The origins of a virtual cultural asset: A Byzantine Archive
Digital technologies have profoundly changed our approach to creativity and culture. They deliver new insights of the way we access and preserve cultural assets, enriching creative capital that fortifies our ability to communicate and interact our cultural identities. Yet, within the context of the cultural heritage, the user interfaces, interaction and immersive techniques have not yet been identified and deployed to the extent that it could be attributed, especially to the cultural heritage that refers to monumental artifacts such as those of fresco paintings.
Theoretical research yielded a variety of databases, visualisation tools, 3D immersive environments, multi sensorial interactions and other simulations, providing platforms for aggregating digitised cultural resources and facilitating their use, in innovative products and services. Even if many of these theories and applications are focusing on the semantic based content of the cultural asset, the outcome doesn’t contain the originality that can transfer the vitality of the monumental artifact.
When one notices such gaps in knowledge, practice or understanding during a doctoral or post-doctoral research, it may be time, for one, to get out of the office and find the answers through a field study.
One of the main problems for cultural assets is that of their authenticity. Any form of access (analogue or digital) to the retrieved asset must include, as an essential reconstructive component, the manifestation of the processes through which one reveals its soundness. In the case of the digital environment, where the cultural asset is to be reintroduced into a rebuilt set (virtual), the dialectic between the retrieval and must be absolute clear and distinct. Therefore, a completely new content of originality should be yielded by the manifestation of the processes by which the cultural asset declares its validity.
Any research in cultural heritage and digital/emerging technologies should be based in three pillars: (i) the originality of the research and (ii) the available resources and (iii) the criteria of testing, prototyping and documenting. Based on these basic pillars, it is important to consider what kind of data are being explored and in what ways these data can be treated.
With its unique Byzantine cultural asset, Karoussos Archives provides a navigation aid through the process of research by acquiring a first-rate cultural asset for analysis that can support both the exploration of research questions and the infrastructure for testing, prototyping and documenting. Original worksheets from the frescoes executed in Byzantine churches, photos and slides from the work in situ, remain intentionally unpublished so they can be used as a first-level resource for research on cultural heritage and digital / emerging technologies. Moreover, various models of technological practices which are compatible with the cultural asset of Byzantine frescoes in churches (parabolic mirror projections, immersive and achieropoesis practices) are available for testing and documenting, along with recommendations, depending on each research project.
Karoussos Archive field studies provide the validity of knowledge and include:
- Flexible user tests in the field
- Direct observation of a first-rate cultural asset
- Contextual inquiry
- Test systems under realistic conditions
The programme is generally intended for interdisciplinary scholars in the early stages of their careers. Candidates may be at doctoral or postdoctoral level in the following areas, though not limited to these: Digital Humanities, Visualisation and Data Design, Immersive and Interacting Environments, Digital Narrative, Virtual Reality, Gaming and Interactive Storytelling. PhD candidates should have been enrolled for a doctoral degree at least one year before submitting to programme.
- Quality of the candidate: the motivation , background (e.g. publications, practice-based documentation etc) and two reference letters.
- Quality of the project: projects should be state-of-the-art, cutting edge and at the foreground of interdisciplinary research area.
- Status of the project: the proposal should be subject under doctoral or postdoctoral thesis, and the project should be implemented as a field study, based on existing theoretical research.
The proposal will be evaluated by two peer reviewers.
Timetable Open Round 2018
(There will be 3 sessions for 2018. Each successful applicant is eligible for only one of the following)
- 08 – 22 January 2018
- 12 -26 February 2018
- 05 – 19 March 2018
- Detailed curriculum vitae
- Field report (max. 1.500 words) which should include as much as possible the following information:Title of the research and official auspices or permit agent (university, research institute).
When the work will be conducted.
Stage, phase, and tenure of the project overall.
Abstract of the project
Anticipated results and their contribution to the overall research in cultural heritage and emerging technologies.
- Two (2) reference letters
All required material should be sent to email@example.com with subject title: Your last name-residency
- 15 June 2017 Call Open Round
- 1 September 2017 Deadline submission proposals
- 1 October 2017 Notification of acceptance
Provision of services
- Full access to the Archive
- Use of Karoussos Chapel (immersive dome)
- Fully equipped working space
- Mentoring (20 days on-line before the residency and during residency. In case needed there will be an additional 10 days on-line mentoring after the residency). The mentoring includes:
- Analysis / Workflow / Processes
- Testing / Prototyping / Documenting
- Lodging (fully equipped mansion)
- Cell phone (one-time prepaid credit)
- Cleaning services
Workplace and living quarters are provided free of charge. The cost of the 15-day residency and on-line mentoring is EUR 1200. Please take into account that in case of projects focused in immersive environments, the use of Karoussos Chapel (immersive dome) will have an extra charge depending on the duration of its use. The registration fee is additional EUR 50. Bank fees and wire costs should be covered by the participants. . Selected participants should make a payment in advance, no later than a month before their session. In case of cancellation, all fees are non-refundable.
All inquiries regarding the program can be directed to firstname.lastname@example.org