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Maurizio Forte “Massive 3D Data and Beyond: a Digital Revolution in Cultural Heritage”
UC Davis, An Open Digital Global South
Maurizio Forte “Massive 3D Data and Beyond: a Digital Revolution in Cultural Heritage”
- 1. Massive 3D Dataand Beyond: a Digital Revolution in Cultural Heritage Maurizio Forte William and Sue Gross Professor of Classical Studies Art, Art History, and Visual Studies maurizio.forte@duke.edu
- 2. • 3D scanand print technologies hold the potential to undermine the value placed on original cultural artifacts based upon their rarity and aura • 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 physical object Possession Is 99% of the Law: 3D Printing, Public Domain Cultural Artifacts and Copyright (Charles Cronin USC Gould School of Law)
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- 8. New Challenges inCH • Massive and distributed VR • Augmented worlds • 3D Replicas (prints and digital) • 3D Archiving • Massive engagement
- 9. What do museumssay?
- 10. Getty Museum • 3-DScanning 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 activities.
- 11. Digital Worlds inlast 20 years 11 Visualization Process Simulation Process Basic interaction Feedback, Behaviors, Embodiment Passive Users Content Providers Models engagement Users’ Engagement Individual Environments Collaborative Environments Desktop Immersive Analog to Digital Digital to Digital Models Enaction/interaction Computer Renderings Cyberspace Individual users Virtual Communities
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- 15. Vulci 3000 Project: Number ofphotos collected in the field
- 16. Vulci 3000 Project: Models generatedby photogrammetry and laser scanning
- 17. Are 3D models/printsjust replicas? 17
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- 22. Inside the WesternHan Tombs
- 24. A Neolithic Mandiblefrom Catalhoyuk, Turkey 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.
- 25. 3D Print Model madeby Nicola Lecari
- 26. Trajan’s Forum Project:Dig@lab and the Framework of Big Data
- 27. Museum of ImperialFora in Rome: 40,000 architectrual fragments
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- 44. Mediated experience • Mediatedvs 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 cybercommunities • Cybernetic feedback and affordances between digital objects and users 44
- 45. 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? 45
- 46. Pros/Cons Risks/Threats • Authenticity • Copyright •Ethical issues • Content validation • Manipulation • Technological colonization • Museums’ Industrialization • Accuracy/bad replicas Benefits • Dissemination • Accessibility • Communication • Public Engagement • Cultural transmission • Learning experience • Lost heritage rescue • No copyright
- 47. Thank you Acknowledgments Julia Liu julia.liu@duke.edu NevioDanelon nevio.danelon@duke.edu Adam Spring adam.spring@duke.edu Maurizio Forte maurizio.forte@duke.edu Todd Berreth todd_berreth@ncsu.edu
Editor's Notes
- #27 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.
- #28 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?”
- #29 Our conclusion is to contextualize the fragments in a multi-tiered “legionnaires path” through the Trajan Markets and Forum museum.
- #30 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.
- #31 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.
- #32 Until they reach a final set of footsteps
- #33 Which reveal a full contextualization of the fragments through a simulated reconstruction of the weapons frieze.
- #34 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.
- #35 Theses are tough and only had exif data
- #36 Adam talk about photogrammetry here
- #40 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.
- #41 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
- #42 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.
- #43 Refining the model. Adding textures and small details.
- #48 From all of us at the Dig@lab. Thank you!