How does attempting to model an object compare to simply viewing one in an exhibition?
- When simply looking at an object, the main focuses are figuring out what the object is and what its purpose is. Overall aesthetics are also emphasized when it is put in an exhibition. When modeling an object, many things must be taken into consideration to get the highest quality scan. For instance the lighting and angles at which you scan the object must be optimized to make the model as realistic as possible. This allows you to virtually view the object in 3D, which is especially convenient if the actual item is unavailable. Modeling an item is much more technical and detail oriented than just viewing it.
Does the process of photogrammetry encourage close looking and attention to details you might otherwise have ignored?
- The process of photogrammetry involves not only taking many pictures of an object, but also very closely observing the small details in order to ensure that the 3D model is accurate to the real object. For example, I did not notice the date on one of the edges of our object (the Bible), until I went back into the 3D model to look closely and see how accurate it looked.
Does engaging with objects in this way make you more curious about these (and/or other) things and the stories they can tell?:
- Yes, engaging with the objects in this way forces you to interact with them in a way you wouldn’t if you were just looking at them in person or through a screen. I was more interested in learning about our object and it’s history because I became familiar with it through this interactive medium.
How does moving from passive observer to active modeler change your thinking on communicating about art and history to various publics?
- Transitioning from a passive spectator into an active modeler changes my tone when discussing art and history. It challenges me to think critically, underscore multiple lenses of understanding, and modify my discourse for the target public. This change favors the need for a sense of duty in representing true art, portraying both the richness and creating an interactive narrative with society’s audience.
Embedded link to 3D model of Bible:
The object we chose to model was Berit Olsdatter Egge’s Bible from 1815. The inside of the front and back cover has handwritten script and the entire thing is likely written in Norwegian.
2 thoughts on “Collaborative Archive Lab (Sunniva, Molly, Gus)”
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This is a really interesting object to document through photogrammetry. Old texts, especially ones like The Bible, can be fascinating not only for their actual context but for their appearance and physical characteristics that can mark important information about the time when they were created. I also think that this 3D model is a more important piece of information than just a simple scan, as it gives a more in-depth picture of the book and how it was made and interacted with.
I agree with Ethan, modeling such objects opens up exciting possibilities for exploring historical texts. By shifting from mere observation to detailed modeling, you’re not only capturing the physical essence of the text but also uncovering layers of history and context often missed in traditional study. This technique could alter how we interact with and understand historical documents, offering a more nuanced and immersive way to appreciate their significance and the stories they hold. I think’s it awesome how much details you were able to include and realize while working through the process of modeling this item.