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Manual/digital interactions in 'Project code-named Humpty'
Johnson, Kate Evans, Adrian A. Sparrow, Thomas Black, L. Harman, Robert Yang, D. Wilson, Andrew S.
Johnson, Kate
Evans, Adrian A.
Sparrow, Thomas
Black, L.
Harman, Robert
Yang, D.
Wilson, Andrew S.
Publication Date
2022-04
End of Embargo
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Peer-Reviewed
Yes
Open Access status
closedAccess
Accepted for publication
2022
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Abstract
‘Project code-named Humpty’ is a performative art piece involving the creation, fragmentation, and reconstruction of a 2.7 m high classically inspired sculpture. It was conceived to complement an archaeological science research project setting out to explore the use of digital scanning technologies in artefact reconstruction. The statue’s form was free sculpted in clay over a period of four years. It was cast in a self-supporting cementitious material specifically for the purpose of ceremonial fragmentation and subsequent reconstruction by archaeologists. In this chapter, we explore the project’s human/machine intentions, interactions, development processes and their wider implications leading to fragmentation. We explore how 3D terrestrial laser scanning with photogrammetry was used to chart the creation of the sculptural form and how scans informed finite element analysis, essential for safe casting and fragmentation. We show how structured light scanning was essential to create a digital backup of the mould and how drone imagery documented fragmentation tests and 360° imaging recorded studio and quarry activity.
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Citation
Johnson K, Evans A, Sparrow T et al (2022) Manual/digital interactions in 'Project code-named Humpty". In: Ch'ng E, Chapman H, Gaffney VL et al (Eds.) Visual heritage: Digital approaches in heritage science. London: Springer. 391-413.
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Book chapter