Out of the Box and Online: Creating 3D Models of Queer and Trans Material Culture Objects
- 1. Costas Papadopoulos Associate Professor in Digital Humanities & Culture Studies k.papadopoulos@maastrichtuniversity.nl Out of the Box and Online Creating 3D models of queer and trans material culture objects
- 2. Presentation Outline What is 3D and Why to 3D? Current Trends and Challenges How to Do 3D Gains, Losses & Grey Areas Starting with 3D: Some Considerations
- 4. Part I What is 3D? Why to 3D?
- 5. What is a 3D Model? https://www.slideshare.net/slideshow/5dculture-improving-the-quality-and-promoting-the-reuse-of-3d-cultural-heritage-data/272268648
- 6. 3D surface model of Marble head of Head of Amenhotep III: https://sketchfab.com/3d-models/head-of-amenhotep-iii-surface-model-2f8b8099ed0f4846b12d17852cf233e5 What is a 3D Model?
- 7. 3D Modelling vs. 3D Digitisation
- 9. Why a 3D Model? 3D digitisation is valuable for conservation, research, education, tourism and for documenting material culture at risk Background Image: https://emotions3d.wordpress.com/
- 11. Project Rekrei/Mosul • Rekrei is a crowdsourced project to collect photographs of monuments, museums, and artefacts damaged by natural disasters or human intervention, and to use those data to create 3D representations and help to preserve our global, shared, human heritage. • The volunteer initiative and web platform was launched on March 8, 2015. https://projectmosul.org/
- 15. The Stonewall National Monument (Stonewall Inn) in Greenwich Village Gay Liberation Sculpture in Christopher Park. https://artsandculture.google.com/project/pride
- 17. Chrysanthi, A., Papadopoulos, C., Frankland, T., Earl, G. (2013): ‘Tangible Pasts’: user-centred design of a mixed reality application for cultural heritage. In: Archaeology in the digital era. Papers from the 40th annual conference of computer applications and quantitative methods in archaeology (CAA), Eds. Earl, G., Sly, T., Chrysanthi, A., Murrieta-Flores, P., Papadopoulos, C., Romanowska, I., Wheatley, D. Southampton, 26-29 March 2012. (Amsterdam: Amsterdam University Press), 31-41.
- 19. Artistic Practice and Cultural Interventions Why a 3D Model?
- 21. Material Speculations: ISIS Morehshin Allahyari
- 22. Dawson, Ian, and Reilly, Paul. 2019. "Messy Assemblages, Residuality and Recursion within a Phygital Nexus" Epoiesen http://dx.doi.org/10.22215/epoiesen/2019.4 This visual essay is a reflection on the movement of objects and images within the phygital and, in particular, how different components of assemblages meet, mingle and sometimes experience ontological shifts, when an artist and an archaeologist, and their contrasting practices and apparatus intra-act (sensu Barad 2007) within a phygital nexus.
- 23. Dirk Paesmans
- 24. The Rite of Spring: Preludium Becoming one with our environment, a sympoietic process to think WITH others, not OF others, whether human or not, whether dead or alive. Assuming that ‘man’ is dead, means nothing the moment the dead are also “active presence” (as Haraway would say). The moment we become extinct, others —human or nonhuman— will continue playing with the ashes and dust we leave behind. We are bringing the dead into play, to overcome the melancholy and despair our apocalyptic future/present entails. This is part of an ongoing collaboration with Monika Błaszczak and Luisa Mateo Dupleich, as part of their Święto Wiosny: Preludium (The Rite of Spring: Preludium) a queer motherhood in the times of climate catastrophe and the hauntological nostalgia of post-Internet tenderness. https://sketchfab.com/3d-models/becomingone-kin-60363a127c1c46e6b25afcb91c5ce804
- 27. Papadopoulos, C., Hamilakis, Y., Kyparissi-Apostolika, N., Diaz-Guardamino, M. (2019): Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece. Cambridge Archaeological Journal 29(4), 625 – 652. https://doi.org/10.1017/S0959774319000271
- 29. Istituto Superiore per la Conservazione ed il Restauro
- 30. 3D Printing Palmyra Triumphal Arch 'We are here in a spirit of defiance, defiance of the barbarians who destroyed the original.' https://youtu.be/bq4_-iBCqp8 https://www.theguardian.com/us-news/2016/sep/20/palmyra-arch-syria-new-york
- 31. • The role of objects in shaping people’s emotional responses to the world around them • Whether viewing digital objects in 3D environments can enhance emotional engagement or immersion. • Whether cultural heritage has its own ‘history’ and reflect on whether emotional and affective reactions to objects changed over time. • How we understand and relate to objects as three- dimensional ‘virtual’ artefacts today.
- 33. Part II Current Trends and Challenges with 3D
- 34. Democratisation
- 38. https://www.cyark.org/ https://www.cyark.org/about/preservation-by-documentation-the-cyark-commitment We use state of the art reality capture technology to create a holistic and accurate 3D surface model of these sites. We use LiDAR or laser scanning as well as high resolution imagery from the ground and from drones that is processed and combined into one model. This model forms the basis for many of our activities at CyArk, from the creation of accurate engineering drawings to beautiful and immersive virtual reality environments.
- 41. 3D in the Covid19 era
- 42. COMMISSION RECOMMENDATION of 10.11.2021 on a common European data space for cultural heritage Cultural heritage assets digitised in 3D can be a source of relevant knowledge on climate- related impact, adaptation and resilience (e.g., 3D allows non-destructive analysis of assets, visualisation of damages and information for restoration, conservation, etc.)… In such cases, 3D digitisation with the highest level of detail may even be a necessity, for example for conservation and restoration purposes… The objectives are: • To facilitate capacity building in the cultural heritage sector; • To make high-value datasets, in particular 3D, available for scientific research, preservation, restoration, re-use in innovative applications; • To enable easy access to cultural content, allowing stakeholders to use and benefit from this data space; • To create digital opportunities for the public, from virtual visits to history reconstruction and education. https://digital-strategy.ec.europa.eu/en/news/commission-proposes-common-european-data-space-cultural-heritage
- 43. “By 2030, Member States should digitise in 3D all monuments and sites falling under ‘cultural heritage at risk’ and 50% of those falling under ‘the most physically visited cultural and heritage monuments, buildings and sites”. “By 2025, Member States should digitise 40% of the overall 2030 targets” “Member States should take the necessary measures to ensure that all digitised cultural assets are also digitally preserved.” https://digital-strategy.ec.europa.eu/en/news/commission-proposes-common-european-data-space-cultural-heritage
- 47. 3D Models & Digitisation Challenges No standardisation of formats for models Reliance on proprietary software and bespoke solutions Lack of browser support No standardised software to display the models over the web Models are too heavy to be viewed over the WWW No standards for the creation of metadata and paradata Photorealism
- 48. Work on 3D Standards
- 49. The Void
- 50. Engraved Powder Horn with Map, Center for Digital Heritage, Tampa
- 56. • Development of an access infrastructure for viewing interactive 3D models (from single objects to virtual worlds) within the context of a scholarly publication format (3D Scholarly Editions); • A preservation repository for the 3D models and the files associated with the 3DSEs; • A conceptual and methodological framework for valorising, evaluating, and publishing interactive 3D scholarship. @PURE3DNL /pure3dnl https://pure3d.eu
- 58. Smithsonian Voyager Toolkit Voyager Explorer Voyager Story curators, authors public users
- 60. Part III How to do 3D
- 61. Laser/3D Scanning Böhler, W. and Marbs, A. (2002). 3D Scanning Instruments, In Proceedings of CIPA WG6 Scanning for Cultural Heritage Recording. Institute for Spatial Information and Surveying Technology. Germany: University of Applied Sciences. https://goobi.tib.eu/viewer/image/830281592/12/ Grussenmeyer, P., Landes, T., Doneus, M., & Lerma, J. L. (2016) Basics of range-based modelling techniques in Cultural Heritage 3D recording, In Remondino, F., Stylianidis, S., (eds), 3D Recording, Documentation and Management in Cultural Heritage, pp. 305-368. Dunbeath: Whittles. https://hal.archives-ouvertes.fr/hal-02319427/
- 63. To go to these spaces in Berlin, to scan them, and make a claim that these spaces are worthy of this form of archival documentation, this claim that a queer space like a queer bookstore, bar, or performance venue has the same cultural value, was what I was interested in. As a visual artist, I was interested in reclaiming this tool for visual representation: to tell my own story or to tell our own stories as people who identify as queer. So the first part of ‘Scanning the Horizon’ is the archival gesture of creating the raw scans themselves. I see the archival gesture as the work. https://www.berlinartlink.com/2022/01/25/benjamin-busch-interview-scanning-the-horizon-schwules-museum/
- 64. Scanning the Horizon: An Immersive Archive, Benjamin Busch
- 68. How to Shoot (Isolated Object)
- 69. How to Shoot (Isolated Object)
- 70. How to Shoot (Interior)
- 71. How to Shoot (Surface)
- 72. How to Shoot (small objects)
- 73. Photo 1 Photo 2 Photo 3 Photo 4 High Cross in Clonmacnoise, Ireland. Photo blurred on purpose to enhance the overlaying information 60% Overlap Golden Rule
- 75. Absence of Light
- 76. Shiny and highly reflective objects Andrew Fortune, The Corning Museum of Glass Nicholas Callan Science Museum, Maynooth, Ireland Presentation: Photographic Lighting for Highly Reflective Black Objects. http://bit.ly/34iA5sH
- 77. Flat, ‘untextured’, monochromatic, glass Objects
- 78. Structure from Motion • Requirements Digital camera, photogrammetry software, computer hardware (ideally with powerful, dedicated graphics hardware). Little specialist training, working knowledge of photography useful. • Entry-Level Equipment Budget Camera €300+ (or Phone/ depending on intended use) Computer €800+ Software €0 (open source or edu license); €200+ (commercial) • Applications Objects of all sizes from miniature up to entire landscapes. • Limitations Difficult to capture subjects that are very shiny, transparent, extremely fine (e.g., hair, feathers). Subject scale must be added manually in software.
- 81. Part IV Gains, Losses & Grey Areas
- 82. The Robert E. Lee Monument June 15th, 2020: A layer of graffiti covers the Robert E. Lee monument in Richmond, Virginia after weeks of protest across the city. September 2021: Bronze Sculpture is removed February 2022: The vacant plinth is dismantled https://sketchfab.com/3d-models/robert-e- lee-monument-6152020- 02e79fffd8d549d6bafd8fd680ccbdf5
- 83. Key Properties of 3D Digital objects • Lack of physical substance • Lack of native location • Potential infinite reproducibility • Inability to degrade • Original ownership – digital licensing Jeffrey, S., 2015. Challenging Heritage Visualisation: Beauty, Aura and Democratisation. Open Archaeology 1, 144–52.
- 84. Aura – Chain of Proximity – Sense of Pastness • ‘Chain of proximity’ breaks with digital replicas • Proximity to the object but also to the people associated with it • Non-contact methods of digitisation • Immateriality and sanitisation • Disembodied engagement • How is the digital connected to the physical? Jeffrey, S., 2015. Challenging Heritage Visualisation: Beauty, Aura and Democratisation. Open Archaeology 1, 144–52.
- 87. • Who created the record/representation? • Who legally controls the object/representation? • Do the organisations and institutions that host the objects control ownership of the 3D models? • Do data creators have rights? • How does ownership differ from copyright (right to copy, distribute etc.) • Can 3D data by copyrighted?
- 88. The Other Nefertiti Aksioma - Institute for Contemporary Art, Ljubljana, 2017. Photo: Jure
- 89. https://nefertitihack.alloversky.com/ “Nefertiti is returning to the place where it was found. For the first time since the sculpture was excavated and stolen over 100 years ago, the iconic artefact will be shown in Cairo….Al-Badri and Nelles scanned the head of Nefertiti without permission of the museum, and they hereby announce the release of the 3D data under a Creative Common License”
- 91. How did they do it?
- 92. But did they really do it?
- 93. The Artists’ Response Maybe it was a server hack, a copy scan, an inside job, the cleaner, a hoax. It can be all of this, it can be everything...The whole question about originality and authenticity is the same in data as well as in artifacts, and as well in our effort. And, of course, that is our point...museums are telling fictional stories, their stories, just because they control the artifacts and the way of representation.
- 98. “Those rules only matter if the institution imposing them actually has an enforceable copyright. … There is no reason to think that an accurate scan of a physical object in the public domain is protected by copyright in the United States.” Michael Weinberg
- 99. 3D & Copyright Representational vs. Expressive 3D Scans Weinberg, M. (2016). 3D Scanning: A World without Copyright. Whitepaper. Shapeways. https://www.shapeways.com/blog/wp-content/uploads/2016/05/white-paper-3d-scanning-world- without-copyright.pdf
- 101. Part V Starting with 3D: Some Considerations
- 102. Target Audience & Intended Use Scholarly, Education, Public Engagement, Commercial Illustration, Analysis, Exhibition, Intervention, Storytelling…
- 103. Resources budget time partnerships • Parts of a Collection • The chosen objects will largely dictate the digitisation method • Digitisation and Post-production • Equipment, Software, Training, Staffing, Digital Storage and Backup, Preservation (metadata, paradata) • Research • Researching the objects, writing narratives, developing storylines, annotations, implementing 3D scholarly editions (depending on target audience and intended uses) • Dissemination • Web servers, subscriptions, promotion • Partnerships • local universities, volunteers, online communities, companies https://glam3d.org/
- 104. Training, training, training... • Two goals o to conceptualize 3D scholarly editions as a novel form of scholarly communication o To teach competency in developing a 3D scholarly edition within Voyager Story • Theoretical Objectives o Transformational Intermediality • The 3D model is one form of medium representation of a real-world place or object • Medial Constellation • The 3D model acts as the central modality of a medial constellation • Object Biographies • This real-world object has unique stories to tell, the 3D scholarly edition is able to accommodate these biographies
- 105. Student Projects
- 106. Cultural & (non-)Legal Considerations • Propagating awareness of the cultural resource’s original cultural context. • Copyright status • Moral rights, cultural heritage laws, or other non- copyright-based restrictions on use • Transparency https://glam3d.org/
- 107. “these recording techniques can also offer a means of exploring and challenging existing authorised regimes of significance and insignificance, giving voice to alternative and richer perspectives through the recording process itself, as much as through the resultant record. This challenges orthodox thinking about both the primary purpose and effects of digital recording and opens up new directions for their use in heritage practice” Stuart Jeffrey, Siân Jones, Mhairi Maxwell, Alex Hale & Cara Jones (2020) 3D visualisation, communities and the production of significance, International Journal of Heritage Studies, 26:9, 885-900, DOI: 10.1080/13527258.2020.1731703
- 108. Costas Papadopoulos Associate Professor in Digital Humanities & Culture Studies k.papadopoulos@maastrichtuniversity.nl Out of the Box and Online Creating 3D models of queer and trans material culture objects