sustainability

Article Representation and Preservation of Heritage Crafts

Xenophon Zabulis 1,* , Carlo Meghini 2, Nikolaos Partarakis 1, Cynthia Beisswenger 3, Arnaud Dubois 4, Maria Fasoula 5, Vito Nitti 6, Stavroula Ntoa 1, Ilia Adami 1, Antonios Chatziantoniou 1, Valentina Bartalesi 2, Daniele Metilli 2, Nikolaos Stivaktakis 1, Nikolaos Patsiouras 1, Paraskevi Doulgeraki 1,Effie Karuzaki 1, Evropi Stefanidi 1,7, Ammar Qammaz 1,7, Danae Kaplanidi 5, Ilka Neumann-Janßen 3, Ulrike Denter 3, Hansgeorg Hauser 3, Argyro Petraki 1, Ioannis Stivaktakis 1,7, Eleni Mantinaki 1,7, Anastasia Rigaki 1,7 and George Galanakis 1,7

1 Institute of Computer Science, Foundation for Research and Technology (ICS-FORTH), N. Plastira 100, Vassilika Vouton, GR-700 13 Heraklion, Crete, Greece; [email protected] (Nikolaos Partarakis); [email protected] (S.N.); [email protected] (I.A.); [email protected] (A.C.); [email protected] (N.S.); [email protected] (Nikolaos Patsiouras); [email protected] (P.D.); [email protected] (E.K.); [email protected] (E.S.); [email protected] (A.Q.); [email protected] (A.P.); [email protected] (I.S.); [email protected] (E.M.); [email protected] (A.R.); [email protected] (G.G.) 2 Istituto di Scienza e Tecnologie della Informazione (ISTI), Consiglio Nazionale delle Ricerche (CNR), Area della Ricerca CNR, via G. Moruzzi 1, 56124 Pisa, Italy; [email protected] (C.M.); [email protected] (V.B.); [email protected] (D.M.) 3 Förderverein Haus der Seidenkultur (HdS), Paramentenweberei Hubert Gotzes e.V., Luisenstraße 15, 47799 Krefeld, Germany; [email protected] (C.B.); [email protected] (I.N.-J.); [email protected] (U.D.); [email protected] (H.H.) 4 Histoire des technosciences en société, Conservatoire national des arts et métiers (HT2S-CNAM), Case 1LAB10, 2 rue Conté, 75003 Paris, France; [email protected] 5 Piraeus Bank Group Cultural Foundation, 6 Ang. Gerontas St., 105 58 Athens, Greece; [email protected] (M.F.); [email protected] (D.K.) 6 Imaginary, Piazza Caiazzo, 3 20124 Milano (MI), Italy; [email protected] 7 Computer Science Department, University of Crete, Voutes Campus, 700 13 Heraklion, Crete, Greece * Correspondence: [email protected]



Received: 17 January 2020; Accepted: 9 February 2020; Published: 15 February 2020


Abstract: This work regards the digital representation of tangible and intangible dimensions of heritage crafts, towards craft preservation. Based on state-of-the-art digital documentation, knowledge representation and narrative creation approach are presented. Craft presentation methods that use the represented content to provide accurate, intuitive, engaging, and educational ways for HC presentation and appreciation are proposed. The proposed methods aim to contribute to HC preservation, by adding value to the cultural visit, before, and after it.

Keywords: cultural tourism; arts and crafts; intangible heritage

1. Introduction Heritage Crafts (HCs), or crafts that are transmitted as Cultural Heritage (CH), exhibit tangible and intangible dimensions. Tangible dimensions regard craft articles and products, materials and tools, as well as natural resources, built workshops, and workplaces. The tangible, or material, aspect of HCs is evident in their practice, where materials are transformed with the use of tools, but also, skill and knowledge. From this perspective, “crafts are probably the most tangible of intangible heritage”[1]. Intangible dimensions regard technical knowledge, as well as the socio-historic content of

Sustainability 2020, 12, 1461; doi:10.3390/su12041461 www.mdpi.com/journal/sustainability Sustainability 2020, 12, 1461 2 of 26 the communities and regions in which they are, or were, practiced. HCs are part of the history and economic life of the regions and communities in which they flourish. Comparatively to other forms of Intangible Cultural Heritage (ICH), HCs, have received smaller attention by digitisation projects. Several HCs are threatened with extinction, due to the declining numbers of practitioners and apprentices. Despite the cultural significance of HCs, pertinent safeguarding and preservation efforts are scattered geographically and thematically. The ICH, due to traditional craftsmanship is a component of regional culture and identity, which directly relates to a natural heritage of a place and other forms of heritage that region hosts. In contrast to material heritage that can be sensed, intangible heritage is experienced. Digital media technologies facilitate the authoring of narratives and storytelling that emotionally engage the public. This is relevant in creating experiences that help us understand, value, and enjoy cultural heritage. Cultural tourism refers to travel that enables visitors to visit heritage sites and activities that provide access to the CH of a country or region. The reason a region develops tourism is not anymore solely related to the particularities of the natural environment and built sites, but also to its their cultural identity, tourism infrastructure, and services. In particular, cultural tourism related to traditional crafts exhibits the following potentials:

1. Craft articles have multiple affordances as traded products. Typically, they are utilitarian objects. As heritage articles, they carry tradition and aesthetics. As souvenirs, we associate them with our own memories of presence at a place or event. Last, self-made craft articles in participatory engagement provide experiences and embodied knowledge. 2. Craft workshops and pertinent thematic tourism activities exhibit the potential of participatory experiences and access to local culture. Thematic tourism and workshops can extend visitor stay on location or enhance the options of day-trips near central sites. 3. Thematic tourism alleviates visitor load from mass tourism destinations. Crafts flourish in multiple, distributed, rural areas. Unlike monuments of material heritage, intangible forms of heritage, have a wider spatial distribution as to the locations that can be practiced.

The rationale of the proposed approach is that attractive, participative, educational, and experiential and tourism products are expected to motivate the preservation of HCs. In addition, the geographical context is required to be considered to provide means of collaboration with existing neighbouring cultural sites, geo-parks, and workshops. Cultural and thematic tourism can be a motive for the preservation of HCs, given that stakeholders benefit from it. To achieve this on a distributed, per community basis, documentation and preservation of HCs are simplified by data collection tools and an approach to their semantic organisation and presentation. The proposed approach lowers the technical barriers to capacity building for HC communities. In this work, we focus on representing tangible and intangible content, due to HCs, for uses that enhance the value of a cultural visit. This is strategized by providing educational content and engaging experience for uses prior, during, and after a visit. These aim to facilitate engagement with regional culture, using modern, intuitive, and attractive media that impact a wide range of audiences, including younger ages. The goal is to support the link between craft practice and new interest participatory tourism services that provide such experiences, through day visits or workshops. For this reason, this work proposes (a) a set of digitisation and analysis tools that facilitate the curation of content for educational visits and workshops and (b) systematic knowledge representation methods and presentation modalities, tailored for content relevant to HCs.

2. Relevant Work

2.1. Creative and Cultural Industries and Their Contribution to the Economy The economic potential of the creative and cultural industries is underscored in a number of studies. The EC [2], revealed that the creative economy by 2003 created 2.6% of the EU GDP and Sustainability 2020, 12, 1461 3 of 26 employed around five million people. The report mentions that “culture drives economic and social development “, as also attested by the UN [3], and the EC [4]. In 2008, the creative economy created 8.5 million jobs across the EU (3.8% of the total labour force) and 4.5% of the European GDP [5]. In 2006, the global exports of crafts attained 186.5 billion USD [6]. According to figures from the International Tourism Organisation, cultural tourism accounts for 37% of tourist destinations and is growing by 15% annually. At European level, cultural tourism accounts for about 40% of all European tourism, and it is very interesting that it is not concentrated exclusively in major cities, but is spread throughout the European territory. Fifty percent of cultural activity in Europe is relevant to CH, and cultural tourism is the component of tourism with the largest prospective growth [7]. The UNWTO [8] indicates that digitisation of CH supports preservation. The economic resource, due to heritage is a primary motivator and source of funding for the preservation of CH. Cultural tourists are generally high-cost and highly-educated people who are interested in cultural activity at the destination [7]. Cultural tourism has moved away from the traditional interest in static museums and monuments and demands interactive experiences, including tangible and digital artefacts, as well as engagement with local communities. There is a strong need to satisfy demanding visitors, particularly young people who usually do not find interest unless engaged in activities or games [9]. In many cases, participants of thematic tourism have little knowledge of the place, but a strong intent to become aware and learn. Educational tools contribute to the preservation and long-term sustainability of the HC economy [2].

2.2. Heritage Digitisation Approaches towards heritage digitisation presented initial focus on artefacts and monuments of material heritage. Digitisation guides and good practice guidelines [10,11] are now the norm in photographic documentation [12]. A decade later, the proliferation of surface digitisation technologies streamlined the 3D digitisation of artefacts and monuments. Digital 3D models of artefacts have a wide range of uses, from conservation and preservation to reunification of dispersed heritage [13]. File management, digital preservation, publication, and IPR management guides can be found in [14]. A significant online repository of material heritage is Europeana [15]. In the domain of verbal and numerical documentation, as well as meta-data, the CIDOC-CRM [16], ISO 21127:2014, is the de facto standard in the representation of heritage documentation. Digitisation of intangible heritage attracted attention more recently. Human motion is a key component of many forms of ICH, such as dances, crafts, and rituals. Motion recordings were used to document and capture performances in i-Treasures [17], MODUL DANCE [18], DANCE [19], European Theatre lab [20], and TERPSICHORE [21]. Digitisation of human motion is achieved by a number of modalities, which vary in terms of pervasiveness (having to wear an apparatus or requiring an installation) and robustness to occlusions if visual components are employed.

2.3. Craft Digitisation and Representation Crafts bring together the intangible dimensions of dexterity, skill, tradition, and knowledge, with tangible elements such as tools, machines and materials to be transformed into craft articles. In the humanities, literature exists on the documentation of specific craft instances through ethnography, e.g., [22,23]. A significant work towards generic approaches to craft representation identifies tangible and intangible dimensions [24]. From the intangible dimensions, some relate to the cultural, economic, or religious contexts that identify communities. Others relate to the technical context of a specific craft and the corresponding skills, knowledge (or “know-how”). In [25], social context, group membership, and social relations relevant to crafts are reviewed. Guidelines for preservation projects [26] stress the representation and consent of the pertinent community. In addition, intangible dimensions regard the resources of the environment that a craft flourishes, and as such, regard environmental, and climate context [27]. Mingei (http://www.mingei-project.eu/) is an Innovation Action in the Horizon 2020 Programme of the EC that proposes the digital and semantic representation of HCs and motivates their preservation, Sustainability 2020, 12, 1461 4 of 26 by supporting pertinent experiential and educational applications in the domain of cultural and thematic tourism. In Mingei, a systematic approach to the digital representation of tangible and intangible dimensions that closely follows the work in [24], is proposed. In [28], the requirements towards such a representation are investigated, so that the represented content is sufficient to support authoring of accurate narratives, curation of educational material, and experiential presentations. In [29], an approach towards the specification, acquisition, and representation of pertinent data and knowledge for HC preservation is proposed. In [30], Motion Vocabularies are proposed to associate recordings of craft practice to craft actions and remap the recorded human motion to pieces of virtual machinery whose function is simulated. As a complement to Mingei, systems which leverage semantic information include automatic image annotation [31], and recommendations for users [32]. Such approaches could benefit from the knowledge database which Mingei aims to build. In this work, we propose content representation and presentation methods that support craft-oriented thematic tourism, by providing digital content on craft articles and processes, as well as narratives on the cultural and regional context. This content is used as a basis for tourism, social, and educational activities with a positive impact on the sustainability of the transmitted heritage. A platform for digital applications is proposed, that can be used to author a comprehensive picture of the region of application. The project aims: (a) The unified promotion of intangible dimensions of craft products; (b) to enrich educational services of cultural tourism and ICH preservation; and (c) to enhance the visitor experience with participatory and cultural experiences. To the best of our knowledge, Mingei is the first approach for the systematic digital representation of HCs that encompasses tangible and intangible dimensions, in a semantic and machine-interpretable fashion. The proposed protocol, tools, and application guides have been designed with CH professionals, to simplify the representation process for stakeholders of the CH domain. As such, it contributes to the capacity building of pertinent HC communities.

3. Method The proposed approach can be described as a series of iterative steps for representing a Craft Instance (CI), that is the expression of a craft at some geographical region and at a given time period. In the first steps, we select and acquire digital assets. These assets are digitisations of craft artefacts, documents, photographs, archives, practitioner recordings, and curated material. The collection of data and process descriptions are based on ethnographic studies that conform to the individualities of each craft and its materials. The collaboration with craft practitioners and community members is deemed a prerequisite [26] for a meaningful representation of technical processes, as well as an emic understanding of cultural context. In this work, the ethnographic approaches utilised are obtained from [29]. In the next stage, information obtained from data analysis is curated and represented as basic knowledge. This knowledge is enhanced with semantic associations to create a thick representation, meaning a description of not only actions and events, but their context as well, so that they can be better understood. This representation is not a ‘unique’ representation of CI, but rather a representation possibility as authored by the curator of this knowledge. In Section 4.1, the obtained CI representation is a knowledge base for retrieving content and curating narratives on the CI. In Section 4.2, narrative content is provided to presentation modalities, in the scope of tourism, education and preservation.

3.1. Craft Representation We follow the approach in [29], to collect data and orient the selection of contextual knowledge. Our point of departure is a selection of topics that comprise a comprehensive picture of a CI, its practice and products, as well as the geographical, historical, and societal context at the place of practice. The technical platform can host multiple such organisations, as individual descriptions, i.e., multiple Sustainability 2020, 12, 1461 5 of 26

Sustainability 2020, 12, x FOR PEER REVIEW 5 of 28 techniques from individual practitioners for a given task. In this work, following the articulation of actionsThe as proposed described method by the assumes practitioner the issemantic proposed. capability representation of knowledge. A technical platformThe for proposed formal, method machine-interpretable assumes the semantic knowledge capability representation representation is required, of knowledge. which, in A our technical case, isplatform CIDOC-CRM for formal, [16]. machine-interpretable knowledge representation is required, which, in our case, is CIDOC-CRMThe remainder [16]. of this subsection is organised as follows. First, a selection of cost-efficient digital ffi recordingThe remainder modalities of for this the subsection application is organised domain asof follows. crafts is First, provided. a selection Second, of cost-e a representationcient digital approachrecording is modalities proposed, forwhich the associates application recordings domain of craft crafts practice is provided. with (i) Second,a semantic a representationarticulation of actionsapproach of isa craft proposed, process which and (ii) associates the 3D recordingsmotion of body of craft members, practice objects with (i) or a semanticmaterials. articulation Third, a way of toactions represent of a craftsocial process and historical and (ii) theknowledge 3D motion releva of bodynt for members, a given CI, objects the community or materials. of Third, practitioners, a way to andrepresent the place social of andits practice historical is presented. knowledge relevant for a given CI, the community of practitioners, and the placeThe purpose of its practice of these is presented.modalities is a repository of digital assets and information, which is curated into aThe knowledge purpose ofbase these that modalities is articulated is a repository by basic ofknowledge digital assets elements. and information, These are whichstatements is curated that explaininto a knowledge the role and base significance that is articulated of the correspon by basicding knowledge digital elements.assets. These These elements are statements include thatany existingexplain thecurated role information and significance or description of the corresponding about the asset. digital They assets. are created These elementsby new data include entry any or linkedexisting to curatedexistinginformation repositories. or description about the asset. They are created by new data entry or linked to existing repositories. 3.2.1. Digitisation 3.1.1. Digitisation Digitisation of objects and actions supports documentation and illustration of narratives, Digitisation of objects and actions supports documentation and illustration of narratives, authoring authoring of instructions, and training experiences. A breadth of physical objects is of relevance to a of instructions, and training experiences. A breadth of physical objects is of relevance to a heritage heritage craft, such as materials, tools, machines, protective garments, and working environment. In craft, such as materials, tools, machines, protective garments, and working environment. In the the following examples, a selection of material digitisation methods is proposed, orientated towards following examples, a selection of material digitisation methods is proposed, orientated towards indoor indoor workshops, rural environments, and suburban regions that are most often associated with HC workshops, rural environments, and suburban regions that are most often associated with HC and and other, associated forms of ICH. other, associated forms of ICH. In Figure 1, a digitisation of rural structure the seasonal droving of livestock, for the hospitality In Figure1, a digitisation of rural structure the seasonal droving of livestock, for the hospitality of sheep and persons [33]. The structure is worth seeing in closer detail, as it is constructed by the of sheep and persons [33]. The structure is worth seeing in closer detail, as it is constructed by the technique of dry stone walling [34]. Combination of multiple scans from a range of modalities, (aerial technique of dry stone walling [34]. Combination of multiple scans from a range of modalities, (aerial and terrestrial photogrammetry, laser scanning) are employed to produce a realistic indoors and and terrestrial photogrammetry, laser scanning) are employed to produce a realistic indoors and outdoors 3D reconstruction, which can be used to provide terrain overview and functional outdoors 3D reconstruction, which can be used to provide terrain overview and functional explanation explanation of the settlement components from its inside. In a smaller scale, the digitisation of tools of the settlement components from its inside. In a smaller scale, the digitisation of tools and machinery and machinery using such modalities is demonstrated in Figure 2. More specifically, for using such modalities is demonstrated in Figure® 2. More specifically, for photogrammetry-based® photogrammetry-based® reconstruction a GoPro Hero6 camera was used;® also mounted on a DJI reconstruction a GoPro Hero6 camera was used; also mounted on a DJI Phantom 4 Pro V2.0 drone,® Phantom 4 Pro V2.0 drone, in the case of aerial shots. Laser scans were® obtained by either FARO® in the case of aerial shots. Laser scans were obtained by either FARO Focus M70 (static), or FARO Focus M70 (static), or FARO® Freestyle 3D X (handheld) laser scanners. All equipment is owned by Freestyle 3D X (handheld) laser scanners. All equipment is owned by ICS-FORTH. ICS-FORTH.

Figure 1. Cont. Sustainability 2020, 12, x FOR PEER REVIEW 6 of 28 Sustainability 2020, 12, 1461 6 of 26 SustainabilitySustainability 2020 2020, 12, 12, x, FORx FOR PEER PEER REVIEW REVIEW 6 of6 of 28 28

Figure 1. Indoors scans. Top: Static laser scan. Bottom: Handheld scan. Figure 1. DigitisationFigureFigure 1. 1. Indoors of Indoors rural scans. structure. scans. Top Top Outdoors: Static: Static laser laser aerial scan. scan. scan Bottom Bottom (Top:) Handheld Indoors: Handheld laser scan. scan. scan (Bottom).

FigureFigure 2. 2.Digitisation Digitisation of of tools tools and and machines. machines. FigureFigure 2. 2. Digitisation Digitisation of of tools tools and and machines. machines. InIn terms terms of digitisationof digitisation resources, resources, it is notit is necessary not necessary to treat to every treat element every withelement the utmostwith the possible utmost In terms of digitisation resources, it isffi not necessary to treat every element with the utmost realismpossibleIn terms in termsrealism of ofdigitisation resolution,in terms of resources, andresolution, thus, cost-eit andis not thus,cient necessary co modalities,st-efficient to treat such modalities, every as photogrammetry element such as with photogrammetry orthe handheld utmost possible realismffi in terms of resolution, and thus, cost-efficient modalities, such as photogrammetry possiblescannersor handheld realism su ce scanners thein terms goal. suffice Inof someresolution, the cases goal. (seeand In some Sectionthus, casesco 3.2st-efficient), (see it is Section more modalities, informative 3.2), it is such more to showas informative photogrammetry the function to show of or handheld scanners suffice the goal. In some cases (see Section 3.2), it is more informative to show ora machinethehandheld function or scanners the of propera machine suffice grip or andthe the goal. manipulation proper In some grip andcases of a ma tool, (seenipulation thanSection vividly 3.2),of a reconstructingittool, is more than informativevividly its plain reconstructing to wooden show the function of a machine or the proper grip and manipulation of a tool, than vividly reconstructing thehandleits function plain in highwooden of resolution.a machine handle or in the high proper resolution. grip and manipulation of a tool, than vividly reconstructing its plain wooden handle in high resolution. its plainOnOn wooden the the other other handle hand, hand, in accurate accuratehigh resolution. digitisation digitisation is is essential essential in in the the conservation conservation of of articles articles of of material material On the other hand, accurate digitisation is essential in the conservation of articles of material heritage,heritage,On the which which other serve servehand, as as anaccurate an exemplar exemplar digiti of sationof skill, skill, technicalis technical essential knowledge, knowledge, in the conservation and and aesthetics aesthetics of articles in in its its making. ofmaking. material This This heritage, which serve as an exemplar of skill, technical knowledge, and aesthetics in its making. This heritage,isis of of particular particular which serve relevance relevance as an in exemplar in the the outdoors. outdoors. of skill, This technicalThis is is the the knowledge, case case in in Figure Figure and3 ,aesthetics where3, where a in photogrammetrica itsphotogrammetric making. This is of particular relevance in the outdoors. This is the case in Figure 3, where a photogrammetric isreconstruction reconstructionof particular ofrelevance of a sculpturea sculpture in the of of Tinian outdoors.Tinian marble marble This craftsmanship crafis thetsmanship case in [35 [35]Figure] is is shown shown 3, where (The (The 3Da 3Dphotogrammetric reconstruction reconstruction is is reconstruction of a sculpture// of Tinian/ marble craftsmanship [35] is shown (The 3D reconstruction is reconstructionprovidedprovided in in detail detailof a here: sculpture here: https: https://youtu.be/1hyTKpSIIUw) ofyoutu.be Tinian marble1hyTKpSIIUw craftsmanship). In. thisIn [35] this way, is way, shown itscondition its (Tconditionhe 3D can reconstruction can be compared be compared tois provided in detail here: https://youtu.be/1hyTKpSIIUw). In this way, its condition can be compared providedtheto condition the condition in detail which whichhere: the https://youtu.be/1hyTKpSIIUw) artefact the artefact was photographedwas photographed in the .in In past. the this past. way, its condition can be compared toto the the condition condition which which the the artefact artefact was was photographed photographed in in the the past. past.

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Figure 3. Photogrammetric reconstruction of a sculpture. Figure 3. Photogrammetric reconstruction of a sculpture. Figure 3. Photogrammetric reconstruction of a sculpture. Relevant to craft representation is the digitisation of garments, either as products or as RelevantRelevant to craftto craft representation representation is the digitisationis the digitisa of garments,tion of garments, either as products either as or asproducts equipment. or as equipment. The top two rows of Figure 4, illustrate the rectification of a photogrammetric scan and Theequipment. top two rows The oftop Figure two rows4, illustrate of Figure the 4, rectification illustrate the of rectification a photogrammetric of a photogrammetric scan and its analysis scan and its analysis in garment components using computer-aided 3D tools. The result can be later on “worn” inits garment analysis components in garment components using computer-aided using computer-a 3D tools.ided 3D The tools. result The can result be latercan be on later “worn” on “worn” on on virtual characters or presented in detailed 3D illustrations. The last row, presents the very high virtualon virtual characters characters or presented or presented in detailed in detailed 3D illustrations.3D illustrations. The The last last row, row, presents presents the the very very high high resolution scanning of textiles in an experimental installation that was implemented. The installation resolutionresolution scanning scanning of textilesof textiles in anin an experimental experimental installation installation that that was was implemented. implemented. The The installation installation is based on a Fused Filament Modelling printer combined with a macroscopic camera instead of the is basedis based on on a a Fused Fused Filament Filament Modelling Modelling printerprinter combinedcombined with a macroscopic macroscopic camera camera instead instead of of the extruder and software that stitches neighbouring images generating image mosaics of very high theextruder extruder and and software software that that stitches neighbouringneighbouring imagesimages generatinggenerating image image mosaics mosaics of of very very high high resolution resolutionresolution (https: //openseadragon.github.io/openseadragonizer/?img=http%3A%2F%2F139.91.186. (https://openseadragon.github.io/openseadragonizer/?img=http%3A%2F%2F139.91.186.146%2Fmed 146%2Fmedia%2Fmulti-scale%2Ftextile%2F6.png&encoded(https://openseadragon.github.io/openseadragonizer/?img=http%3A%2F%2F139.91.186.146%2Fmed=true). ia%2Fmultiia%2Fmulti-scale%2Ftextile%2F6.png&encoded=true).-scale%2Ftextile%2F6.png&encoded=true).

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Figure 4. Garment and textile digitisation. Figure 4. Garment and textile digitisation. Figure 4. Garment and textile digitisation. Craft practice is regarded as an activity that can be organised in actions and processes, where Craft practice is regarded as an activity that can be organised in actions and processes, where one one or multiple practitioners use handicrafts and tools, to prepare or transform materials. Craft or multipleCraft practice practitioners is regarded use handicrafts as an activity and tools,that can to preparebe organised or transform in actions materials. and processes, Craft practice where is practice is organised in sequential and parallel steps, which we call activities. Our approach starts oneorganised or multiple in sequential practitioners and parallel use handicrafts steps, which and we tools, call activities.to prepare Our or approachtransform starts materials. from theCraft 3D from the 3D digitisation of motion during craft practice. practicedigitisation is organised of motion in during sequential craft practice.and parallel steps, which we call activities. Our approach starts Human motion recoding methods vary in terms of accuracy, pervasiveness, and robustness to from Humanthe 3D digitisation motion recoding of motion methods during vary craft in practice. terms of accuracy, pervasiveness, and robustness to visual occlusions. Recording is facilitated by inertial MoCap because visual methods are sensitive to visualHuman occlusions. motion Recording recoding ismethods facilitated vary by in inertial terms MoCapof accuracy, because pervasiveness, visual methods andare robustness sensitive to to occlusions, which are typical in the narrow and cluttered environments of workshops. Despite their visualocclusions, occlusions. which Recording are typical is in facilitated the narrow by andinertial cluttered MoCap environments because visual of workshops.methods are Despite sensitive their to sensitivity and post-processing requirements, we include visual methods in our digitisation occlusions,sensitivity andwhich post-processing are typical in requirements,the narrow and we clu includettered visual environments methods inof ourworkshops. digitisation Despite modalities, their modalities, due to the wide availability of CCD video. Visual methods are necessary when treating sensitivitydue to the and wide post-processing availability of CCDrequirements, video. Visual we methodsinclude visual are necessary methods when in our treating digitisation archive archive recordings (i.e., documentaries), when the wearable apparatus is restrictive for craft practice, modalities,recordings (i.e.,due documentaries),to the wide availability when the of wearable CCD video. apparatus Visual ismethods restrictive are for necessary craft practice, when and treating when and when inertial sensors are unusable, due to electromagnetic noise. Most importantly, visual archiveinertial recordings sensors are (i.e., unusable, documentaries), due to electromagnetic when the wearable noise. Mostapparatus importantly, is restrictive visual for methods craft practice, enable methods enable the acquisition of data by non-experts. andthe acquisitionwhen inertial of datasensors by non-experts. are unusable, due to electromagnetic noise. Most importantly, visual In Figure 5, the top row, the wearable MoCap apparatus [36] used in the recordings is shown, methodsIn Figure enable5, the acquisition top row, the of wearable data by MoCapnon-experts. apparatus [ 36] used in the recordings is shown, and and the 3D motion recordings are visualised. In Figure 5, the process and results of motion the 3DIn Figure motion 5, recordings the top row, are the visualised. wearable In MoCap Figure 5apparatus, the process [36] and used results in the of recordings motion digitisation is shown, digitisation are visualised, for an inertial and a visual modality. On the bottom row, the threading of andare visualised,the 3D motion for an recordings inertial and are a visual visualised. modality. In OnFigure the bottom5, the row,process the threadingand results of fragile,of motion gold fragile, gold thread on a spool is shown. The body posture, thread grip, and periodic motion for digitisationthread on a are spool visualised, is shown. for Thean inertial body posture, and a vi threadsual modality. grip, and On periodic the bottom motion row, for the homogeneous threading of homogeneous rolling of thread on a spool characterise this process. Motion is digitised in 3D by a fragile,rolling ofgold thread thread on aon spool a spool characterise is shown. this The process. body Motion posture, is digitisedthread grip, in 3D and by aperiodic visual approach motion [for37], visual approach [37], as footage comes for an archive documentary by Haus der Seidenkultur. The homogeneousas footage comes rolling for of an thread archive on documentary a spool characterise by Haus this der process. Seidenkultur. Motion The is digitised repetitive in fine 3D handby a repetitive fine hand motion required to roll the thread on the spool is tracked using uniformly [38]. visualmotion approach required [37], to roll as thefootage thread comes on the for spool an archive is tracked documentary using uniformly by Haus [38 ].der In Seidenkultur. the rightmost, The this In the rightmost, this periodic gesture is summarised and explained by the MotiVo annotation editor repetitiveperiodicgesture fine hand is summarised motion required andexplained to roll the by thread the MotiVo on the annotationspool is tracked editor using (seeSection uniformly 3.2). [38]. (see Section 3.2). In the rightmost, this periodic gesture is summarised and explained by the MotiVo annotation editor (see Section 3.2).

Figure 5. Cont. Sustainability 2020, 12, 1461 9 of 26 Sustainability 2020, 12, x FOR PEER REVIEW 9 of 28

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Figure 5. Visual human 3D motion estimation and 2D visualisation. Figure 5. Visual human 3D motion estimation and 2D visualisation. Figure 5. Visual human 3D motion estimation and 2D visualisation. The platform facilitates the formation of knowledgeknowledge elements for persons, events, objects, enterprises,The platform and and communities. communities. facilitates theEach Each formation element element categoryof categoryknow ledgeis accompanied is accompaniedelements forwith withpersons, a data a data collectionevents, collection objects, form form that allowsthatenterprises, allows users users andto add, communities. to add,modify modify and Each anddelete element delete the respecticategory the respectiveve is elements.accompanied elements. The with users The a users datacan viewcollection can view the elements form the elements that of a category,ofallows a category, users add to addnew add, newones, modify ones, and and anddelete delete delete the the unwanted. the respecti unwanted.ve elements.Selecting Selecting Thean element users an element can allows view allows the to elementsreview to review and of a andedit genericeditcategory, generic and add andcategory-specific new category-specific ones, and delete information. information. the unwanted. Category Category-specific Selecting-specific an informationelement information allows refers refersto review to to fields fields and that thatedit are commongeneric andwithin category-specific a specific specific category, information. such as Category the dimensionsdimensions-specific information and the material refers forto objects,fields that birth are and deathcommon information within a specific for persons category, and foundationsuchfoundation as the di datedatemensions forfor enterprises.enterprises. and the material Generic for information objects, birth refers and to commondeath information data across for categories, persons and such foundation as the name, date afor short enterprises. description, Generic a display information image, refers and mediato objectscommon that that data are are acrossassociated associated categories, with with that such that entity. entity.as the Media name, Media Objects a Objectsshort candescription, can be beimages, images, a display videos, videos, image, motion motion and captures, media captures, 3D objects that are associated with that entity. Media Objects can be images, videos, motion captures, 3D reconstructions,3D reconstructions, 3D 3Dobjects objects and and motion motion vocabula vocabularies.ries. They They are are authored authored independently independently and and can can be reconstructions, 3D objects and motion vocabularies. They are authored independently and can be previewed toto facilitatefacilitate thethe associationassociation process. process. Entities Entities and and the the data data that that accompany accompany them them are are stored stored in previewed to facilitate the association process. Entities and the data that accompany them are stored ina semantic a semantic knowledge knowledge base base (see (see Figure Section6). 3.2). in a semantic knowledge base (see Section 3.2).

Figure 6. 6. KnowledgeKnowledge element element browsi browsingng and and entry entry forms. forms. Figure 6. Knowledge element browsing and entry forms. 3.1.2. Practice 3.2.2. Practice 3.2.2. Practice Craft activities are represented as the organisation of actions of craftspeople. Through ethnography, Craft activities are represented as the organisation of actions of craftspeople. Through the relation of human, tool and material can be observed in detail to describe the process analytically. ethnography,Craft activities the relation are representedof human, tool as andthe maorganiterialsation can be of observed actions inof detail craftspeople. to describe Through the Theethnography,process analytical analytically. the description relation The analytical leadsof human, to the description tool representation and maleadsterial ofto craft thecan representation processesbe observed as process inof detailcraft schemas. processesto describe Process as the processschemasprocess areanalytically.schemas. descriptions Process The of theanalyticalschemas structures aredescription ofdescriptions activities le thatads of typicallytothe the structures representation manifest of themselvesactivities of craft that always processestypically following as processthemanifest same schemas. structure.themselves Process Examplesalways schemas following of such are the activities descriptions same stru arecture. wedding of Examplesthe structures ceremonies, of such of musicalactivities activities fugues, are that wedding ortypically soccer manifestgames.ceremonies, An themselves occurrence musical fugues,always of the or schemafollowing soccer isgames. athe set same ofAn (occurred) occurrence structure. events of Examples the thatschema conforms of is such a set toofactivities (occurred) the schema. are events wedding There is ceremonies,athat vast conforms amount musical of to literature, the fugues, schema. and or Theresoccer a number is games. a vast of standards An amount occurrence inof processliterature, of the schema schema and a representation, numberis a set of of (occurred) standards ranging events in from thatprocess conforms schema to representation, the schema. There ranging is froma vast mathemat amountical of models,literature, such and as aPetri number Nets, ofto industrialstandards in process schema representation, ranging from mathematical models, such as Petri Nets, to industrial Sustainability 2020, 12, 1461 10 of 26

Sustainability 2020, 12, x FOR PEER REVIEW 10 of 28 mathematical models, such as Petri Nets, to industrial standards, such as the Business Process Modelling Language.standards, Forsuch the as purposesthe Business of Mingei,Process weModelling rely on Language. UML activity For diagrams,the purposes whose of Mingei, basic primitives we rely on have been,UML therefore,activity diagrams, included whose in the basic Mingei primitives ontology have in thebeen, form therefore, of classes, included properties in the andMingei axioms ontology on them. in theThe form elements of classes, of process properties schemas and axioms are hypothetical on them. actions, organised in processes. Inside a schema, actionsThe are elements related toof eachprocess other schemas temporally, are hypothetical causally, and actions, hierarchically. organised Thein processes. implementation Inside a also containsschema, linksactions between are related the actions to each and conceptualother temporally, objects. Thecausally, digitisations and hierarchically. of craft activities The are recordingsimplementation that contain also contains these actions. links between Knowledge the acti elementons and digitisations conceptual areobjects. linked The to digitisations conceptual actionsof ascraft their activities instances. are recordings A tool facilitates that contain the description these actions. of theKnowledge craft process, element analysing digitisations them are in linked steps and definingto conceptual the temporal actions as or their logical instances. relationships A tool faci betweenlitates the them. description Eachstep of the and craft sub-step process, can analysing be further analysed,them in steps thus, and enabling defining the the modelling temporal oforcraft logica processes,l relationships whether between linear them. and Each simple step or and complicated sub- withstep acan deep be hierarchyfurther analysed, of actions. thus, enabling the modelling of craft processes, whether linear and simpleFor or each complicated process thewith curator a deep fills-inhierarchy a title of actions. and a description. By default, the execution order for any processFor each step process is set the to curator be “Any”, fills-in not a imposingtitle and a anydescription. restrictions By default, at first. the All execution steps are order listed for in the orderany process in which step they is set were to providedbe “Any”, (see not Figureimposing7). Onceany restrictions a step is listed, at first. the All curator steps defines are listed its executionin the order,order edit,in which or delete they it.were The provided tool provides (see supportFigure 7). for Once additional a step materialis listed, tothe describe curator each defines step its in the execution order, edit, or delete it. The tool provides support for additional material to describe each form of textual guidelines, images, instructional videos, as well as the option to preview the graphical step in the form of textual guidelines, images, instructional videos, as well as the option to preview visualisation of the process as it has been defined in the form of UML diagrams. the graphical visualisation of the process as it has been defined in the form of UML diagrams.

FigureFigure 7. Example of of a a process process (left) (left first) first level level of ofsteps steps (right) (right sub-steps) sub-steps of the of first the firststep. step.

TheThe executionexecution orderorder optionsoptions thatthat areare providedprovided byby thethe tooltool areare explainedexplained inin TableTable1 1,, the the listing listing also thealso parameters the parameters that that the userthe user is asked is asked to define to define for for each each one. one. Figure 8 illustrates the steps of defining the most complex option, that of condition checking. Table 1. Execution order options. Table 1. Execution order options. Order Option Short Description Parameters Order Option Short Description Parameters Goes to step Sequential ordering of steps 1. Next step Goes to step Sequential ordering of steps 1. Next step 1. Steps that will run in parallel. At least two steps GoesGoes to to parallel parallel ConnectionConnection of steps of steps that run that in run in 1. Steps that will run in parallel. At least steps parallel have to be defined. steps parallel two steps have to be defined. 1. 1. StepsSteps that that have have to be to completed be completed before takingbefore a next action. Connection of steps that run in taking a next action. Waits for parallelConnection and definition of steps of thethat next run in2. Definition of the action that will follow, by selecting 2. Definition of the action that will follow, actionparallel once theyand aredefinition all completed of the an order option for the next action (goes to step, goes Waits for to parallelby selecting steps, waitsan order for, conditionoption for checking) the next action once they are all next action (goes to step, goes to Denotescompleted focal points in the process, 1. Condition that is examined Condition where the craftsman will check if a 2. Executionparallel order steps, of stepswaits if for, the condition is met checking condition is met before proceeding 3. Executionchecking) order of steps if the condition is not met 1. Condition that is examined Condition Denotes focal points in the 2. Execution order of steps if the Figurechecking8 illustrates process, the steps where of the defining craftsman the most complex option, that of condition checking. condition is met Sustainability 2020, 12, x FOR PEER REVIEW 11 of 28

will check if a condition is met 3. Execution order of steps if the Sustainability 2020, 12, 1461before proceeding condition is not met 11 of 26

Figure 8. Definition steps of condition checking. Figure 8. Definition steps of condition checking. The representation implies delimitation of actions in high granularity. Recordings contain sequencesThe representation of actions, some implies of which delimitation occur conc ofurrently. actions inAn high association granularity. between Recordings semantically contain sequencesrepresented of action actions, and some fragments of which of digital occur assets concurrently. is required. The An representation association between of action semanticallymay be representedrelevant only action to specific and fragments body members, of digital e.g., assets the flying is required. of a loom The shuttle. representation Using computer-aided of action may be relevantannotation only on to craft specific practice body recordings, members, we create e.g., the Motion flying Vocabulary of a loom Items shuttle. associated Using with computer-aided semantic annotationdescriptions on of craft processes. practice This recordings, is facilitated we createby Animation Motion VocabularyStudio, an application Items associated implemented with semantic to descriptionsvisualise, edit, of processes.and annotate This 3D isanimation facilitated files, by Animationobtained by Studio,motion ancapture application or visual implemented tracking. to visualise,Pertinent edit, annotation and annotate software 3D exists animation in the files,linguist obtainedics domain by motion [39], but capture not for or 3D visual motion tracking. animations. Pertinent annotationAnimation software Studio facilitates exists in theisolation linguistics and annotation domain [ 39of], animation but not for segments 3D motion and animations.videos (see Figure Animation 9). StudioSustainability facilitates 2020 isolation, 12, x FOR andPEER annotationREVIEW of animation segments and videos (see Figure9).12 of 28

FigureFigure 9. Animation 9. Animation Studio Studio showing showing a a visual visual stream,stream, co correspondingrresponding 3D 3D motion motion data, data, andand a timeline. a timeline.

Through the isolation of elementary physical actions from recordings of craft practice, we create Motion Vocabularies (MVs) that associate conceptual actions to recordings of these actions. In this case, the weaving process was decomposed into three actions, according to: (1) Shedding—warp threads are appropriately raised or lowered to form a shed; (2) picking—weft is passed across the shed using the shuttle; and (3) beating—weft is pushed against the fabric using the beater. The physical components of the loom are the shuttle, treadle and beater. The representation associates process steps with visual recordings and 3D motion of persons and objects, in a way that is intuitive to the practitioner and analytical for the representation of the process. This decomposition contains the interplay between human motion and interacting physical components (see Figure 10).

Figure 10. Process schema for weaving. Sustainability 2020, 12, x FOR PEER REVIEW 12 of 28

Sustainability 2020, 12, 1461 12 of 26

Figure 9. Animation Studio showing a visual stream, corresponding 3D motion data, and a timeline. Through the isolation of elementary physical actions from recordings of craft practice, we create MotionThrough Vocabularies the isolation (MVs) thatof elementary associate conceptualphysical action actionss from to recordingsrecordings of craft these practice, actions. we In thiscreate case, theMotion weaving Vocabularies process was (MVs) decomposed that associate into three conceptual actions, actions according to recordings to: (1) Shedding of these—warp actions. threads In this are appropriatelycase, the weaving raised process or lowered was decomposed to form a shed; into thre (2) epicking actions,—weft according is passed to: (1) Shedding—warp across the shed threads using the shuttle;are appropriately and (3) beating raised—weft or lowered is pushed to form against a shed; the (2) fabricpicking—weft using the is beater.passed across The physical the shed components using the ofshuttle; the loom and are (3) the beating—weft shuttle, treadle is pushed and beater. against Thethe fabric representation using the beater. associates The processphysical stepscomponents with visual of recordingsthe loom andare the 3D shuttle, motion treadle of persons and beater. and objects, The re inpresentation a way that associates is intuitive process to the steps practitioner with visual and analyticalrecordings for and the 3D representation motion of persons of the and process. objects, This in decompositiona way that is intuitive contains to thethe interplaypractitioner between and humananalytical motion for the and representation interacting physical of the process. components This decomposition (see Figure 10). contains the interplay between human motion and interacting physical components (see Figure 10).

Figure 10. Process schema for weaving. Figure 10. Process schema for weaving. Sustainability 2020, 12, x FOR PEER REVIEW 13 of 28 Similarly, manipulation of objects is associated with semantic processes, facilitated by the visual trackingSimilarly, of handsmanipulation [38], and of objectsobjects is [40 associated]. In Figure wi th11 semantic, the 3D modelprocesses, of the facilitated shuttle (left)by the is visual used to trackingestimate of itshands pose [38], in 3D and space objects and its[40]. interaction In Figure with 11, the the 3D hands model of the of practitionerthe shuttle (right).(left) is used to estimate its pose in 3D space and its interaction with the hands of the practitioner (right).

Figure 11. Hand and object pose estimation for visual recordings of craft practice. Figure 11. Hand and object pose estimation for visual recordings of craft practice.

To Torepresent represent machine machine functionality, functionality, we we decom decomposepose it itin inelementary elementary components components called called FundamentalFundamental Machine Machine Components Components (FMCs). (FMCs). These These FM FMCsCs are are3D 3Dmodels models enhanced enhanced with with functionality functionality thatthat simulates simulates their their motion, motion, implem implementedented as as described described in in [41]. [41]. As As an an example, example, we we define define the the elements elements of of the loom’sloom’s physical physical interface interface as as FMCs. FMCs. Each Each one one is comprised is comprised of a 3D of modela 3D ofmodel the physical of the physical component componentand motion and rules motion that representrules that its represent feasible motionits feasible during motion operation during (see operation Figure 12 ).(see FMCs Figure are paired12). FMCs are paired with the body members used to operate them; e.g., treadle with foot. Mapping the motion recording to the FMC simulates the operation, by inference of the machine motion.

Figure 12. Visualisation of induced motion on a loom treadle.

3.2.3. Context Bibliographic research and ethnography reveal the context in which a craft is or was practiced. Personal stories, social relations, and local history show the importance of a craft for a community and its region. Geographical context is relevant, as environmental aspects affect craft practice. The availability of materials depending on location is of relevance, such as when based on endemic flora or fauna. Temporal context is relevant to craft description, due to the change of season, technological progress, economic events, and climate change. Context is represented through narratives, in the formal representation of the fabulae of narratives. In a narrative, the fabula is the piece of reality that contains the events narrated, in chronological order, as well as the facts that surround these events and that are immediately relevant to the events themselves, such as the people, objects, spatio-temporal regions involved in the events. Sustainability 2020, 12, x FOR PEER REVIEW 13 of 28

Similarly, manipulation of objects is associated with semantic processes, facilitated by the visual tracking of hands [38], and objects [40]. In Figure 11, the 3D model of the shuttle (left) is used to estimate its pose in 3D space and its interaction with the hands of the practitioner (right).

Figure 11. Hand and object pose estimation for visual recordings of craft practice.

To represent machine functionality, we decompose it in elementary components called Fundamental Machine Components (FMCs). These FMCs are 3D models enhanced with functionality Sustainabilitythat simulates2020, 12 their, 1461 motion, implemented as described in [41]. As an example, we define the elements13 of 26 of the loom’s physical interface as FMCs. Each one is comprised of a 3D model of the physical withcomponent the body and members motion used rules to operatethat represent them; e.g.,its fe treadleasible withmotion foot. during Mapping operation the motion (see Figure recording 12). to FMCs are paired with the body members used to operate them; e.g., treadle with foot. Mapping the the FMC simulates the operation, by inference of the machine motion. motion recording to the FMC simulates the operation, by inference of the machine motion.

FigureFigure 12. 12.Visualisation Visualisation of induced motion motion on on a aloom loom treadle. treadle.

3.1.3.3.2.3. Context Context BibliographicBibliographic research research and and ethnographyethnography reveal the the context context in in which which a acraft craft is isor orwas was practiced. practiced. PersonalPersonal stories, stories, social social relations, relations, and and local local history history show show the the importance importance of a of craft a craft for a for community a community and its region.and its Geographical region. Geographical context is context relevant, is asrelevant, environmental as environmental aspects a ffaspectsect craft affect practice. craft Thepractice. availability The ofavailability materials depending of materials on depending location on is oflocation relevance, is of relevance, such as when such basedas when on based endemic on endemic flora or flora fauna. or fauna. Temporal context is relevant to craft description, due to the change of season, technological Temporal context is relevant to craft description, due to the change of season, technological progress, progress, economic events, and climate change. economic events, and climate change. Context is represented through narratives, in the formal representation of the fabulae of Context is represented through narratives, in the formal representation of the fabulae of narratives. narratives. In a narrative, the fabula is the piece of reality that contains the events narrated, in In a narrative, the fabula is the piece of reality that contains the events narrated, in chronological chronological order, as well as the facts that surround these events and that are immediately relevant order, as well as the facts that surround these events and that are immediately relevant to the events to the events themselves, such as the people, objects, spatio-temporal regions involved in the events. themselves, such as the people, objects, spatio-temporal regions involved in the events. In Mingei, each narrative comes equipped with a formal representation of the underlying fabula, expressed in terms of objects and inter-relationships. These objects and relationships form a semantic network, in which the fabula’s events are explicitly represented as nodes and are linked to (a) the nodes that represent the people, objects, spatiotemporal regions involved in the events, and (b) the nodes that represent the media objects documenting the events. This rich, semantical representation of the fabula provides a contextualisation of the events composing the fabula. The contextualisation can be appreciated upon visualizing the narratives and can be used to build stories about the crafts and to link the crafts to other knowledge repositories via linked data mechanisms.

3.2. Craft Presentation The Mingei project is investing a significant amount of resources to co-create storytelling scenarios for the crafts and the users addressed by the project. These include games and other activities that the users can enact in Virtual and Augmented reality scenarios, to appreciate the different phases, skills and techniques that compose the crafts. An online platform allows the visual representation of basic knowledge elements, such as events and places using interactive maps and timelines. A classical storytelling component in narrative visualisation is the time-line visualisation, through which the user can appreciate the temporal placement of the events composing the narrative on Sustainability 2020, 12, x FOR PEER REVIEW 14 of 28

In Mingei, each narrative comes equipped with a formal representation of the underlying fabula, expressed in terms of objects and inter-relationships. These objects and relationships form a semantic network, in which the fabula’s events are explicitly represented as nodes and are linked to (a) the nodes that represent the people, objects, spatiotemporal regions involved in the events, and (b) the nodes that represent the media objects documenting the events. This rich, semantical representation of the fabula provides a contextualisation of the events composing the fabula. The contextualisation can be appreciated upon visualizing the narratives and can be used to build stories about the crafts and to link the crafts to other knowledge repositories via linked data mechanisms.

3.2. Craft Presentation The Mingei project is investing a significant amount of resources to co-create storytelling scenarios for the crafts and the users addressed by the project. These include games and other activities that the users can enact in Virtual and Augmented reality scenarios, to appreciate the different phases, skills and techniques that compose the crafts. An online platform allows the visual representation of basic knowledge elements, such as events and places using interactive maps and timelines. A classical storytelling component in narrative visualisation is the time-line visualisation, through which the user can appreciate the temporal placement of the events composing the narrative on an absolute scale. The site Mingei Online Platform provides automatic timeline visualisation of contextual events (Figure 13, left). Large scale spatial context refers to specific locations on the surface of the Earth, their extent, and their names over time. Such information is treated by GIS systems using GPS reference coordinates and location inventories to treat these issues, respectively. The knowledge base keeps only the GPS association with user names of the location and their specification and classification in a given hierarchy or regions and countries; in Mingei GeoNames (https://www.geonames.org/) are used. The stored data can be presented in a variety of ways that show whether a place is neighbouring to the sea, up in the mountains, or an island. This is important for the presentation of craft context, as it better explains trade, resources and possible threats. At the same time, GIS visualisations is a way to relate to neighbouring, complementary destinations. In Mingei, we utilise the stored GIS data to Sustainabilitycreate customised2020, 12, 1461 HC narrations that can be provided through popular media to a wide audience.14 of 26 Once encoded in GPS coordinates, the represented locations can be exported and integrated into any anGIS absolute system. scale. In this The way, site the Mingei reconstructions Online Platform produced provides can be integrated automatic into timeline the GIS visualisation platform of of choice. In Figure 13 (right), the import of two locations in the OpenStreetMap [42] system is contextual events (Figure 13, left). illustrated, for two locations in Krefeld, Germany.

Figure 13. Visualisation of timelines and locations. Figure 13. Visualisation of timelines and locations. The presentation of rural and environments often requires more specialised presentation. Large scale spatial context refers to specific locations on the surface of the Earth, their extent, and Denser spatial data exports of data and environment digitisations can be provided in the form of their names over time. Such information is treated by GIS systems using GPS reference coordinates Virtual Reality (VR), with places of interest and events that occurred at particular locations to be and location inventories to treat these issues, respectively. The knowledge base keeps only the GPS added to the map. This way, each location can be enriched with any type of curated digital content association with user names of the location and their specification and classification in a given hierarchy or regions and countries; in Mingei GeoNames (https://www.geonames.org/) are used. The stored data can be presented in a variety of ways that show whether a place is neighbouring to the sea, up in the mountains, or an island. This is important for the presentation of craft context, as it better explains trade, resources and possible threats. At the same time, GIS visualisations is a way to relate to neighbouring, complementary destinations. In Mingei, we utilise the stored GIS data to create customised HC narrations that can be provided through popular media to a wide audience. Once encoded in GPS coordinates, the represented locations can be exported and integrated into any GIS system. In this way, the reconstructions produced can be integrated into the GIS platform of choice. In Figure 13 (right), the import of two locations in the OpenStreetMap [42] system is illustrated, for two locations in Krefeld, Germany. The presentation of rural and environments often requires more specialised presentation. Denser spatial data exports of data and environment digitisations can be provided in the form of Virtual Reality (VR), with places of interest and events that occurred at particular locations to be added to the map. This way, each location can be enriched with any type of curated digital content (i.e., 3D reconstructions, historical information, video data, etc.) that have been included in the knowledge base. In Figure 14, two ways of presenting such data are proposed, for the island of Chios, Greece. The first is a projection room where overviews of the environment can be interactively presented from aerials trajectories. The second is a mobile application that presents the island in a 3D geophysical map. A third, more conventional way is provided by a custom VR viewer implemented in unity3D that allows the user to perform an indoors and outdoors virtual walkthrough inside the structures of Figure 15. A piece of orientation material is a glossary of terms that associates triplets of terms, definitions, and visualisations from the CI representation. As a document, a glossary increases the value of a visit as pertinent concepts can be communicated prior to it and serves as a reminder after it. Several games and activities stem from this verbal, semantic, and visual association of content that is not necessarily restricted to the context of crafts. In this case, the important feature for sustainability relates to the capacity of communities creating and content upon their own capacities. Such glossaries are generated from the CI representation dynamically, using appropriate queries, in retrieving context in the appropriate language and visual context. The example in Figure 16, presents elements of a glass glossary. Sustainability 2020, 12, x FOR PEER REVIEW 15 of 28

(i.e., 3D reconstructions, historical information, video data, etc.) that have been included in the knowledge base. In Figure 14, two ways of presenting such data are proposed, for the island of Chios, Sustainability 2020, 12, x FOR PEER REVIEW 15 of 28 Greece. The first is a projection room where overviews of the environment can be interactively presented(i.e., 3D reconstructions, from aerials trajectories. historical information, The second video is a mo data,bile etc.) application that have that been presents included the in island the in a 3D geophysicalknowledge base map.. In AFigure third, 14, more two ways conventional of presenting way such is provideddata are proposed, by a custom for the VR island viewer of Chios, implemented SustainabilityinGreece. unity3D The2020 thatfirst, 12 allows,is 1461 a projection the user room to perform where ovanerviews indoors of and the outdoorsenvironment virtual can bewalkthrough interactively inside 15 of the 26 structurespresented from of Figure aerials 15. trajectories. The second is a mobile application that presents the island in a 3D geophysical map. A third, more conventional way is provided by a custom VR viewer implemented in unity3D that allows the user to perform an indoors and outdoors virtual walkthrough inside the structures of Figure 15.

Figure 14. Immersive and VR presentation of geophysical context. FigureFigure 14. 14. ImmersiveImmersive and andVR presentation VR presentation of geophysical of geophysical context. context.

Figure 15. Virtual tour at animal husbandry settlements. FigureFigure 15.15. Virtual tourtour atat animalanimal husbandryhusbandry settlements.settlements. A piece of orientation material is a glossary of terms that associates triplets of terms, definitions, and visualisationsCraftA piece gestures of orientation from that the include CI material representation. tool manipulationis a glossary As a document, of are term visualiseds a that glossary associates and increases trained triplets the in anvalue of educational terms, of a visit definitions, context. Theandas pertinent followingvisualisations concepts example, from can be the in communicated Figure CI representation. 17, is aprior simple to As it and traininga document, serves scenario as a areminder glossary where after increases the it. user Several isthe tasked games value toof graspa visit aasand tool, pertinent activities using VRconcepts stem controllers from can this be verbal, and communicated use semantic, in this caseand prior visual a hammer, to itassociation and aserves nail, of and contentas a areminder wooden that is not surface.after necessarily it. Several The structure games ofandrestricted the activities training to the stem scenario context from of is this crafts broken verbal,. In downthis semantic, case, into the smaller andimportant visual sub-tasks. featur associatione for The sustainability user of content is asked thatrelates to is pick notto the upnecessarily the tool. Performingrestrictedcapacity of to thiscommunities theaction context equips ofcreating crafts the .andtool In this incontent the case, virtual up theon important hand,their own and featur thecapacities. toole for then Suchsustainability follows glossaries the movement relatesare to the of thecapacitygenerated VR controller. offrom communities the Afterwards,CI representati creating aon training dynamically, and content animation using up activatesonappropriate their whichown queries, capacities. indicates in retrieving howSuch context the glossaries tool is to are be used,generatedin the inappropriate this from case the howlanguage CI the representati hammerand visual should oncontext. dynamically, be The moved example tousing hammerin Figure appropriate the16, presents nail down.queries, elements The in userretrievingof a glass is then context asked glossary. toin duplicatethe appropriate the indicated language motion and visual using context. the VR controller.The example Once in Figure the nail 16, reaches presents the elements maximum of a depth, glass theglossary. training scenario is completed. This training scenario was created leveraging the ovidVR SDK, developed by ORamaVR [43]. MotiVo [44] is an interactive system that simplifies the process of motion visualisation by offering a number of visualisation tools as integrated components to an interactive system and provides insightful and visually pleasant results requiring minimum expertise and knowledge from the user (see Figures 18 and 19). A separate tool is used for presenting glass making processes in VR (see Figure 20). Using those tools, motion is visualised by parameters, such as the blending of key poses of activity, the visualisation of motion trajectories, the application of image filters to visualisations and their 3D and 2D combinations so as to create hybrid depictions of motion. Sustainability 2020, 12, 1461 16 of 26

Sustainability 2020, 12, x FOR PEER REVIEW 16 of 28

(a) Furnace: An enclosed structure for production and application of heat. Uses: Melting, maintaining, reheating, and annealing glass or glass objects

(b) Gather, or gob: A mass of molten glass collected at the end of a blowpipe, pontil, or gathering iron.

Sustainability 2020, 12, x FOR PEER REVIEW 17 of 28

(c) Blowing: The technique of forming an object by inflating a gather or gob of molten glass on is then asked to duplicate the indicated themotion end of us a ingblowpipe. the VR controller. Once the nail reaches the maximum depth, the training scenario is completed. This training scenario was created leveraging Figure 16. Elements from the glass dictionary. the ovidVR SDK, developed byFigure ORamaVR 16. Elements [43]. from the glass dictionary. Craft gestures that include tool manipulation are visualised and trained in an educational context. The following example, in Figure 17, is a simple training scenario where the user is tasked to grasp a tool, using VR controllers and use in this case a hammer, a nail, and a wooden surface. The structure of the training scenario is broken down into smaller sub-tasks. The user is asked to pick up the tool. Performing this action equips the tool in the virtual hand, and the tool then follows the movement of the VR controller. Afterwards, a training animation activates which indicates how the tool is to be used, in this case how the hammer should be moved to hammer the nail down. The user Figure 17. VR training tutorial for hammering a nail. Left: Tutorial animation indicating Figure 17. VR training tutorial for hammering a nail. Left: Tutorial animation indicating recommended recommended motion, Middle: Movement the equipped tool into position for usage. Right: motion, Middle: Movement the equipped tool into position for usage. Right: Hammering a nail. Hammering a nail.

MotiVo [44] is an interactive system that simplifies the process of motion visualisation by offering a number of visualisation tools as integrated components to an interactive system and provides insightful and visually pleasant results requiring minimum expertise and knowledge from the user (see Figures 18 and 19). A separate tool is used for presenting glass making processes in VR (see Figure 20). Using those tools, motion is visualised by parameters, such as the blending of key poses of activity, the visualisation of motion trajectories, the application of image filters to visualisations and their 3D and 2D combinations so as to create hybrid depictions of motion.

Figure 18. Authoring of gesture visualisations using MotiVo. Sustainability 2020, 12, x FOR PEER REVIEW 17 of 28

is then asked to duplicate the indicated motion using the VR controller. Once the nail reaches the maximum depth, the training scenario is completed. This training scenario was created leveraging the ovidVR SDK, developed by ORamaVR [43].

Figure 17. VR training tutorial for hammering a nail. Left: Tutorial animation indicating recommended motion, Middle: Movement the equipped tool into position for usage. Right: Hammering a nail.

MotiVo [44] is an interactive system that simplifies the process of motion visualisation by offering a number of visualisation tools as integrated components to an interactive system and provides insightful and visually pleasant results requiring minimum expertise and knowledge from the user (see Figures 18 and 19). A separate tool is used for presenting glass making processes in VR (see Figure 20). Using those tools, motion is visualised by parameters, such as the blending of key poses of activity, the visualisation of motion trajectories, the application of image filters to Sustainability 2020, 12, 1461 17 of 26 visualisations and their 3D and 2D combinations so as to create hybrid depictions of motion.

Figure 18. Authoring of gesture visualisations using MotiVo. Sustainability 2020, 12, x FORFigure PEER REVIEW 18. Authoring of gesture visualisations using MotiVo. 18 of 28

Sustainability 2020, 12, x FOR PEER REVIEW 18 of 28

Figure 19. Authoring of illustrated instructions with MotiVo. FigureFigure 19. 19.Authoring Authoring ofof illustratedillustrated instructions instructions with with MotiVo. MotiVo.

Figure 20. Computer-aided, VR presentation of glass making processes from [45]. Top: Marvering. FigureFigure 20. 20.Computer-aided, Computer-aided, VR presentation of of glass glass ma makingking processes processes from from [45]. [45 Top:]. Top: Marvering. Marvering. Middle: Shaping. Bottom: Illustration of the glass deformation during glass blowing. Middle:Middle: Shaping. Shaping. Bottom:Bottom: Illustration of of the the glass glass deformation deformation during during glass glass blowing. blowing.

4. Use4. Use Cases Cases

4.1. Margarites 4.1. Margarites The island of Crete in Greece is an internationally popular tourist destination. The majority of The island of Crete in Greece is an internationally popular tourist destination. The majority of tourism concentrates on the seaside locations as the majority of the tourism sector in Crete tourismconcentrates concentrates of sun-and-sea on the tourism.seaside Atlocations the same as time, the themajority mountains of the of Cretetourism host sectortraditions in thatCrete concentrates of sun-and-sea tourism. At the same time, the mountains of Crete host traditions that Sustainability 2020, 12, 1461 18 of 26

4. Use Cases

4.1. Margarites The island of Crete in Greece is an internationally popular tourist destination. The majority of tourism concentrates on the seaside locations as the majority of the tourism sector in Crete concentrates of sun-and-sea tourism. At the same time, the mountains of Crete host traditions that cover more than a millennium.Sustainability 2020 Some, 12, x FOR of the PEER most REVIEW identifying elements of Cretan culture originate from the region19 of 28 of Psiloritis a UNESCO Global Geopark [46]. The village of Margarites is a simple to reach, mountainous cover more than a millennium. Some of the most identifying elements of Cretan culture originate ff andfrom o -centre the region destination of Psiloritis at this a UNES park,CO at Global an altitude Geopark of about [46]. 300m,The village within of theMargarites region ofis thisa simple park to and is onereach, of mountainous the largest pottery and off-centre centres in destination Greece. at this park, at an altitude of about 300m, within the regionPottery of this is onepark of and the is oldest one of humanthe largest crafts, pottery originating centres in before Greece. the Neolithic period, practiced by elementalPottery materials is one andof the processes: oldest human Earth, crafts, water, originating and fire. before Old and the new Neolithic techniques period, coexist practiced in the by 20 someelemental pottery materials workshops and processes: and showrooms Earth, water, of the and village, fire. Old where and traditional new techniques and moderncoexist in pottery the 20 is produced.some pottery At Margarites, workshops pottery and showrooms tradition datesof the fromvillage, the where Neolithic traditional period and ismodern highly-relevant pottery is to theproduced. ample reserve At Margarites, of clay found pottery at itstradition rural surroundings dates from the at Neolithic the mountain period of and Psiloritis. is highly-relevant to theMingei ample reserve encompasses of clay anfound action at its towards rural surroundings cultural tourism at the relevantmountain to of traditional Psiloritis. crafts and their participatoryMingei promotionencompasses and an transmission. action towards In cultural collaboration tourism with relevant local to policy traditional makers crafts and and businesses, their a tourismparticipatory network promotion is planned and thattransmission. involves participationIn collaboration in with workshops local policy and seminarsmakers and with businesses, more than a daya tourism of the network duration. is planned Of relevance that involves to the proposed participation work in workshops are pottery and workshops seminars heldwith more for students than anda day visitors. of the Visitors duration. can Of view relevance and participate to the propos in aed demonstration work are pottery of traditional workshops pottery. held for An students initiation, educativeand visitors. experience Visitors into can potteryview and was participate designed in based a demonstration on the modelling of traditional of traditional pottery. potteryAn initiation, in steps, showingeducative how experience raw earth into materials pottery arewas transformed designed based into on pottery the modelling articles of (see traditional Figure 21 pottery). The in process steps, is showing how raw earth materials are transformed into pottery articles (see Figure 21). The process is modelled in five steps for which descriptions and educational videos are provided. The concept is modelled in five steps for which descriptions and educational videos are provided. The concept is showcased in a webpage (http://www.mingei-project.eu/pottery-experience-keramion/)[47]. showcased in a webpage (https://medium.com/@mingei.project/keramion-efd40cec6139) [47].

FigureFigure 21.21. TheThe basic steps of of pottery pottery making. making.

NearbyNearby Locations Locations of of Interest Interest areare showcasedshowcased to increase the the value value of of a avisit, visit, such such as asthe the ancient ancient citycity and and archaeological archaeological museum museum ofof Eleutherna,Eleutherna, as well as as routes routes at at the the Psiloritis Psiloritis UNESCO UNESCO Global Global Geopark,Geopark, transhumance, transhumance, thethe seasonalseasonal drovingdroving of li livestockvestock along along migratory migratory routes routes [33] [33 as] aswell well as as samplesample traditional traditional Cretan Cretan cuisine cuisine is is an an expressionexpression ofof the Mediterranean diet diet [48]. [48].

4.2.4.2. Chios Chios InIn the the south south of of the the Greek Greek island island of of Chios,Chios, aa single type type of of tree tree has has shaped shaped not not only only the the local local trade trade and culture, but even the built environment. The tree does not grow anywhere else in the world and and culture, but even the built environment. The tree does not grow anywhere else in the world its resin, mastíha, is harvested to be used for a variety of uses, from skincare to medicinal and culinary and its resin, mastíha, is harvested to be used for a variety of uses, from skincare to medicinal and use. Chios is well known throughout the world for the cultivation of mastic trees, since the antiquities. culinary use. Chios is well known throughout the world for the cultivation of mastic trees, since the The know-how of cultivating, collecting, and processing mastic on the island of Chios is on the “Representative List of ICH of Humanity” of UNSECO [49]. Mastic is a natural product collected from the bark of mastic trees, which exclusively flourish in the southern part of the island, and due to this fact, the medieval settlements in that area are called “Mastichochoria” (Mastic Villages). These settlements date back to the Byzantine Era, and they are heritage monuments. During the Genoese occupation (1346–1566), the mastic cultivation becomes progressively systematic, and 22 mastic villages are founded in the southern part of the island aiming mainly at exploiting mastic, as a monopolistic product. The villages were not visible from the sea, Sustainability 2020, 12, 1461 19 of 26 antiquities. The know-how of cultivating, collecting, and processing mastic on the island of Chios is on the “Representative List of ICH of Humanity” of UNSECO [49]. Mastic is a natural product collected from the bark of mastic trees, which exclusively flourish in the southern part of the island, and due to this fact, the medieval settlements in that area are called “Mastichochoria” (Mastic Villages). These settlements date back to the Byzantine Era, and they are heritage monuments. During the Genoese occupation (1346–1566), the mastic cultivation becomes progressively systematic, and 22 mastic villages are founded in the southern part of the island aiming mainly at exploiting mastic, as a monopolistic product. The villages were not visible from the sea, and their layout resemblesSustainability a fortress, 2020, 12 designed, x FOR PEER to REVIEW protect the inhabitants from the frequent incursions in the20 Aegeanof 28 Sea. Latin architects, engineers and contractors had local farmers build the villages, according to the Italianand architectural their layout modelresembles of a that fortress, era. designed In the centreto protect of the each inhabitants settlement, from the there frequent was aincursions tall rectangular tower,in around the Aegean of which Sea. there were houses very close to each other. The walls of the houses located Latin architects, engineers and contractors had local farmers build the villages, according to the circumferentiallyItalian architectural of the model village of formedthat era. anIn the external centre of wall each with settlement, a cylindrical there was turret a tall withrectangular crenellations on eachtower, corner around to avoid of which invaders there were who houses tried very to approach close to each the other. centre The of walls the villageof the houses by confusing located them. This architecturalcircumferentially draft of gave the village masters form theed an opportunity external wall to with close a cylind the gatesrical turret in order with tocrenellations protect the on area and simultaneouslyeach corner keep to avoid their invaders subjects who under tried to control. approach the centre of the village by confusing them. This Toarchitectural illustrate this draft geographical gave masters the context, opportunity an overview to close wasthe gates preferred. in order Aerialto protect images the area were and acquired simultaneously keep their subjects under control. via a UAV. The subjects are large building complexes. The building structure is challenging, due to the To illustrate this geographical context, an overview was preferred. Aerial images were acquired complex,via rurala UAV. city The planning subjects andare large fortification. building complexes. Corresponding The building reconstructions structure is from challenging, villages due Pyrgi, to Mesta, Olympoithe andcomplex, Elata rural are city shown planning in Figure and fortification. 22. Two Corresponding figures are provided reconstructions for each from village; villages Pyrgi, an annotated top viewMesta, and Olympoi a close-up and nearElata toare its shown central in Figure building. 22. Two The figures figures are are provided annotated for each as follows;village; an red lines representannotated densely top constructed view and a close-up houses near which to its formed central building. continuous The figures external are walls,annotated green as follows; represents the locationred of lines the centralrepresent tower densely where constructed mastic washouses stored, which and formed blue circlescontinuous represent external rescued walls, green turrets. Note represents the location of the central tower were mastic was stored, and blue circles represent rescued that in later years, the towers in Mesta and Elata were replaced by churches. Detailed videos from the turrets. Note that in later years, the towers in Mesta and Elata were replaced by churches. Detailed reconstructionsvideos from are the provided reconstructions in the are Supplementary provided in the Material.supplementary material.

(a) Pyrgi (b) Mesta

Figure 22. Cont. Sustainability 2020, 12, x FOR PEER REVIEW 21 of 28

SustainabilitySustainability2020, 12 2020, 1461, 12, x FOR PEER REVIEW 21 of 28 20 of 26

(c) Olympoi (d) Elata (c) Olympoi (d) Elata Figure 22. “Mastichochoria” reconstructions. Figure 22. “Mastichochoria” reconstructions. The crafts related to mastic contain both outdoor and indoor activities that take place around the The crafts related to mastic contain both outdoor and indoor activities that take place around the Thehouse crafts and related in a centralisedto mastic containlocation. both Digital outdoor representations and indoor of activitiesmachines (i.e.,that takeFigure place 23) andaround the house and in a centralised location. Digital representations of machines (i.e., Figure 23) and traditional house andtraditional in a garments centralised (i.e., Figurelocation. 24) have Digital been acreprquiredesentations from the Mastic of machines Museum at Chios.(i.e., FigureThese are 23) and garmentsutilised (i.e., in Figure a VR application 24) have been(see Figure acquired 25) that from has thebeen Mastic developed Museum that allows at Chios. the exploration These are of the utilised in traditional garments (i.e., Figure 24) have been acquired from the Mastic Museum at Chios. These are a VR applicationnatural environment (see Figure from 25 )a thatterrestrial has been viewpoin developedt. The terrain that allowsof the thegame exploration was generated of the by natural utilised in a VR application (see Figure 25) that has been developed that allows the exploration of the environmentimporting from the ageophysical terrestrial map viewpoint. into unity3D. The Then terrain floraof and the fauna game were was imported generated together by with importing 3D the naturalreconstructions environment of from villages. a terrestrialThe concept viewpoinof the gamet. isThe to exploreterrain the of island the ingame different was eras generated and by geophysical map into unity3D. Then flora and fauna were imported together with 3D reconstructions importingacquire the knowledgegeophysical about map the intocultivation unity3D. and tradeThen of flora mastic and in eachfauna one, were through imported a mission-oriented together with 3D of villages. The concept of the game is to explore the island in different eras and acquire knowledge reconstructionsapproach. Digitisedof villages. rural The environments concept ofare thealso gameimportant is to to theexplore realism the of suchisland application. in different eras and about the cultivation and trade of mastic in each one, through a mission-oriented approach. Digitised acquire knowledge about the cultivation and trade of mastic in each one, through a mission-oriented rural environments are also important to the realism of such application. approach. Digitised rural environments are also important to the realism of such application.

Figure 23. Digitisation of Machines for mastic processing.

Figure 23. Digitisation of Machines for mastic processing. Sustainability 2020, 12, x FOR PEER REVIEW 22 of 28 Sustainability 2020, 12, 1461 21 of 26 Sustainability 2020, 12, x FOR PEER REVIEW 22 of 28

Figure 24. Digitisation of traditional garments of Chios. Figure 24. Digitisation of traditional garments of Chios. Figure 24. Digitisation of traditional garments of Chios.

Figure 25. A VR application for the presentation of mastic trade and the exploration of the natural Figure 25. A VR application for the presentation of mastic trade and the exploration of the natural environmentenvironmentFigure 25. A of VRof Chios. Chios. application for the presentation of mastic trade and the exploration of the natural environment of Chios. InIn Figure Figure 26 26,, a mobilea mobile application application (a (a demonstration demonstration video video of of the the application application can can be be found found here: here: https:https://youtu.be/JjOcxmrQ744)//Inyoutu.be Figure /26,JjOcxmrQ744 a mobile application) presents presents a(a a thicker demonstration thicker context context introducingvideo introducing of the the application the traditional traditional can knowledge beknowledge found here: on on howhttps://youtu.be/JjOcxmrQ744)how to to induce induce incision incision on on a mastica mastic presents tree. tree. This aThis thicker practice prac contexttice extends extends introducing over over a perioda periodthe traditional of of months, months, knowledge visiting visiting the theon treestreeshow periodically. toperiodically. induce incision Of Of relevance relevance on a mastic are are nottree. not only Thisonly the practhe direction directiontice extends and and over depth depth a period of of the the incision,of incision, months, but but visiting also also the the locationlocationtrees periodically. on on the the step, step, theOf the relevance order, order, the the densityare density not andonly and the thethe number directionnumber and and and location location depth of of incisions incisionsthe incision, per per time timebut ofalso of year. year. the ThelocationThe technique technique on the and andstep, knowledge knowledge the order, are the are presented density presented and in in the multiple multip numberle ways, ways, and inlocation in a mobilea mobile of incisions application, application, per presentingtime presenting of year. narrativesThenarratives technique associated associated and knowledge through through the the are “thick” “thick” presented CI CI representation. represen in multiptation.le ways, In In this this in case, case,a mobile the the number numberapplication, of of incisions incisions presenting per per timenarrativestime of of year year associated is is relevant relevant through to to slowly slowly the “wake” “thick”“wake” the CIthe treerepresen tree in in the thetation. winter winter In andthis and atcase, at its its base.the base. number The The order orderof incisions relates relates toper to thetimethe optimisation optimisation of year is relevant of of production; production; to slowly traditionally, trad “wake”itionally, the order order tree is in is from thefrom bottomwinter bottom and to to top. attop. its Density, Density, base. The relates relates order to to anrelates an emic emic to understandingtheunderstanding optimisation of of the of the production; craft, craft, as as it it is istrad associated associateditionally, with with order the the is intention intentionfrom bottom of of maximising maximising to top. Density, production production relates on onto the anthe cost emic cost ofunderstandingof the the tree’s tree’s well-being, well-being, of the craft, as as overharvesting asoverharvesting it is associated is is well with well known theknown intention to to damage damage of maximising the the tree tree and andproduction eventually eventually on reduce the reduce cost nextnextof the year’s year’s tree’s production. production. well-being, As As as such, such,overharvesting the the overly overly dense isdense well incision inknowncision hastohas damage aa negativenegative the connotation.connotation.tree and eventually In Figure reduce 26,26, a a mobilenext year’s applicationapplication production. thatthat simulatedAssimulated such, the masticmastic overly cultivation cultivat denseion in iscision is presented. presented. has a negative In In the the example, example,connotation. the the recommended recommendedIn Figure 26, a motionmotionmobile to applicationto create create an an incision thatincision simulated to to a mastica mastic mastic tree, tree, cultivat in in order orderion to isto collect presented. collect its its resin, resin,In the is simulated.is example, simulated. the recommended motion to create an incision to a mastic tree, in order to collect its resin, is simulated. Sustainability 2020, 12, 1461 22 of 26 Sustainability 2020, 12, x FOR PEER REVIEW 23 of 28

FigureFigure 26. 26. AA mobile mobile application application that that simulates simulates the the tasks tasks of of mastic mastic cultivation. cultivation.

4.3.4.3. Krefeld Krefeld KrefeldKrefeld is is a acity city in in North North Rhine-Westphalia, Rhine-Westphalia, Germany, Germany, with with a arich rich industrial industrial and and cultural cultural history history tiedtied to to silk silk and and velvet velvet weaving fromfrom thethe 1600s 1600s onwards. onwards. Krefeld, Krefeld, also also known known as as the the “Town “Town like like Silk Silk and andVelvet”, Velvet”, is not is anot mainstream a mainstream touristic touristic destination; destination; however, however, it has it a lothas to a olotffer to to offer visitors. to visitors. In the contextIn the contextof the silkof the pilot silk in Mingeipilot in and Mingei through and the throug collaborationh the collaboration with the Museum with the “Haus Museum der Seidenkultur”, “Haus der Seidenkultur”,a number of narratives a number have of narrat beenives formulated have been to supportformulated the storylineto support of the the storyline silk weaving of the craft silk in weavingKrefeld. Suchcraft narrativesin Krefeld. include: Such Krefeldnarratives history include: from itsKrefeld origins tohistory its transformation from its origins to the townto its of transformationSilk and Velvet, to Jacquard the town weaving, of Silk History and Velvet of the, Haus Jacquard der Seidenkultur, weaving, History understanding of the Haus the craft der of Seidenkultur,silk Jacquard weaving,understanding ecclesiastical the craft fabric of silk weaving Jacquard in Krefeld, weaving, ecclesiastical ecclesiastical textiles, fabric etc. weaving in Krefeld,In Mingei,ecclesiastic weal are textiles, examining etc. how these narratives can be used to support a thematic tourism use-caseIn Mingei, scenario we with are examining multiple exploitation how these opportunities.narratives can One be used of the to examined support a methods thematic is tourism to utilise use-casethe silk scenario weaving with narratives multiple to createexploitation customisable opportunities. city tours. One Theof the vision examined is to provide methods a is way to utilise for the thestakeholder silk weaving to create narratives city tours to create customised customisable to various city target tours. audiences, The vision i.e., is families, to provide individual a way for visitors, the stakeholderRhine cruise to visitors, create etc.city Usingtours theircustomised mobile devices,to various the target visitors audiences, will have accessi.e., families, to a selection individual of rich visitors,CH digital Rhine content cruise from visitors, the Mingei etc. Using platform their associated mobile withdevices, the specificthe visitors points will of interesthave access included to a in selectioneach tour, of formulated rich CH digital in user-friendly content from multimodal the Mingei presentations platform associated and experiences. with the The specific material points can of be interestused in included the context in each of existing tour, formulated guided tours, in user of creating-friendly new multimodal tours, or even presentations as a means and of advertisingexperiences. to Theattract material new visitors.can be used in the context of existing guided tours, of creating new tours, or even as a meansIn of this advertising example, to a attract city walk new for visitors. Krefeld has been created. In each location of interest, a video andIn when this example, required, a a city 3D reconstructionwalk for Krefeld is has associated been created. with the In each accompanying location of onlineinterest, digital a video content. and whenFigure required, 27 shows a export3D reconstruction of our modelled is associated GIS information with the in theaccompanying format of Google online Maps digital (The content. Krefeld FigureSilk City 27 shows Tour Map export can of be our found modelled at the GIS following informat link.ion in The the link format to the of associatedGoogle Maps videos (The are Krefeld in the Silkcomments City Tour of eachMap location:can be found https: at//bit.ly the following/2SBPodn ).lin Ink. Figure The link 27, to the the 3D associated reconstruction videos of aare weaver’s in the commentshouse is shown of alongeach with thelocation: video narration. https://drive.google.com/open?id=1BSzZ11JANAOVpqwa- In the particular case, the 3D structure of the building is eB0yaUDHDqHzlu1&usp=sharing).of interest to the craft, and therefore, In its Figure 3D reconstruction 27, the 3D reconstruction is shown. As explainedof a weaver’s in the house accompanying is shown alongvideo, with the the reason video is itsnarration. windows In andthe particular the indoor case light, the that 3D they structure avail. Weavingof the building is a craft is of that interest requires to thelight craft, and and prior therefore, to electricity its 3D windows reconstruction made it is possible shown. toAs work explained longer in hours. the accompanying For this reason, video, weaver’s the reasonhomes is tended its windows to have and multiple the indoor windows light on that more they than avail. one faceWeaving of the is house. a craft The that route requires covers light locations and priorrelevant to electricity to Krefeld’s windows silk textile made manufacturing it possible to work history, longer in ahours. recommended For this reason, order. weaver’s Each location homes is tendedlinked to to have a curated multiple video windows narration on that more presents than on historicale face of and the cultural house. dataThe route about covers it. Building locations data relevantthat are to relevant Krefeld’s to the silk craft textile can bemanufacturing presented this history, way, such in a as recommended the relevance of order. windows Each and location weaving is linkedin a temporal to a curated context. video narration that presents historical and cultural data about it. Building data that areMore relevant abstract to the and craft analytic can be knowledge, presented this as well way, as such the use as the of rarerelevance machines, of windows can be presented and weaving with inthe a temporal use of VR. context. In Figure 28, a game explains the connection between the point paper design and the production of textile motifs (A demonstration of the game can be found here: https://youtu.be/-0ep8g_ A1u0). The game is designed to provide a better understanding of the artistic dimension of textile Sustainability 2020, 12, x FOR PEER REVIEW 24 of 28

Sustainability 2020, 12, 1461 23 of 26 design and manufacturing. During the co-creation meetings and talks with stakeholders, an interesting issue was raised. The work of the various craftsmen to first create a design, to transform this to point paper and ultimately to punch the cards which control the Jacquard unit whilst weaving is frequently overlooked or barely even recognised by the visitors to the museum. The first craftsman draws a picture or motif in pencil; the point paper designerFigure 27. transfers A weaver’s this house. to the point paper using watercolours. This point paper design is then used to punch cards for the Jacquard loom. To highlight this feature, a new gameMore has abstract been designed, and analytic in which knowledge, the user as will well be as able the to use draw of rare his /machines,her own pattern can be presented and then punch with thea corresponding use of VR. In Figure card in 28, order a game to produce explains the the final connection fabric and between see the the final point textile paper production. design and the Sustainability 2020, 12, x FOR PEER REVIEW 24 of 28 production of textile motifs (A demonstration of the game can be found here: https://youtu.be/- 0ep8g_A1u0). The game is designed to provide a better understanding of the artistic dimension of textile design and manufacturing. During the co-creation meetings and talks with stakeholders, an interesting issue was raised. The work of the various craftsmen to first create a design, to transform this to point paper and ultimately to punch the cards which control the Jacquard unit whilst weaving is frequently overlooked or barely even recognised by the visitors to the museum. The first craftsman draws a picture or motif in pencil; the point paper designer transfers this to the point paper using watercolours. This point paper design is then used to punch cards for the Jacquard loom. To highlight this feature, a new game has been designed, in which the user will be able to draw his/her own pattern and then punch a corresponding card in order to produce the final fabric and see the final textile Figure 27. A weaver’s house. production. Figure 27. A weaver’s house. More abstract and analytic knowledge, as well as the use of rare machines, can be presented with the use of VR. In Figure 28, a game explains the connection between the point paper design and the production of textile motifs (A demonstration of the game can be found here: https://youtu.be/- 0ep8g_A1u0). The game is designed to provide a better understanding of the artistic dimension of textile design and manufacturing. During the co-creation meetings and talks with stakeholders, an interesting issue was raised. The work of the various craftsmen to first create a design, to transform this to point paper and ultimately to punch the cards which control the Jacquard unit whilst weaving is frequently overlooked or barely even recognised by the visitors to the museum. The first craftsman draws a picture or motif in pencil; the point paper designer transfers this to the point paper using watercolours. This point paper design is then used to punch cards for the Jacquard loom. To highlight this feature, a new game has been designed, in which the user will be able to draw his/her own pattern and then punch a corresponding card in order to produce the final fabric and see the final textile production. Figure 28. A mobile application that simulates point paper design, card perforation for the Jacquard Figure 28. A mobile application that simulates point paper design, card perforation for the Jacquard attachment, and actual weaving and visualisation. attachment, and actual weaving and visualisation.

6.5. Conclusions Conclusions TheThe contribution ofof culture culture in buildingin building traditional traditional knowledge knowledge and skills, and including skills, including local knowledge local knowledgeand cultural and diversity, cultural is thediversity, core of is the the Mingei core of project. the Mingei Accurate project. representation Accurate representation of crafts and educational of crafts andtool educational contribute totool the contribute transmission to the of transmission local cultural of values, local cultural knowledge, values, and knowledge, skills. and skills. EmpowermentEmpowerment of of local, local, rural rural communities communities is is su supportedpported by by simple simple digital digital tools tools in in order order to to inventorizeinventorize and and represent represent knowledge, knowledge, in inan an inclusive inclusive and and participatory participatory fashion fashion with with communities communities of practitioners.of practitioners. The Thebenefit benefit of using of using simple simple technolo technologiesgies contributes contributes to tothe the building building of of the the capacity capacity building,building, for for the the preservation preservation of of local local culture. culture. ToTo provide provide relevant educationaleducational contentcontent and and engaging engaging experience experience for for uses uses prior, prior, during, during, and and after aftera cultural a Figurecultural tourism 28. Atourism mobile visit. The applicationvisit. promising The that promising simulates possibilities pointpossibilities of paper thematic design, of tourism cardthematic perforation emphasize tourism for the theemphasize Jacquard importance the of attachment, and actual weaving and visualisation. importancethe preservation of the andpreservation representation and representation of heritage crafts. of heritage crafts. ff 6.In ConclusionsIn compliance compliance with with global, global, collective collective efforts, e orts, the the Mingei Mingei approach approach is is oriented oriented towards towards satisfying satisfying thethe four four basic basic axes axes of of the the 2030 2030 UNESCO UNESCO agenda agenda [50]. [50]. Applications Applications focus focus on on the the natural natural environment environment and itsThe resilience, contribution presenting of culture the role in of naturalbuilding resources, traditional history, knowledge and tradition and skills, in the including shaping oflocal local culturalknowledge heritage. and cultural The applications diversity, is are the oriented core of the toward Mingei safeguarding project. Accurate and sustainable representation management, of crafts and educational tool contribute to the transmission of local cultural values, knowledge, and skills. by the inclusion of traditional knowledge in cultural tourism services. Applications present traditions, Empowerment of local, rural communities is supported by simple digital tools in order to inventorize and represent knowledge, in an inclusive and participatory fashion with communities of practitioners. The benefit of using simple technologies contributes to the building of the capacity building, for the preservation of local culture. To provide relevant educational content and engaging experience for uses prior, during, and after a cultural tourism visit. The promising possibilities of thematic tourism emphasize the importance of the preservation and representation of heritage crafts. In compliance with global, collective efforts, the Mingei approach is oriented towards satisfying the four basic axes of the 2030 UNESCO agenda [50]. Applications focus on the natural environment Sustainability 2020, 12, 1461 24 of 26 memories, and values of past generations in local craft communities, obtained through defining events of prosperity or tension in their history. The recite of difficulties of past generations through stories and tradition, tends to increase the sense of obligation towards future generations in terms of environmental protection [51]. In the context of the natural environment and ICH, this corresponds to safeguarding and sustainability of the pertinent environmental resources. Prosperity and livelihood are served by the contribution of culture in inclusive and sustainable economies, by generating income and employment in cases where the number of practitioners is declining, as well as stimulating revenue through cultural goods, services, and enterprises. In other words, Mingei strives to preserve interest sustainably, and thus, continuation of the practice that is the main prerequisite of ICH preservation.

Supplementary Materials: The following are available online at http://www.mdpi.com/2071-1050/12/4/1461/s1. The Videos can be found at https://zenodo.org/record/3679130#.XlEPHkoRVPY. Webpage S1: The demonstration web page for pottery at Margarites, Video S2: The mastic application demonstration, Video S3: The Krefeld game demonstration, Webpage S4: The Krefeld Silk City Tour Map, Webpage S5: Textile magnification demonstrator, Video S6: 3D reconstruction of Sleeping Female Figure, Video S7: The 3D rural reconstruction videos of mastic museum and mastic villages villages Pyrgi, Olympoi, Mesta, Elata. Reconstructions 3D: (1) Sleeping Female Figure. The sculpture can be viewed in the following link: https://youtu.be/1hyTKpSIIUw; The sculpture was recorded on November 2019, at Athens, Greece. It is the “Sleeping Female Figure” (1877), by sculptor Yannoulis Chalepas (1851-1938). (2) Mastic villages. The 3D rural reconstruction videos can be found here: Mastic Museum https://youtu.be/Yw-xQYlKxQs; Pyrgi https://youtu.be/15NcRlg3360; Olympoi https://youtu.be/adPDVx7RGVc; Mesta https://youtu.be/9xNlrGSBfIE; Elata https://youtu.be/wUGY3aoP6y4. Author Contributions: Conceptualization, X.Z. and N.P. (Nikolaos Partarakis); methodology, X.Z., V.B., D.M., C.M., I.A., S.N.; software, A.Q., N.P.(Nikolaos Partarakis), N.S., I.S., A.C., N.P.(Nikolaos Patsiouras), P.D., E.K., E.S., V.N., A.R.; validation, I.A., S.N.; formal analysis, C.M.; investigation, C.B., I.N.-J., U.D., H.H., A.D., D.K.; resources, M.F.; data curation, C.B., A.D., D.K., M.F., A.P.; writing—original draft preparation, X.Z.; writing—review and editing, G.G.; visualization, N.P. (Nikolaos Patsiouras), E.S., A.R., E.M.; supervision, X.Z.; project administration, X.Z. All authors have read and agreed to the published version of the manuscript. Funding: This work was supported by the European Commission Horizon 2020 Project, Grant No. 822336 and the Foundation for Research and Technology Hellas-Institute of Computer Science (FORTH-ICS) internal RTD Programme ‘Ambient Intelligence and Smart Environments’. Acknowledgments: The authors thank Dieter Blatt, Guenther Oehms, Manfred Weisters and Dieter Brenner and the Association of Friends Haus der Seidenkultur for their contribution to the video recordings. Authors thank Giorgis Dalambelas for the pottery demonstrations. Conflicts of Interest: The authors declare no conflict of interest.

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