Hi, we’re the Diglab. I’m Julia, this is Nevio and this is Adam. We’re here to talk about our thoughts on the framework of big data and how we applied it to our specific Trajan Forum project.
2017 is the 1900th death day anniversary of the Emperor Trajan. For our purposes, we have been tasked with the challenge of building an exhibit around the 40,000 architectural fragments found from the Basilica Ulpia of Trajan’s Forum in Rome. Our question is, “How do we build a sustainable, narrative, interactive and informative exhibit that can reach the public on an individual and collective level?”
Our conclusion is to contextualize the fragments in a multi-tiered “legionnaires path” through the Trajan Markets and Forum museum.
One room will contain a contextualization of the full Basilica Ulpia, built on both a tangible scale model reconstruction for the centerpiece, and multiple autostereoscopic holographic panels along the side.
We can either Segway here. We encourage you to come up at the end for Q&A to take a look.
Where visitors are asked to follow the legionnaires path between a winding “forest” of individual, tangible, and seemingly unrelated fragments from a weapons frieze from the façade of the Basilica.
Until they reach a final set of footsteps
Which reveal a full contextualization of the fragments through a simulated reconstruction of the weapons frieze.
A final room builds on and reiterates the path of the previous rooms to offer a haptic digital/analog interface for physically engaging in a reconstruction game.
Theses are tough and only had exif data
Adam talk about photogrammetry here
The optimization processes Nevio talks about are also crucial in building web compliant modes of dissemination. In this example here a student from SCAD helped us to retopologize and optimize the Nerva head I sculpted from a multimillion point mesh more than a hundred megabytes to a lightweight multi thousand point mesh of a few hundred kilobytes.
This optimization was helpful in building the device agnostic prototype viewer which we can see in action here: http://www.julia-liu.com/trajan/viewer.html
Adam and I talk about prototyping, materials, ludic and tangible aspects. Material testing is part of this. (The Sphinx)
Then Segway into the weapons frieze.
Refining the model. Adding textures and small details.
From all of us at the Dig@lab. Thank you!
Maurizio Forte “Massive 3D Data and Beyond: a Digital Revolution in Cultural Heritage”
Massive 3D Data and Beyond: a
Digital Revolution in Cultural
William and Sue Gross Professor of Classical Studies
Art, Art History, and Visual Studies
• 3D scan and print technologies hold the
potential to undermine the value placed on
original cultural artifacts based upon their rarity
• These technologies will eventually enable the
creation of digital and physical copies that are
indistinguishable from the originals.
• They can convert public domain works whose
intellectual value has been confined in a
Possession Is 99% of the Law: 3D Printing, Public Domain
Cultural Artifacts and Copyright (Charles Cronin
USC Gould School of Law)
• 3-D Scanning of Artworks
3-D scanning using handheld cameras is
permitted in the permanent collection
galleries, subject to the same conditions
described above. Please contact
Museum Rights & Reproductions with
any questions related to 3-D scanning
Digital Worlds in last 20 years
Visualization Process Simulation Process
Basic interaction Feedback, Behaviors, Embodiment
Passive Users Content Providers
Models engagement Users’ Engagement
Individual Environments Collaborative Environments
Analog to Digital Digital to Digital
Computer Renderings Cyberspace
Individual users Virtual Communities
A Neolithic Mandible from
Based on its morphology,
the mandible appears to
belong to a female. When
the soil was carefully
removed from the bone,
red pigment (probably
ochre) was clearly visible
on the body and rami of the
mandible Even more
interesting, however, is the
thick band of plaster which
covers the anterior
dentition. It’s clearly been
applied intentionally. It’s
possible that this mandible
was originally attached to a
similarly modified cranium.
• Mediated vs empirical experience
• Digital narrative/feeback vs autoptic observation
• Augmented reality vs reality
• Digital fabrication of heritage vs traditions
• Hyper-reality vs Reality (The Hyperreal will kill the
Real, J. Baudrillard)
• Heritage interpretation negotiated by
• Cybernetic feedback and affordances between digital
objects and users
Possession Is 99% of the Law: 3D Printing, Public Domain Cultural Artifacts
and Copyright (Charles Cronin)
• The question is not whether owners of public
domain artifacts can legally exert such control,
but rather whether they should. In other
words, an owner’s ability to limit the rights to
copy and use public domain works may be
legal, but a question of particular significance
when the owner is a public organization is it
• Ethical issues
• Content validation
• Technological colonization
• Museums’ Industrialization
• Accuracy/bad replicas
• Public Engagement
• Cultural transmission
• Learning experience
• Lost heritage rescue
• No copyright