Virtual Representation: the Production of 3D Digital Artifacts

Garstki, Kevin

doi:10.1007/s10816-016-9285-z

Cited by 57 publications

(32 citation statements)

References 37 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The work of Benjamin has been particularly influential in debates about digital authenticity (Bolter et al 2006;Cameron 2007;Garstki 2016;Jeffrey 2015;Rabinowitz 2015). Writing in the early twentieth century in response to new technological developments such as photography and cinema, Benjamin argued that mechanical reproduction undermines the uniqueness of the original art object, which in turn leads to the decay of aura, along with the sense of awe and reverence associated with it.…”

Section: Authenticity and Digital Representationmentioning

confidence: 99%

3D heritage visualisation and the negotiation of authenticity: the ACCORD project

Jones

Jeffrey

Maxwell

et al. 2017

International Journal of Heritage Studies

View full text Add to dashboard Cite

Abstract:This article examines the question of authenticity in relation to 3D visualisation of historic objects and monuments. Much of the literature locates their authenticity in the accuracy of the data and/or the realism of the resulting models. Yet critics argue that 3D visualisations undermine the experience of authenticity, disrupting people's access to the materiality, biography and aura of their historic counterparts. The ACCORD project takes questions of authenticity and 3D visualisation into a new arena -that of community heritage practice -and uses rapid ethnographic methods to examine whether and how such visualisations acquire authenticity. The results demonstrate that subtle forms of migration and borrowing occur between the original and the digital, creating new forms of authenticity associated with the digital object. Likewise, the creation of digital models mediates the authenticity and status of their original counterparts through the networks of relations in which they are embedded. The current pre-occupation with the binary question of whether 3D digital models are authentic or not obscures the wider work that such objects do in respect to the cultural politics of ownership, attachment, place-making and regeneration. The article both advances theoretical debates and has important implications for heritage visualisation practice.

show abstract

Section: Authenticity and Digital Representationmentioning

confidence: 99%

3D heritage visualisation and the negotiation of authenticity: the ACCORD project

Jones

Jeffrey

Maxwell

et al. 2017

International Journal of Heritage Studies

View full text Add to dashboard Cite

show abstract

“…3D laser scanning has the advantage of allowing users to produce extremely high quality and regular underlying meshes and associated textures. With certain scanners this accuracy is predicated on the fixed distance between scanner and object, providing consistency in the positioning of points within the point cloud (Counts, 2016, p. 210;Garstki, 2017). On the other hand, the position of points in SfM models is relatively less consistent.…”

Section: Representing Peak Sanctuary Figurinesmentioning

confidence: 99%

“…On the other hand, the position of points in SfM models is relatively less consistent. This is due to the fact that the locations of points that make up the model are assigned based on shared features across photographs and not by direct scanning of an object (Garstki, 2017).…”

Section: Representing Peak Sanctuary Figurinesmentioning

confidence: 99%

‘Figures in 3D’: Digital Perspectives on Cretan Bronze Age Figurines

Morris¹,

Peatfield²,

O’Neill³

2018

Open Archaeology

View full text Add to dashboard Cite

Abstract:The largest corpus of clay figurines from the Cretan Bronze Age comes from ritual mountain sites known as peak sanctuaries. In this paper, we explore how the ‛Figures in 3D' project contributes to our understanding of these figurines, aiding in the study of the technologies of figurine construction and the typological analysis of distinctive styles. We discuss how the project has, more unexpectedly, begun to create new dialogues and opportunities for moving between the material and the digital by taking a multifaceted approach that combines the data from 3D models and 3D prints with experimental work in clay.

show abstract

“…Addressing some of these issues, many publications from 2017 demonstrate prospects for the ever‐developing suite of digital tools at our disposal, such as photogrammetry and 3D modeling of artifacts, sites, and landscapes (Dell'Unto et al. ; Delpiano, Peresani, and Pastoors ; Garstki ; Hanot et al. ; Hermon et al.…”

Section: Grappling With the Digitalmentioning

confidence: 99%

Finding Archaeology in 2017: What Is Archaeology and Why Are We Doing It? Why Should We Be Doing It?

Lewis

2018

American Anthropologist

View full text Add to dashboard Cite

These annual review essays focus on what we as archaeologists are doing year by year. Many themes continue on from review to review, waxing and waning, not unlike the bell curves of a traditional pottery seriation.Each year, themes are highlighted and presented in varied ways according to the orientation and aims of the reviewer. All do a masterful job of curating the vast range of what archaeologists were, in each annual period, currently producing. My review follows in the footsteps of its predecessors, summarizing an array of new and exciting research, and describing how agendas presented in 2017 cluster around sets of related questions and aims. It will also look at the growing literature that asks, in one way or another, fundamental questions about what archaeology really is and why we pursue it. In this time when the value of academic pursuits and scientific perspectives are being highly scrutinized in politics and popular culture, archaeologists are faced with the uncomfortable question of "What is it, really, that we should be doing?" [archaeology, current issues, public archaeology, digital archaeology] RESUMEN Estos ensayos de revisión anual se enfocan en lo que como arqueólogos estamos haciendo año tras año. Muchos temas continúan de revisión en revisión, creciendo o menguando, no muy diferente de las curvas en forma de campana de la seriación de la cerámica tradicional. Cada año, temas son enfatizados y presentados de varias maneras de acuerdo a la orientación y metas del crítico. Todos hacen un trabajo magistral de organizar un rango vasto de lo que los arqueólogos estaban, en cada período anual, realmente produciendo. Mi revisión sigue los pasos de sus predecesores, resumiendo una colección de nueva y emocionante investigación, y describiendo cómo las agendas presentadas en el 2017 se agrupan alrededor de juegos de cuestiones y metas relacionadas.También examina la creciente literatura que pregunta, de una manera u otra, cuestiones fundamentales acerca de lo que la arqueología realmente es y por qué nos dedicamos a ella. En este tiempo cuando el valor de los empeños académicos y las perspectivas científicas están siendo altamente escrutados en política y cultura popular, los arqueólogos se enfrentan a la pregunta incomoda de "¿Qué es lo que realmente deberíamos estar haciendo?"[arqueología, cuestiones actuales, arqueología pública, arqueología digital] ARCHAEOLOGICAL FRAGMENTATION?While the theme of what such a diverse discipline should be subtly undergirds much of the literature, a number of 2017 articles, each in a very different way, directly address the very nature of what archaeology is and why we practice it. In the Journal of Archaeological Method and Theory, Assaf Nativ (2017, 55) asks us to reconsider our notions of the

show abstract

Virtual Representation: the Production of 3D Digital Artifacts

Cited by 57 publications

References 37 publications

3D heritage visualisation and the negotiation of authenticity: the ACCORD project

3D heritage visualisation and the negotiation of authenticity: the ACCORD project

‘Figures in 3D’: Digital Perspectives on Cretan Bronze Age Figurines

Finding Archaeology in 2017: What Is Archaeology and Why Are We Doing It? Why Should We Be Doing It?

Contact Info

Product

Resources

About