The phenomenon of digitalization and practical experience in preserving the cultural heritage of Ukraine during the enemy invasion

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The phenomenon of digitalization and practical experience in preserving the cultural heritage of Ukraine during the enemy invasion

Smyrnov I.H., Taras Shevchenko National University of Kyiv

Hryniuk D.Yu., Taras Shevchenko National University of Kyiv

Tiunov V.A., CEO TOP PROJECT LLC & head of project

Stepanets I.O., Taras Shevchenko National University of Kyiv)

Introduction

The current stage of social development presents the Ukrainian community with special tasks related to responding to the consequences of russian aggression in Ukraine. World cultural heritage, a part of which is Ukrainian colorful culture, mental traditions and everyday life, is experiencing significant losses. At the same time, progress in the technological world continues, providing new mechanisms in the search for a global algorithm for the preservation of cultural values. Right now, during the active phase of russian aggression, there is an urgent need to preserve the entire cultural potential of the state, developed by generations of Ukrainians. In this regard, the experience of cooperation between responsible business, public initiatives, the educational environment and the volunteer movement along this path is invaluable. Public and volunteer initiatives have been launched, which are able to contribute to the digitization of the cultural heritage of Ukraine in the conditions of war with the help of modern technologies.

Presenting main material

The russian federation launched an invasion of Ukraine on February 24, 2022, marking a new stage in the russian-Ukrainian war that began in 2014 and, according to some estimates, the largest war in Europe since World War II [3, 10]. During hostilities, many objects of cultural heritage of Ukraine were destroyed, damaged or endangered. As a result of the russian invasion, more than 380 cultural monuments and 30 museums were damaged or destroyed in Ukraine. At the same time, Ukraine recognizes that it will not be able to cope with such a difficult issue without the help of the world [1]. Therefore, the Ukrainian community counts on the support of international partners, state institutions and public organizations; thanks for the help in preserving the cultural heritage of the state right now, in difficult wartime. Cultural heritage may seem out of date, however, every Ukrainian, every person in the world is a bearer of a certain culture [7, 8]. When we talk about cultural heritage, we are talking not only about its material embodiment in objects and buildings, but also about the bearers of traditions and culture. With every person who falls victim to this war, we lose a part of world culture.

During the briefing on June 15, 2022, the Deputy Minister of Culture and Information Policy Anastasia Bondar reported on the already existing irreparable losses. Thus, a short chronology of the most high-profile crimes against the spiritual and material culture of Ukrainians includes, for example, the following reports: in March, the occupiers destroyed the building of the Arkhip Kuindzhi Art Museum in Mariupol; On May 7, russian occupiers fired at the Hryhoriy Skovoroda museum in Kharkiv Oblast; at the same time, the guard of the museum was injured; On June 10, russian invaders destroyed the Ice Palace in Severodonetsk. After these events, the occupiers cynically declared that they wanted to open the Mariupol drama theater on September 10, which they had previously bombed.

At the end of May, russian troops captured the local history museum of Melitopol, where Scythian gold. As of August 1, UNESCO has checked damage to 171 objects since February 24, including: 74 religious objects, 13 museums, 33 historical buildings, 26 buildings dedicated to cultural events, 17 monuments, 8 libraries.

In particular, UNESCO conducts a preliminary assessment of damage to cultural sites by cross-checking reported incidents with several credible sources [8, 9]. This published data is unfortunately updated regularly as the war continues. UNESCO is also developing, together with its partner organizations, a mechanism for an independent, coordinated assessment of data in Ukraine. This also includes the analysis of satellite images, in accordance with the provisions of the Hague Convention on the Protection of Cultural Property in the Event of Armed Conflict of 1954 [5, 6].

The term "cultural property" refers to immovable cultural property defined in accordance with Article 1 of the 1954 Hague Convention, regardless of its origin, ownership or status of registration in the national inventory, as well as objects and monuments dedicated to culture, including memorials [5,6,10].

As of June 2022, not a single UNESCO World Heritage site has fortunately been damaged. At the same time, the most damaged areas outside the list are in Donetsk (47), Kharkiv (42), Kyiv (26), Luhansk (18), and Chernihiv regions (14) [5].

According to the Ministry of Culture and Information Policy of Ukraine, the russian army damaged or destroyed 193 objects of cultural heritage. All evidence of these destructions is collected on a website developed by the Ministry. Separately, the State Service of Ukraine for Ethnopolitics and Freedom of Conscience noted that during the first month of the full-scale invasion, at least 59 religious objects were damaged by the actions of the russian aggressors [6].

It is known that many cultural objects in Crimea were unsuccessfully restored after the destruction, attempts were made to change their historical significance. Within mainland Ukraine, the situation is much worse, as historical buildings are simply being destroyed, as is the entire civilian infrastructure. This is another proof of the war crimes of the aggressor's army, for which they and their commanders will be punished in national courts or in the International Criminal Court. Ukrainian society will not forgive and will not ignore such consequences.

Even at the beginning of 2022, before the war, there were ongoing discussions among experts and civil society about the preservation of cultural heritage in occupied Crimea. Experts talked about the experience of solving the problem during the Second World War. In particular, separate detachments of soldiers and specialists were created to deal with the preservation and return of cultural values. At that time, the representative of Crimea SOS, expert Yevgeny Yaroshenko, said that it was worth marking cultural heritage objects with the emblems of the "blue shield". These special marks were supposed to protect cultural monuments in the conditions of armed conflict. They were officially recognized by the 1954 Hague Convention on the Protection of Cultural Property in the Event of Armed Conflict. However, the war we are witnessing now is even more insidious and unpredictable, both in relation to the citizens of the state and in relation to the entire Ukrainian cultural and mental heritage. Under such conditions, it is difficult to predict how to secure a person and protect all state assets. It is no secret that the rules of warfare oblige the parties to an armed conflict to protect and respect cultural values. However, today we see that the enemy does not follow any international norms. It not only fires at cultural and religious sites, but also uses them as separate positions. For example, in the church of Mariupol, the Rashists equipped a firing position from which they fired. If the russians do not stop the inscriptions "children" before shelling, then other signs on cultural, religious and historical objects will not stop them either. However, Ukrainians, as best they can, invent various protection systems around monuments. In particular, around many monuments in Kyiv, Odesa, and Lviv, protective structures made of bags of sand or earth are being erected. "We defend the right to our future and preserve our history and culture. Kyiv's sights are strengthened and protected...", Vitaliy Klitschko, mayor of Kyiv, wrote on social networks. In particular, both large monumental monuments to Princess Olga and Volodymyr the Great, as well as smaller ones, for example, monuments to Dante Alighieri on Triochsvyatitelska Street, have already been closed in the capital.

In order to cover the stained-glass windows of the Kyiv funicular with special shields, volunteers collected donations of UAH 276,220 from 662 well-wishers in 2 days. residents of Odessa also "protected" one of the main monuments of the city - Duke de Richelieu. In parallel, all objects of cultural heritage of Ukraine are digitally archived by volunteers from the international project "Save Ukrainian cultural heritage online". The team has more than a thousand programmers, archiving specialists and just computer amateurs.

In one of the articles of the Rome Statute of the International Criminal Court, there is a separate war crime, namely, the intentional task of striking buildings with a religious, educational, cultural, scientific or charitable purpose, historical monuments, hospitals and places of concentration of the sick and wounded, under provided that they are not military objectives. So, if the Ukrainian law enforcement agencies are unable to bring war criminals to criminal responsibility, then the International Criminal Court in The Hague can handle this. However, it is a long way of evidence and struggle for justice.

War cannot, fortunately, prevent the development of technological progress, because society is looking for algorithms that are able to resist "evil" and protect the values developed by the development of civilization. In today's society, there are several technologies capable of changing our perception of reality. For example, it can be immersion in the virtual world, adding interactivity to the real world, or something in between. All options have the right to life and deserve to be used; it is useful to look at the basics of these new progressive technologies.

VR: Virtual Reality. All reality-altering technologies change our perception of the world in their own way, but it is virtual reality that completely changes the visual environment around us. The Merriam-Webster dictionary describes VR as "an artificial environment that is experienced using computer-provided sensory stimuli (video and sounds) and actions that partially determine what happens in the environment" [2, 4].

However, how we interact with this virtual environment depends a lot on the platform used. Most headsets are designed for a static position of the user. At the same time, they transmit images to the glasses' screens using controllers, when the user immerses his head in the virtual world. Oculus Rift, one of the most popular VR headsets, is indeed available to the public. But to use it, you need a computer to which the headset is connected and a separate controller for operation. In fact, it is a screen in front of the eyes, which is built into the helmet, which allows you to surround yourself with a virtual 360-degree world. PlayStation VR works in a similar way. A cheaper and easier option to get acquainted with VR is the Google Cardboard and the more reliable Samsung Gear VR. The positive quality of such gadgets is the absence of a need for a computer. They just put the smartphone in the headset. This is enough to get the experience of using virtual reality.

Of course, there are more interesting VR technologies, such as The Void, which try to create a hyperreal world where you can physically move and manipulate the environment. In the "void" you will see a virtual world: you can physically move around the space around you, but, in fact, you will find yourself in an empty office with bare walls. You yourself will become the controller and will be able to fully immerse yourself and interact with the environment. The system can even simulate rain, can change the temperature of the space; it makes the game more interactive and exciting. VR is a completely new, separate artificial world where everything is virtual.

Augmented reality (AR) takes existing reality and changes aspects of it through a smartphone lens, a set of glasses, or even a headset. With AR, you'll always see something right in front of you, but with a virtual layer added on top.

According to Merriam-Webster, AR is "an augmented version of reality created by using technologies to overlay digital information on the image of what is viewed through a device (such as a smartphone camera)" [2]. AR can take many different forms. The most common is the use of a smartphone screen. One of the first and simplest examples is Yelp. They created a feature called Monocle. It uses your smartphone's camera to show you a live view of your surroundings, but with information superimposed on your screen.

MR mixed reality. Unlike augmented and virtual reality, mixed reality is the next level, it is a compromise between the first two, a kind of idea of joint application of technologies. The mixed reality system has addressed the shortcomings and realized what we have come to expect from AR. It is MR that is capable of placing digitally created objects in a real environment. Wikipedia puts it this way: “Mixed reality is the result of combining the real and virtual worlds to create new environments and visualizations where physical and digital objects coexist and interact in real time. The most famous MR device is the Microsoft HoloLens. It can scan a room and perceive the surrounding space to blend digital objects into the existing environment. You will even be able to interact with the designed objects with your hands. Although some AR headsets can be referred to as MR devices, they are called mixed reality because of the more specific definition of what is happening. You can think of it as a subcategory of advanced AR, as mixed reality integrates elements more easily.

At the same time, the main difference between them is that MR integrates three-dimensional elements and can position one object for several users and their headsets at the same time, however, individually, from different sides [2].

There are still many promising developments in this area that have just been released or will appear soon. Moreover, they are expected not only by gamers, but also by experts from many fields. For example, Magic Leap, according to the developers, will become a practical assistant in various social technologies and production, as well as in services. Therefore, the technical and technological future will be able to compensate for those "weaknesses" that require both adaptation to the needs of the time and advanced functionality. All this will have utility from application.

It makes sense to consider an important initiative that is directly related to the interests of preserving Ukrainian identity and uniqueness. We are talking about SUCHO, which is an initiative of 1300+ international volunteers. They collaborate online to protect Ukrainian cultural heritage. Since the beginning of the invasion, SUCHO (Saving Ukrainian Cultural Heritage Online) has archived more than 5,000 websites and 50 TB of data of Ukrainian cultural institutions to prevent these sites from going offline. Websites range from national archives to local museums, from 3D church tours to children's art centers. SUCHO is now moving into a new phase of the project, defined by three goals: Curate, Sacrifice, Nurture [6]. At the second stage, SUCHO will coordinate supplies of digitalization equipment, and will exhibit Ukrainian culture online and will organize training for Ukrainian cultural workers in digitalization methods. For Ukrainian scientists who need free storage of scientific materials, there is an option to contact partners from the Ukrainian Scientific Institute of Harvard and the University of Alberta.

Accordingly, business, civil society and the volunteer community must respond to the real challenges of wartime. One of the promising initiatives is the project #StandBy Ukraine (https://standbyukraine.com.ua) of the TOP PROJECT LLC (https://topproject.group). It was created in order to preserve and transfer the brightest pages of the history and culture of Ukraine into the digital space with the help of modern technologies and innovations. Free digitization of the cultural heritage of Ukraine within the framework of a volunteer project is very important for the state and territorial communities right now in the wartime period. Preserving Ukraine's cultural heritage in the digital world is a reliable and innovative way to secure its national identity and culture and share it with the world.

The StandBy Ukraine project was created (https://topproject.group/services/standbyukraine/) to unite the community around the cultural values of Ukraine; so that everyone can participate in the 3D digitization of socially significant objects of public and historical space that represent cultural heritage. Awareness of the peculiarities of the unique features of each region and the informatization of the population will make it possible to create a cohesive nation, mentally united, which loves its land, as well as draw the attention of foreigners to Ukraine and its cultural heritage in order to popularize it in the world. High-quality digitized locations, architectural objects, museum exhibits and works of art with the further possibility of their reproduction in virtual space and augmented reality 3D, VR/AR are an effective tool for preserving and popularizing Ukrainian culture in the smart communities of Ukraine and around the world.

The team of the company TOP PROJECT (TOP PROJECT LLC), led by Vladyslav Tiunov, is engaged in the digitization of objects and helps territorial communities in creating digital copies, registers of museum exhibits, tourist locations, their reproduction in the web space, on Google Maps, as well as in 3D and VR/AR - visualization. What does the digitization of cultural heritage bring to the community? To summarize, these are: 1) Preservation of monuments of cultural heritage from their destruction, loss, or destruction. 2) Ability to share digital exhibits with the world and reproduce them using mobile devices. 3) Increases the investment attractiveness of the region. 4) Tourist attraction and branding for domestic tourists and foreigners. 5) Provides communication and interaction with citizens. 6) Support of cultural and business objects. (https://topproject.group/services/standbyukraine/, (https:// standbyukraine.com.ua).

Currently, the company has already digitized church iconostases and national Ukrainian clothing in the National Museum of Folk Architecture and Life of Ukraine. Now, with the help of augmented reality AR technology, as well as author's developments from the TOP PROJECT company, anyone who wants to can try on Ukrainian national clothes, experience Ukrainian culture and become a part of it, as well as share the photo on social networks. Folk clothes are not only clothes, but also a symbolic meaning that could tell a lot about their owners, as well as a symbol of the people and amulets. The past hides a lot of interesting things for modern generations, because cultural heritage is not just an interesting tale or beautiful retro pictures, it is our history and strength.

A successful and timely example is also the reconstruction of the digitized 3D model of the iconostasis of the Church of St. Nicholas from the village of Greenery of Husyatinsky district, Ternopil region (1817). The church has a five-tier iconostasis of the 18th century, which stands out for its rich carvings, especially the royal gates, bright decorativeness and picturesqueness. The next example of the beginning of the implementation of the project is the National Museum of Folk Architecture and Folkways of Ukraine in Pirogov. As you know, this is the largest museum in Ukraine by area. The main ethnographic treasury of our country with an area of 150 hectares. The first thing you see when you enter the museum are mills, windmills, churches and houses, which immerse you in the color of real Ukrainian life and help you feel the soul of the Ukrainian people. The museum presents the main ethnographic zones of Ukraine: Polissia, Naddnipryanshchyna, Slobozhanshchyna, Carpathians, Podillia and Tavria. So, the open-air museum in Pirogov is like a fairy tale that has come to life, which will help you see and understand how our ancestors lived. Ukrainian wooden architecture reached its highest heights in church construction. It is in this area that masterpieces of architectural art were created: majestic cathedrals and small chapels, parish churches and bell towers, fences, gates and towers, because the temple is not only the center of spiritual communication between man and God, but also the center of public life. It was the church that became the decoration of the museum. Reborn to live in the ages, the church of St. Nicholas is a monument of wooden folk architecture, which undoubtedly needs to be preserved and spread, including in the digital world. Digitization and virtual reconstruction of the layout of Kyiv of the 12th century was also carried out. The work seemed very interesting and difficult, but everyone who was involved in this project felt the importance and nobility of this work:

“... As a citizen of Ukraine and as the head of the TOP PROJECT company, I had the honor of digitizing this outstanding model of ancient Kyiv, thereby joining its preservation and transmission as part of history and cultural heritage in the digital space. I want to thank the general director of the National Reserve "Sofia Kyivska" Nela Kukovalska for her bold and innovative approach," said project manager Vladyslav Tiunov.

As a result of painstaking work of 3D designers, visualizers, as well as IT engineers, the team of the TOP PROJECT company finally managed to reproduce the model in the virtual world and save it from the possible risk of destruction. The TOP PROJECT company will continue to plan for free. On a volunteer basis, provide all possible own resources to preserve the cultural heritage of Ukraine in the digital world. It is a reliable and innovative way to secure its national identity and culture and share it with the whole world. 3D tours of the museums of the main building of the Taras Shevchenko National University of Kyiv and a 3D tour of the Museum of Kyiv History have been developed. There are plans to scale up the project and spread it to other regions and communities of Ukraine.

Conclusions

digitization preservation cultural heritage

So, digitization is the digital reproduction of something analog: books, paintings, buildings, coins, etc. This is not just digital photo fixation, while a digital image of the object is created, which should be as identical as possible to the original. Also, it is important to provide the opportunity to see the digitized object in its entirety, through a special program: flip through the book, examine the sculpture from all sides, zoom in on the picture and see its fragments. The database allows you to search for objects, quickly form different collections, keep electronic records, establish connections between objects and with other collections, etc.

Experience in the digitization of reality will make any city, community, museum or location more vivid and attractive in the digital and real world, as well as open up new opportunities for popularization and dissemination of information about the cultural heritage and tourist attraction of the object of digitization. With faith in Victory, Ukrainian society, business, public initiatives and the volunteer community are united in their aspirations for a better future and real progress in Ukraine.

Список використаних джерел

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10. Збираємо свідчення злочинів проти культурної спадщини, вчинених російськими окупаційними військами на території України. Міністерство культури та інформаційної політики України. URL: https://culturecrimes.mkip.gov.ua/

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