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January 26, 2022 at 9:07 pm #5428gabriellem
Presenters: Harry Abramson, Direct Dimensions, Owings Mills, Maryland
While 3D digitization projects can certainly add to your organization’s offerings, it is important to define whether 3D digitization technology meets your museum’s goals and applicability, as well as the resources you are able to dedicate to such projects.
Digital Archiving of Physical Objects
Ghost (1990), Rachel Whiteread | National Gallery of Art
– British Museum | SketchFab
– Diplomatic Reception Rooms Virtual Tour | State Department
– Byzantine Seals | Dumbarton Oaks
– Tools and frameworks available
SketchFab – Free to low cost, universally accessible, and robust
3DHeritage Online Presenter (3DHOP)
Voyager (offered by the Smithsonian)
Open Source Distribution
Neil Armstrong Space Suit | Smithsonian Open Access
Object Provenance, Process Research, and Analysis
Back I, II, III, and IV (1900s), Henri Matisse | MoMA; The Art Institute of Chicago – Plaster casts that were each scanned at a high resolution and then visitors to an online exhibit were able to compare these scans.
Mounts and Crate Design
White Negress (1923), Constantin Brancusi | Philadelphia Museum of Art
Recommended Reading: Wachowiak, M.J., and Karas, B.V. (2009). 3D Scanning and Replication for Museum and Cultural Heritage Applications. JAIC 48: 141-158.
Immersive Display AR/VR (Augmented Reality/Virtual Reality)
– Metaverse – Artist Terry Kilby scans the now-removed Robert E. Lee Monument
– Mace of the Republic | House of Representatives – Scanned using a FARO Laser Scan Arm (https://www.faro.com/en)
– Assyrian Relief | British Museum – This particular example is actually done by a regular visitor to the museum, which might give insight into the plausibility to do these kinds of projects.
Promotions, Engagement, Product Development
– Amun Re | Museum of Archaeology and Anthropology, University of Pennsylvania
– Neil Armstrong Space Suit | Smithsonian Open Access
– Native American Projectile Points
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