 Afternoon, welcome everybody. I'm very happy to see a crowded room despite this is right after the holidays, very busy period. Cyber Monday, I learned about the Cyber Monday. And well, I'm very happy you're here. I'm going to just introduce why I organize this workshop, what I hope we will do in these days and then leave the world to the director of the museum, Ben Porter. So in July 2018, a new international project on digital humanities, Egyptology, and the heritage preservation has started between the University of Munich and UC Berkeley, funded by the grant LMU UCB research in humanities, which since 2007 supports the academic operation between scholars and students of the two universities. One of the various forms of funding of this grant are the so-called mini workshops, some small-scale bilateral research workshops, this one, conducted by researchers from LMU and UC Berkeley, which aims at kicking off funding for joint research projects. The first mini workshop of this project has been held in Munich in the State Museum of Egyptian Art on July 3rd to 5th, 2018. And it has seen the participation of the core team of the project. So myself, Alexander Schütze, Melanie Flosman Schütze, Ralph Birk, plus two more members of the UCB team of the project, Chris Hoffman and Ben Porter. The meeting in Munich entitled Deaf in 3D, studying networks of funerary monuments, mortuary practices, and elites in 1st millennium BC Egypt, is focused mainly on the digital study of two tons of the basalt sarcophagus, originally belonging to an Egyptian high official of the 26th dynasty called Samtik, which is one of the masterpieces of the ancient Egyptian collection of the Heirs Museum and that you can admire in the next room. The wider historical and archaeological context of the sarcophagus has been also taken in account during the meeting in Munich with a series of lectures devoted to explore the role of digital humanities for the study of the art history, burial customs, and the transmission of the older funerary literature in the first millennium BC in Egypt and in the Near East. Today, we are gathering here in order to begin a follow up of the Munich workshop. And the aim is to discuss further the case studies presented in Munich, this time on an even more extended comparative perspective and by focusing on heritage study and preservation through digital techniques and in particular through 3D scanning and virtual reality reconstructions. In addition to a variety of lectures concerning the work in cultural heritage preservation by UC scholars and graduate students from UC Merced, UC Berkeley, and UC Santa Cruz, which will complement the contributions of the speakers from MU, a round table would be organized in order to discuss also the potential applications of this documentation method for future research on archaeological sites, monuments and artifacts. I'm also glad that by holding the workshop in this museum and I have to thank Ben Porter and the museum staff for making this possible, we will be able under the guidance of Chris Hoffman, who I see is right there, right? To experience the immersive environment of the Cape Cusk area or in the Hertz Museum, which provides the users with the number of 3D models of objects kept in different collections of the Hertz Museums, including the 3D model of the sarcophagus of something mentioned before. The material culture of ancient Egypt constitutes one of the best preserved and most robust archaeological corpora to survive from antiquity, as well as one of the most popular avenues for public engagement with the humanities. Unfortunately, widespread looting in Egypt itself, the scattering of pre-1970 finds among disparate institutions, inaccessibility of excavated material housed in on-site magazines, and the predations of the private art market all hinders scholarly study and limit public access to one of the most important wellsprings of Western civilizations and a major repository of our shared global heritage. These challenges underscore the critical and ongoing importance of conservation, documentations, and dissemination of ancient Egyptian material to the broadest possible audience. In this regard, digital initiatives, including 3D modeling of objects and architectural spaces, digital epigraphy, and the creation of searchable database represent some of the most promising avenues for the conservation and study of the ancient world. Furthermore, object-oriented database technologies hold great promise as tools for the identification and tracking all looted objects which appear with alarming frequency on the antiquity markets. Each of these technologies and practices have already reshaped and redefined the research modalities of archaeologists, conservators, and other scholars working in a variety of fields. Many Egyptologists have likewise embraced 3D modeling, searchable collections database, other methods of digitizations. However, Egyptological efforts in the digital realm have not so far been guided by shared research questions, common methodologies or standards for 3D modeling and the annotation of text or any substantial data sharing that might foster comparative analysis between institutions or facilitate public awareness of the broad scope of digital initiatives operating within Egyptology as a whole. And so during this couple of days together, I hope that the Egyptologists in the room will find an avenue for inspiration and collaboration with non-Egyptological digital projects on a retage preservation by assembling together Egyptologists, archaeologists, and conservators who are working presently on a wide variety of 3D, 2D, or so 4D and database-driven projects across a broad chronological and geographical spectrum. I'm confident that we will have a very exciting time together. And I also want to especially thank my graduate students or almost all present here. Kia Johnston, Jess Johnston, Brooke Norton, David Wheeler, Amshat for a great help. They gave me in organizing this workshop. And while I leave the work to Ben. Hi everyone. Welcome everyone. Welcome back to the Phoebe Hearst Museum of Anthropology. I look around the room and I see a lot of friends that we've been in this room over the last three and a half years, four years I've been the director. So I'm not gonna go on my usual stump speech when I tell you how many objects we have because you all know. And you already know how great our Egyptian collection is too. So what I think I would like to say is, first of all, how wonderful this collaboration between the University of Munich and the University of California, Berkeley is working out to be. There's so many faculty members and graduate students and indeed undergraduates across campus that are benefiting from this collaboration with Munich. Reed and I both had the opportunities to visit Munich as well. And Chris and I was able to visit on a separate occasion for a summer. So my hope is that it'll continue to thrive so more and more of us can take advantage of this opportunity to collaborate. So welcome, especially a warm welcome to our colleagues from Munich. And I'm looking forward to hearing your papers and dining with you in the next few days too, of course. I also, just before I hand the floor back to Rita, I wanna say just a big thank you to all of you because it's groups like yours and especially this group who really make the Hearst Museum and this camp is a special place for the digital humanities. One thing I really love about the digital humanities is it's breaking down that idea that humanities is about the single scholar working in his or her chamber. Like Saint Jerome did on his translation of the Bible with a dragon lying at his feet. It's really breaking down that perception and showing how, first of all, technology is key as well as teamwork between collaborators who don't always have the same specialty. So I wanna thank all of you for making the Hearst a very special place for that kind of work to happen. I often get a lot of credit for the work that you are all doing in this room and I don't think that's fair. And I'm quick to remind those people in Cal Hall that it really takes a community of specialists and subject area specialists really to make the digital humanities work. It's a goal that cuts across students, staff and faculty members and members of the public. I think the Hearst is really becoming a place where all those wonderful and magical things can happen. Now the question that I have for all of us in the room is what is this going to look like in 10 years? And I'm especially keen to know if a lot of the projects that we're doing now in 2018 if we're going to be able to scale this so that in 2028 is this people going to look back on this and think that wasn't so quaint what they were doing. I often like to think about the introduction of the slide projector and what that must have been like. And I wonder if we're actually at that moment where we're really marveling at the introduction of the slide projector here. So I hope whatever we're doing will be able to scale up and really make it a permanent feature not only of museums and museum collections research but also university campuses. So again, welcome to all of you and I'm looking forward to the papers over the next few days. Good day. It's a pleasure to introduce to you Christina Hodge from Stanford University. And Christina is an academic curator and collections manager of the Stanford University archeology collections of the Stanford Archeology Center, a museum quality collection of over 30,000 objects from California and around the world. Christina is an AB in Anthropology and main archeological heritage management, PhD in historical archeology. And she's responsible for daily operations and long-term planning across all areas of collections work providing expertise, vision, strategic thinking in collections management, exhibition, research outreach and teaching. Before leading SUAC in its new vision, visions of connections through collections. She worked for 14 years until uniting scholarly production with indigenous interest through curation, repatriation, university engagement and community collaboration at Harvard's universities, Peabody Museum of Archeology and Ethnology. Today she will present to us a lecture called Our Dark Materials, Applying Digital Humanities to an Exhibit of Egyptian Archeology. Thank you. Okay. So thanks everybody for your attention this afternoon. Thank you very much Rita for inviting me to share this talk with everybody. This is a talk that I gave last time to a room full of digital humanists. And so the fact that I'm giving it this time to a room full of at least some Egyptologists and Egyptian archeologists is fitting because I am neither a digital humanist nor an Egyptologist in any way. But as you heard in the introduction, I am an academic curator and I'm responsible for a global collection which means that my interests appear like mushrooms after the rain and I end up doing all sorts of interesting and exciting things which is of course why I do what I do to begin with. But most recently, this has been a few years ago coming to Stanford taking on this collection that you'll hear a little bit more about that's a global collection and then really trying to reintroduce what had been a shuttered, packed up, disregarded collection to campus and to the world of scholarship and interested communities. And so I'm really pleased to do that in all its forms and today the form that is taking is introducing our recent exhibit on our Egyptian collection and also talking with you about how we're trying to really do more with these materials. The digital humanities side of this is all in the planning stages so far but you'll kind of hear about where we're coming from and where we're thinking about this and it's really about for me, how do we take, we were pretty lean operation, we're pretty small but how do we take all of that work? The energy, the interest, the scholarship, the research, pulling all of these archives and photographs and secondary literature together that we do for a physical exhibit that's only gonna be up for 10 months or so but we have this pile of amazing materials and we wanna do more with it. And so digital humanities and thinking through that from the museum perspective and interpretive perspective is what we're doing. So today the first part of this basically I'll be introducing our dark materials which is the title of our most recent exhibit, class curated exhibit that I did with about 12 students last spring on our Egyptian collection. So I talked to you about what's in the collection, a little bit about the exhibit and the logics behind that exhibit and then also introduced some of the research that we did and the research materials we pulled together for this exhibit that we put on and then kind of pivot to this digital design thinking digital humanities potential that I'm really trying to evaluate. Like a lot of people I've kind of been kind of reversed into digital humanities just seeing it as the new normal in archeology it's been around for a while but in museums in terms of documenting the collections disseminating pedagogy, public interpretation all of that is really where museums are at right now. And so for me and for our students it's really important to get kind of get on top of this. And so I've been pulled in by the methods of digital humanities, digital archeology and all of that digital museology but I'm also at the same time trying to think about some of the kind of theoretical implications and disciplinary and interdisciplinary implications as well. So that'll be kind of the second part of the talk this afternoon. All right, so part one, introducing the exhibits. As you heard we have a global collection. It is museum or museum-ish quality. The materials are a combination of Stanford family collections, collections that were part of the original University Museum which was a global museum in the late 19th and earlier 20th century and it had things from all over the world. It was never a museum that participated in large scale expeditions either archeological or ethnographic. And so the materials that came to Stanford University are a little more idiosyncratic. It had a lot more to do with who Jane Stanford knew and what world's fair she went shopping at rather than kind of what the faculty were researching at any given time. And then what happened in a couple different phases but formally after the 1989 earthquake is that the University Museum sort of reinvented itself as the Cantor Fine Art Museum and the materials that anthropology had been using or things that the museum was no longer interested in retaining as part of its fine arts interpretive mission. Some were auctioned off to put the money to rebuild their collections and then others came to anthropology and archeology. And so those are the collections that I'm responsible for. You'll see a lot in this heat map of where our collections are which is one of our earlier digital humanities projects. We have a fair amount of the world represented. You can see that California and the Western US is definitely one of our hotspots. But also you can see we've got a bit of a hotspot going on right here and that's Egypt and it would be even brighter now than it was then because one of the things we're doing is inventorying our collection for the first time. And as part of this project I found sort of hundreds of more things from Egypt than we knew we had. And so that was part of the inspiration for this as well. If you haven't been down to Stanford to see either the canter which is the big museum or our exhibit cases to see our materials including this exhibit you can come down to the archeology center on campus that's building 500. It's open Monday through Friday kind of working hours. And then my space is more of a lab storage classroom flex space. And if you're interested in seeing that you can always get in touch with me and I'd be happy to welcome any of you to see any of our collections at almost any time. So as I mentioned we have things from Egypt. So Egyptology, the Stanford University was founded in the late 19th century. It's part of that story of America discovering Egyptology around the turn of the century and Jane Stanford herself who looms quite large in our founding mythology as an institution went to Egypt herself twice during the last years of her life. And you can see her here posing in front of the Sphinx and Great Pyramid at Giza. She's wearing her morning dress and is accompanied by a retinue of friends, native interpreters and guides, native Egyptian interpreters and guides and a couple of camels as well. And so kind of has these postcard shots. She was really interested in collecting antiquities mostly because her deceased son who also inspired the founding of Stanford University was even though it was only 1415 when he died interested in Egyptology. And so our whole identity is in a way based on the memorial to this young man who died in the 1880s. But this led to the creation of the Stanford Museum which started out as a university museum and one of the biggest wings in that museum was the Egyptian wing because of this interest that Jane had from her son. This is what the Egyptian wing looked like before 1906. This is what the Egyptian wing looked like after 1906. Basically the whole thing collapsed on top of the Egyptian collections at that time. So 1906 brought a lot of changes in the San Francisco landscape and this was one of them. The museum never rebuilt these two grand wings that it had on the side before 1906 so it's much smaller than it used to be now actually. If you go to visit it and then many of the Egyptian materials especially those that were let's say more of everyday life especially fragmentary never were reintroduced into the museum exhibit spaces. And so these are a lot of the materials that we in the Archaeology Center have inherited because they weren't deemed of interpretive or exhibition value within the art museum context today. So this is kind of what the behind the scenes of our collection looks like when we find a box and it's not in our database things are wrapped up tied up with some tags kind of stuffed in the boxes. At least we have packing materials so that's a plus compared with some other things and they're sort of mostly archival so that's also a plus. But it's definitely a discovery process to kind of unpack it, lay it out see what we actually have in the collections. And so what we discovered through unpacking, laying out and kind of studying these materials is a lot more than we thought. So initially before 2014 which is when I arrived and when the collection really reopened there were 89 objects from Egypt in our database and then after the 2018 inventory there were 381 objects from Egypt in the database so that's 300 plus. To be fair a lot of them are stone tools very lovely, chert and flint flake stone tools but not all of them. We have a lot more bronzes than we knew we have a lot more ceramics than we knew we definitely have more mixed media i.e. cartonage and coffin fragments than we knew as well. And so this is really why I decided last year to do an exhibit on our Egyptian collection because nobody knew we had it I didn't know anything about it and so having a cohort of very energetic students to come help me figure it out was really the motivation as it is every year that I teach this course. So because we didn't know what we had because I'm not an Egyptologist we had to kind of come into this exhibit from the back end in a way. We couldn't sort of illustrate a chronology of Egypt we couldn't illustrate a particular dynasty I wasn't even sure what we were gonna find out about the provenance of the pieces so we were and as an archeologist and sort of material culture person I really wanted to start with the artifacts themselves and so I divided the exhibit teams up into stone ceramic bronze and mixed media and basically each of them took that chunk of the collection to research its provenance research ancient technologies, collection histories and then what we might say about that collection today that could actually add something new ideally to the way people are talking about Egyptian collections either through kind of critiquing its provenance doing some decolonization about labor histories or focusing on materiality itself focusing on the lives as it ended up the lives of everyday Egyptian so this is not one of our two common blockbuster exhibits this is really about kind of the everyday in life and in death for a variety of Egyptian periods especially pre-dynastic that ended up being a strength of ours which makes sense if you think about what you would want to keep as an art museum versus not keep as an art museum but really for me and for us this is you know this is why we're valuing those materials and it allowed us to tell a different story with these things. So the research that went into this project really pulled from across campus we involved our archives starting with the object and then moving into the museum archival collections moving into the university archives and kind of outward from there so we went to our archives, the Cantor Center archives university archives and special collections to find letters from Jane Stanford about chivying her various dealers in Cairo about why has my trunk full of antiquities not arrived yet, things like that are there so we're lucky to have actually a pretty robust archive for us for this particular collection looking at related collections, related publications both of the period and later one of the surprises for me is that we have not a lot but a handful of things connected to Flinders Petrie a handful of things connected to Archibald Sase to Emil Brusch to a few of the big names in Egyptology have just kind of little ties to what we have so that collector biography and related publications ended up having a lot of materials as well we've been doing some material science very basic, UV or IR, photography, pigment identification a little bit of XRF perhaps in the future a little bit of starch analysis of our ceramic vessels, things like this and then as well as just general contextual and historical research and so from the normal kinds of research that are the back end of a museum display we have this front end some of which were just produced for the class curatorial essays, curatorial statements from the students, the exhibit labels themselves which is really all that the public sees right now the physical exhibit itself and then we've also generated a handful of 3D models with the materials as well working with the Stanford University libraries, digital services so we've been partnering with them quite closely in experimenting with both photogrammetry and structured light imaging to produce 3D models so we've got all this stuff on the back end what that ends up looking like for some of our objects is pretty, I think, rich history so even though this is an object that no one's really looked at since 1906 this is a Roman period mummy cartonage from Akmim we have information about its creation and burial site reports from that period we have information in letter form when Jane Stanford purchased it in Cairo we have a photograph of it on display pre 1906 which is really rare for our collections but deeply satisfying to see it before 1906 just so you know the next image is a post earthquake image so you'll see some human remains there in the coffin so this is not this I don't believe this cartonage one of the others but it is kind of what the cartonage looked like before and after that 1906 earthquake which is pretty rough I think only one cartonage or coffin survived the earthquake and the university art museum has the one that survived but the rest of them were either discarded or sold or given to archeology and so this is what this cartonage looks like today this is one of three layers in one of three boxes of fragments that we have of this particular piece but even that being said there's still as far as I'm concerned I'm an archeologist also fragments are good like this is what we deal with but it's okay that it's not whole and also there's a lot of really rich material that we can work with and so for the exhibit, the goals of the exhibit that I want to bring into this digital humanities project were kind of threefold one is to reintroduce our Egyptian collection to Stanford University hey we're here, hey we've got stuff present the process and findings of the research of rediscovery that the students have done as part of this project and then finally and this is something I'm really always working toward with everything in the collection is to demonstrate the research value and the social value of the collection so research value, you can actually find out new stuff or get new perspectives from our materials even though no one's looked at them since 1906 even though they were rejected by the art museum even though all of these things are going on there's still kind of value there and also social value as I said one of the things we try to do with everything we do is this idea of decolonizing collections critiquing inherited narratives about the past thinking about who's left out of historic stories either ancient in this case or the process of discovery itself so even again with these kinds of materials there are things you can do to redress some of these inherited power imbalances that we're all familiar with working in both archeology and in the museum world so I'm pretty strong about doing that in the collections as well so this is what the exhibit ended up looking like we had a stone case, a ceramic case, a metals case and a mixed media case and each of these student teams focused on their materials, chose their objects wrote the text, designed the mounts installed the exhibit in our 10 week quarter schedule which was very exciting and they really came up with kind of solid themes for example in the stone case they talked about how stone tends to the assumptions with stone technology is that it's prehistoric and simple but these stone tools were produced on an industrial scale for hundreds or thousands of years and so what does that do to our assumptions about stone tool technology and for the mixed media case they were looking at these coffin fragments as of kind of upper middling to upper middling kinds of people but this is not the pharaonic period it's all Roman and this case or mostly we're not all but the one we really focused on is kind of Roman and then also is kind of more of this every day life and death kind of choices for memorialization so things like that we tended to focus on and then we had other cases that grad students curated focusing on the American and European fascination with Egypt the displacement of Egyptian labor in tales of Egyptology and exhibits and those kinds of decolonization acts as well talking about also contemporary issues how artists Egyptian artists are appropriating and remixing kind of these motifs to do art and make a political commentary today so that's the exhibit those are our goals that's the universe of materials that I want to talk about in our kind of digital design thinking project and so as I said we don't have anything yet but I'm really grappling with the in this case in particular the limits of our material exhibit as I mentioned right there everybody knows there are temporal exhibit limits it's only going to be up for 10 months and then it's gone which adds to its value but for all of this work in this richness it's a little unsatisfying in some ways spatially I'm showing you some photos but that is not like the experience of the exhibit itself materially as well there are kind of limits to what you can achieve with a physical exhibit in the world and so I'm looking to as a museum person looking to digital humanities not to replace the physical exhibit and not to reproduce the physical exhibit either we could very easily do a virtual exhibit online and have a photo in the case text and that would be it but I think that with these materials with this multimedia and with kind of where digital humanities digital archeology is we could do more I'm kind of sitting on all these resources and I'd like to do more with them and especially thinking through this idea of augmenting or distributing or extending these in-person experiences more with kind of treating virtuality as a form of materiality as a form of phenomenology itself and so the kind of inspirational poster image that goes with that is the exhibit is the tip of the iceberg and then there's all this stuff underneath the iceberg that is fuel for digital humanities or digital archeology or on the internet experiences and so the driving questions are what is the potential of digital humanities to augment and enhance the impact of in real life museum displays we're fortunate that we don't have some of the traumatic situations that are going on in other places in Egypt and other places in the world but I'm not looking at the online in any way to replace the physical I always want to have that physicality and that experiential learning is always going to be really important but the limits especially of decolonizing through access and through outreach are really, really difficult for us to do in person how do we best capitalize on existing knowledge production and accumulated resources so as I said we're sitting on all these resources how can we really do something with them because they're fascinating and interesting and nobody knows we have them and then finally how do we proceed to do this reflexively so that idea of being part of theory building and critique across museology, archaeology and digital humanities and this one I think is one of the more interesting projects because reading the literature and digital archaeology and the literature in digital humanities there's streams of it that talk about how little they talk to each other so that what's going on in digital humanities is different than digital archaeology there's not as much cross-pollination as you think there might be and whether it's because DH came out of literature, literary analysis and text mapping and all of those kind of semantic computational semantics and things like that and archaeology is still very material or because archaeology at this point has a lot of interest in politics and gender and anthropological concerns and digital humanities is still just finding that in its own methodologies there are debates about what that is but I wonder if museums because we use text and objects and experience and decolonization are a place where we can help to kind of bridge these conversations in allied disciplines we're already interdisciplinary we're already transdisciplinary we might be able to do something so that's kind of the meta critique I'm thinking about so I can't report on the I'm another one who can't report on the project really but we're advertising it right now and looking for undergrads through Stanford's CESTA program so they are going to be finding some undergrads to work on a project called rediscovering an Egyptian collection so looking at a digital humanities project to augment the temporary physical exhibit through visualization and online dissemination of these related pre-existing research content things things that we have and so all of those research resources those photographs those collection records all of that we're going to try to find a student to create something with but what that's going to do I don't know yet exactly but what I did do and if we had more time I would do the same exercise with you and I would love to do that because this is a different audience but what I did when I presented this to the digital humanities group was do a design thinking exercise so basically I posed the question and this is a very easy design thinking exercise which is basically brainstorming with post-it notes or would have been before circa 2000 or if we were not in the Bay Area that's what it would be called but anyway give everybody some post-it notes and ask them how might we capitalize on these resources to transcend the limitations of our in real life exhibit and that was the question and I asked for suggestions of projects, topics, models or methods I have two that I think are probably the two that one of the two is the one we're going to go with and so during discussion if anybody has feedback about these the first is doing kind of a who was who in Stanford Egyptology so this idea of reconnecting our collections and reconnecting our university with the global world of Egyptology by focusing on the people involved so doing some kind of interactive biological map either cartographic or more of a network to illustrate the global network of people and places that are interconnected through our Egyptian collection so as I mentioned I was surprised that it's like oh we've got stuff from a bitos and oh we have stuff from Petrie and oh like all of, again not an Egyptologist but even I was recognizing some of these names and places and we've got materials that have sister collections and big institutions around the world and so there's something there to really try to visualize this and that would in a way be supporting all of these exhibit goals and their physical exhibit but in a way that's extended both temporally and materially and kind of spatially from what we have so that's one area we might be focusing on with this project and then the second area was a digital data visualization surrounding that particular cartonage I highlighted in the object biography we know a lot more about that than in some of our other objects and that cartonage also has some demotic inscriptions on it that name the woman who was interred in it and that's very rare for us also and was a very special find for the student because that was not in the museum documentation that it was inscribed and so to have that along with some of the multi-spectral imaging and other kinds of things there's kind of a lot of content there around this particular cartonage on the woman's name we've had translated essential anthos or something similar so the idea of creating using this object and again material culture have that be the center of a web of related multimedia is something we might do also but then just I wanted to report even though I'm not having you do it but report on where the digital humanities crowd came down on doing this as well so some of the ideas I got on the post-it notes from those really focused on cartography as being important putting things on a map so for your audiences what does your audience want to know about Egyptian collections in a way this is what the digital humanists wanted to know about collections what they were excited by so it's always great to hear what your audience might be excited by so like seeing on a map where these things are from seeing on a map where these people are where these distributed collections are those are some kind of cartographic things that might happen digital archeology has a long history of working with GIS and maps so that's something that might also have potential also looking at as I said this kind of network of collectors was a suggestion people have a lot of interest in provenance how where are these objects from how did they leave the country how did they get here who collected them you know all of that and some of it's clear some of it's gray some of it's entirely opaque but whatever we know about things putting it out there there's also interest in just kind of representations such as photo blends between 1906 and current states of artifacts or object biography photo albums a lot of our materials are fragmentary both because they're archeological and a building fell on them so taking the fragments and trying to reconstruct what a whole vessel would look like or something like that is something that was of interest as well and then finally things about accessibility so taking those 3D models and printing them creating a virtual exhibit space of what either the 1906 gallery looked like before the earthquake or what our gallery looks like and you know taking this in real life exhibit and working on that in some way as well to to kind of reconstruct that in some kind of virtual space and then finally and this was what I wasn't expecting and so I just wanted to throw this out there kind of as the kind of final note is that even though I was saying you know and in my mind there's some research potential but I wasn't really seeing computational research potential in this collection necessarily but the digital humanists came back and were like well you'd know there is because you've got these collection records you've got all of these catalogs from the museum you've got these letters from Jane Stanford which could be you know analyzed and this way you know there's there's stuff you could do there either through text mining or visual text visualization of existing records looking at Jane's letters other collection other evaluations of the collection we have over time every so often someone would come through and evaluate things we could compare those and then also the idea of doing computational network analysis on centrality or betweenness or describing these different connections quantitatively instead of qualitatively as well so it was kind of a lesson to me that there might actually be more than I thought of even in our collection even in its fragmentary state so I hope if anybody's interested in getting updates on how this goes hopefully we'll be hiring someone next quarter and we'll have something kind of by this time next year what it is I don't know I'd love to hear feedback from anybody and I'm very happy to keep in touch with anybody who might be interested in this or anything we might be doing thanks Thank you Christina, I think we really can discuss a lot about the issues you mentioned soon after the end of the lectures maybe now again there is time for one quick question and then we can continue the discussion later if anyone wants anything I think you did a survey of the audience who came through the physical exhibit No They don't have any feedback No, we haven't so where exhibit is located is in the archaeology center which means it's wandered through during business hours Yeah, we're just not in a good stand so we have no idea what our attendance is except everybody who goes through the archaeology center and everybody, every class I have to spy who might be stopping me on that analogy that they're actually the new exhibits but it's hard for us to do that so that's why I really value this digital feedback opportunity to have a kind of audience but it's a really good question because university audiences are different than public audiences particularly as we are able to identify the university audiences our primary audience so we're basically talking to a bunch of archaeologists that let's us have more relevant goals What a goal line Yeah, I think so Thank you I meant to start this new day yesterday for those of you who weren't here it was very very interesting conversation now discussing potential of digital humanities from museums on field work so I hope today we can continue this discussion with the new speakers as well and for sure we can also touch different issues and it's a pleasure to introduce to you the first speaker of the day Nikola Adelkari from UC Berset Nikola is assistant professor of world heritage in the department of anthropology and heritage studies at UC Berset and he meditates digital archaeology digital cultural heritage virtual museum and serious research science virtual environmental reality and the 3D visualization of the past he received his PhD in history and completing from the University of Bologna in Italy with a dissertation of the visualization of the new enrollment spaces and at UC Berset Nikola is a founding member of the World Heritage Program a co-faculty member of the Wide Area Visualization and Environmental Research Facility and director of the Heritage Interpretation and Visualization and Experience Lab Nikola is currently a focus on developing new knowledge and methods of digital cultural heritage and understanding of digital technologies influence cultural awareness and participation in the protection of natural and cultural resources in California and worldwide and today the title of this lecture is Ethnological Services, Science and Body-Stake Historic Apartments Please welcome Nikola I would like to thank Rachel for inviting me this year today it is a pleasure to be in Berkeley and be with so many colleagues and meet with many people I guess, yeah, like just even a very long presentation I feel like I've been it's been a long way from the new enrollment spaces to the Sierra de la Califore but yeah, so this is some of my new US projects in my lab I used to understand some of you may have visited the park Body-Stake Historic Park it's very popular in California so international visitors there are like many many people and we started traveling to Body the park is located on the border between California and Nevada just a few miles from the bottom border and it's a very iconic town representing California history very interesting because there are also Native American settlements so also California history there is a very important obsidian source in the Body Hills just above the site where the Native American presence dating about 10,000 years ago but this presentation will be mostly on the Gold Rush Town that is basically what's remaining of the Gold Rush Town and also on digital humanities and historic preservation techniques we've been using in the last four years what's very interesting to note is that what's available today was still standing today in the direction of the Gold Rush Town body on your right side you see a picture from the 1800s, 1880s there were about 3,000 buildings in this kind of plateau between the Body Hills and nowadays there are about only 5% of them standing although it's a very impressive experience when you go there so you drive up this beautiful dirt road in the Body Hills then you get to this bluff it's about 9,000 feet elevation about 2,500 meters for a month from Europe and it's a high desert high Sierra Desert environment so it's a very nice experience going there and you see a lot of buildings but that's basically just a fraction of what was before what's left of the body is basically a very interesting cultural landscape where you can see some of the still standing buildings like this wooden structure or architectural style which is basically in a state of a western decay that's basically it was a choice of California State Parks the state agency managed all the sites when in 1960s they acquired the property in the park it was decided that conservation issues the strategies and preservation were focused on maintaining the status of the building as they were looking at that time so a lot of mitigation a lot of maintenance was done since then and it's ongoing but basically the buildings in fact they are now repaired just how they look when they were acquired so that's why they are all broken without windows and so forth which is very nice so a lot of people really like that the sites inside the park are mostly the foundation of buildings like the big pile of rambles on the right basically like a car it's like a big hole with stones they probably were like stone walls some buildings were brick some buildings were stone and most of them were wood there are also a lot of Native American sites around the park for protection reasons are now marked mostly only to archaeologists and people doing the research there but it was interesting how around the 1860s and 80s there were people from everywhere in the world because they followed the gold rush there was a very strong American presence and also Chinese presence so it was a very multicultural town very characteristic of the gold rush in the newspapers it was one of the most desolate and wide places in the West and about 100,000 visitors were there so there is a significant impact from visitors from visitation in terms of preservation because people, I mean the only experience is really going there receiving a map at the entrance and then exploring the park at least the park that is open to the public on your own it's great for kids, for families it's a great experience but there is a significant threat also from visitors to the sites because people can go everywhere pick up artifacts move things around and then it's very clear from all the tracking that my colleague at California State Parks are doing that a lot of visitors find artifacts in the landscape and some of them are very conscious about preserving goldie they should pick them up and bring them to staff removing them from context or some others they actually just take them home then there is a whole vernacular tale about this goldie course so then some people then get in trouble after removing artifacts and then they return writing these beautiful letters very sad stories and there used to be a collection of these letters and they removed them because they thought they might increase the problem but a lot of people actually shooting boxes of artifacts back in the back but then of course at that point they lost their context so my work at Goldie has been multifaceted it's been working on historic preservation and also on trying to work with visitors to solve this problem about the importance of artifacts in the landscape there is a short video here that explains part of the project just east of the Sierra Nevada and a few miles west of the California Nevada border stands the historic Gold Money Town of Bodie the snatch on the historic landmark is a california state park that preserves what remains of this once thriving diverse community it serves as a portal to life as it captured time for visitors from around the world to discover and explore American historic landmarks are properties that represent the national story and so Bodie fits within that history of gold mining coming out to the west changing the landscape it's just a wide expanse it's pretty big actually the Bodie Foundation is a key part partner supporting efforts to preserve the town's unique character buildings and structures need to be maintained artifacts need cleaning and conservation after more than a century there is a constant threat of loss due to exposure to extreme weather wildfires, vandalism and earthquakes these same challenges affect historic sites preserved and managed for the public and other state parks Bodie is a testing ground for developing innovative ways to preserve these special places UC Merced's World Heritage Program has teamed up with state parks to innovate new approaches to heritage preservation using cutting edge technology to digital document artifacts, sites, buildings and landscapes intricate details of Bodie are emerging as a new gold-funded information to evaluate preservation needs and priorities for these at-risk resources I work here as a partner to preserve the Bodie for future generations as well as to document the Bodie for other scholars and the public using sophisticated drone, air-boiled laser scanning and photographic technology Professor Nicola Mercari and his team from UC Merced are digitally recreating Bodie in three dimensions working alongside heritage preservationists, land surveyors and drone operators this unique group has collaborated to capture a level of detail that was previously unimaginable our goal is to report a very high resolution very accurate 3D data using the laser scanner and then produce measured drawings for past preservation and documentation for different reasons one would be for the preservation and documentation of buildings so in case of the hazards wildfire, we would have very accurate documentation of these things for the future another reason would be for making this data available to the public through virtual reality blackboards which is something again I've been working in the last year with a group of underground students at UC Merced creating these interactive experiences provides new possibilities for engagement with important cultural and historic sites 3D technology tools like the WAVE the one area visualization environment on the UC Merced campus allows users to virtually walk through a site without leaving the room the WAVE engages younger generations to interact with cutting edge technologies as they explore heritage resources from around the world an online reality mobile app will give park visitors the opportunity to conduct an interactive scavenger by scanning objects and embedding historical information on their smartphones and tablets this gives park visitors an important role in helping to document and preserve the park through the eyes and lens of the visitor, park staff will be able to see changes to buildings and landscapes as well as areas of pro-traffic to monitor maintenance needs and visitor impacts to gather with Professor McCurry and the team at UC Merced California State Parks is implementing the lessons being learned ability as standards for preservation projects and historic sites throughout California using technology to digitally preserve these sites and make that record available for researchers educators and the public creates unlimited opportunities for discovery of learning through technology and partnership we are created stewards of these resources one scan at a time we have a broad picture of this multi-year project but basically of course I want to show some of the data we connected but I also want to challenge the very same work we've done and kind of like through the coin and see how things can be done not from the top but on the contrary from a bottom-up approach so usually historic presumptions done by perfectionists, specialists like myself and my colleague at California State Park which I want to mention is John Fiddlestick archaeologist working at Sierra Vista and basically we use the laser scanners we collect very high resolution for instance like any of these buildings this is the way of people it could be like spending I mean kind of like 800 million 1 million points, basically 1 million measurements I know most of you use a total station so imagine shooting 1 million points by total station and then it's still dense it actually looks like a surface it looks like a building but it's basically a 1 million measurement so it's basically a measurement of the building we started doing this in 2015 because of the increasing risk of wildfire during the drought the severe drought in Sierra Vada especially in some buildings some other mining facilities they were outside the the Bobby Corp more risk of getting lost because there is a team of rangers there is a firefighter there is some capability to respond to wildfire but especially in the outer part of the park that capability decreases and this is the risk of causing crisis then basically we started recording some artifacts at the museum and also thinking about how to use this technology in a more engaging way so for instance this is a video from the laser scan but basically I wanted to show you these are already produced with results for instance this was a scan of the Lichama building which is one of the most iconic buildings in town in the middle here you see how the building looked like in 2016 in July then in December on December 28 it was an earthquake that was actually as we were expecting rolled from the hills and some of the brick buildings got damaged and here you can see some of the damage that was serving the years of falling bricks and then cracks throughout the assignment and so forth but our technology so I'm interested not only in capturing and documenting but also in using the real technology to analyze the data so we've been experimenting a lot with Ariane some other students using surface change detection algorithms to actually detect micro differences between point clouds taking a different time so this is basically after the earthquake we went back again to scan the same buildings the same building and we were able to to detect the millimeter level accuracy the differences in the brick and so forth so what is why did the facade here actually show what changed in the facade what is red it didn't change significantly so although when you look at the building you only see some damage at the top some cracks the entire facade shifted by millimeters up to centimeters so it's a big change so we are trying to use this technology to inform reconstruction to inform conservation efforts and also to produce documentation of all these changes even more significant I think is the picture of the other facade you can see this is the brick facade and this is the old fellow lodge Wooden building you really see a direction of the shifting of the brick that is related to the movement of the quake through the hills so I mean this is then it gets beyond the historic conservation it gets into civil engineering and the type of work that we don't do but even with a simple analysis and now we are trying to work with the type of problem affecting the roof of the two buildings but so this is basically the type of specialist work that we've been doing for years but more and more I'm interested in working with all the communities at the Park Visitors and see how we can engage them with working with us in preserving cultural heritage this is an archaeological site so this is an approach working in parks most of the visitors when working in archaeological sites maybe overseas as you guys do with local communities and of course we're trying to have a mutually beneficial outcome from these efforts including training or raised awareness or maybe increased ownership of sites in California this has been possible thanks to a great collaborator who came in the Department of Parks and Recreation for the Park State Parks and we want to also apply this approach to other sites including the area that we will present after from the bottom of the project in Mexico so the idea is that we are not able to be at Bony every summer, every month for maybe throughout 10 years to monitor these buildings and things can happen at all time but then we have about 100,000 people going there every year so if we develop a technology and some solutions that allow them to help us collect data using crowdsourced people who are going to know new tools we'll be able to do a better job monitoring and preserving these places so basically our work has been through I really like the approach proposed by Sonya Thali and their own participatory archeology practice so basically adapting that type of approach to our work in historic preservation we really want to involve the communities to work with us and also people on the site the approach we are trying to use is called cities and science as been used in many many conservation projects mostly I see a nature conservation but it's basically the idea is that you train the public or make them available tools that allow them to do scientific work collect data and then report back to specialists that can help filter the data make sense of the data and store the data there are several archeology projects that use this approach the first that I've been aware of is a great project like dealing with Bamiya Buddha in Afghanistan it was a long time ago and basically it was like by ETH Zurich the Bamiya Buddhas were now using dynamite by the talibans in 2001 2001 and then following that it was an international effort to collect imagery taken by visitors and then doing basically digital photography back in the days it was probably even I think it was different techniques that we use now by ETH and they've been reconstructed by the Buddhas some other projects for instance maybe more concerned with your area of interest in the Near East of course in Iraq and Jordan and Syria Matthew Vinson and Chas Kouminar who's now in Google as a culture basically they did a great project trying to involve the public in finding pictures and building printing models to reconstruct artifacts from the Mosul Museum and other places that were destroyed during the Syrian conflict in Iraq there is another approach where you ask the public to see through satellite imagery for instance for monitoring sites and there are two great projects to be mentioned the first one being terror watchers developed by Steve Savage University of Arizona and also the Global Explorer by Sarah Parker which is focusing on the rule both platforms rate with different strategies to involve the public and trains terror watchers are mostly dealing with train crowd and the Global Explorer with just the general public but basically so using this approach we wanted to develop the mobile app because all the keys and ports were going to take pictures with your phone so we saw that cameras are already available with quality especially people have the newest phones so we mounted this cyber infrastructure started from a mobile phone app as a tool used by visitors and then the back end for us to see the pictures to make things interesting to the public we basically used the concept of having this map new point of interest that they were receiving physically at the entrance but make it digital so there are point of interest in the app that people can go and scan the QR code and learn about them there is an historic narrative that we also tried to do the public with the game and basically in some special location there was like an icon showing the size of the ID like you want to see on the red and then they were training how to take pictures for us then to generate new models of course it was complicated we had to develop strategies for using and training folks doing photogrammetry but through the scripts and function of the app we were able to detect the user position randomize the scene points from where the pictures are taken randomize the angle and direction on the phone so each person is tasked to take three picture of the building from different angles and then we open the end of the day and we have 30 picture of that building and we are able to generate a new model and that's basically for the built environment, cities and science part of the project we have another part of the project in the landscape that I'll talk about that later here are some snapshots from the app showing the different game modes narrative value two or three year old and then of course we developed a gamification basically game mechanics using gamification which is basically what people want to do to have fun with their family so when you complete tasks you are given badges and then basically you send them to become conservationists or like a ranger for a day and some other things we made so basically this is how it works for instance the vault of the body that just wants to remain of this important building of the game family who was basically the family that at one point in time almost all the time and then donated to California State Park so basically it was instrumental for the preservation of the vault that was the remaining after the quake a lot of brick were missing lost so we wanted to track that and we did some subtests and this is like taking picture of the vault and so forth and then processing the images this is how it looks so when you are in front of the building that is like there is a reticle or viewfinder that instructs you where to look at when it reaches the exact location the app wants you to take picture from there is also like a white circle going to the reticle the reticle becomes green you just tap the screen and it takes a picture then it will show you after you finish taking pictures in a screen like this basically with thumbnails of the picture you've taken give you some more information and then you submit them in the park an additional challenge was at the beginning no wi-fi and then later very weak wi-fi so the app is able to store the pictures locally then when visitors go back to the visitor center and the idea that we designed that we haven't even entered yet is to give them a physical reward so assuming they completed their gamification maybe they got that, they got some stickers they got some stuff they like buying and store at the visitor center for free then the app automatically leads to the network and then talks to our server which is actually a mechanism so there is technology and pulls all the images from the phone in terms of confidentiality nothing is left in the app when people leave the park but the pictures and we think this is not a problem because people take pictures anyways at the park so it's not a complicated issue but nothing in concerning GPS coordinates is recorded in the app after we pull all the data but we also get GPS coordinates on the pictures which is very important for my especially the partial landscape and this is what's following so basically my comments California State Parks they've been doing training with visitors about the importance of leaving artifacts in the landscape and this is an example for children or animals at Bodie there are a lot of different things like mining equipment, toys so basically in 1942 the town was abandoned because gold mining was shut by the federal government during the conflict in World War II and then people were thinking that they were going back to Bodie maybe after a few years so many people left there all the furniture chains so there is an astonishing amount of things like Chinese pottery artifacts of all sort and furniture and mining equipment and so forth so what we want to do is to create a dynamic database of artifacts where they are at an even winning time in the landscape and record metadata about them including the position the status of conservation and some other information that we can ask people to collect for us and this is how it works for artifacts so you see something in the landscape you again you have the radical, what is the focus and then you have a different form which is like this the location here that you see at the top will be hidden from the users of course for the safety of specific artifacts in the landscape but it's collected then there is an open field that the visitor can use to link annotations and then we are developing a little bit more fancy summation form with more drop down menus and information needed by the archaeologists and the conservationists who work in the site so we can ask what type of material what type of, I don't know if you have this roster, it looks like the original content and so forth, let's say it's sort of a low sheet but very simplified that people can understand almost no training and if they take it down and then that's also stored and that's sent to us so what's basically the outcome of all this, so we really hope that preserving our heritage in California will involve the public more and more a lot of my colleagues at parks and a lot of specialties in the field that are very concerned that especially new generations may not be interested as us in preserving the park system in the future and there are several strategies to avoid that including making people more connected to their heritage, also using technology especially for youth and parks has been already very successful in engaging with a lot of foundation and local organization in co-managing parks this happening already especially after 2008 and the recession but we also feel that real new speed trends people need to feel more engaged and also more actively engaged with the preservation of these parks not only visiting them, maybe with their children with their family or schools but also helping us personally and the hope is that in 50 years or 100 years from now we still have a strong interest in conducting California heritage for the heritage worldwide and I believe like that cities and science are very immediate easy tools to use for the public and already show like a lot of positive outcomes we still have to test this with a cohort of volunteers next summer so that's the goal to start with a small group of trained people, maybe 20 people, 30 people that have been needed iPads and then doing that in a more restricted manner it's complicated with using these double tools to the public especially in the US due to ADA compliance and other federal regulations so we are not there yet praying for babies but we are hoping to pour what we learn and body to a new place study which is called a former state historic park in the north coast and I'll start working there next year for an multi-year project about 3 or 4 years project and what is very exciting about that project is that we work closely with the local Kashiya tribe and basically developing cultural trails with them and parks and having this augmented reality the capability that we built and also to both convey information disseminate archaeological knowledge and native knowledge about the park but also again having people helping us preserve for us and this is basically I guess the end of this presentation that was the last one I think we have time for one question I've got a question here so how are you there have got to be a lot of people around who have who lived in Bode or who's parents or grandparents lived in Bode and how are you incorporated in their school grades and tutorials well so yes there are still a lot of people or at least maybe less and less people but there are all stories and there are all the publications so the way we incorporate down so when you reach a point of interest you can read about that place and you can read about the story the current ways that we did we mostly use interpretive material from parks so we think the current ones at Bode there is not that type of like oral histories type of or even link to actual descendants but for us that would be built at the outset of the project so we'll have a year long multi-year consultation for the tribe and then having we'll collaborate with Alvalab and Chico State they do a lot of visual anthropology they will be filming elders they will be filming people talking about the landscape and that will be part of the point of interest at Bode we didn't do that because mostly we focused on buildings and conveying information that was in the brochure, in the printed brochure but the Bode Foundation includes people from Bridgeport, people from the area who are descendants and we hope they might take over the maintenance of this app and develop it even further I believe they're also working with their own vendor and they're also doing another app but we hope that we can merge the two efforts and yes we can continue on this escalator but for the second speaker also from the University of Bode I'm Anna Campiani associate specialist at UC Merced where she recently concluded the postdoc in digital recognition geo-size under this provision of the Niforat and was the doctoral research focused on analytical model for heritage conservation building on the 3D data collected from Thailand at the World Heritage site of Chantalonis in Turkey she studied architecture architecture with a focus in conservation in the University of Ferrara, Italy and she also mastered from the autonomous university of New Catalan in Mexico and the Ph.D. in electromagnetic architecture at the National Autonomous University of Mexico and since 2000 she's been working on architecture in 2018 and participation in the Panenka Regional Project was an aspect to the whole of Niforat and UC Merced Today she will hand us about the digital model in the project and digital documentation at Panenka Thank you So this occasion we want to present the premier results of our intrasite documentation at the World Heritage site of Panenka and then we're going out in 2018 and we work hard because in Panenka that's some things also because the potential of integrating the different kind of documentation intrasite and inside digital documentation technologies such as Armanic Railway Coast Image based modeling terrestrial lasers coming later with ground shooting and physical conservation and interpretation when built heritage interpretation conservation and preservation so you probably saw this also this year from your paper and also this year in general so we can say that in the context of S.G. Forestry in Mesoamerica previous digital documentation project mainly focused on intrasite documentation using like the Panenka or light detection and range technologies at the intrasite level because of the need of the reconnaissance of the S.G. Forestry Armanic Railway Coast and also the library of opportunity to cut the vegetation and see what is happening so this is a huge project carried out by a construction of several universities mostly from the U.S. and also from Europe from Czechoslovakia and Holland project that holds in Multimana and like more than 2,000 square kilometers of lighter data so it is a huge project but what happens for example is that the implementation of technologies at the intrasite level in Mexico this kind of technology is a bit and so not only exposes the Latin American countries with a high concentration on archeological science but in the research panel so the National Institute of Anthropology in the history in Mexico City has tried to bridge the divider by forming this laboratory that did the research and scanning several historic buildings and few archeological buildings but no, I think this level is kind of closed also the data is interditable to the public and actually recently the National Institute of Anthropology told us that they were recently in Mexico City this kind of the cathedral and the Palace del Daneas Artes with private funding from Banquex so it is a kind of process that it is coming but there is no digital documentation of everything in Mexico and so we are trying to commit to our agreement and on the bottom you can see the National Institute of Geography and Statistics actually made a wider project in several states of Mexico but the resolution is very low for our purposes and so we can use those data and you will see an example so in 2018 there is a collaboration with UCM of SEMD and the Anthropological Research Institute of the National Autonomous University of Mexico and the Director of the Palenque Regional Project Dr. Romri Gueniglostuardo we started this collaboration at the Maya site of Palenque in Chiapas and we are also coming at the Jewish season in 2019 of 2020 and so as you can see Palenque it is another first teaching of UCM at some point and it is one of the more outstanding sites of the classic Maya and period and it has been used since the end of the 18th century here I did several representation of the Palenque that are also another level of interest or research that can be integrated into our project at Palenque and it is very interesting also to see how these drawing witnesses and time of their so on the top it is the first month or at least trying to locate Palenque with respect to the town of Palenque it was an Italian architect who was centred in the second mission from the realm of the ancient because Palenque was one of Chiapas at the end of the 18th century and then the romantic travelers John Steven Dr. Grantour in Egypt the Middle Eastern came to the Maya and well another representation of this kind of oriental oriental it is a stucco relief in Palenque and then the first exploration started to dig in a kind of scientific way and actually it was the first one to use a dry plate from photographs and papers with motes and blaster fixed moment to produce about 400 castes at the Marble and British Museum and actually there is a project between the British Museum and Google after culture to scavenger the castes and also to try to vitrally relocate motes like picture and actually they found like the block of the British Museum and they had the picture of motes in our resolution where you can see some of the graffiti in one of the house of the Tatas that are now completely eroded so we also met the American British Museum to try to see if we were able to establish a collaboration but we had different timing but at least it is something that may be for the future so this is the idea from making so you can tell that it is very poor and this is actually the extension of the ancient Maya city and so we can choose the lander but maybe at some point we will be able to kind of work on the mountains apparently lies in very very it is on a restricted plateau of two kilometers that looks at the Tabasco plate where it goes from Mexico to the North in a particular specific position and it is limited to the south by the Sierra de Chiapas and it has like six perennial rivers so it was a place where people were actually used to acquire resources from the high land and from the low land and actually it was a capital of a very extended region and this is an example of called inter-site documentation this project led by our collaborator Rodrigo he was one of the ten years to survey 500 square kilometers around Palencia to try to recognize the area that Palencia was actually controlling during the classic period and they tried to recognize some of the settlements that you see here that mainly developed around the footpegs of the Sierra de Chiapas so it is a kind of different documentation if we compare it to the liner but that sometimes we hope that we will also be able with that kind of technology to assess and complete this because you can see here that it is completely empty because the community does not allow people to enter and survey their land because they feel that we will take the land from there and so in the late classic period this was the extension of Palenque and so despite this importance the only map that it is kind of safety was completed by the Palenque mapping project at the beginning of the 20th century to 450 is only to do this because of course the vegetation is very dense and actually also Palenque is a national park so it can cut right they recognize almost 1500 buildings but modern visitors so these are the buildings that are actually excavated and modern visitors come here modern musical generally go just here because here is the modern parking lot so they just visit the park and it is here from the vegetation and maintained by the national music of anthropology and history and then they go to the music community right here so no one has really much information about the city and even if they try to explain it with a map like this one so all of the buildings that we see today were completed in the 70th 19th century and this is the center of Palenque and it is the other where previous ontological projects and work mainly focused and leaving the investigation of whether areas are less frequent or are not documented and also as a reminder we are also discussing about that it is kind of harder to do more extensively excavation in the areas of the center we are kind of pretty well particularly connected I guess most of you know it is an opportunity to have a good relationship with the official archaeologist of the site but we also look to the context of all of Palenque and the dense vegetation so it is the map, the 2001 map is a central inaccuracy because of course we have to think that Palenque was a very good city and there are some buildings with more than one story but they are more they are complex now so the map also presents the map of the collapsed structure and so we are actually trying to complete or figure out and so this is our primary work focused on documenting the buildings and spaces of the city of San Antonio of the site also because of the vegetation and we employed actually two drones with a high resolution camera and a laser scanner for a few of the central buildings of the palace and of the temple description and also we are working here in the room for a video which was at least the center of the neighborhood so we believe that neighborhood would be bigger than that one but they have an original project that started to work there in 2016 and so we hope we look forward to the part of our future institution of the Indian and Indian civil and we know that the house of the family related with the ruling of the family operating in the semi-century after that so we have several of them we registered 84,000 square meters of the city of San Antonio with the 11 UAS missions program with the DJI flight planner that using the satellite images is able to pre-plan the digital program in the aerial surveys and actually it has the data of the pictures of each flight and so here we obtain our so you can see here I was asking me if we were doing photogrammetry and we obtain a model of a centimeter of the laturacy treatment map of the city of San Monaco and it has been used to assess the 2001 map here you can see a super map of the palace and actually there is no overlap between the map and the actual photogrammetry of the palace and this is also because the fields that are solidated were integrated into the map but the other is also because the map is an interpretation of an architectural phase is why what people see today is very different because archaeologists have seen the map of the city of San Juan and they have seen the map of the city of San Juan and they have seen the map of the city of San Juan and they have seen the map very different because archeologists under the explanation have exposed several different spaces that this was kind of a confusing to estimate and then we employ the blastalases for two houses, central houses of the palace we have our drainage control point and in particular we focus on the houses the house here this probably This is the house here, and the house here is a cloud, a point down a bit from the north end of the palace, and also the surrounding materials, the Pater de los Galeros, and the Pater de los Cárticos. And also we stand in the Pater de los Cárticos. So this choice was due to a coming major resolution project founded by the American nationality of the Pater de los Cárticos, and it started in 2019, and it was passed in 2020, and it will focus on the conservation of the palace, and so actually this is a picture from the National Institute of Anthropology and History where it started after our decision to remove the roofing of the houses, because also you have to think that the tropical environment is very, with the humidity, so the roofing has to be removed and replaced every once in a while, because of the humidity problem, right? And as to the geographic documentation, we know that most of the ceremonial meetings were constructed by the great ruler, Quincecana Fadela, and these two sons, Cavalarma and Campoicitana, in 200 years, nonetheless, the early architectural phases of the palace are moving on. And actually this is a view of the house from the capital of Campoicos, and this is of course in between the two homes of House C, and here they did a test picture during the resolution project that they actually found in other of the dormant buildings. So we hope that at some point maybe we'll be able to integrate this in a video with Cadena Fadela. And this is a house P, house E, and it is more in her house inside the palace. It is believed to be part of the first, of Patas first architecture of them. It is at home to the northern palace in the 7th century, and it is connected close to the capital of Campoicos, because of the current tablet that is here in Cittum, that represents Patas, receiving the address of the newly addressed from his mother. And actually this is here in Cittum, but there are also under the staff of the recent painting, and because these most of them are also on show the station. And actually there is a type of entrance to the basement of the palace, because the rulers were controlling a great amount of planting in the basement. And also it is very interesting to think about probably our future outreach and association problems. So from the first from the early childhood, as we know that below the tablet there was a throne, a stone throne, that was actually a blue feather, and then the feet, the chamber, and the look of the throne are actually in the Uzzar de las Americas in Marina. So we are thinking about trying to relocate this kind of, here trying to relocate this kind of traffic lights that we actually know their position. And then we scan them, and when they see the temporal inscription, it is a postulary building, and we did a photographic of course of Inafisa, and also because of the restoration project of Uzzar King, it's kind of the upper platform, with the painted tablets, and because of that we don't see the corridors that actually goes inside to the concrete where Wakana is employed. And so here it is bringing a video of our of course it is missing the outside basement of the building. In 1952, archeology subversives for the year, found or excavated the temporal inscription, and actually they removed 16 intravenous stones that were inserted in Inafisa after them, and they found the entrance, and Inafisa was publicly filled in after, and stones and they removed the feeling of these corridors that are finally led to the brick of Wakana, so that there is this part that still was there. We are working on it, but we wanted to show you also thinking about the potential that the documentation for this village was when the temporal inscription was closed in the 90s. And so then here and now they are indebted, but you can see the surface of Wakana that you will see here in the next slide then on our slide. How do I go next to here? So in here for example there are some images that actually anyone is there, perhaps there is a conference the place is very narrow, but it took like 13 hours to come inside the tomb, and it was very difficult to bring a topographic point inside, but we did it. And so in conclusion we believe that the digital documentation was discussed here of the new opportunities to investigate the rich archeology of the health among the old man in fact there. So here is group forum in the temple still, sorry it is not very clear, but we plan to compare and assess each aside the documentation method, and hopefully we will be able to chase a drone in the light of camera, then we are also planning to use like to enhance the vision of the legal concept in the site, and we also hope that so we are establishing the collaboration with the university, so the idea is to train the students in the field, and also to exchange students and professors to use in the site, and for us to go there and give some more short time the views of these technologies and so we hope that we are kind of establishing a good practice in documentation and also in terms of conservation what we call was showing them how much money we are able to be able to scan for example the stuff and how they are calculating the costs, and they actually mandate every year and also we hope that we will be able to throughout the years and be able to compare the points and see the protection of the damage because there is a problem in the drone and also we are using this data to assess or to enhance their biological and architectural investigation, also because for example now what I was saying that the early phases are probably quickly known and so based on and I thought this is from all the data and where they propose that the energy handphone was actually used and the space in between the two for the drone it was actually used to pull the and so we are trying to use our way of communication from this is actually in progress and also in terms of the dissemination building on the previous non-sports that have been developed and also you can see our stairs in the image of the way to see us and also so we hope that we can integrate this digital documentation and also we are talking to the head of the museum we wanted to see if we would be able to enhance our reality or render the reality in order to help or enhance the experience of our visitors and visitors at any time thank you any questions one question one question last question I'm wondering what kind of challenges you face when it comes to processing and storing such huge amounts of data in your case search methods and what you and Mark only imagine in the context you have and so maybe at least I just want to check if you mentioned a cluster oh thank you also we are using the digital to render people down and the cluster scan it's kind of easier to use the data and we also try to disseminate now because we are very good here with the previous project with the HRP now they are online but still it would be a challenge and I think so for the processing our lab is with the expensive work stations for the processing now we start using we use Photoscan for photogrammetry and we are running on 10 computers with 2 graphics card each with the GDF 1080 so the cluster itself but at least $30,000, $40,000 and then we have virtualized services for running Photoscan now. We are not there yet but we still have a physical role in terms of storage the way it has a very big way of solid state drives I think it's around maybe 80 terabytes of solid state again, probably $10,000 just that storage and my lab has a very big network storage where we store all the data I think it's about 64 terabytes I mean we invested a lot of money in this because that's a core power research but the sustainability of this is very concerning because I was able to purchase a lot of the equipment through my startup when I worked with the model but on the long run that for sure poses a problem that everybody faces and for instance for the Chicago project we partnered with UC San Diego library and we curated there we store their 3 collections by hundreds of 3 models there because I think that's really the way to go for storage and curation and dissemination more than just having one lab leveraging the UC system capabilities for it I was wondering actually because I had also mentioned Google and UCR and we will have 2 members of UCR later on today but more to think about having a partnership with places which are places like Google in order to disseminate the models if you think this is also acceptable because of course this is some sort of profit so I was really surprised to put these models we know that it is acceptable to share them on platforms very rich platforms that use them also to profit not just from countries well I think both Google Arts and Culture and Syrac are no profit but Google is the arts and culture is it is not for sure it raises a lot of concerns Syrac has been criticised a lot in the past I think they have done a lot of good work recently including their new director of programs who are actually from this country they are moving towards opening up their platform and making another content of open access which is very important for me I think what we do is different so we use a lot of similar techniques but that is why I am trying to go towards the community engaged and this type of approach to digital implementation because I think that is what makes us different than them they have better tools better engineers better technology so we have to be with them but we actually don't want we are interested in the analysis of the data and they are not mostly they do scanning and they present the data and I think we really want to build educational programs with the communities which is a deficit that they don't so I think that is somehow where my research is going down I think a lot of scores in digital heritage are very interesting in this in archaeology in general I am bringing that also to the digital domain and actually one of the idea was to try to use the material at least the parentage one in the local museum they have a reproduction of the parentage content of the script but now the kind of the screens that they have are they are about of the museum as a complication the museum has a Spanish art effect but actually they are kind of who they explain the reasonable context and also giving the experience of actually going into this room from there because the description was symbolic to me so trying to read also this kind of experience with the material we have the relocation of the object it is something that we have would be interesting to discuss this yes so we have later schedules but since we are planning a very long lunch and the lunch will be captured here and we can just continue with this delay in 50 minutes so it is probably great and then for the Jebsonoma State University and also of the pandemic use of this kind of technology she learned her PhD in 2017 in the history and international technology and university of California Berkeley she is a major of the in 2016-17 academic years and the education of the cultural affairs research panel and the archive of archeological research when she completed her dissertation the entire transformations in that the archeology of funerary practices and personhood in the Bronze Age and era her research investigates our ancestral generation and the status of the day after burial with the focus on funerary eponymies and condemnation and reuse burial spaces in the second millennium we see Eastern Mediterranean and East Southern Mediterranean so I'll preface this with a couple of things first thank you Rita for participating in this workshop second is we're switching gears a little bit from papers earlier this morning that was one of the larger scale heritage issues now focusing in on a small archeological case study and third is that I'll be discussing Transage 2 from the Levant I realized that I was speaking to an audience, some Egyptologists in it I'll say this too was really impressive for us in the Levant but it was in comparison to what you're saying in temporary in Egypt but it relates nicely in terms of some of the issues of your encountering with trying to document a small enclosed subterranean space digitally including modeling and photogrammetry so we're focusing on a tomb that was excavated in 2016 at the site of Tomo Megiddo in Israel so as we can see here in this series of pictures this is a subterranean chamber tomb and it presented some major challenges because it couldn't be documented using additional methods of total station or even traditional photography which was inadequate and in a small enclosed space no single standard photographs people have documented the entire context of it with any success even using a wide angle lens this space can be represented but it will be warped however using 3D models we can generate accurate orthomorphized photos which can then be made into plans and I'll explain how the problem solved in order to create those geomorphified models I'll also say that the way that we've got a series of photos of one of our tomb members carrying out a geomorphized model is by mounting a GoPro and a ceiling of the tomb and I won't have time to go into this but I do recommend this method for documenting the process of excavation it's really excellent for data sharing as well as transparency and just going back and looking at every two minutes of excavation so we'll begin this talk with a brief introduction of the context and the finds of this tomb complex which is called Tomb 50 and that's how long I will be referring to it I will also highlight some of the main purposes for digital documentation of mortuary context although I don't think I need to convince society too much of any benefits here some being data sharing and replication of contextual and spatial datasets continue precision and efficiency of this documentation that creates visual and geospatial records and of course research applications which are lots of different questions bearing to fun and easy the literary activities, relationships between the individuals bearing this tomb and I'll also mention some of the collaborations that are being research collaborations and studies that are being carried out on this context which spans many different teams across several continents and so it's really important to be able to share this data and where it makes sense and this realization continues we'll see a lot of that forward for some chronological orientation here for those of you who are not leading specialists we are dealing with the end of the middle Bronze Age roughly 1650 to 1550 BCE which is a period of 1550 and in the local sortigraphy of the site of the video of the subtract 10 we had a second burial feature in year 5 and this is the first tomb of the structure and there's a different underground burial this tomb contained at least nine individuals who were of highly established due to three different pieces of evidence the first is the wonders and the richness of the material some legend or will be since the second is the context of the tomb next to where we're in the early Pelis Precinct of the site and the third is this monument which is usually a longer compared to other tombs I think it's great yes but thank you all this architecture that's a spatial oriented near Mechito it's located in northern Israel and it's a major tree group which in part explains the significance and the scale of the influence of the region in the Middle Bronze Age so thriving city-state engaged in long-distance trades the Aegean of the Near East and Egypt and during the mid-second millennia the settlement encompassed an area of about 12 hectares so it wasn't huge but it was overly important for its size it was surrounded by a large metric fortification wall that gradually went out of use and was quickly built over by the time that 1050 was instructed to continue sitting on top of cutting into its upper city wall what this tells us is that the settlement was expanding and growing during this period especially in the area of the site where the tomb was found and along with it the elites of the site were also growing and expanding and expressing their sadness through monumental architecture at the city level as well as through elite mortuary practices so here is where the site kind of ran that same trench in the northwest of the site this area of the settlement is generally considered to be the elite neighborhood of the palace precinct due to the presence of the palace of the late Bronze Age and here we're seeing the slightly later iteration of the late Bronze Age palaces will be reliant to form and for those of you who might be familiar with the site this is the same palace that later yielded a famous establishment of the Ibris and the palace here coupled with the city gate demonstrates a special social, economic and political significance of this particular area of the site and here, sorry this image is not coming out so well on this mortuary, here's area age in relation to the palace and this palace was instigated in the 1920s and 30s so we have this renewed opportunity to investigate what was happening here so back now to start at 10 we're looking at an early iteration of the palace showing the beginning stages of this emerging pattern of the elites as I said before they were expressing better to have a sense of what was happening here in the early 19th century and in the early 19th century the palace was the first to be built in the early 19th century and as I said before they were expressing better to have a sense through monumental mortuary architecture as well as early historic architecture so that's some context there which now leads us to the tomb itself and its monumental architecture again in a relatively kind of sense the tomb has only been partially as slow as we were looking at the section of the area and this little tomb structure here and you can also see the top of the stairs behind me in this picture from 2014 the tomb was excavated in 2016 but we first encountered the very top the entry point in 2014 not quite knowing what it was having a little suspicion because it seemed a little odd for a while and a little hole holes but we couldn't really see what was going on so this is so right behind me the correspondents of these stones here they can see the slopes very steeply down of here so this is the entryway that we have next to all of it and that leads into the burial chamber here the burial chamber is about a hundred and a half wide 2.35 meters long and it's just about a year high from hard ceiling and the ceiling is just a large limestone slabs which I'm really glad not many of us have seen it today I'm not going to go into a lot of detail about these but I'll just sort of summarize here to give you an idea of the contents, 26 ceramic vessels some imports 8-princes of bronze, silver scarabwood, silver finger regions, gold earrings as well as gold bracelet has been added to the necklace a great assembly of bodily remains including many that are found in C2 inside ceramic plates starting back a bit more broadly. This site is next to me by three main teams starting as early as 1903 by an architect named Gottlieb Schumacher and collectively these three teams have so far been able to build about 350 internal burial sites dating to the second millennium the middle and late Bronze Age and we can see here the major areas of excavation where they have uncovered which are located underneath floors of occupied residences and or palaces and whatever you wanted to find that so just to remind this is what we're dealing with here the palace area but also these areas are the most common residential areas of the 7th palace as well as on the eastern slope and this is just a brief example of a residential area from St. Straffing of 250 that demonstrate the density of the internal burial site as you can see from these three houses there is usually at least one burial per room although they're often not in the central courtyards as in those are up to four burials in a room these run the spectrum of simple pit burials and internal burials all the way to the mainstream constructed chamber teams of the 350 or so internal burial sites and there are probably about 22 of these three constructed chamber teams and so these are more important because of their elaborate architecture even within this corpus most of them replace small single chamber teams without the entryways so in that way they are quite different from the the other mainstream constructed chamber teams as you can see here at the site the most similar two teams exited by the first exitator Schumacher in 1903 who uncovered two teams that decoupled burial chamber one and burial chamber two in the middle of the site in his Littleburg palace building and as I mentioned Schumacher is an architectural training and of course it's mostly the infancy of archaeology in this region anyway in the early 20th century so he produced great architectural plans and a lot of pictures of archaeology in terms of documenting even the burial similitudes which he really only showed with a selection and a vessel and of course his descriptions of the human remains were quite vain and it's not much to be desired so 250 was an excellent opportunity to fill in all of these details especially with such a well preserved context in or near so here's showing a poster that my colleagues and I had together back in 2016 just after the exhibition this time that shows the whole method of documentations through any photogrammetry and tracing to make plans I'm not going to go into all of the details here because a lot of these methods will be discussed extensively or have already been during this workshop but just to refresh everyone's memory here photogrammetry produces extremely accurate images from ordinary photographs and the main goal for this project was the output of the models and ortho photos to trace work plans and this allowed us to create photographing plans of psychist and stratigraphy and to make accurate measurements directly from the photos themselves to produce the models we used a method similar to what I've been hearing about yesterday and today, structural promotion is a photo scan software and as we've heard this method creates point clouds, it also creates texture models the ortho photos and I'll point out although it doesn't seem like there are a lot of people using this for field archaeology purposes making a model in the field is different than making a model in an object in a museum setting where it's not an object that needs to be tied to its geographic organs like you would want in the field you want to have geo-architected photos that are produced from the models and to do that we used total station data from ground control points that are then used to measure extended points included in the photos as these used targets so if you make a model in the square put them on the edge of the square measure the points and then make sure to capture all of those targets in different photos and of course you need to take angles and all that take your photos systematically and from this the software he's recognized the orientation and position of the camera of which individual photos maintain it that's what those blue squares are and then it creates a sparse point cloud of things like this so I'm matching those points so this is all well and good and an exterior setting or some kind of open space where you can set up a total station and measure and even take photographs easily but the challenge in 1550 was implemented across small enclosed subterranean space without the usual access to our total station which was just so difficult to set up there that it really wasn't even viable and this method could set up the total station and the targets for each individual model so we had to come up with some other way to rectifying and we're creating to rectify work of photos we did printed out 10 small encoded targets just one centimeter wide that were generated and printed from Photoscan and there's a lot of Photoscan auto-detection encoded targets that were visible in each model but so far it's not really all that different the concern is that the really small targets might not be recognizable in Photoscan but this was not a problem thankfully so there's sort of 10 of them that are dispersed right out of the interior of the tomb and we just stuck them in the mud of the balls of the tomb with the paper plates and they stayed so we were not articulating the balls of the tomb because they didn't need to have photos to class on us so the idea was to create sort of semi permanent target setups that we would only have to measure everything once and we did have to measure it once set up relay points for the total stage and I created new control points that were visible from inside the tomb and then set up a total stage in the tomb just in one time to do all of the measurements because otherwise it would have completely defeated the purpose of time efficiency which is one of the major benefits here one of the major outcomes and benefits for us especially for me as the person interpreting all of these signs is the capacity to construct contests and assemblages that were deconstructed and documented in different stages during the excavation of this small space and if they accurately do a reference the models and the orthophotos can be cropped and merged together so what it does is create these mosaics and here is an example that is purposefully not with color correctives you can see where they are stitched together so these vessels were exposed first and they were totally in the ring we had to take them out in order to be exiting the tomb and we had to take them out before we would expose these two individuals here so in reality none of these things were exposed at the same time but virtually we can reconstruct the entire in situ situation as it would have been ideally if we were much smaller people and of course this is kind of a kind of merging together these mosaics can be applied at any scale the landscape scales and scale feature some of the uses for the data orthophotos as we all know by now they are after additional representations of the physical subject each individual pixel in this case is geo-referenced containing x, y, and z coordinates the individual features don't need to be measured in a field which is a huge time saver so we have to take into account the precision and precise procedure that can also be combined with other forms of digital data for example you can trace objects in applications like GIS or Adobe Illustrator and produce essentially the same thing of planned archaeologists have always done manually by using a faster, easier and much more accurate workflow I don't know a thing I've mentioned it yet but our accuracy is really good models and then centimeter accuracy between the models which then allow us to merge them together pretty seamlessly and one of the most important outcomes besides the plans or the DMs digital elevation also represents the top-down geographic perspective and of course the elevations of the ortho- rectified subject uses for research are also kind of endless but the documentation creates a visual and geospatial records that are really precise it won't be manipulated it's seen from different angles made more angles of 2D photographs or illustrations makes it easy to replicate contextual as well as spatial data different stages of excavation and here I'm showing some screenshots from Sketchfab which is the website that hosts the models and it makes it pretty easy to share and store and communicate as well as also be edited so I have a really simple annotation here as an example and we also have password protected so that's an important consideration we don't necessarily want these models to be released publicly whether or not Sketchfab is a great long-term storage solution I don't know if we can talk about that after beyond the accurate plans I find models that are the most extremely useful for interpretation the models of course are being manipulated which allows me who couldn't be there every single moment of the excavation of documentation to reconstruct the order of deposition to tell us about the barriers that wouldn't have been documented in such detail using traditional methods of opening hand to do photography so I'll talk a little bit more about these interpretations here so here we see the nine individuals who are buried in the tomb and the primary animations located in the center and the front and the south of the tomb and then the other six were located in the back of the north of the tomb and have probably been moved around just once either from within the tomb chamber or possibly having the front in from a different context and there's some interesting patterns here of these secondary animations one is you can see just by looking at just a normal photo on top of an open photo it's a little confusing I should have done that but you can see that most of the individual bone elements especially the long bones are mostly intact so if these bodies have been moved around multiple times after a skeleton station you'd expect highly fragmented bones and we have encountered pieces like that at this site so this is quite different and then these three primary animations I'll slide out this were at some point after those other individuals in the back and those secondary animations are all matured adults so that's an interesting pattern that comes to potentially age-based selection so here we have an order of definition that I've reconstructed in some detail from those different stages of excavation using these spatial and visual aids of the models and the orthophosphates and that is a word on some of these studies that are ongoing in this to you and how the digital augmentation is feeding them mostly this is the benefit is the ease of sharing the models which has been instrumental in moving forward this project with a decent pace we know how archaeology and sometimes language are there and this is challenging we're dealing with a research team just versus Israel, Germany, UK the US, it's hard for us to all get together and so we have to deal with those things visually this is a good way to share so the kinds of analyses, primary analyses using the model of archaeology paleo-botany in the background of the time is quite a list and then most of the specialist studies including residue analysis is the Parasite Symmetroponology which is a method of aging of skeletons by year and season of death and then materials analysis like residue analysis and composition sources of the metals of 17 one example is a study of the paleo-botanical remains carried out by a team of Plaston University using the orthophotos, the 3D models and sort of the normal written documentation of these together where each lab, each seed and pit and phytolith lab was found in relation to the other botanical remains one of the goals of this study is to reconstruct the kinds of plants that were deposited and evidence of possible version of deposits like traces of body preparation and the wrapping of the corpus or placing of the bodies on a mat and so far the initial results show predominance of domesticated meat including parts of the plant which means they're either deposited all together it's like a whole piece of wheat or you just have to get seeds and everything else in the right proportions so this is just a kind of corny reconstruction of what we may kind of look like and something else we see is a higher concentration of the telpher remains overrival being represented in the back of the tomb where we have the waste disturbance in the area of the ancient that we view of our same results like some nut trees fallen up almost by the end as well as grapevine preliminary results not only show the kinds of telpher remains that were placed in the tomb but also that it is a relatively consistent open time and this shows us some continuity in the virtual practices between these two phases of burial which has also shown some pretty interesting preliminary results that recently featured in some news media following Jay Swerve readings last week a vanilla which is a chemical component of vanilla was found with three out of four droplets that were sampled this is pretty unusual and we would expect something coming from a subtropical area of in either Africa or in any subcontinent to show up at the keto but it does again we see in terms of spatial distribution some interesting patterns where one of the three was associated with the primary enumations in the front of the tomb and the two were associated with the secondary enumations in the back of the tomb so once again this gives us a good idea of the continuity in the area of practices over time and then finally we're also applying these digital models to disseminate to the public through a museum as I said that's a burial assemblage and here I have some examples of the work to learn in ivory objects that were found which a lot of the medals are being served at Israel Museum in Jerusalem and we are in the early phases of planning a show that will that we intend to have feature some of the reading models that we're not sure what format we'll take yet we're going to make something like this or some kind of monitor that needs to be manipulated or even printing something we toyed with the idea of even printing out a model of the tomb to the visitors among the logical experience and to see what it was like in context as well as what it was like to excavate it so same to you for the results of that so to conclude here I presented a new methodology for documenting which we're in context specifically as it applies to very challenging stuff from many of these and this does also allow for some insights into very much autonomy, reconstruction of the sea as a deposition, continuity in your practices over time and has lots of benefits like ease of data sharing and reputation and transparency and law being caught for this finally I would just like to acknowledge the many different people who I think you read into this project this can't be at all but mostly if you run your stuff in the US mission thank you there's another question Jessica so I was wondering in the secondary animation you said you had a feeling to the major role in it did you also apply this verse in the rest of the tomb with small awards you know we did it and I was surprising so I wanted to consider it as possible I never really did a good job cleaning up we did have a few pieces of partial articulation as well which would indicate that not all of the bodies were sale tonight or they were brought in from elsewhere so you definitely expected to have a smaller role it was really really clean straight human build material and the preservation of the building itself was very interesting it was much better than other teams we encountered and one more thing can I so did you mention the burials that you had in housing in the two burials did you find any children in some most of them were the daughters did you find anything with the thresholds that's a great question and no not to my knowledge they were almost always in the quarter or along the size of walls and almost never in the center of the room or in courtyards space or in the area of the threshold thank you and it's time for the next speaker the speaker that she prepared for the power find for which I can introduce her my name is I'm from Sweden I work in projects and I'm sorry if I'm wrong I'm an assistant professor of history at the University of California Santa Cruz I was a defender of technology new technologies to mention cultural materials and she served as project coordinator for the Digital Carina project being a multi-phased of the famous ancient Egyptian temple complex of Carina and had a common form digital publication because starting in the same trend would be out in 2019 we are looking forward to it utilizes a geothermal model of the cooperation of the University of South Carolina to investigate questions of cultural landscape as a site she has published extensively on the use of digital technologies for the study of the ancient world including recent articles in the journal of the Institute of Classical Studies a pathological work in Egypt includes five seasons of excavation of the region of Kate's University and the Temple of the Goddess Wood as well as the fourth season in the field with the joint and UCLA Rags University of California project in the Egyptian we've seen over the past day archaeology is undergoing a digital revolution and this change of practice at all levels is incorporating three technologies Melissa just gave us some great examples of how that's happening at the data collection level and of course we're dealing with the questions of what we do with our three in terms of archiving my own personal interests we're focused on using three technologies for analysis of understanding especially for me on landscape reconstruction and reconstruction modeling and then also the question of presentation and publishing which we heard a lot about as well today both in terms of scholarly as well as educational or public like Nicole focused on this morning so today I'd like to tell you how I've been approaching analysis understanding presentation and publishing of 3D materials with my ongoing project posing on the necropolis of Sakura so my project very creatively entitled 3D Sakura harnesses the temporal layering abilities of 3D GIS environments to examine the ancient necropolis so I'm creating a 3D GIS reconstruction visualization of the site and modeling a series of now disappeared landscapes so both adding in what is missing from the site today or not visible and simultaneously peeling away layers of later construction of the site so that I can consider each base of the cemetery in isolation clarifying how new features were added or modified at the necropolis in response to the existing monumental landscape of the time so my model is covering the first 2600 years of architectural development and environmental shifts of the site basically visualizing major architectural changes during the Foran period from Dynasty 1 through Dynasty 30 around 3300 BCE and so I'm doing this to try to investigate changes especially in visual points of emphasis but also to think about ritual linkages between important spaces and think through some of these questions about how spaces were intentionally remembered or inscured by later generations and I don't think I have to really say this to this audience but I always like to emphasize the fact that I am not trying to recreate the past and I know people have a lot of problems with the word reconstruction so I try to use visualization to sort of make that clear to people because of course recreating the past is a fully impossible task and I like Marizio Forte's definition of these kinds of reconstruction or visualization models as a potential past a model of the potential state of some elements of the landscape but just like any kind of map this leaves out a huge amount of information and I can't hope to begin to reconstruct or represent the whole complexity of the past but this kind of work does allow a replacement of many important aspects of the site aspects that can be combined virtually and considered in new ways and so that's why I think it's really useful to us as a tool for archaeological analysis so the site of Sakura is especially I think appropriate for this kind of visualization of reconstruction because of the huge amount of change of the site both in the ancient world as well as since the Roman period to now so one of the challenges of understanding the ancient landscape for example is just the changing landscape within the site itself so you can see this is all kingdom entrance level to the to this series of teams full teams of teams next to the Tete pyramid and then there's me standing up there at the new kingdom level so a number of meters of infill and building materials and leveling have happened between the old kingdom and the new kingdom just in this one place of the site you can also see incredible monument deflation especially of the mud brick teams from the early dynastic period and then what is clearly archaeological clearing and perhaps even really spoilage use from excavations that really change and have turned the modern landscape into something that is not reflective of ancient ground and horizon also of course the deflation even of stone pyramids as well as the removal of those beautiful bright crisp white casings that would have made these monuments so stunning today you can see many of them have been disassembled possibly to build an evil city of Cairo but also probably in ancient times we know people the Egyptians themselves were pouring the stone from the earlier monuments and reusing it in their own tombs so again a lot of the visual aspects of the cemetery even though Sokara is incredibly well preserved site in many ways for how old it is many of those visual aspects and architectural aspects are still not accessible to us today in the field also at Sokara the incredibly complex layers of archaeological or architectural change meant that some monuments were actually intentionally fully disassembled where at least their superstructures were so for example from the early dynastic period to the site very early there would have been at least two royal tombs with potentially many superstructures for the king's nature and pets. So can we? None of the superstructure remains today they were disassembled and Una spilt his causeway immediately over them so these are two of my possible hypothetical reconstructions that Claudia left her the German scholar published in her 2014 volume on these tombs and so I reconstructed two of them as very general kind of massing models and replaced them in the same potential area of the site in order to think of what those would have how they would have changed the image or visual or spatial aspect of that site so very hypothetical but sort of testing around the kind of materials that we can use so the process of my model I'm going to go very super quickly here was dealing both with those terrain issues I used one to five thousand topographic line maps that were created through aerial photography in the 1970s digitized those total lines in and then created elevation models from them as I mentioned the ground level in the 1970s is much higher than what would have been ancient ground horizon so this year in April I got permission from Ministry of Antiquities to do some non-invasive GPS survey where myself and my team went around and we took some GPS points at monument thresholds places where we could establish sort of ancient ground horizons for different time periods and then so we took our topographic lines to actually reconstruct ground level of these different moments in the cemetery the process for modern building I'm really only interested at the landscape level not at highly detailed interior spaces so myself and undergraduate students from UCSC and from UCLA just felt very sort of simple massing models in SketchUp Pro and it's good enough to sort of provide a large scale kind of representation of what these buildings are height they're width, some basic elements it doesn't have all of those sort of sexy visualization capabilities as those other 3D modeling programs but it works well enough for my research question so then my construction process is just moving from a 2D archeological GIS of Sakura the original phase schedule from which was published by the University of Pisa is their Sakura risk assessment along with their Sakura risk assessment blogging and shared with me by their GIS specialist and I'm moving from that to the geo-reference information bringing in our 3D models and then adding our digital level fations in the form of height maps combining all of that information together into one platform and the results that come out are to be a temporal landscape reconstruction that allows me to look at time slices and to re-establish visual connections between both central Sakura and of course I because I was doing it I modeled the larger entire fight cemetery zone basically from Pisa down to Doshore at a slightly lower resolution but so that I think about the long long-distance views from Sakura to other important calculus sites here in the area so in terms of my analysis and publishing so I created this model and then I was interested in thinking through what can I do with this kind of 3D data so I am currently trying to finish a publication that will hopefully be coming out in late 2019 the Stanford University Press new digital imprint which means it is going to be born digital, fully digital will never be printed as a book a sort of digital monograph called Constructing the Savory and in this monograph I am really focusing on an analysis of visibility in the 3D space using qualitative and quantitative analysis of capabilities of the 3D GIS environment I also really wanted to have a dynamic interactive way for my reader to explore the cemetery and not just watch curated videos but actually be able to explore the site and the 3D model themselves and then obviously accessible and Paranada about the model is critical for any kind of scholarly publication I have been trying to think through how I can make that kind of material accessible within a 3D model space so I have been using the Sperman simulation software called Sidiogen and this has allowed me to take the model and do some GIS type of analysis fuchsia analysis or viewpoint analysis but instead of having it be 2D analysis it now works in 3D so you can see that it actually is pretty aware and showing what would have been visible or not visible from a single point location for example here I have chosen a point in the New Kingdom city of Vegas looking back up towards the Neuropolis and it also gives me a sort of reconstruction of a sort of basic simulated view from that viewpoint of what those polygons would have looked like I can also do sort of more traditional visibility maps but again with 3D awareness so I can combine multiple view sheds together and see where there would have been overlapping visibility view sheds which is for me really interesting and I can think about what would have been hot spots in the Sperman necropolis for other monuments for example looking back towards Appusir the primitive dynasty where were people intentionally situating their burials perhaps to achieve views of prominent monuments that they bring to propolis and then I can also there we go I can also look at more qualitative views so this is in the virtual reality simulator Polynesian created by my colleague C.L.A. Lisa Snyder so I'm sort of here simulating walking level human eye level I'm up at Lines Hill near the monument of Conwasa which we've reconstructed here in Green and we're looking back to the Sperman necropolis and I'm specifically looking at whether all of the monuments that Conwasa inscribed for himself and his father Renzi the Senate and that all of those happened to be visible from his class chapel here on Lines Hill and so whether or not that might have some bearing on what monuments were inscribed or not inscribed so you can see we're now looking back towards Appusir and the solar temples from this viewpoint at human eye level and so I've been working with the GIS specialist at my campus especially Erin Cole who has helped me create an online reviewer so this will be accessible on the way as part of my publication so that the reader can explore a low resolution version of the 3D model with a time slider so they can see sort of the progression of architectural development from Dynasty I to Dynasty 30 and I have multiple different terrains that pop in based on the different ground horizons at different moments in time and you can see here that it has a sort of zoom in zoom out kind of glover like very intuitive pretty easy to move around kind of experience and then you can click on any individual monument in the model and you can get structured metadata about that monument and so that includes both the piece of data about the basics of the structure and then my own 3D metadata about my roofed structure of the 3D content itself so in terms of presentation and education I'm now really excited to be taking this finished model and pushing it out and thinking that I can disseminate this information outside of the scholarly realm that we have introduced students in the general public and so I'm really happy to say that readout and Chris and I have just started a collaboration this year we're in the very beginning stages of that so I think Chris is going to show you a little bit of that it's definitely just starting out but we're working on a project funded by the U.C. Circus Program on visualizing and changing the landscape and material culture and the idea was that we wanted students and scholars and the general public to navigate from the landscape to the monument and to the originally inscribed sarcophagus in its theater and context level taking advantage of all the readout expertise of these texts so my contribution that is going to be the 26th Dynasty visualization of Sakura so you can sort of place the context of this monument within the larger and crumpled time period and you might notice here that all of my beautiful crisp pyramids have now started to deflate so one of the things I try to do in certain ways here in my model is also signal aging and deflation in different ways I know a lot of people talk about sort of the perfect 3D model as looking like a space that never changes or making it shiny and new so this is one technique I try to use to signal to the user or reader that is just as important as the building of monuments is the deflation of monuments and removal of other monuments on the site so our goal is to contextualize this sarcophagus of Sontak at Sakura and to make exploration of multiple scales possible for our user so we're starting with the landscape level and then we're moving down to the two monument level and I'm working with an undergraduate at UCSC who is working on two modeling and then we're going to move into the sarcophagus level and so we're hoping that using a headset you can jump through all of these sort of points down to that level and the real goal for me of this is thinking about iterating an object in its cemetery context so this has a lot of I think potential especially at the museum level where we can invent an object within its historical place and time in I think much more understandable ways we can signal that the object is part of the large complex of funerary practices right but this is not just a single piece of artwork but this is one element of a much larger practice of funerary culture that is part of Egyptian history and then to reimagine details of its original placement that might not be apparent to the museum and so that might be also including 3D models 26 Dynasty Pottery or other kinds of objects that would have been found in the tomb or that would have been typical of the 26 Dynasty tomb really just started to recreate a whole historical moment of context for this type of object hopefully that would make it more meaningful and more understandable to the students for the general public who are coming in and engaging with this and so my the 3D Sikara project has been supported by many different people and I always recognize that I'm the PI Human Project and the presenter but I have had so much data shared with me by other Egyptologists which I am really appreciative of because I know the field is not always so open to sharing data and I feel like that is changing that a number of my colleagues really recognize the fact that each of us shouldn't be reinventing the wheel and so that has been really really helpful to me and also I have had a number of graduate students and undergraduate students who have done significant work on the 3D modeling and the modeling processes from one platform to the next and so their labor has been really important to getting this project done and I would like to acknowledge them and all of the work that they have done I wanted to say that the presentation was great and I've been following your work for so long for many years It's finally coming together and I'll be too simple and I have a question that relates to work and also my work and something I've been struggling recently with working with visualization how do you capture the argument and I know that you do because I've been reading your presentation but the process of argumentation and the decision making when you build the models and how did you put that in the book in the forms of metadata so I think that's so critical and that if we're not doing that our colleagues don't take this seriously as a scholarly number we all get very excited about the visualization and the analysis capabilities but without the documentation our work is dismissed so one of these six chapters of my digital monograph is an entire chapter on the building of the model and I talk a lot about the decision making process and that this is a curated 3D map of Sokara that's based on my decision making and I talk through all of the many many kinds of issues about my own decision making and how that impacts the output of the model and so I try to emphasize to people that this is not a neutral examination of the real world but something that I've curated and put together as a form of argument as a scholar just like someone would lay out a textual argument and then it can be picked apart just like a textual argument can so I feel like when people publish 3D materials in one location and then they publish something else that's actually the data about their model I think that's not a good model for us to be following I think we need to be integrating those two kinds of publications together and so I was very adamant about doing that in this work so I try to be very careful about hand reading the fact that it's not just a metadata about oh this is what this monument is how I've reconstructed it but an actual discussion of my process of creation and curation and how the choices that I make for choices totally impact the output of this model so I think that's a really great point and that annotation is such an important thing for all of us I'm thinking through these kinds of questions I'm hoping that as more digital publication methods are available to us that we can start to integrate these two paths of the project to each model are safe yeah Hi, I'll play this quick I was in the New York State, I'm a curator for the University of St. John primarily in Coptic Literature and I'm interested in what you're doing because I work on monasticism and I'm wondering, yes sorry I'm not including the Coptic one I'm sorry I'm sorry thank you for saying that I have how much was your work affected by the fact that you had earlier data like those 1970s maps and like how much does that that really struck me that you have this long history of data and even visual data and geodata so I consider this project really to be 95% a legacy project, legacy data and publication data project so I'm thinking of this as a synthetic project that's really looking at taking all of this research that individual teams have done pain-saving work of individual monuments at Sakura for 150 years and I'm trying to use all of that and take it put it together, combine it, curate it reuse it as a form of analysis but so much of this is legacy data and early excavation data and then contemporary stuff in the past 250 years so my own work in Sakura has really just been ground-proofing a few last things but I'm really thinking of this as a amplifying all of the work that other people have done and visualizing it in a new way so I'm not doing any excavations myself it's really trying to use digital technologies to present the site in ways that it hasn't been presented in a synthetic way from before so the answer is right, I couldn't this project could have been impossible without the huge amount of labour of Egyptian and international teams at Sakura for over 150 years I really like the potential class instead of the cost of the class and I think we really should discuss at the end of the day also which are all to be reconstructions technology in general making models related to just one field of occupation when we work on the site but even with objects reconstructing the ideal context of the object like the sarcophagus at the time this is something really amazing and I think we really need not to include these reconstructions also in creative books because these are not really these Egyptology people are really here and we should try to push in that direction for a new publication so I'm casing my background as in archaeology and my job at Syracuse is kind of the heritage community so our focus is mainly on the art world and so I'm going to face with archaeologists and architects at the sites to identify what's most important for digitization at their sites and then I kind of manage our team that builds the models and the drawings that we've just found to aid in conservation and Scott is going to speak a little bit later about the project that we did with the Coffins I'll let you introduce yourself a little bit later what we do and then I'll talk about a case study I actually just got back from Mexico City where we did a project about a month ago so that's kind of the format so to mention we worked at sites affected by our idea different whether it's just a passage of time sites affected by conflict we just launched a project with two universities six sites in Syria so we were able to train our team and they bring Lebanon and they went to Syria and documented six sites and then sent the data back to us where we could process it and generate and deliver a course for them another site that we did last year was Easter Island and there's some platforms that are located on the edge of a review clips where the heads were placed and so they wanted information exactly on the slope and how the site was going to be affected in the future and so they took that information to the community and to make decisions on whether or not to make excavations to move everything or to let it form to the Syria so those are kind of examples of a few projects we've done kind of our vision statement is to make people care about these places so that the different dangers that they face can be meant to help so we've done since 2003 around 200 projects on the real world sites that have UNESCO recognition as well as many sites in the US after that in six the most country where we've done the most projects was actually Mexico and so we're actually finishing up our seventh project there and in six we did a big project in Myanmar which is not UNESCO at any cost and they needed documentation of the temple complex of Lhagan for that UNESCO submission and so sometimes our data helps with those submissions to use to go as well so the technologies that we use if you don't know, sorry, it was founded by one of my first meetings at the laser screening and so that's kind of our foundation so we're using this machine that we use to do other things so this is shooting at a false of light and it creates a point cloud of the site so it's capturing every surface of the monument and then over top of that point cloud we overlay photographs so it's really only in the past couple of years it started this area three years ago and we've been really using photogrammetry to make better drawings and better outputs so we can make high resolution 3D models virtual reality but in 2003 we weren't using photogrammetry so our data doesn't have this information so we capture sites at a variety of different levels so this is the site in Lhagan Myanmar so this is captured on a landscape level but again our focus is on single building I just have an example flyover of the 3D model so these are the temple that we focus on and so this is the best example of a triangle set in Lhagan Slice and we're getting a millimetric accuracy with the photos and the latest kind of data this is kind of the RV that we like to combine the two technologies because we can get the distance and we can measure the models because of the latest kind of data and then we have the texturing color information so this is another site that we've been using last year and again slicing it in any ways that the site wants to use the data so usually what I do is try to identify with what current conservation programs the site is doing and then we identify telling them the things that we can make that can help them in their work and then there's usually several revisions they want something specific and then I try to make sure that we deliver on but it's actually useful in addition to helping my current conservation programs we also have we're storing all the data so that we can make something happen in the future that we have our record of it so in 2006 we documented the same Uganda that was lost by Arson and so after the site was destroyed UNESCO contacted us to get the data and they were able to reconstruct the site something that the project was able to use unfortunately it happens that sites are lost and then finally this third tier of what we want to do is we want to discover these sites so we can create virtual reality experiences where people can walk around in places we launched a free application called Masterworks the four sites that we documented and you can learn about it from our website we have interviews with archaeologists that we've embedded in 3D videos it's kind of like a way that people can learn about the sites and then another exciting program that we have is the public and heritage and we launched that earlier this year and it's opening up our archive of sites that people can download the data so we did the first 26 and we're about to upload the next 15 next month so we're working back since all of our projects in 2003 trying to get them to with the photogrammetry so that it can be useful for people so we're including all the metadata that we have and then people can download that so we have over many thousands of downloads already so that's exciting and people are remixing the data so the raw data is up there and they're able to create their own creations things that you didn't think of so it's kind of exciting every month we see someone else doing something new with the data that we didn't imagine so kind of like since we're a non-profit the way we work is that we contact ministries around the world so in Mexico City for this project that I was just involved in being talked to by the Secretary of Culture and we asked them for a list of sites they put us in contact with the Director General of the States and Monuments they get us a list of sites within the historic center of Mexico City we had a list of that and then we saw funding for it so our funding comes from a variety of different channels whether it's grants we're always applying to grants or if it's organizations or companies that have operations in a certain country and they want to do a project to help the heritage of our countries that we work with a lot of CSRs with corporations and then finally individual self-private donations so it's kind of the three ways we're kind of like the matchmakers we always have a lot more sites that we help them have generous so we're always part of my job too is to try and work with them so this is just a quick little video to share about the project this is the Palace of Fine Arts in Mexico City so it was built in the year 1900 it was actually, there was a big earthquake last year in September of 2017 and fortunately this building wasn't damaged too heavily but because of this weight it was built by an Italian architect and he was told from the site manager he was told it's going to be too heavy and it's going to sink into the lake and it dates it was actually lost like two meters so they're really worried about this site and they want good documentation of it so the last drawings that they have were done in the 50s or 60s and so what we identified with the site manager what they needed was good asphalt so that in case anything happens in the future they can have a good record so we're working with the chief architect and identifying in certain areas where they wanted good documentations about the roof where all the ducting is and so this is just a quick little video I hope audio works I don't know if it doesn't but it's okay so this is the site it actually got to be up on the roof and it was looking out of our Mexico city which was clear on this day you know that our quality in Mexico city is not always great so I'm talking about this this is our CEO John talking about how we work this is the laser scanning machines and then we use high resolution photographs this is a phase one camera system so we're taking photos 101 megapixels and so for this data we're talking about thousands of photos and hundreds of laser scan positions and we're unifying the laser scan data and then overlaying on top of it the photographs this is the chief architect of the site talking about the different challenges that it's facing so this is the reality capture software that we're here to talk about in the workshop portion on how it combines the different inputs and so again our focus has been on single buildings and monuments but we were excited to do this cotton project with because objects haven't been our focus but we're interested in finding our methods and so that's been kind of exciting so using the same software reality capture to do both of those technologies so these interior animation things are our final 3D model that looks really scary but there is a platform below so this is the roof of the Palace of Fine Arts and so what we're able to do once we have the complete 3D model we created in virtual reality a platform right underneath the roof so that people could examine it in detail so the site managers have never been that close to the roof of it and so they were super excited to see the detail of that crystal roof so that was really exciting to show back so they're actually hoping to use that VR really quick VR experience it took us just a couple days to make it to their 85th anniversary which is next year so they'll do kind of an event so that's something that we're excited about doing so this is the main Metropolitan Cathedral we also did a project there last month and this was the funder for the project so this is a company based in Mexico that wanted to do a project to sort of place them here so it's kind of quickly how we work I'll talk a little bit about the specifics for this palace project that we did which was pretty typical for us it took us four days to do the project it's around 8,000 photos those are the phase one 180 pixel camera that I was talking about and like regular DSLR photos and then around 250 scans so we're using the the fair loader's camera which is interesting but I think for the copyright project we did just three scans and maybe 100 photos and so we're talking about we're able to generate something much quicker so typically for a week on site for 8,000 photos it takes us several weeks to process the data and we have really nice computers and if you have less nice computers it's nice for us to see what we did wrong with the copyright project because once we come back from a safe travelling it's not like we can go back so easily so we have to raise money to go back so being able to do smaller projects is something really important to us so we're really grateful for the opportunity to do that so again just kind of like a little bit of how we work this project planning is where I'm involved so we're trying to identify these areas of the site that we're interested in so before we began the work we did a site walk trying to even though we had talked previously to understand exactly what they were going to make and could solve their challenges that they were facing again with laser scanning so what we did we wanted mostly to focus on the exterior of the building so we did most of our work on the roof and on the perimeter but then there was also the central part the main theater where they also wanted some additional documentation so this is kind of the point cloud data the visualization with the laser scanner software so these are the laser scan positions all aligned together the base 1 camera system and the drone taking photos on the outside so once we have the laser scan data we generate a mesh model that doesn't have color information it does have color information but it's not very good the camera on the laser scanner it's not the greatest camera and so on top of that we overlaid the photos from the higher resolution camera so we end up with this really beautiful free model that you can generate drawings from or you can create virtual reality experiences this is a view from the software so I was going to show a little bit who wants to see it don't be there wow okay sorry he was switching in and off the game before sorry it's too much okay so this is a view of the software so I was going to show a little bit of a view we've come to like rely on this and a lot of people from there were really like really captured I think it was one of the first to allow you to combine both the laser scan data with photos so this is just a screenshot because Scott was going to run you through how we use it and kind of our method in it but again as we were saying the exterior we're building with this focused work inside and so to do that because it wasn't really based we didn't have GPS information inside we couldn't tie it up the outside so we had to deal with it always and combine it with the outside so now we can slice them all and get them inside but we just the main file and then tie it with the outside of the photo so this is just a visualization of the 3D data they were super excited to have these they want to put them on their on the website for the palace like a lot of times like sometimes it's not conservation needs they want to share their site in new ways so whether that's through models that you upload to Sketchfab that they can put on their website or just simple visualizations that they can put on their websites just to interact with the audience and in Mexico not everyone can afford to go to the palace of finance and try to provide an access at least link access to the link on their website I think so this is again another visualization this is the Cortina de Cristal so it's 27 tons it was made by Tiffany's in New York it's made of over 2 million pieces of glass reflective glass and this is the roof so these are visualizations they were super excited to have these they've never seen it at this age they're really excited to be a part of it so these are the drawings so again I submitted I met them last week they were really happy with these drawings but then there's always going to be revisions and so they're like we want more of this than that and so now I go back to the team here in Oakland and ask for these additional things so that's kind of how we work generally we do around 12 projects a year Scott is off to Tanzania doing a site on the coast of Tanzania that's eroding into the ocean so it's kind of our sort of visualization I didn't realize it was we could have brought the virtual reality so you could see what we did next time but Scott can talk a little bit about the project that we did a couple weeks ago here and then there's going to be some stuff at the end so my name's Charlie and I'm a first hire so my job is to make sure whatever we collect in the field becomes useful and tangible so whatever case it needs we produce at the end of the day I also do a lot of film work I'm trying not to but it doesn't work out that way so I'm going to fill a collection of the data I'm using, I'm using drones but I'm going to show you how the technology works so this project was a little artifact testing I'm using the same methodologies we use laser scanning and photogrammetry what was kind of interesting about this project is something we normally don't do is looking at ways to be able to move the object if you have to rotate it or get a different angle on it and being able to get that to work really well with the photogrammetry software so we're playing with that that's one of the tests to do for this project and I think they got to do this a couple of times right? we were both not involved unfortunately Chris is on maternity leave with Lurens and in my scarcity so we'll have to cover that the challenge was that we could not move in my unconscious face because we were limited and also we are no professional movers with us and we could not open it so actually we were not limited with the chefs but so this was just a test we used our very focused S350 and as well as just I think it's a T810 we look forward next time hopefully the next test to bring our big gun the individual camera out that captures pretty low level of detail so just to show a little bit of what we did this project is really really small scale for us and in my case you mentioned usually one day in the field is four day or four is one week in the office for us so what we're normally dealing with upwards of 15,000 inputs between photos and laser scans this is 256 so this takes zero time to process once we have it in the office we had the model you see in like maybe an hour and a half two hours so it's quite quick to process so what does we see first this is reality capture we've been using this software for three plus years now since the very beginning when there was a lot of users and it allows us that ability to use the laser scan data and use photogrammetric data and we can reconstruct from either photos or laser photos that was kind of a game changer for us and I think it's a game changer for the whole reality capture market what we see here is kind of a combination so the rectangles the squares here those are all laser scan inputs and if I grab the laser scan input you can kind of just so the way this software works is essentially we'll break down the three hundred and sixty three scans and we'll break them down into two and it can use breaks down the laser scan and has a photo and then uses typical feature detection to combine the two data sets to combine the two data sets for this model of the coffin you can see we had to actually mask every single photo because we did move we did move the object and we have a lot of movement and we have all the background detection so we basically have to remove all the features from the background this still a few inputs is really quick to do so once we did that this was basically automatic compressed out it will align all the inputs and you can see the time to do any color overlay on that and then you can see all the tie points or the matching feature points that the software found so right now all we're seeing is just single tie points so this is not the model at all and then what we do is actually just mesh that object and this mesh here is a combination of both laser scanning and this is about 80 million polygons so that's not super big most of the models we've built in the office start out in the 3-4 billion range so this is like cake really quick to process I processed this whole thing this morning just to see what it was so this took about an hour to process this level so this is the 80 million polygons model with just laser and photogrammetry and we really like using the laser because it gives us the accuracy because we don't rely on a scale bar we rely just on the laser so the laser is our control in this case so this model is 80 million polygons you can then reduce it as much as you want in the auto capture fairly easily so we dropped it down to 40 million polys and we usually work with about 40 million polys because that's the limitation of reality capture in display so it makes it easy for us to see and at the end of the day no one really works with more than 40 million polygons anyways we have to really come for some so at that point we dropped it to about 40 million polys and we I don't have much general GPU with me so let's come to a lower quality model solution here and we finally brought that down to about a million polys and this is 2 8K textures so that allows us the ability to put it online we can reduce it a little further and put it on VR in any phone so this is a fairly like model for us at a million polys but we still see a lot of that detail level so we don't see that quite as much, you lose a lot of the geometry so you're essentially going from that to this and this is 89 we use the all of the details of the copying and we lose that detail but we make up for that detail by overlaying all of the photo texture here and we don't use recap 2 because recap also has like a too much of the texture it has a pretty nice photo but we don't use that it's really great at showing the 3D models that we have so that's what we use so if you guys are getting recap photo this is the full 80 million and it has like 12 or 13 8K textures so that has everything you need to see all of the details and like I said we're kind of looking forward to coming back and trying to do another one because we can do it at much much higher resolution this is about one millimeter resolution from the God example we showed early about mural was about 1 millimeter resolution about mural was about 0.07 millimeters so we can go with a much higher resolution and I think that's the really good next test for this is how I can still keep it pretty lightweight so this is this is just on the laptop it's not great super powerful laptop displaying over there internet which is the best Wi-Fi which is not great but it does still have the most one to one resolution online so we can do a bunch of other cool things but this is kind of our end goal is to get stuff online to be able to share with people and even though VR is super awesome and it's really not super accessible yet so getting our models online is kind of our ultimate goal what's really cool also about this software is that you have that high resolution model with 80 million Paul A's and full 8K textures it took about 5 minutes to reduce that down and keep all the texture data so you can recap the UVs I don't know how technical you guys are but you can read out all the UVs and keep all the texture information without re-running the software which is kind of a new feature and it's pretty awesome this is a brand new feature that we had an alpha version two weeks ago and we released a beta version last week so you can specify a poly-on count and you can text your count and basically automatically does it without doing all your calculations without doing all your calculations so it's kind of a pretty new amazing feature for anyone who's in the 3D capture industry and of course in addition to just 3D inputs one of the best ways is still just creating animations and renderings that you can share on social media and other things so this is just bringing them all into Maya and then creating a quick rendering didn't take long kind of all to render so that's kind of one of the final outputs but it's an email that you can tell are you happy with that? this is one of the yeah that only speaks one of my favorite coffee so sorry I was just thinking so that's that was just a quick a quick project that took about I don't know 4 hours to capture I mean hours to capture and then it took a couple hours to process so before you kind of do a little more of it and getting a little better at artifacts we like to I would like to in the future capture some of those artifacts and those assets that are easy to use and put them back in the institute in the instance where you are in capture and then a few examples of that in the garden but I think it's really powerful to bring those assets back to where they were to see the context with VR it's really amazing to be able to travel this before so that was a brief demonstration do you guys have any questions? and yes since you're talking to a group of Egyptologists today can you tell us if you're going to have any of your open heritage projects that are you said there's more coming out for release are any of those going to be your Egypt based projects for example what's the next year? that was like a 2003 project so we're still the data is really old so it's not part of the January release but we're going back and we're trying to see if it's possible what we have and if it can be converted to the new experiment that we're standardizing standard is all formats the quality is much different from 2003 from 2003 the resolution and the accuracy of the data really changed in the last decade it's all to say the accuracies of the original SIRRS scanners are pretty much the same when Ben did the first SIRRS scanners the accuracy was 1 million or 100 meters so that was the metric in what was designed for back in the day but instead of being able to do 8 scans a day you can do 2 scans a day so the big difference in how many scan locations you have so for a site like where we have like a cathedral where you did 633 scans it just simply was possible back then so yeah we were trying to release as much of the data all of our sites are on a master list and we're trying to get all of those up and we're working on it and working in Egypt I'm sure most of you know from all of our data we have kind of non-commercial rights to it but the site owns the data fully as well so we have to get their permission to release the data a lot of a lot of environments it's ok especially in the US anything that is national park or publicly funded has to be open access I've heard questions and stuff in Egypt the government has a little less likely to release publicly I would say the same format yeah so also we're worried about the government changing next week so we have permission under the former government but we'll see what happens in Egypt but I think they've got to be included so stay the same I have a question that's a good question so since you also talked to a scholarly audience and we're all like some of us have freaks or stuff like that do you record there's a lot of things that when you show us the model you explain on the site is this information culture and when you do productions and that do you share this information I mean how many scans or why you decided to do the new format the full dose of the of the of the hall and not a type of technique and so were you attached to the models or currently attached to the models we definitely have lots of fillments things like that which explain what we did, what the weather was all that fun stuff data yeah we have a little benefit for the open areas which I don't think we have enough yet but we're making some announcements probably next year that are going to be we're working on addressing that it's something we really want to contribute more to the metadata standards as well as 3D standards in general there's no consensus anywhere about 3D data storage or 3D metadata it's all in the place you have 10 minutes here so trying to consolidate that if you go to academic conference and you've got half of it all the time it's so do I can we're working on going to like the biggest conference yeah we'll just see if I can professionalize the geometry in years yeah do you have a seat for confidence? do I have to seat for confidence? I've been grilled so I'm not going if I may have been quickly so I'm really happy that I was to help with the data storage by being scholars at Anata 3 my personal three plans was to get the annotations of these models and we did a really photogrammetry but I think it's really an issue that we're doing photogrammetry on objects if there are not really high solutions the annotations do not become right leaders so you cannot have the annotations translation of the text or iconographical analysis I think really we need more people who really can now work with the technologists you do because you say you did it in one hour when we tried to do the same it took us should I say a little bit this is something we should do more often the one question is is there a way to self for scholars for scholars like me we are not really trained in this kind of software there is a way to learn quickly or you really need the training that's with you this reality capture is the basics you can generate a pretty model we are learning things every day about the software if you really need to learn the software you need to talk to the software it's quite complex when you start getting into because that was my feeling it's not easy it's very complicated and try software is still very new and there's not a lot of materials there are helpings like the Facebook community that's their official company it stands as the Facebook community that's where they shine on people because it's not quite built up yeah it's not quite built up we've been working with them for like 3 years now and they're great partners so we've been able to get along with the features and things out of them and they're really responsive to the community to make sure that our software serves the needs of the heritage I just a quick one we've done very large scale sites for the most part and this was maybe one of the smaller ones that you've done but are you interested in going to the really small scale like individual art with my new writings and things as well or is your site more interested primarily in like art or should you plan a scale maybe some artifacts are great I'd love to get into some of the really small artifacts but I don't think we could squirt 10, 11 people or small organizations so we have a really key partnership on track and on focus doing projects like this are R&D for us and we like to experiment but we'll never get fully integrated into our workflow we'll have to see probably not unless we grow the organization thank you thank you you said you have all the data on the website is there also the viewer that you could do a site if you wanted to use any of your data and teaching say the viewer that you have to really give you some data so there's a couple different things so the data we provide online is all the raw photos and the registered registered scanner if you wanted to view the registered they just indicated you can do that straight away with software don't fire so that's that's what we we're working in the E57 format it's kind of the ubiquitous format currently so that's what it is it's not the right way to drop a write-in but I'll unpair and view it and in case we stay on solitaire so if there are no questions we can continue this discussion for now I'm happy to start a graduate student section as the first speaker will be to the classroom three of his cancer models as technical teaching tools there are a lot of empty seats also in the room I'm very curious to hear from Paul from there okay well thank you so much for your introduction and for having me here today and more importantly for organizing this whole thing a graduate student is just starting out in the digital humanities and is playing a little on this material to be a part of this in here about all of your research so thank you all as well for all of the information and hopefully I can reciprocate a little bit with some of the work that we've been doing with 3D printing in my direction but before I get started I also want to introduce my co-collaborator who is here today David Cook who is in the back of the room he's an undergraduate here at Berkeley and in a lot of ways I won't be able to even think about doing this project without him it's really his ingenuity and his drive to do this work that moved me from going from 3D models into 3D printing I'm also really happy that he's here today because if you have any technical questions you can answer them in a little matter of fact also at the outset I should say that I'm actually not going to be showing any Egyptological material today as Rita mentioned my research is both in ancient Egypt but also in Greek Archaeology specifically the Mycenaean period so I'm actually going to be focusing on some Mycenaean vessels although it's sort of the ending on an Egyptological note as well and specifically I'm going to be talking so this is a drawing of a Mycenaean syrup jar which is the vessel that we've sort of been focusing on the most for our early stages of research this is not the drawing of the actual vessel which I actually have right here as well I think actually I'll just send it around this sort of feels a little bit like showing talent it's kind of like a bag of preschool but this is the vessel that we've been working the most with and then we've actually succeeded in several print jobs for not a drawing of that specific vessel but it's pretty close now the syrup jar is actually a very common shape in the sort of Mycenaean corpus of bases here you can see the basic shape stays the same there are some reflections in the decoration in science and some of the specifics of the shape but from those parts it stays pretty consistent this is a fine barrel vessel as you can see it's a closed vessel particularly for transporting storage of liquids the larger vessels like this one that you see on the right are probably used for wine storage and the smaller vessels like the one that is going around right now were used for oil and specifically curfew and oil now although this is not an Egyptian artifact there might be some of you in the room that have seen this before specifically in the Egyptian context and that's because this is a really important and kind of big import that we see in Egypt from the Mycenaean world we find these pots at sites like Amarno, Dena, Medina I think the last count that I heard is these pots show up at something around 30 different sites along the Nile Valley in Egypt so for someone like me who is interested in cultural contact this kind of research is really interesting because it provides us with a way of digitally scanning a lot of artifacts from a lot of different places both Egypt, Greece and the rest of the Eastern Mediterranean and bringing them together to sort of curate a digital collection that you can't do with the actual artifacts themselves so that's all the reasons why I sort of got into this work is because someone who kind of travels around and looks at all these materials it's nice to have a curate collection in one place now this one obviously is not one that is from Egypt so the scam that you guys are sort of holding the plan with right now is a scam that I took this past summer while I was on Exhibition in Greece so I'm a member of the staff of Berkeley's Exhibitions in Greece we work at three different sites we work at Bicini a poverty production center where this sky may have actually been made but we also work at the Temple of Zeus there and also nearby the Temple of the Man just to the west we work at Ivonia which is a Bronze Age chamber tomb cemetery where this sky was discovered now this past summer my director and advisor Dr. Michel was very generous and allowed me to basically go into the back of the museum and pick a couple of objects that I would be allowed to sort of work with digitally so that I was very kind with her and I also was very fortunate that one of the members of our Exhibition team Dr. Nefi Atlassopoulos was also around she's our Byzantinist and she has also been doing a lot of work with 3D scanning so she and I worked together and we decided we were going to expand her work where she's mostly been scanning the Byzantine objects from the Man Exhibitions and we wanted to sort of start piloting a program to do that same work at Ivonia and this is one of our first scans that we created and we actually made a couple different scans of this guy, we started with photogrammetry so this is our last chapter in this photo shoot but we also did 3D laser scans using a next-engine handheld tabletop scanner which I think Justin actually alluded to a little bit yesterday it's a 2008 copy so it's about 10 years so he was talking a little bit about how sometimes his technology gets out of date rather quickly then he can get a new scanner but actually for reasons I'll show you in a little bit it actually does a very good job of making some very nice scans these are not photograms of the object these are the actual scans just from the next-engine scanner again this is a scanner that's 10 years old but it still is creating a lot of really great details in fact if you have the model and you look basically right below the spout you can see we have all these next built painted lines and you can see those lines on our model itself which I think is a good testament both to the scanner but also to the 3D critique that we did and because we actually decided that for reasons of texture we wanted to use the 3D models that were generated by the laser scanner rather than photogrammetry because it kind of flattens the object today so this is a scan we decided to do to work with and I came back to campus and was thinking a little bit about what I wanted to actually do with these objects and then very fortunately for me and David approached my advisor Dr. Kim Shelton and said hang on I'm really interested in 3D printing if you guys have anything Dr. Kim put the two of us in contact and we've been playing around with surf drives ever since so to kind of start the process I was actually really surprised I kind of thought this was going to be really difficult and high tapping hard to do but it's actually a lot simpler than everyone would imagine so yeah it's actually fairly simple so long as you already have the 3D scanner of the object that you want to make and from there most 3D scanned files that we had from scanners were in polygon format so that p.py format which is really standard for 3D scanning however the 3D printers all don't really work within that file type they use mostly .stl files so the first thing that we had to do was to import this object into mesh lab and change it into a .stl file which is actually again fairly simple to do and then once you've done that the file can then easily be loaded on 3D printing software of our choice which for us we had access to here a type A printer which are the 3D printers that are available if the maker space in Moffitt which I think again justin's alluded to this a little bit yesterday but if you're on campus and you haven't been there I definitely recommend checking that out it's in the first board Moffitt there's this fantastic maker space that has a number of different resources but one of them are we have this sweep of 3D printers which is really fantastic now these specific printers don't allow for many printing options we were okay with that at first since we didn't have a lot of things that we needed to change the stirrup jar that we printed was printed using the filament a PLA filament which is a compostable plastic the filament is just what we call the material that the object is made out of it took our printer 12 hours to put this guy together so this is just a little gift showing the printing process and how it works so just kind of looking down you can see that with this 3 model there are essentially two components the first is the hour wall which is that thick wall that you see on the outside and then the second is what we call the infill as it comes back down it's this triangular structure on the inside that supports the model both as it's being initially built and once it's finished as well so that was fun to kind of print and see that happening so you can see some action shots of the object being printed and the final copy so we were actually, it was fairly successful we were pretty proud of that but we decided we wanted to move on and test another type of vessel so this is the courseware vessel which is again also from agonia it's used for communication rituals and here you can also see the supports so this is obviously the vessel itself this is not a part of the vessel but those are the supports that the 3D printer builds in so that when you're working horizontally or working at a vessel like this it doesn't have a base it's able to support it as it goes out and print it and those just basically break off very easily once you've finished the print job and we wanted to print this just because we hadn't done a closed vessel we wanted to do an open vessel which I refer to this is a binary vessel and this is as I said a courseware vessel and one of the things that we found was really interesting is even with this is not necessarily the top of the line printer but even with this very standard printer we were able to get high fidelity in sort of the composition of the clay so I don't have this model with me here today but if I put them side by side and you can kind of see it a little bit in the pictures as well we'll be able to see the difference in the clay as you guys have been feeling it up this is obviously very smooth, very nice but if you were to play with this kind you could feel how coarse that clay actually is which is something that we found to be pretty exciting and one of the reasons why we wanted to go with the laser scans rather than the photogrammetry once we had printed this we decided that we wanted to try to make our stored jar public and after some initial research we found that there are two ways to do this the first is to upload it into a printer and set it to base mode which essentially tells the printer not to print the infill it just basically prints a shell on the outside that's what we did here with this one and we had to actually go to a different maker space on campus in Jacob's hall and we had to use a different kind of printer that gave us some more printing options which would be the ultimate cure of 3D printer so we could actually go ahead and do the base mode and maybe you can kind of tell from this but it did really work I have him here I keep referring to this as a little store of jar that couldn't because as you can see in base mode it really struggles with sort of a horizontal so if I sort of turn it over like this you can see that it hasn't really been able to do the 3D printing at the top it couldn't really do the base either and once it gets to this part of the vessel where it is really horizontal the 3D printer really struggled to make that work it's also kind of a little bit flimsy like I could kind of push it and you know, could potentially break fairly easily but even in this model again like if you were to look right full up the spout we still have some of those nice fine lines from the paint so it's not all that but we just sort of discovered that that's probably not the best option if you wanted to print something to be hollow and kind of play around with so the second option we came on was not much you rather than set it to a base mode you can actually go into the printer and tell it not to print the infill but then you can tell it to sort of increase the layers of the actual shell itself and that's what we did with this guy here so so this doesn't begin just to damage the printer kind of falling apart and not really going how to handle the little stirrup jar that couldn't and this is a gift from the one that we did again so this is the one that was successful and as you can see did a really good job like with the base it's hollow on the inside although for some reason the model that we built actually has something kind of stuck in it it doesn't think that it's supposed to be a spout so we just have to drill that but once we do we have this nice hollow model of the stirrup jar that actually feels like kind of like the right weight of it which sort of brings us to why was it so important for us to think about trying to make this hollow why it even sort of bothered going into this and trying to see if it's the first place I think one of the things that we discovered initially is that to begin with this is really a good educational opportunity so the first thing that we did with the printed one of these is that David and I went into biology just into and out on campus and we have a teaching collection there of my sea and pottery and I was able to go in there and pull out shirts of an actual stirrup jar and we were able to put them side by side and say okay here's the stirrup jar this is the part of the vessel it comes from and talk a little bit more about how these objects are used which again I think it really has some really strong educational opportunities there and that's one of the reasons why when we go back through summer Dr. Shulman and I are going to try and scan as many different sheets as we can so we can 3D print more vessels that can be used in tandem with this teaching collection both for grads and undergrads and really scholars who want to engage more with the material and learn more about it but I think that this has kind of brought up a number of the different talks so far I think really some of what's been most beneficial even just for me about this is the potential phenomenological experience with the object I work with this object to increase and I'm not even able to handle as much as I'm able to handle this guy and just walking around with him and playing with him I've been able to think a lot more about how it's being used and how it's been designed I mean this is really a nice handheld object that's designed just to fit your hand and then you kind of put a little perfume on and you know he's quite nice so I think it's also a way to create the phenomenological experience with students and researchers and also make these objects a lot more accessible I mean this is an object that's being increased and even versions of this object that are available in museum environments you're not going to be able to touch and play around with and think about how it was used since something that we did I have been discussing a little bit this coming semester I'm going to be embarking on sort of the three scanning project at the first going through and doing some initial research in my dissertation to use scans of Egyptian artifacts that I think have been in a few great contexts and one of the things that we've talked about I would really like to not just make the scans but also make some 3D prints of some of these objects specifically of objects that will be in the gallery space so that a visitor to our gallery here can see an object in a display case they can have a 3D model that they can engage with while they're looking at that actual artifact and then maybe they can also go to the king and play around with the 3D model itself so I think that running time is okay, it's not all but I think there's a really there's something to be said if you were for these 3D prints I don't think it just has to be something fun that you can kind of play around with but I think that it really just helps students engage a lot more with the material itself and really us the scholars can engage with it as well so I'll stop there because I'm probably over time but thank you very much Thank you, Debbie, any questions? That dog is adorable, what is it? It's not a dog, it's actually one that we just made today and if I had time I was going to talk more about it This is bull fragment it's also by Simeon this one is actually not from our excavations but we got this Scan the World is a big scanning movement online so this is one that's actually from the British Museum we had a bunch of these in our collection we just didn't have one that we had scanned so we were playing around with scanning some fingerings as well although this guy had some problems with his legs the printer got confused so I think that sort of glitched and three of his legs had to be moved back up he's still very nice and again, since you're on an object it's nice to engage with it so the maker space on campus is free so as long as you again, as long as you have your file already, you can go into this maker space in an office and you can go right ahead and just print it out it has to be open so there has to be someone there that can make sure the computer turns on if you need to any coffee? I mean, you can have a drink if you want this guy took 12 hours so it'll take a long time the printers themselves are only about this big for bigger jobs like that, you have to print it in sections you can print it in sections and move it together but that's definitely something you can look into doing it's just, you're going to want to do it soon because it's probably going to take all semester, too I think the importance of replicas for educational tool but also for editing preservation is becoming really important and for Egyptian objects actually, many replicas are showing up in museums to help the visitors to use them and understand them better so I think this kind of job is very useful for our students and for us Thank you David and the speaker is Kia Johnstone currently pursuing a PhD in Egyptology she has a very great she has an undergraduate degrees 200 degrees and a graduate degree in computer science and biology from the university and a research interest in the political history of the 30th century period and she's especially interested in regional coffee styles and now this related to local variations religious beliefs she's currently working also with me on the Zook of the Dead in 3D project to be photogrammetry models of coffins and to explore the relationships between texts and other materiality of coffins I must say I'm very happy with Kia because she's doing a great job and I look forward to your presentations today which will be about our project the title is the exploration of coffins software and methodologies and there's no coffee pauses we have a very intensive milk but we have coffee so you don't want coffee because it's a very tiny little computer window here I need to but I need to make it a little bigger yeah I think it was also the other person I don't want to I don't want to go away so yay so today I'm going to talk about probably the hardest coffin that we had to do we are doing photogrammetry models objects that are a little bit too big to do in closed life models on a turntable and they're a bit too small to do some of the things of drawings with very closed spaces with sometimes kind of poor lighting and this was one of the most challenging ones that we did and part of that challenge was kind of something posed unfortunately which I'm going to but part of it had to do with the actual geometry of the object so first we'll move background this is the coffin in Pochetta it was housed in the remains of a young boy it's painted all over on the inside from the outside it consists of a basin and a lid and it's been in the first museum for a number of hundred years and it's always been in bad shape it's always been missing that board I found the black and white picture of recent where it was kind of held together by wire recently it's had this plastic structure put up under the lid to hold the lid together so we can rest on the coffin this is a very special coffin because not a whole lot of work has been done on these types of coffins this is a box coffin called a carousel coffin sometimes and this one is especially special because it's for a child there really are not that many of them out there so we've had a really hard time kind of figuring out where it's from and when it dates to we're pretty sure that this is actually called magnetic hearing aid keys and this child is very important he has some recently titles which is pretty good for a boy of 8 to 12 and his coffin is especially neat because it's painted all over and the symbolism is important for the body inside so in what you do in Pachenev and lying inside the coffin the base of the coffin skydive is spread out underneath the body and she's trying to envelop him like she did with her own son Osiris the sons of Horus these protective deities are painted on the inside who lived so that if the mummy were to wake up he'd be looking straight at them and on the outside of the coffin it's kind of the coffin itself is the world in the microcosm this is the head end which is the eastern horizon you have these heads coming up out of the ground and pushing the sun up over the horizon as if they were pushing Pachenev's head so that he can be reborn and so we really wanted to capture all of the details of this coffin the underside of the lid, the base and all of the outside all of the details on the outside and so it caused a bit of a challenge which we came up with the following solution for so our initial idea was we're going to do a model of the lid on the coffin so we'll build a model of that and then we'll build a model of the base and without the lid so we can get the new figure and then we'll do a top and the underside of the lid that was our original idea of this coffin and I figured if these two don't work out at least we'll have this one that'll be my model of the outside of it at least we'll get that bed unfortunately we were starting to kind of write out a game with a few things first of all this clear plastic frame is not photogrammetry very well clear things and shiny things are like kryptonite to photogrammetry also the fragility of this lid so we do the inside of the hull and then we have a hard time getting the camera underneath the edges of it and we kind of figured oh we don't really want to do this since you run and have them flip it over so maybe we can just recycle the pictures of the lid from the view of the coffin it's a whole object and we can have it use those pictures to texture the outside of it this part of the base and actually turned out okay you can see there's not a whole lot of space in here to get around the things so we kind of walked around those sort of pictures but this model actually turned out okay with the base and then the picture on the inside the thing on the outside they were working weird holes on the outside where we didn't quite get enough data to build the model and then the model of the let me see it right now the model of the outside was something else altogether here you can see that that was not what could happen the computer was very confused about where the left side was relative to the right side and and when that happens you're there are not a lot of options you have for not to fix it you can go through them for bad pictures in a real time but this would have been great hindsight knowledge that we didn't have at the time which I'll go into in a second so okay let's grab that solution we're going to come up with something else to solve this problem so the solution that we came up with we're going to build four models now we're going to build inside of the base outside of the base outside of the lid so okay and we're going to use the pictures where I need to because unfortunately when you're doing this in the museum sometimes the first has been very very good to us but really you only get one shot most of the time and so if you take a bunch of pictures which just don't work out we've got to figure out how to deal with this rather than just going and doing it don't work out and with an object like this we don't want to move it over again even if they would let us access it which they would but it's very fragile so we recycled these pictures that didn't fly correctly of the basin and I masked them twice so in this one this is the entire thing to generate just the outside of the box I've masked out the lid say pictures are going to be used to generate the outside of the lid go ahead and invert the masks use them to build the outside of the lid and here those two models kind of an action here here's the outside of that lid I mean here's the outside of the basin and you can see it's a little bit janky on the covers there but for the most part it's pretty good according to the dodgy bits and then there's the inside right there and between that they should make a pretty decent model of the thing and you can see that the inside is out to missions too so it means the outside means the inside so once we build the inside of the hole if you will in the outside what I did was I manually placed a hole I built out with the full models with the textures and I went through and I put manual points on various features that showed up both on the inside of the tub and the outside most of them were on the edge you can see we have great games like Gaum push and post hole and crack pay and we said okay go find those pieces go find the points that have the same name on top of the bottom and line them up together and so that's how we lined up the basin and the inside of the basin with the outside there's 2c here except for the shardy bin at the bottom that actually turned out okay there's a similar thing with the lid which since I did this 2 years ago I had a hard time finding pictures of the lid so here's the lid in progress and we did when we built it we got a lot of kind of garbage here where that frame was and I actually at the point where I was doing the dense cloud I went in my hand and ended all of those points out so you can see kind of a ghost of that frame work but for the most part it's not there because it was only generated tiny parts of it where it was reflecting we have 2 models here and I want to position them in such a way that the user can actually see up inside it in a way that they can't if the lid is just on top of the coffin so I wanted that user to have the experience of being able to look at the picture on the bottom and being able to look at this thing that was carved on the top that the mummy itself would have been able to see and so what I did was I exported this as 2 different pictures from models and I posed them together at 3D Studio Max and because we just reviewed using 3D PDFs I think we don't use kind of people but everybody has it so it's a good way to get to make your models accessible to people I was able to build a 3D PDF using by compositing both of those models and exporting them as a 3D file and then using Photoshop to export them in a format that I could make a 3D PDF out of Is there a better way to do this? Yeah, probably so so at this point in the project, I think this was 2 years ago we didn't really know a whole lot about taking pictures for photogrammetry so I'm going to see one of our problems here so part of the problem is doing this missing plane a little bit we might just get confused about that because it can see the generation in the bottom of the content through this big hole but theoretically this should have worked out had we had a good depth of field on all of our pictures unfortunately for this one we were using a nice DSLR camera but we had it on focus and we were walking around and we get things from the depth of field that's not really good it's a great picture to pose unless it's masked out it's going to be confusing to the computer because it's blurry and it can't find any it can't use that portion of the pictures to find any points in space with any sort of accuracy so we had a lot of depth of field issues the other things we weren't really maintaining a constant distance from the object this is the these little blue bits from the location of all of our pictures we were just kind of all over the place taking a bunch of pictures we weren't really being too careful to do 60% overlap on the pictures we weren't really sure to do what to do with those posts we were getting really close and going around them and really we didn't need to do that what we needed to do was this very similar shaped coffin that we did just recently I ignored the blue pictures those are really nice but the red pictures here has this nice tweaky shape over the coffin and that manages to catch all of those inside details on the post holes through depth of field for every picture kind of a constant radius between the camera position and the side of the coffin from whatever picture we're taking it out theoretically we could have built the lid in one piece and the strategy for doing that would have been to be very careful around these quarters so when you're doing an object in the round you're generally rotating around 15 degrees so if you're doing an object that does kind of a 360 degree flip so you're going along the side of that arch of the coffin lid and you want to kind of go around that edge you would want to do something like pivot 15 degrees and take a picture every time as you go around that really tight corner right there right there as far as like what would I do differently I think I would not have done the whole model with the lid on top I think I probably would have started I would have made a nice model of both the inside and the outside with the base and made very careful to take the pictures and get good coverage with the pictures and have the focus set to a have the focus set on manual with a fixed shutter speed and a fixed afton and I would have actually probably done with it the same way to prevent it from moving except we would have built the other side of it and then flipped it and built the other side of it and then tried to pair up those two and that's kind of the way here is what the final model actually looks like it eventually turned out okay alright you can see all the little garden and demons along the top here and then there's the goddess in the bottom with his name and then you can see what rough shape the inside of this piece is in we have the details on the coats you can see that the probably needed to be photographed a little more carefully and then I got the gods overhead drawing around where Pachana's face would have been and there's the hands lifting his soul lifting some of the horizon they recorded and it will end with the beautiful trees of guardians here because they're really kind of the way they feature themselves and that's all I have to say so thank you thank you for showing us the process I've always thought of you purely experts in this but I think it just shows how hard it is in kind of this learning context we're inventing this from scratch and we're also learning the techniques of software so really we've been talking a lot about needing more experts to refer to and you're now making plans and you're one of these experts so would you like to work with that to really help you take this to the next time? Reena has been working with Valerio from CyArc and he is he's like the guys I used to work with in the game industry with modeling he's amazing and I look at the stuff he's doing and I'm like I don't know and I need to go back to college and I kind of do that maybe my next life will be better I wonder if you could reflect on what kind of training you think would be most useful I know you've had some kinds of training now as a graduate student in archaeology what should faculty and departments be offering to our students what kinds of things do you feel like students would need so that this process would be easier I really feel that you're a photographer I've had to kind of teach myself photography and I'm still not really I'm still learning my experimentation with a lot of stuff but I think that having a photography class or the workings of the camera and basic physics that the lens has discussed would be super helpful because I think even in a lot of art photography classes they just learn to take on autofocus and make a good picture but learning about depth of field and learning about the actual physics and how the mic gets the lens so that you know how to troubleshoot when things go wrong if I may add, I think basically we will need a curriculum for 3D artists so courses and so on how to use technology for the students which we don't have not many so that would be a really great thing for musical treatment not only and also I really I appreciate how creative is KIA to really use a technical solution so when the technology can't help or we do not know enough about the technology so the way she's been working on this model which was really difficult and it's amazing because she couldn't think about what to do if I didn't know how to use any more of the software and it worked anyway so I guess still working with 3D is very useful also for students also not only graduate but also undergraduate because it really stimulates their visual creativity so thank you now I'm going to introduce the next speakers and then we move to the other audience so Chris Hoffman and Jessica Johnson Chris Hoffman is an associate director of master's degree at the University of California and also University of Berkeley and he's known once in the campus research community and directs the campus research that are management programs and he's been working for many years as well and Chris likes Airphones to develop basic visualization services for University of Berkeley in collaboration now also with the University Museum with various scholars Jessica Johnson education studies at the University of Memphis currently in the first year as a PhD student at Berkeley and it has a focus on the relationship between and their demon habit as it shows in the book of the day specifically during the 19th century and it is she's a student of the University of Berkeley Shakespeare is the relationship of the evidence and the chronological correspondence of the family but she's also interested in the museum connection of Penn and she can live in of the digital humanities and museum cohers so now for the presentation which is an immersive environment for the study dissemination of 3D models we are going to take yours and use it very quickly with some of the videos that we have here so everybody we're coming today and this today and tomorrow our colleagues from Germany are coming over this has been a great set of talks today I'm really enjoying this so thanks to Jess for being here also I want to introduce Nick Kerasi who's in fact in the group who's one of our undergraduate students working on our team of this set of projects I just want to say what we're going to do we're going to go over to where the person cage is this is our visualization wall and we're going to do about a second minute we're very fast slide dash just to go through some of the projects that we've been doing here on campus for our student team visualization projects and photogrammetry with the first museum and other museums on campus and then we're going to take the right amount of time and we can tune the demo stations what if the person cage where people have a chance to go through all of the applications that we've been doing on the three applications and we're going to add a VR station right next door so we'll kind of split into two one at the first page one at the VR station people take turns and then we're going to get halfway through the remaining time we'll have to do a switch if that makes sense so why don't we go ahead and go over to the first cage which is through the museum and around the campus I don't have the first the first because you have to stand here for me the final session also with the VR applications was great we still have about an hour before we have to close quite so I really would like to stimulate a discussion about the many issues we touch today and spontaneously anyone has already something to start with or questions to the speakers at least those who are still here or what you we could also without questions just start to talk about so many issues, practical issues about how to use the technologies I think and maintain the sustainability of them maintaining the cost hiring the right so people who help scholars with practical needs or also the contrary our 3D and in general digital experts can help scholars I am many knows on each later I could go on but there are questions from any preference to start the conversation Adam? I have a question that is very overarching and to be said everyone here in different ways but one of the challenges that I think we are all going to face is not already is the fact that the storage isn't very nice and when you get into the data especially some of you working with the CDL or some of your data is stored there and some of you have been working with say Sciography and other members in the industry but I feel like for archaeologists and researchers especially having kind of a lot of our wondering at all to be a game changer for interdisciplinary and collaborative work you know you have a site you have been curating and you would love to have talented scholars engage with that data set and yet they can't because they don't know what exists online or something so where are your thoughts so far as you kind of interacted with some of these like storage facilities essentially and can you in your mind see any kind of consensus forming as to where might invest our data sets because I have a big data already and I would love to make interactive and collaborative for an interdisciplinary scholarship but there are a lot of blocks and challenges I'd rather not have to invest in multiple places but rather maybe just one or two you know I'm struggling with these kind of issues too yes I think that's such an important question and my colleague at UCLA, this Snyder has sort of come up with one sort of repository and you know that's a drop in the bucket for what we need but I think it's maybe an interesting kind of model for how scholars and libraries also could kind of work together she's creating sort of like a little niche repository for people's projects that they build in so she's created this open-source software and virtual reality thing that allows you to richly annotate your model with scholarly kinds of information and so she now has a small grant from the NEH and so people who download her software program and upload their models in it and then send them to the archive so that you can have it stored in the library through the digital library and you can control how other people are able to access it and change it so if you want teachers to be able to use it and write their own narratives around your narrative they can do so and save those and then they can even upload them for other people to use if they wanted to do a narrative for high schoolers or something like that and so I think it's kind of at least a model of how we as scholars need to actually engage in that question instead of saying oh well we'll just put our stuff up on Sketchfab which is proprietary in which we have no control over and we have they can just decide to close that down and then we've doubled this work and have no access to it they're like we really need to start creating our own solutions and I think that's a really important place that collaboration has to happen around that right it's very hard for one scholar to do that you need to have collaboration between multiple libraries, multiple scholars and you know that's a very sort of a little niche kind of thing but I can imagine a similar type of thing for archaeology to go to the metric models right that would be a voucher and all of this kind of material so I think we all start need to start being more savvy about that and actually putting together some grants and working together to kind of make these repositories because no one's going to do it for us yeah I think about this a lot too I'll admit my dirty little secret about these projects that you've seen is that we're doing a horrible job with archiving and packing deciding what even we're working so hard even with a fair technical problems that kind of the long way preservation is something like we'll get to that in a month or so another example I think that Nicola talked about is that UC San Diego has a real possible story and for the project that we worked on we were sending our content down to them and they were really to take also the rock photograph as well as the finished models and so we had an interesting discussion about what content to send in that year so for example for us, so this experience and the UC San Diego first of all the program, the digital program where perhaps we've been knowledgeable about all the kind of that we were of course we had a field zoom conversation that in them so we can have a scanner about that that we can upload like in E57 on clouds so we can be opening a software with other open sources and plus we also had a photogrammetric model either we upload like the road feature and then we will process them and then we upload those more and then we have a modeling and DJ format so the content depends on what we do or what kind of data we have and what we also upload and then you can see that people can start from scratch the photogrammetry or start from scratch then draw in the other scanner and then the way to make them searchable was to link them to publication so now when you know that the publication is still there we are waiting at this overview but the idea was to when you also make an article and a lot of time there is already do you have a collection related to the publication and so that is how we did it and plus but they are a lot of the like Jibra and Jibra and so that is an instant point right? NSF won't fund repositories like that I'm sure any age 12 but the National Institutes of Health have funded actual repositories for medical data genomic data so other funding agencies have decided to invest in this because they know UC San Diego is going to solve the problem for everybody UC LA isn't either so it really takes a different level of coordination to really solve this problem and considering how many anthropologists and archaeologists and cultural historians we have the UC system it seems to me like this would be an absolutely would make a huge amount of sense to take advantage of that multi-campus kind of level thing and be working to have a 7 or 8 campus collaboration on putting together this kind of thing it's just a matter of people doing it right? I'm sort of bringing it up and saying this has to be done because they're not going to build it for us until they know that it's necessary they knew that access spreadsheet right according to our need to capture all the medical data so they were able to ingest all the data and the medical data and see going through one of each one and see if there are problems with what you're writing so it is a gigantic work that is the solution and this would be indeed the cross-disciplinary enterprise and I think it's important indeed to kind of go out your own discipline and see to others that's why my idea for this workshop was a comparative perspective because I think in Egyptology we have a lot of work to do in this direction but we are still not working enough on what is happening in other fields with producing models to bring them and sharing that is the other next issue Does this look like a huge problem for German colleagues? Is this a familiar problem? Do you have similarly supportive repositories for which has digital products of your research? Or do you solve it at the university level? Yes, several IT groups they have very big servers so we can put everything on so actually for my exploration project I have no plans at all I can just leave everything in the IT group it's for free I don't have to pay for it I think they have the same problem they have no repository so I think the LMU is quite good I don't know what your experience is I didn't have that amount of data unfortunately but I use it also they give you a repository for personal purposes but also for bigger projects so you can apply a certain amount of data you need for free Are you familiar with European database? Which one? It's like a 3D library for data in Europe it's for European collections That's a project grouping together all the digital collections from European libraries of museums and cultural institutions to the one I was just wondering if your university was utilizing that but do you know which one? and that's only for you I think it's based on European collections maybe you kind of feel like your library may be sending this collection but what about all the other collections you're going to start out in a library and you can be in the United States but the Library of Congress has certain standards for data ingestion That's not true I'm sorry? They're starting to take 3D data as well that was one of the resources that we did quite now with the standards so we're reaching out to different groups on how we're doing that our data is started with Google cloud services and we're looking to see if we can add more partners to this but it's still very early days for that because the repositories also have to be not that I would like to kind of add that up but in the right version yeah and sustainability so if you can show that you're a big project just sustainably you're not going to get the money anymore so you have to write a plan but see if you're looking at results of prior work that you've met those partners is it making a difference whether you're actually managing your data like you said yeah I think the rhythm for example the way the melons worked is in the past they've kind of created these silos of data like where you know you have an investment in the city of CLI I think from digital library it was heavily invested but there are not that many pathways through internet of things on the web to link you from some other site to the CLI so it's not discoverable as this huge data set of text so now what they're best to interact with those types of pathways they connect these silos so say you're an archaeologist and some of the text that you've discovered at your site were digitized in the CLI so I guess they're trying to connect all of these objects online now and that's where one of the grants are going like the linguistically linked data or linked online data these are really referenced data frame and one of the less like cemented networks that are connecting all of these objects online and I think that's been important so if you're savvy with like where your objects are located with their IDs online then you shouldn't be creating ones in any project if these are objects that already exist somewhere and so knowing how to use the UIDs and all these key terms for objects are incredibly important now because they don't want to just keep investing in castles, they want to connect the castles together also speaking about also database I really like the idea of Niko creating this dynamic database of artifacts with state info, state of conservation and it's all collected by the people so involved with the communities I was wondering of course it's easier to do when a place like California would be kind of a challenge to do in different areas but I wonder what you think about that for instance in Egypt I think we could try to do this more as scholars to involve the communities to create those database and I think when a scholar from scholarly projects and also value from the communities there is also there are many more chances to get funded to find supporters of the project and so for the repository problem could probably help to protect the experience in that I would just begin from my backwards which is slightly more east of where many were you must say Turkey, Syria and Iraq the ministry of tourism actually controls a lot of what happens at the archeological sites and so being able to appeal to that administration in that way with citizen science approaches could end up maybe being a game changer for how they see what's happening in this site as being something purely like western academic to something a lot more inclusive and interactive and raise awareness as well as maybe like monetizing it sometimes you know, everyone's broke in these things and you're the if you would like to discuss the last few minutes well the one thing I have actually you know I think a lot of I have a lot of colleagues who are kind of apprehensive in terms of right now and that in the large 3D scanning project one because the files that we're going to generate are going to be really large so you have to figure out where to store them and you can instead of put large files online and you can it's getting better that way but we're kind of still at the bleeding edge or maybe the cutting edge but we're not quite into the edge in which it's kind of common for everyone and listening to you and especially in your talk as this like learning curve is taking place but also a curve in technological advancement you know are we still a little too soon for a big upfront investment in 3D visualization when 5 years from now there's going to be a game changer that will make the process faster I mean this is why I have a lot of colleagues who say you know wait on OCR for Kineform it's just not there yet but you know in the meantime like we're talking a bit because we want to use deep learning you know we want to implement this stuff and you can't do it without the data the way you get to that sleep version is to show them along in the dirt I think probably yeah we're taking it to this a long time like we've been catching it since 2003 and it's only in the last 3 years that we show it to anyone in a meaningful way we had all this data and it just sat there and like it wasn't really useful for the sites where we worked it was useless like it was just like in the computer in our office well we'd say that in like 3 different locations we make sure that our office doesn't have to speak here but it had an utility and so it turns out with a lot of the sites that we work all over the world what is useful to them is 2D drawings and so like we're taking these 3D data whatever 80 million polygons whatever you said is like they can't deal with that yet or Tanzania is not going to use that and so what we do is we we do sections of it and we print it out and we send it and that's useful but they are able to use that today and so really like it's cool all this visualization stuff and they get excited about it but like in Tanzania that's really far away still until like quite every project to make sure that one that we get access to go that they let us come and see utility is that we have to make something that they can use and so like every project there are drawings there are even in the United States it still like happens like for any drawings that are certainly not going to have that kind of focus and then if they can support more or if they have a museum that has that capacity then we'll provide those models but starting with like a base level is just 2D drawings and I also don't like the idea that somehow we're just going to let the tech companies decide how to make all of this software right well they'll make it easy so we can just touch the button and it'll work right they don't make things for education like food citation and annotation and all of the kind of layering and detail that we're interested in right so if we're not engaging with that if they're not out there seeing us experimenting with this material and saying oh this does have educational purposes look at what these people did it's very low tech but wow we never would have thought of doing it that way right look at what they're interested in I really think to expect private sector company that's trying to sell things to a private sector market to make things that are going to work for us is totally unrealistic we're always hacking the stuff that they've created and trying to make it work for us and it's never really a good fit because they're not including the kinds of things that we want to have so I think just kind of the idea that we're just going to step back and let them fix our problems for us I think it's a very naive point of view that your colleagues are taking that we engage with people that are making how we're using it if we're using it in our classrooms if we're training our students to think about these concepts then maybe we can actually get involved with creating the digital future that we want to have that's actually focused on cultural heritage and education I think that's the right approach to have and not just wait until they've built it we won't come so the spectacle battle and wish list thank you right now we have this relationship with reality capture we're one of the first users and so we can ask for things they won't always say yes but sometimes they do and we give what we want and we still have to hack to make certain things but they do give us they see the utility and then it comes out as a we try to help the user and it comes out as a beta for everyone else and so pushing and asking for those relationships and I think universities can do that they're big user bases like you're teaching people how to use the software I think you have some power there too to bring these companies there's a lot of archaeologists we aren't really thank you I have to talk now because of the museum time I hope we see you all soon for a morning and we can continue the workshop and now just information you're invited for dinner tonight I wanted to show you the case thank you Anderson is a megan postdoctoral fellow in the digital humanities serving also the academic advisory board for digital humanities at Berkeley and co-auto and designer of the theory of metals curriculum for the digital humanities minor his work brings together the fields of computational linguistics and archaeology to quantify the social and economic landscapes emerging during the Bronze Age in the ancient Middle East his work shows how networks of internationally related archives provide a means of mapping and modeling the overlapping datasets from ancient texts and modern archaeological records in order to explain the hierarchical roles and positions of individuals and groups within societies and today we will speak about the case for 3D cuneiform thank you it takes a lot for holding this it's really exciting to be with faculty and students from my alma mater and Ludwig Maximilians as well so look forward to hearing more about your research as it goes forward and collaboration opportunities as we know we've talked a lot about the early discoveries of the ancient Middle East from a western perspective and I'll just fill in some of the gaps for the Mesopotamian region we have early discoveries by Sir Austin Layard who introduced the western world to some of the fantastic remains of the ancient empires whether they were the Neo-Syrian Empire or the Babylonian Empire and those of course were both conflated in our rediscovery of these cultures and really awoke a curiosity in the western mind with blockbuster museum exhibits that were in the Louvre and British Museum at the time in the 1920s and 30s really kind of created a unique culture around the way the world looked at these long forgotten cultures this in this case were buried in the ground for over a thousand years and forgotten but in reawaking that kind of imagination we've also kind of through whether it's cultural appropriation like in Hollywood as it imagines or through kind of a misinformation as to what these objects are and their value to us has kind of trickled out into our modern world in ways that were unforeseen at the time when Napoleon went and took the wonderful goods you know back home to Paris or and then all the other countries followed suit in the western world in many ways so a lot of my work is driven with this kind of impetus to address the wrongs of the past they weren't perceived as wrong at the time but have since come to look at this in a way that our effects can have sometimes devastating effects on the local cultures especially who have much closer proximity to these objects and in many ways our identity with them whether they want that identity linked to these ancient cultures or not they're in many ways closer to the ground and we see that in many ways of course one of the main ways that it's come into the news recently is thanks to the Hobby Lobby Corporation who as we know was recently in this scandal where they had spent at least a million dollars falsely labeling artifacts that were coming from the Middle East describing them as ceramic tiles, clay tiles as it turns out these were in fact a horde of cuneiform tablets and plaques, cylinder seals cylinder seals and dockets and this is just a glimpse of what I think what we catch if we look at how much and can kind of project to what degree these artifacts are being taken by looters and by groups like ISIS we see that it's on the equivalent of their oil and gas and they often think about these artifacts in this way so that pulling valuable objects from the ground is like pulling oil from the ground and they go to resell these things very few of them even though much of their propaganda suggests they're destroying these objects very few of these objects are being destroyed we're finding the pits where they're keeping the objects and we but we know that in the process we're very familiar with this kind of story most of what we have in our museums in the western world from that precede the 1930s came to us in a very similar way we found them the museum workers the British Museum for example would go to a bazaar in Syria or Iraq and find a recent hoard of objects that were being sold at a bazaar and that at the time was never questioned what our involvement as a museum would be in procuring these objects whereas today no responsible museum is purchasing these objects these are left to the black market and very few of them are presented for any kind of scholarly eye to capture before they go into different auction houses or sold privately but it's important to realize also how these objects come from places like real real spots on the earth that can be recovered in some way or at least that's the question can we take say a hoard of texts that we know come from a certain location and reconstruct some kind of archive and that word is I think an important one and a confusing one the way we use it in the field we use that word to describe for example a scholarly archive of an excavation the tectonus archive as they described it and we also use it to describe ancient archives or collections of objects and texts from contexts in houses and at sites in antiquity there's a disconnect there and I don't think our specificity of language is exact enough to distinguish them within the word itself and so I think that there's maybe certain qualifiers we can use as we describe these archives but especially in southern Iraq the scholars have, due to the Gulf War and whatnot, been many many steps behind the looters we can't get ahead of it it's gone further than we can in most sites there's currently thanks to scholarly help about 150,000 neosumerian texts have been recovered through photos being passed before they are up for auction and these photos have been used to digitize a database and we've since been able at certain points in 2006 and more recently been able to go and check what's happening on the ground at sites like UMA and Dreyham in southern Iraq and we see very consistent patterns where these sites have been systematically looted but not in its completion there's always more is the challenge as well how do we as scholars address this kind of ongoing process that is again many steps in front of us that we can't quite get to where they are in terms of their recovery we don't employ such methods in our archaeological excavations and yet we need to somehow contextualize what's happened so I think the digital humanities can play in fact like a very important role in this process to kind of reify the conundrum that scholars find themselves in where their hands are tied behind their back because we can't do what locals on the ground are already doing and we need to somehow match our scholarship with the kind of current events that are taking place in the country not only for our continuation of a long term project that's been going on in the west since the 1920s but also to help the indigenous and local cultures appreciate the context and value what's coming from the ground a little bit more than say oil which you know is also kind of in very many ways synonymous to a group like ISIS so to kind of contextualize what we find there's about 3000 years of written history and I'm going to focus a lot on writing because I think you can think of a tablet with writing on it much like an artifact but in many ways