3D Printing and Immersive Visualization for Improved Perception of Ancient Artifacts

Franco, Paola Di Giuseppantonio Di; Camporesi, Carlo; Galeazzi, Fabrizio; Kallmann, Marcelo

doi:10.1162/pres_a_00229

Cited by 73 publications

(49 citation statements)

References 39 publications

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“…Di Franco et al. () presented a study on how museum visitors regard authenticity of objects, finding that it does not play a particularly prominent role for some visitors, but was not completely unimportant. They found that authenticity takes a backseat to the opportunity to gain knowledge, constituting a contrast to the feedback of visitors from this study.…”

Section: Discussionmentioning

confidence: 99%

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Evaluation of Touchable 3D‐Printed Replicas in Museums

Wilson¹,

Stott²,

Warnett³

et al. 2017

Curator The Museum Journal

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The multisensory aspect of the museum, while neglected for many years, is undergoing a resurgence as museum workers have begun to push towards re-establishing the senses as a major component of museum pedagogy. However, for many museums a major roadblock lies in the need to conserve rare objects, a need that prevents visitors from being able to interact with many objects in a meaningful way. This issue can be potentially overcome by the rapidly evolving field of 3D printing, which allows museum visitors to handle authentic replicas without damaging the originals. However, little is known about how museum visitors consider this approach, how they understand it and whether these surrogates are welcome within museums. A front-end evaluation of this approach is presented, finding that visitors were enthusiastic about interacting with touchable 3D printed replicas, highlighting potential educational benefits among other considerations. Suggestions about the presentation of touchable 3D printed replicas are also discussed. Paul F. Wilson (P.Wilson.4@warwick.ac.uk 07701333142): PhD Student, Warwick Manufacturing

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Section: Discussionmentioning

confidence: 99%

“…) although the number of studies that evaluate this latter approach is limited (Di Franco et al. ; Neumüller et al. ).…”

Section: Introductionmentioning

confidence: 99%

Evaluation of Touchable 3D‐Printed Replicas in Museums

Wilson¹,

Stott²,

Warnett³

et al. 2017

Curator The Museum Journal

View full text Add to dashboard Cite

show abstract

“…The results of the survey will be compared with other similar exercises where different other multimodal approaches were also involved. 48 This research has elucidated how 3-D scanning, virtual anastylosis, and web sharing can contribute to the improvement of museum policies in the field of public outreach, showing how a case of limited accessibility, represented by the state of a Greek statue irremediably divided in pieces between two museums, can become the public's path to virtual discovery of a new masterpiece of Greek sculpture.…”

Section: Sd D U a Samentioning

confidence: 98%

Virtual anastylosis of Greek sculpture as museum policy for public outreach and cognitive accessibility

Stanco

Tanasi

Allegra

et al. 2017

J. Electron. Imaging

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This paper deals with a virtual anastylosis of a Greek Archaic statue from ancient Sicily and the development of a public outreach protocol for those with visual impairment or cognitive disabilities through the application of three-dimensional (3-D) printing and haptic technology. The case study consists of the marble head from Leontinoi in southeastern Sicily, acquired in the 18th century and later kept in the collection of the Museum of Castello Ursino in Catania, and a marble torso, retrieved in 1904 and since then displayed in the Archaeological Museum of Siracusa. Due to similar stylistic features, the two pieces can be dated to the end of the sixth century BC. Their association has been an open problem, largely debated by scholars, who have based their hypotheses on comparisons between pictures, but the reassembly of the two artifacts was never attempted. As a result the importance of such an artifact, which could be the only intact Archaic statue of a kouros ever found in Greek Sicily, has not fully been grasped by the public. Consequently, the curatorial dissemination of the knowledge related with such artifacts is purely based on photographic material. As a response to this scenario, the two objects have been 3-D scanned and virtually reassembled. The result has been shared digitally with the public via a web platform and, in order to include increased accessibility for the public with physical or cognitive disabilities, copies of the reassembled statue have been 3-D printed and an interactive test with the 3-D model has been carried out with a haptic device.

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“…Archaeologists in particular have found 3D scanning useful for producing realistic historical reconstructions of objects and places (Grosman ; Di Franco et al. ; Forte ). Across many disciplines, much of this work has focused on what might be referred to as the “affordances” of digital fabrication technologies for learning environments (Norman ), where the specific qualities and context‐specific permutations of these technologies might enable the re‐creation of objects in 3D or the visualization of multiple layered settings.…”

Section: Setting the Stage: Digital Fabrication In Museumsmentioning

confidence: 99%

Using 3D Printing to Enhance Understanding and Engagement with Young Audiences: Lessons from Workshops in a Museum

Turner¹,

Resch²,

Southwick³

et al. 2017

Curator The Museum Journal

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This paper details findings from a collaborative research project that studied children learning to 3D print in a museum, and provides an overview of the study design to improve related future programs. We assessed young visitors' capacity to grasp the technical specificities of 3D printing, as well as their engagement with the cultural history of shoemaking through the museum's collection. Combining the museum's existing pedagogical resources with hands-on technology experiences designed by Semaphore researchers, this study enabled both researchers and museum education staff to evaluate the use of 3Ddriven curriculum and engagement materials designed for children visiting cultural heritage museums. This study raises critical questions regarding the practicality of deploying 3D media to engage young learners in museums, and this paper illuminates the challenges in developing models for children to put historical and contextual information into practice. quently, there is a scarcity of research that addresses how museums can fruitfully engage younger audiences in cultural programming through the use of emerging 3D technologies. This paper documents a collaboration between the Bata Shoe Museum in Toronto, Canada, and researchers from the Semaphore Research Cluster on Inclusive Design in Mobile Hannah Turner (hannah_turner@sfu.ca) PhD, is a Postdoctoral Fellow in the School of Interactive Arts and Technology (SIAT) at Simon Fraser University (SFU). Gabby Resch (gabby.resch@utoronto.ca) PhD Candidate,

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3D Printing and Immersive Visualization for Improved Perception of Ancient Artifacts

Cited by 73 publications

References 39 publications

Evaluation of Touchable 3D‐Printed Replicas in Museums

Evaluation of Touchable 3D‐Printed Replicas in Museums

Virtual anastylosis of Greek sculpture as museum policy for public outreach and cognitive accessibility

Using 3D Printing to Enhance Understanding and Engagement with Young Audiences: Lessons from Workshops in a Museum

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