Aiding the conservation of two wooden Buddhist sculptures with 3D imaging and spectroscopic techniques

The conservation of Buddhist sculptures that were transferred to Europe at some point during their lifetime raises numerous questions: while these objects historically served a religious, devotional purpose, many of them currently belong to museums or private collections, where they are detached from their original context and often adapted to western taste. A scientific study was carried out to address questions from Museo d'Arte Orientale of Turin curators in terms of whether these artifacts might be forgeries or replicas, and how they may have transformed over time. Several analytical techniques were used for materials identification and to study the production technique, ultimately aiming to discriminate the original materials from those added within later interventions

Active Residues

My PhD studies the aftermath of the museum collection to show how the removal of the object leaves behind the multiplicity of its conditions. As an entry point, I probe a set of questions that arise from a sequence of events that happen in the autumn of 2018. It's a story that begins with an error: in six short hours in September, a disastrous fire brought an end to two centuries' worth of treasures held in Brazil's National Museum. Only a handful of artifacts of the 20 million items that were housed at the museum survived the fire. At the age of algorithmic reproduction, it feels almost unimaginable that so many valuable objects were simply wiped off the face of the earth without leaving any digital trace. I propose that although the museum's objects no longer operate within their inherited institutional orders or colonial indexes, some of their constitutions, temperaments, and affordances are "dragged" with them from their original matter to the digital and information realm. The residues are unordered strata of matter, bio-form, and digital information that remained unclaimed by the institution. The museum's residues do not have form, like objects. Instead, they are the surplus of affects, tools, and affordances that arrive with the objects. They enunciate the futurity of the museum apparatus in its state of afterness. Museum afterness applies to the incomplete state between the "no longer" and the "not yet". Afterness is the state that comes after an event or an institutional structure has ended but the orders and relations that conditioned its existence are still active. I argue that the state of afterness not only stands for what comes after the institution but can potentially represent knowledge based on continuity of transformation between technical systems, matter formations, and biological life forms. Active Residues is a practice-theory research project where I use theoretical frameworks and performance-based methods to speculate on several "modes of afterness," which is how I define a set of modalities and practices stirred up in the wake of the museum that can become active sites for unlearning it

Ancient Manuscripts in Digital Culture

Ancient Manuscripts in Digital Culture presents an overview of the digital turn in Ancient Jewish and Christian manuscripts visualisation, data mining and communication, edited by David Hamidović, Claire Clivaz and Sarah Bowen Savant. Readership: Scholars and PhD and master students in Biblical studies, Early Jewish and Christian studies

Realistic visualisation of cultural heritage objects

This research investigation used digital photography in a hemispherical dome, enabling a set of 64 photographic images of an object to be captured in perfect pixel register, with each image illuminated from a different direction. This representation turns out to be much richer than a single 2D image, because it contains information at each point about both the 3D shape of the surface (gradient and local curvature) and the directionality of reflectance (gloss and specularity). Thereby it enables not only interactive visualisation through viewer software, giving the illusion of 3D, but also the reconstruction of an actual 3D surface and highly realistic rendering of a wide range of materials. The following seven outcomes of the research are claimed as novel and therefore as representing contributions to knowledge in the field: A method for determining the geometry of an illumination dome; An adaptive method for finding surface normals by bounded regression; Generating 3D surfaces from photometric stereo; Relationship between surface normals and specular angles; Modelling surface specularity by a modified Lorentzian function; Determining the optimal wavelengths of colour laser scanners; Characterising colour devices by synthetic reflectance spectra

Ancient Manuscripts in Digital Culture: Visualisation, Data Mining, Communication

Publication in open access thanks to the support of the SNSF Ancient Manuscripts in Digital Culture presents an overview of the digital turn in Ancient Jewish and Christian manuscripts visualisation, data mining and communication. Edited by David Hamidović, Claire Clivaz and Sarah Bowen Savant, it gathers together the contributions of seventeen scholars involved in Biblical, Early Jewish and Christian studies. The volume attests to the spreading of digital humanities in these fields and presents fundamental analysis of the rise of visual culture as well as specific test-cases concerning ancient manuscripts. Sophisticated visualisation tools, stylometric analysis, teaching and visual data, epigraphy and visualisation belong notably to the varied overview presented in the volume