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Maurizio Forte “Massive 3D Data and Beyond: a Digital Revolution in Cultural Heritage”


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UC Davis, An Open Digital Global South

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Maurizio Forte “Massive 3D Data and Beyond: a Digital Revolution in Cultural Heritage”

  1. 1. Massive 3D Data and Beyond: a Digital Revolution in Cultural Heritage Maurizio Forte William and Sue Gross Professor of Classical Studies Art, Art History, and Visual Studies
  2. 2. • 3D scan and 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)
  3. 3. What happens?
  4. 4. 4 Smartphone users
  5. 5. Catching the world..
  6. 6. 3D Smartphone ETH
  7. 7. New Challenges in CH • Massive and distributed VR • Augmented worlds • 3D Replicas (prints and digital) • 3D Archiving • Massive engagement
  8. 8. What do museums say?
  9. 9. Getty Museum • 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 activities.
  10. 10. Digital Worlds in last 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
  11. 11. Virtual Museums
  12. 12. Frameless Reality Hololens
  13. 13. 14 Massive VR
  14. 14. Vulci 3000 Project: Number of photos collected in the field
  15. 15. Vulci 3000 Project: Models generated by photogrammetry and laser scanning
  16. 16. Are 3D models/prints just replicas? 17
  17. 17. Funerary Objects, Western Han
  18. 18. 21
  19. 19. Inside the Western Han Tombs
  20. 20. A Neolithic Mandible from 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.
  21. 21. 3D Print Model made by Nicola Lecari
  22. 22. Trajan’s Forum Project: Dig@lab and the Framework of Big Data
  23. 23. Museum of Imperial Fora in Rome: 40,000 architectrual fragments
  24. 24. Oculus Rift
  25. 25. Mediated experience • 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 cybercommunities • Cybernetic feedback and affordances between digital objects and users 44
  26. 26. 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
  27. 27. 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
  28. 28. Thank you Acknowledgments Julia Liu Nevio Danelon Adam Spring Maurizio Forte Todd Berreth