Theorizing authenticity – practising reality: the 3D replica of the Kazaphani boat (original) (raw)
Related papers
The 3D Replica of the Kazafani Boat. A Case Study of a Fragile Archaeological Artefact
Abstracts of the 1st Annual Meeting of the European Association of Archaeologists, Glasgow 2015, 2015
3D printing is considered the new revolution in the field of cultural heritage and archaeology, contributing to the definition of new horizons in the conservation and communication sector. 3D physical replicas can replace original objects that are inaccessible or not available due to their conservation state, their fragility or that cannot be moved because too valuable. Furthermore, a 3D replica can be a valid substitute of lost museum artifacts. This paper presents the case study of the physical replica of the so called Kazafani boat. The 13th century artifact is made of pottery and it is permanently exhibited at the Cyprus Museum. It was found within a tomb at the Kazafani village (Cyprus) in 1963. Recently it was chosen to be part of a travelling exhibition to the Smithsonian Museum (USA), but due to its fragility could not be moved. For this reason a campaign of 3D data acquisition was planned to create an accurate digital replica of the artwork with the aim of making a physical replica to substitute the real object. Size, shape, colours, surface markings, even evidence of past damage and previous episodes of restoration, were all recorded. An exact physical replica of the boat was created with a powder 3D printer. A further implication of this approach enabled conservators to interact and analyze the replicated boat in detail preventing any damage to the original.
Re-defining Authenticity in the Age of 3D Digital Reproductions
Archaeology is becoming increasingly ‘digital’. The use of 3D laser scanners, computer vision and photogrammetric methods is well established in the archaeological field now, since these techniques allow to digitally preserving the information through time. Three-dimensional metric replicas of the archaeological record are powerful tools for the analysis, understanding and interpretation of tangible heritage, since they give the opportunity to virtually revisit the archaeological information by multiple experts, without the limitations of space and time. Today digital archives and the web allow preservation, sharing and accessibility of 3D data, favoring an unprecedented dissemination of information. Thanks to the advancement of technologies, 3D digital objects can now also be recreated using 3D printers. This gives researchers and the public the ability to not only see objects, but also engage and interact with their reproductions. Three-dimensional printing affords the use of tactile information not typically utilized when simply viewing static 2D photographs or looking at objects displayed in a museum. What is the value of 3D digital and physical replicas of ancient material culture? How should we consider these digital and virtual reproductions? Are they authentic representations of our cultural heritage or just virtual and physical ‘fakes’? We welcome papers that discuss how 3D digital and printed replicas challenge and reconsider the notion of authenticity in archaeology and heritage studies. We would like potential papers to explore the concept of authenticity in relation to:-Three-dimensional digital replicas of ancient artefacts.-Three-dimensional printed replicas of ancient artefacts.-Three-dimensional virtual replicas of the archaeological excavation process. -Cultural diversity. How different cultures cope with replicas.-Museum experiences.
Authenticity and cultural heritage in the age of 3D digital reproductions
This volume represents the first attempt to collate an organic collection of contributions on authenticity and the digital realm in heritage and archaeology. It analyses the concept of authenticity from different perspectives and with different multidisciplinary contributions, together with theoretical debate. The collection of papers explores the concept of authenticity in a comprehensive way, engaging with theories relating to the commodification of ancient material culture, heritage-making processes, scholarly views and community engagement. These papers also take into account current digital practices for the study of past material culture and how their use affects and redefines interpretation processes in archaeology. This will provide a key reference text for archaeologists, museum and heritage specialists, and other readers interested in authenticity, cultural heritage and 3D reproductions.
Authenticity vs 3D reproduction Never the twain shall meet
Arts in Society: Academic Rhapsodies, 2020
This article discusses a 3D print of Rembrandt van Rijn's Saul and David to introduce the debate on art reproduction. Confusion about and a rejection of 3D printing is caused by the fact that this technology is hard to define as a form of art reproduction. Furthermore, 3D printing causes tension within the way that value is granted to original paintings. Walter Benjamin's theory of aura and other contemporary texts, such as Thierry Lenain's book on art forgery and David Lowenthal's articles on the authenticity of artworks and reproductions , provide a theoretical framework with which to introduce the current debate on 'original' and 'copy', a discourse that is becoming more important because of the increasing quality of reproductions through 3D printing. Exploring the concept of authenticity, this article shows how contemporary society grants value to artworks and reproductions. Authenticity as a concept is not static; it is a social construction that allows various perceptions of art that can change over time, resulting in shifting perceptions of both original artworks and (3D) reproductions. Finally, this article relates the various perspectives of authenticity to 3D prints in assessing whether these reproductions can become authentic in and of themselves.
"In the past decade, computer graphics have become strategic for the development of projects aimed at the interpretation of archaeological evidence and the dissemination of scientific results to the public. Among all the solutions available, the use of 3D models is particularly relevant for the reconstruction of poorly preserved sites and monuments destroyed by natural causes or human actions.These digital replicas are, at the same time, a virtual environment that can be used as a tool for the interpretative hypotheses of archaeologists and as an effective medium for a visual description of the cultural heritage. In this paper, the innovative methodology and aims and outcomes of a virtual reconstruction of the Bor푔̇ in-Nadur megalithic temple, carried out by Archeomatica Project of the University of Catania, are offered as a case study for a virtual archaeology of prehistoric Malta."
3D Reproductions of Cultural Heritage Artefacts: Evaluation of significance and experience
Studies in Digital Heritage, 2021
3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired through (1) a questionnaire of eleven questions and (2) a workshop with a group of specialists and non-specialists who were asked to brainstorm about the different uses of the 3D technologies and their applicability to their areas of work and research. Based on the analysis of these quantitative and qualitative data, we provide some criteria for using 3D digitized and printed reproductions to enhance cultural experiences. The results demonstrate the importance of carefully designing 3D interactions in the personal and cultural contexts of end-users and cultural institutions in order to create authentic cultural experiences.
An Application of Integrated 3D Technologies for Replicas in Cultural Heritage
ISPRS International Journal of Geo-Information
In recent decades, 3D acquisition by laser scanning or digital photogrammetry has become one of the standard methods of documenting cultural heritage, because it permits one to analyze the shape, geometry, and location of any artefact without necessarily coming into contact with it. The recording of three-dimensional metrical data of an asset allows one to preserve and monitor, but also to understand and explain the history and cultural heritage shared. In essence, it constitutes a digital archive of the state of an artefact, which can be used for various purposes, be remodeled, or kept safely stored. With the introduction of 3D printing, digital data can once again take on material form and become physical objects from the corresponding mathematical models in a relatively short time and often at low cost. This possibility has led to a different consideration of the concept of virtual data, no longer necessarily linked to simple visual fruition. The importance of creating high-resol...
3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience
Studies in Digital Heritage
3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired throug...
Beyond Virtual Replicas: 3D Modeling and Maltese Prehistoric Architecture
Journal of Electrical and Computer Engineering, 2013
In the past decade, computer graphics have become strategic for the development of projects aimed at the interpretation of archaeological evidence and the dissemination of scientific results to the public. Among all the solutions available, the use of 3D models is particularly relevant for the reconstruction of poorly preserved sites and monuments destroyed by natural causes or human actions. These digital replicas are, at the same time, a virtual environment that can be used as a tool for the interpretative hypotheses of archaeologists and as an effective medium for a visual description of the cultural heritage. In this paper, the innovative methodology and aims and outcomes of a virtual reconstruction of the Borg in-Nadur megalithic temple, carried out by Archeomatica Project of the University of Catania, are offered as a case study for a virtual archaeology of prehistoric Malta.