

2.3. 3.Summarize the significance of these aspects and elements of the CH.

3. Cultural Heritage Management (CHM)

3.1. Invention

3.1.1. Growing community interest

3.2. Legislation

3.2.1. To guide identification and protection of heritage assets

3.3. Increased professionalism

3.3.1. Formation of heritage NGOs

3.3.2. Formation of heritage NGOs

3.4. Stakeholder Consultation

3.4.1. Identifying areas of conflicts between stakeholders

4. Official Grading of Built Heritage in HK

4.1. Grade 1

4.1.1. Buildings of outstanding merit

4.1.1.1. Tsang Tai Uk

4.2. Grade 2

4.2.1. Buildings of special merit

4.2.1.1. St. Teresa’s Church

4.3. Grade 3

4.3.1. Buildings of some merit

4.3.1.1. Central Market

5. Sustainability

5.1. definitions

5.1.1. Heritage

5.1.1.1. a property, something that is inherited, passed down from previous generations.

5.1.2. Cultural Heritage

5.1.2.1. the heritage doesn’t consist of money, but of culture, values and traditions

5.2. Tourism and recreation affect the sustainability most

6. CH institutions

6.1. Definitions

6.1.1. NGOs that facilitate knowledge dissemination, creationand exchange

6.1.2. collectors of cultural and social contexts

6.2. the GLAMs

6.2.1. Galleries

6.2.2. Libraries

6.2.3. Archives

6.2.4. Museums

7. Community Engagement

7.1. Public participation

7.1.1. Volunterring

7.1.2. NGOs

7.2. Education

7.2.1. General Studies in primary school

7.2.2. Liberal Studies in secondary school

7.2.3. A wide variety of courses are offered in tertiary education

7.3. Pop Culture

7.3.1. Pop music

7.3.1.1. “Last Supper” by Kay Tse

7.3.2. Flim

7.3.2.1. “Echoes of the Rainbow”

7.4. Social Media

7.4.1. Groups

7.4.2. Pages

8. Digitization

8.1. Characteristics

8.1.1. hardware and software are needed

8.1.2. Fragility of the media

8.1.3. Can be opened to further amendments

8.2. Benefits

8.2.1. Reviving CH through digital reparation and restoration

8.2.2. Promoting Cultural Heritage research

8.2.3. Enhancing cultural communication and transmission

8.3. Selection criteria

8.3.1. physical factor

8.3.2. values of Cultural Heritage material

8.3.3. institution frameworks

8.3.4. financial consideration

8.3.5. uniqueness and digital multiplicity

8.4. Strength

8.4.1. online access

8.4.2. multimedia presentation

8.4.3. less prone to physical damage and worn out

8.5. Ways to digitize

8.5.1. Digital imaging

8.5.2. Digital recording

8.6. Types

8.6.1. Digital Museum

8.6.1.1. +

8.6.1.1.1. Low risks of thefts and damages

8.6.1.1.2. Improving management of exhibits

8.6.1.2. -

8.6.1.2.1. Causing a sense of detachment

8.6.1.2.2. Limited offering of experience of the 'real thing'

8.6.2. Virtual Exhibitions

8.6.2.1. +

8.6.2.1.1. Low risks of thefts and damages

8.6.2.1.2. Improving management of exhibits

8.6.2.2. -

8.6.2.2.1. Causing a sense of detachment

8.6.2.2.2. Limited offering of experience of the 'real thing'

8.6.3. Digital Collection

8.6.3.1. +

8.6.3.1.1. Saving the costs

8.6.3.1.2. No physical boundaries

8.6.3.1.3. Multiple-user accesses

8.6.3.2. -

8.6.3.2.1. Maintenance cost

8.6.3.2.2. Volume and dimensions of holding

8.6.3.2.3. Fast changing technologies

8.7. Advanced digital technologies

8.7.1. Virtually Reality (VR)

8.7.2. Augmented Reality (AR)

8.7.3. Mobile tech

8.7.4. 3D

9. Cultural Heritage ethnics

9.1. Conservation ethnics

9.1.1. Immovable Cultural Heritage

9.1.1.1. In-situ conservation

9.2. Ethnical principles for safeguarding Intangible Cultural Heritage

9.2.1. Mutual respect

9.2.2. No external judgement

9.2.3. Cultural diversity

9.2.4. Access to materials/ space for Intangible Cultural Heritage

9.2.5. General interest to humanity

9.3. Conservation vs Exploitation

9.3.1. Conservation

9.3.1.1. To safeguard the heritage value so that it can be gently handled

9.3.2. Exploitation

9.3.2.1. Use/ utilization of the Cultural Heritage for profit or commercial interests

10. Intellectual Property (IP) rights

10.1. Definitions

10.1.1. Allow creators/ owners of IP to derive benefits from their own work or investments in the creation

10.1.2. For granting control over exploitation (of the creation)

10.2. Rights management

10.2.1. Public domains

10.2.2. Fair use

10.2.3. Orphan work

10.2.4. Copyrighted collective work

10.3. Copyright

10.3.1. laws that grant authors/ artists/ creators protection for their literary and artistic creation.

10.3.1.1. Novels, poems, plays

10.3.1.2. Reference works

10.3.1.3. Choreography

10.3.2. Intangible Cultural Heritage

10.3.2.1. works against the followings without permission

10.3.2.1.1. Broadcasting

10.3.2.1.2. Adaptation

10.3.2.1.3. Public performance

10.4. Creative commons

10.4.1. Promote 'Share, remix and reuse'

10.4.2. From 'all' right reserved to some 'rights' reserved

10.4.3. users

10.4.3.1. Governments

10.4.3.2. Educational institutes

10.4.3.3. Creative industries

10.4.4. With pictures, videos, audio,etc.

11. Users of digitized Cultural Heritage

11.1. Common

11.1.1. have interests/ needs in Cultural Heritage information

11.2. Differences

11.2.1. Information needs

11.2.2. Information-seeking behaviors

11.2.3. Demogarphics

11.3. Needs assessment

11.3.1. Methods

11.3.1.1. Survey

11.3.1.2. Interview

11.3.1.3. Case study

11.3.2. To identify specific needs

11.3.3. To understand use of information for complex cognitive work

11.4. Users-centered Evaluation

11.4.1. Planned at the beginning of the project

11.4.2. Ensure the quality of the project

11.4.3. The designer can understand the users better

11.4.4. Improve visibility, usage and support

11.4.5. Methods

11.4.5.1. Protolyping

11.4.5.2. Experiments

11.4.5.3. Case Study

11.5. Users-centered Design (UCD)

11.5.1. identifying, anticipating nd satisfying user requirement

11.5.2. interviews

11.5.3. Participatory design

11.5.4. Focus groups

11.5.5. Task analysis

12. Metadata and Cultural Heritage

12.1. Types

12.1.1. Descriptive metadata

12.1.2. Structural Metadata

12.1.3. Administrative Metadata

12.1.4. Preservation Metadata

12.2. Definitions

12.2.1. data about data

12.2.2. Summary of information about the form, content and use of a resource

12.3. Quality Control

12.3.1. Accuracy

12.3.2. Completeness

12.3.3. Consideration

12.4. The use of it

12.4.1. To organize information

12.4.2. Access of information

12.5. Why do we need to use it?

12.5.1. Increased accessibility

12.5.2. Retention of context

12.5.3. Legal issues

12.6. GLAMs

12.6.1. Library

12.6.1.1. library catalogs

12.6.2. Archives

12.6.2.1. helps users locate groups of related items

12.6.3. Gallery and Museum

12.6.3.1. Track detailed information about their acquisitions, exhibits and loans

13. Information Retrieval (IR) and Cultural Heritage

13.1. An inherently multidisciplinary field

13.2. Search

13.2.1. Options

13.2.1.1. Phrases

13.2.1.2. Field

13.2.1.3. Limiters

13.2.1.4. Wildcard

13.2.2. A systematic effort to locate desired information

13.2.3. Boolean search

13.2.3.1. OR

13.2.3.1.1. Get wither of the keywords

13.2.3.2. And

13.2.3.2.1. Get both of the keywords

13.2.3.3. Not

13.2.3.3.1. Get only one of the keywords

13.2.4. Proximity Search

13.2.4.1. Results containing search terms that are within N words of each other

13.3. Prototypical Problem

13.3.1. To satisfy users' information needs

13.3.2. Human judgement on usefulness of search results

13.4. Browse

13.4.1. To look through collection for items of interests without clearly defined intentions.

13.4.2. Aspects

13.4.2.1. Subject

13.4.2.2. Collection

13.4.2.2.1. tags

13.4.2.2.2. items

13.4.2.3. Title

13.4.2.4. Map