## 3 Design and Implementation of Value-Inclusive Content for a Digital Multimedia Application
### Design of Digital Multimedia Application for the [PERSON] Collection at the Hecht Museum
* **Stage 1--Create an initial vocabulary of values** Information collected with regards to the CH can have multiple value associations. Since we cast a wide net to grab as many potential pieces of information and associated values, the CH information and values need to be filtered. This can be done qualitatively by the creators of the application based on previous work done by interdisciplinary researchers who have covered the heritage. This process can be supported by direct discussions and observations from experts on the heritage. By doing this, we end up with an initial set of values that can justifiably be included in the content of the digital multimedia application. To better categorise the information and values collected for each artefact, the provisional value typologies and their definitions suggested for assessing values in conservation planning were used [11]. This was further enhanced by deriving the 'points' of CH information and values that answer the first two out of three questions suggested by a model for significance assessment [12]. Our points answered the following questions at this stage: 1. What is the heritage in question?--Forms, relationships, practices etc. 2. Why is it valuable?--Associative, sensory, evidentiary and functional aspects For the Menorah collection at the [PERSON] museum, values relevant to the specific artefacts were filtered based on studies of works done by other researchers and ongoing discussions with experts who are working with or have previously worked with the museum. The discussions with the experts at the museum and elsewhere at this stage served to corroborate the information and their value associations. We were able to confirm that the information and values that were collected and filtered was free of errors and did not omit any pertinent historical information. The initial vocabulary of values and the points of information that contain them with regards to the 'Glass jar' artefact are shown in Figure 3.  
Figure 2: Collection of CH information and their sources for the ‘Glass jar’ artefact in the Menorah collection. All the artefacts in the Menorah collection were noted to have religious significance and it was followed by other values that applied to each artefact. For example,  
* The glass pendants were historically seen as luxury goods and this tied an economic value to the artefact at its time (2 nd century CE). * The glass jars were observed to have designs that were based on pagan symbolism, which is an information that has historical value. * A basalt slab from the Roman-Byzantine period showed a menorah with five branches while the Israeli national emblem of the Menorah and the original menorah of the second Jewish temple is represented with seven branches. This difference in representation comes from adherence to a religious prohibition which states that seven branch menorahs must not be represented on buildings other than the Temple in Jerusalem. This is information that has religious and historic value which is also relevant to the contemporary social context as this restriction is not very strictly followed today. Many representations of the Menorah especially since the formation of the State of Israel shows the seven-branched version. This facet has social/symbolic value. The Menorah symbol with the seven-branches is inextricably linked with the identity of the State of Israel as on date. * **Stage 2--Assess significance of values by relative importance** The initial vocabulary of values is now put to the test by the third question from the model for significance assessment [12]. 3. How valuable is it?--Authenticity, Rarity, Condition etc. In answering this question, we ended up re-organizing our points for each artefact. Our criteria for this stage was the Authenticity (A) of the heritage information, the Rarity (R) of the artefact itself and the relevance of the artefact to the Museum context (M). Once again, this rearrangement was based on our understanding of these three aspects.