Designing 3-D Prints for Blind and Partially Sighted Audiences in Museums: Exploring the Needs of Those Living with Sight Loss

Wilson, Paul F.; Griffiths, Susan; Williams, E; Smith, M. Paul; Williams, Mark A.

doi:10.1080/10645578.2020.1776562

Cited by 13 publications

(11 citation statements)

References 41 publications

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“…Whole prints of the tsantsa could be carried out where aspects such as opacity, heaviness, and overall accuracy are varied to help confer the actual qualities of the original specimen. Studies in the literature that attempt to understand what a typical museum-going audience might prefer in a replicated artifact demonstrate clearly that "verisimilitude" (the closeness of the printed model compared to the authentic artifact) is the quality of highest preference [29,34,35]. In total, the CTscan and corresponding SLA print generated here allows assessment of 12 out of 33 characteristics required for authentication.…”

Section: D Printed Replica From Ct Scanmentioning

confidence: 95%

The authentication and repatriation of a ceremonial tsantsa to its country of origin (Ecuador)

et al. 2021

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Tsantsas, commonly referred to as “shrunken heads”, are unique and valuable antiquities that were produced by the Shuar, Achuar, Awajún/Aguaruna, Wampís/Huambisa, and Candoshi-Shampra (SAAWC) peoples until the mid twentieth century. Originally used with ceremonial purpose during important social group functions, tsantsas became monetarily valuable as keepsakes and curios during the nineteenth century as a result of Western/European cultural encroachment. Unmet demand resulted in the production of convincing forgeries that created confusion about the authenticity of existing collections. Ceremonial tsantsas are both human remains and valuable cultural items. Their production and purpose were negatively influenced by colonialism and the outside curio market; as such many institutions may choose to repatriate them to their places of origin. Herein, we report on the authentication and repatriation of a ceremonial tsantsa recently rediscovered in a university’s natural history collection. The personal memoirs of the original collector describe that it originated in the Ecuadorean Amazon. In consultation with the government of Ecuador, it was determined that authentication was required prior to repatriation. The tsantsa was compared to a list of thirty-three distinct characteristics shared by ceremonial tsantsas. These criteria were taken from those provided by Ecuador’s National Cultural Heritage Institute and those found in prior studies from the academic literature; they include notable skin and hair features, structure and facial anatomy, and evidence of traditional fabrication and modification. We were able to affirm 30 of the 33 authenticating indicators. As part of our protocol the tsantsa was scanned with a CT-imaging system. The resulting 3D images were invaluable in discerning subtle and difficult-to-visualize characteristics regarding the skin and patterns of modification, although there are limitations related to the small size of filamentous structures. The results of the authentication were accepted by the Ecuadorean government, and the tsantsa was repatriated in June 2019. An additional benefit of CT-imaging is that data files can be generated in order to create rapid prototypes via 3D printing. In fact, as our work demonstrates, artifacts of value can be repatriated while simultaneously preserved as a volumetric replica for the purposes of a collection.

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Section: D Printed Replica From Ct Scanmentioning

confidence: 95%

The authentication and repatriation of a ceremonial tsantsa to its country of origin (Ecuador)

et al. 2021

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“…All of the artifacts were printed straight from the archive of the Scan the World project. A recent study [ 23 ] revealed that many museum visitors who are BPS favor non-alteration in 3D printed objects and want to handle an accurate replica. Alteration is considered to be problematic because it can negatively affect user interpretations [ 23 ].…”

Section: Methodsmentioning

confidence: 99%

“…A recent study [ 23 ] revealed that many museum visitors who are BPS favor non-alteration in 3D printed objects and want to handle an accurate replica. Alteration is considered to be problematic because it can negatively affect user interpretations [ 23 ]. To stay as true as possible to the original forms, the artifacts were not altered and kept original features such as surface cracks.…”

Section: Methodsmentioning

confidence: 99%

“…One of the common obstacles emphasized in these studies is the unavailability of sensorial access through touch. Consequently, a group of studies in the literature on the accessibility of museums to people who are BPS has focused on the elimination of this problem [ 16 – 23 ].…”

Section: Related Workmentioning

confidence: 99%

“…The authors also underlined that 3D printing promises a vital role in research, documentation, and education, referring to the potential of 3D printing to serve these purposes in an accessible and inclusive manner. Moreover, recent studies [ 21 – 23 ] addressed the requirement for more research to fully understand the role of 3-D printing in designing replicas for audiences who are BPS in museums. From this point on in the current study, we aim to propose an alternative museum that is created within the scope of the possibilities offered by 3D scanning and printing technology, enabling people who are BPS to directly touch and experience 3D replicas of famous artifacts from museums around world, to unravel reactions of people who are BPS to 3D-PAM experience and their future suggestions for it.…”

Section: Related Workmentioning

confidence: 99%

See 2 more Smart Citations

Beyond “do not touch”: the experience of a three-dimensional printed artifacts museum as an alternative to traditional museums for visitors who are blind and partially sighted

Karaduman

Alan

Yiğit

2022

Univ Access Inf Soc

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Three-dimensional printing, or 3D printing, has been used toward the educational, cultural, and social participation of individuals who are blind and partially sighted (BPS) by providing sensory access by touch. This study describes an example of the use of 3D printing technology to make museums accessible to visitors who are BPS by creating a three-dimensional printed artifacts museum (3D-PAM) that exhibits 3D printed replicas of artifacts from famous museums around the world. Specifically, the aim of the study is to identify the definitions of museums and the general experiences of museum visits by people who are BPS, to have them visit a 3D-PAM, and to unravel their reactions to this experience and their future suggestions for 3D-PAM. Eleven individuals participated in this basic qualitative study. Semi-structured interviews were conducted to uncover their understanding of the experience. Results show that people who are BPS have a negative perception of museums because they are often inaccessible to this group and that the 3D-PAM in our study offered a pleasant experience that contributed to accessibility. These results suggest further that 3D-PAMs, either as an alternative and separate museum type or integrated into existing museums, are highly important for people who are BPS.

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The Museum of Touch: Tangible Models for Blind and Low Vision Audiences in Museums

Reinhardt,

Holloway,

Thogersen

et al. 2024

Multimodality in Architecture

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Designing 3-D Prints for Blind and Partially Sighted Audiences in Museums: Exploring the Needs of Those Living with Sight Loss

Abstract: How to cite:Please refer to published version for the most recent bibliographic citation information. If a published version is known of, the repository item page linked to above, will contain details on accessing it.

Cited by 13 publications

References 41 publications

The authentication and repatriation of a ceremonial tsantsa to its country of origin (Ecuador)

The authentication and repatriation of a ceremonial tsantsa to its country of origin (Ecuador)

Beyond “do not touch”: the experience of a three-dimensional printed artifacts museum as an alternative to traditional museums for visitors who are blind and partially sighted

The Museum of Touch: Tangible Models for Blind and Low Vision Audiences in Museums

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