Category → digital
These may look like real fossils, but they are actually perfect plastic replicas of 2 million-year-old whale skeletons made using a 3D printer.
This printing technology, which can create 3D versions of objects as diverse as a guns or the brain of a man with no memory, was hyped last week by President Obama when he said that 3D printing “has the potential to revolutionize the way we make almost everything.”
The technology certainly saved the day for Smithsonian paleobiologist Nick Pyenson.
Pyenson had been finishing up a research trip in Chile in 2011 when he decided to check out a local highway construction site in the Atacama Desert where workers had supposedly uncovered dozens and dozens of whale skeletons.
“I didn’t really believe the rumors at first,” Pyenson says. But when he arrived, “It was unlike anything I’d ever seen.” Pyenson described the experience at the American Association for the Advancement of Science meeting in Boston.
Local museum officials were racing to dig out the skeletons before highway workers paved over the area, Pyenson says. Although the skeletons clearly needed to be removed, a problem with removal is that spatial information about different constellations of fossilized bones is then lost. Continue reading →
I love you.
I’ve been conducting a rather unconventional poll.
It consists of a single question posed to unsuspecting conservation scientists, typically during conference coffee breaks or at the hotel bar thereafter:
“Um. So have you ever bought anything on eBay… I mean, for your scientific work?”
What’s amazing is that researchers working with cultural heritage objects as diverse as Picasso paintings, plastic sculpture & toys, and digital art have all answered “yes.” Continue reading →
Come To Culture Lab: Science On Art And Artifacts, A Conference Session This Saturday In Dublin At ESOF
I’m looking forward to moderating a session on art and artifact science at the Euroscience Open Forum (ESOF) conference this Saturday morning from 10:45 am – 12:15 pm in the Liffey B room.
If you’re in Dublin at ESOF, do stop by! Here’s what you’ll be in for… (the shortened version of my pitch to ESOF):
When you mention art or cultural heritage science, most people think about authentication of a priceless masterpiece or identification of a pigment on a Rembrandt or a da Vinci.
They’re developing tools to study artworks and artifacts without actually touching them, so that you can tell if Picasso produced a particular masterpiece with hoity toity expensive artist paint or industrial wall paint.
They’re getting into the minds of ancient cultures by recreating their recipes for everything from hair dye to incense.
And they’re dealing with what some call the digital art crisis: how do you preserve or conserve art that employs obsolete hardware or software, or art that is stored online in fleeting formats or impermanent platforms.
Here’s who’s speaking at the Culture Lab session: Continue reading →
One of the coolest talks I saw at the ICOM-CC conference in Lisbon last week came from Jens Stenger, a conservation scientist at the Harvard Art Museums in Boston. He had the tricky task of figuring out what to do about five paintings by Mark Rothko in the museum’s collection that were so damaged from sunlight exposure that crimson paint on the canvas had turned to blue.
If just a tiny corner of the paintings were light damaged, museum staff might have considered retouching the artwork with a little paint. But a massive fraction of the massive panels were seriously light-damaged.
And these days the trend in art conservation is to minimize interventions on art, especially contemporary art. So a team of curators, conservators and scientists decided that, “repainting was NOT the way to go,” Stenger said.
But everyone thought museum visitors would want to know how the artwork had looked before the light damage. So what to do?
The solution Stenger came up with is pretty cool: Figure out the exact coloration of the originals. Display the artwork as is, but set up a digital light projector that can cast an image on to the canvases. This projected image temporarily makes the paintings appear as they did when Rothko finished them in 1963. Switch off the projector and the paintings are returned to their current-day states. It’s effectively restoration with an undo button. (And as an aside, the amount of light delivered by the projector is not sufficient to continue to harm the painting.)
Continue reading →
I spent most of today learning about what museum scientists and conservators are doing to keep contemporary art in tip-top shape. (This whole week I’m at ICOM-CC, the huge art conservation science conference currently taking place in Lisbon.)
These folks who are developing life-extension treatments for some pretty quirky art and artifacts. I’m talking about gigantic chandeliers made from hundreds of illuminated plastic bags suspended from the ceiling, each bag containing a little electronic toy dog that barks and moves its legs. Gotta love it.
Or they’re working on sculptures made from random objects covered in aluminum paint that are now degrading beneath the metal veneer. Or Nazi typewriters found at bombed Gestapo headquarters. Continue reading →
If you ever get a sinking feeling that all your photos and correspondence stored digitally may one day be lost in a computer crash or due to some future software incompatibility, then you might empathize with the folks who spend their professional lives thinking about ways to ensure digital forms of cultural heritage don’t disappear into the ether.
In fact, yesterday and today, people concerned with preserving digital 3D visualizations of ancient sites and other digital cultural heritage objects are meeting in London for a conference entitled Visualizations and Simulations, organized under the POCOS (Preservation of Complex Objects Symposia) banner.
I’m not there, but many of the talks piqued my interest, such as the one about the Villa of Oplontis project. This is a 3D, navigable model of a gigantic Roman era villa near Pompei. The villa was so enormous that the archeologists trying to excavate the site 20 years ago never managed to find its limits. The villa had at least 99 rooms and a 60-meter swimming pool. For comparison: An Olympic-sized swimming pool is 50 meters long. Although excavators never did find the villa’s perimeter, they did acquire an immense amount of architectural information about the place. This is being used to develop what sounds like a cool 3D digital model of the villa.
Continue reading →
Every once in a while, well-intentioned attempts to save a valuable painting or artifact from the decay of time bombs pretty badly. Consider the thousand-year-old ancient parchments that were laminated in the late 1950s or early 1960s–during that era’s love affair with plastics–in order to protect the valuable documents from the wear and tear of a long life. Four decades later, the yellowed and brittle laminate had to be painstakingly removed from Belgium’s oldest parchment, the Codex Eyckensis, as the decaying plastic began to exacerbate the injuries it had aimed to avoid.
Such hard lessons have since pushed conservators to look for easily reversible, minimally invasive ways to protect or restore cultural masterpieces—sometimes opting to shun any interventions altogether. Another possibility is to consider a digital restoration technique that offers “all the benefits of an Undo button,” says Daniel Aliaga, a computer scientist at Purdue University.
Aliaga and his Phd student Alvin Law have designed software that can project light images on to sculptures or paintings that, for example, can reveal to the viewer what the decaying masterpiece may have looked like before decades or millennia of deterioration. The projection can also boost faded colours on a painting or touch up decorative tints on a piece of pottery or a sculpture’s exterior. Turn off the projector, and the piece reappears in its current day form.