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Overview of e-curator project given at the Oxford e-Research Centre on 23/5/08

Publicado en: Tecnología, Educación
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  1. 1. Sally MacDonald Yean-Hoon Ong Mona Hess Francesca Millar E-Curator 3D colour scans for remote object identification and assessment Dr Ian Brown Dr Graeme Were Dr Stuart Robson
  2. 2. UCL Context <ul><li>3 Museums open to the public, 10 departmental collections </li></ul><ul><li>Half a million objects and specimens </li></ul><ul><li>First Arius3D Foundation Scanner in Europe providing state of the art colour artefact scanning </li></ul><ul><li>Interdisciplinary expertise </li></ul>
  3. 3. Research issues <ul><li>Need for curators, conservators etc to have physical access to objects for: </li></ul><ul><ul><li>object identification/ comparison </li></ul></ul><ul><ul><li>condition monitoring, within institutions and for touring exhibitions </li></ul></ul><ul><li>Limitations of the catalogue entry and the conservation report </li></ul>
  4. 4. Project Aims <ul><li>Develop a repeatable methodology for recording surface detail and colour quality of range of object types and materials </li></ul><ul><li>Explore potential for producing validated datasets to allow closer and more scientific examination of groups of objects, their manufacture and issues of wear and deterioration </li></ul><ul><li>Examine how resulting datasets could be transmitted, shared and compared </li></ul><ul><li>Begin to build expertise in use and transmission of 3D scan data as a curatorial tool </li></ul>
  5. 5. 3D Colour Laser Scanning <ul><li>6 pilot object from UCL Museums and Collections to form the core study </li></ul><ul><li>Scanning with the Arius 3D Foundation Model 150 colour scanner, accuracy 0.25mm, point spacing 100 x 100 microns, geometric and colour information (XYZ RGB) </li></ul>Red, Green and Blue Lasers Lens Mirror
  6. 6. 3D Colour Laser Scanning Scan results of the Petrie Quartzite UC55606. Minute surface features become visible through the 3D scan.
  7. 7. Russel painting – Criteria for choosing this painting as pilot object <ul><li>Object size </li></ul><ul><li>Object geometry </li></ul><ul><li>Color range </li></ul><ul><li>Surface reflectivity </li></ul><ul><li>Surface texture </li></ul><ul><li>Previous research </li></ul>
  8. 8. Russel painting – scanning process - 1
  9. 9. Russel painting – scan results - images
  10. 10. Russel painting – scan results - analysis
  11. 11. Is the production of an image; science or art?
  12. 12. Technician
  13. 13. Conservator
  14. 14. Evaluation of 3D scanning with Arius3D <ul><li>One same object can have different end-results because of </li></ul><ul><ul><li>Experience of the person scanning the object </li></ul></ul><ul><ul><li>Object characteristics/ geometry </li></ul></ul><ul><ul><li>Scanner components functionality </li></ul></ul><ul><ul><li>Ambient lighting during the scan </li></ul></ul><ul><ul><li>Scanning method and approach to record geometry </li></ul></ul><ul><ul><li>Import options into Postprocessing-Software (Pointstream) </li></ul></ul><ul><ul><li>Accuracy of matching/ “best-fit” in Pointstream </li></ul></ul><ul><ul><li>Color editing </li></ul></ul><ul><ul><li>Filtering and compression mode </li></ul></ul>
  15. 15. <ul><li>Workshops for Curators and Conservators to produce a detailed specification for the user interface and review criteria </li></ul>Requirements gathering workshops
  16. 16. E-Curator Application (Technology) <ul><li>Web-based application </li></ul><ul><li>Server side: </li></ul><ul><ul><li>Storage Resource Broker (SRB), MCAT, Java Server Pages (JSP), servlets </li></ul></ul><ul><li>Client side: </li></ul><ul><ul><li>Javascript, AJAX </li></ul></ul>
  17. 17. E-Curator Application (Prototype)
  18. 18. E-Curator Application (Interface) <ul><li>Embed 3D scan images within web pages </li></ul><ul><li>3DImagePlayer: an ActiveX control from Arius3D </li></ul><ul><li>Tools are available for users to tumble, pan, zoom and rotate the 3D images and to alter lighting conditions and colour display </li></ul>
  19. 19. E-Curator Application (Interface) <ul><li>Metadata provides information about artefact </li></ul><ul><li>The GUI facilitates viewing, comparing and analysing museums artefacts </li></ul>
  20. 20. Issues of concern for the museum framing <ul><li>The digital image reforms ideas on aura, authority, authorship and reality </li></ul><ul><li>In praxis it mediates different sensuous engagements, material knowledge and attachments </li></ul><ul><li>Brings into context issues on the rights to the image, copyright, repatriation and management of knowledge </li></ul>
  21. 21. Field sites for research <ul><li>Extended multi sited ethnographic fieldwork in London at UCL museums and collections and in Oxford at the Pitt Rivers museum. Further research in Toronto at the Royal Ontario museum and Arius 3D </li></ul>
  22. 22. Contact <ul><li>E-curator Team [email_address] </li></ul><ul><li>More information about the E-curator project: </li></ul>