Archaeology students take a deep dive into the world of 3-D digitization
Many people probably still associate the word “archaeology” with hands-on methods to unearth objects at excavation sites, along with drawings, traditional photography and of course plaster casts. “These traditional methods for recording archaeological objects are, and will remain, integral to our work. Nevertheless, digital methods allow us to find new ways of approaching objects and materials and asking questions about them,” says Dr. Ulrike Wolf, Assistant Lecturer in Classical Archaeology and e-learning coordinator at Goethe University’s Center for Humanities. This is exactly where her two-semester class in “Learning, applying and critically reviewing various methods for 3-D digitization” comes in: It aims to provide students with the necessary theoretical knowledge and practical skills, particularly with a view to their later career prospects. The class is co-organized by Dr. Matthias Recke, curator of Goethe University’s Collection of Classical Antiquities and its Sculpture Hall.
“The special feature of this class is our cooperation partners. Within the university context, we have the “fuels” (Future Learning Spaces) project, jointly carried out by TU Darmstadt, Darmstadt University of Applies Sciences and Goethe University Frankfurt. Our second partner is the State Office for the Preservation of Monuments in Hesse [Landesamt für Denkmalpflege Hessen, LfDH]. Our partners supplement our own expertise and simultaneously create networks that extend into the labor market,” Wolf emphasizes.
An object and its model
The setting for the block seminar was definitely inspiring: In mid-January, the technology was ready and waiting in the Sculpture Hall of the IG Farben Building located on Goethe University’s Westend Campus. Following a theoretical introduction by Christian Seitz from the LfDH and Dr. Anne Schaefer, Assistant Lecturer at the Institute of Archaeology (IAW), the seminar then turned very practical. Students were divided into three groups to experiment with two of the most commonly used 3-D digitization methods. For most of them, it was their first time coming into contact with these technologies. “Of course, I’d already read about them, but the practical side was completely new to me,” says Johanna – an experience shared by her fellow student Katharina, who adds: “That’s why I found it so exciting that we were able to try out the 3-D technologies for ourselves, and to view our initial results right away. We could see immediately what worked and what didn’t.” Paul had already acquired some experience in creating 3-D models as a research assistant, but this was also his first time using a camera or scanner to record the objects: “We worked with objects with very different properties, including in terms of their surfaces – such as the matt plaster cast of a head or a smooth, shiny glazed lamp. Capturing details, like a jaw-line, in an appropriate way is a challenge and takes experimentation and practice.”
Photos can be taken using either conventional cameras or cell phones. The captured images are then subjected to the “structure from motion” (SfM) method. This requires several photos of the object, which should have a high degree of overlap – ideally 80 percent. The program recognizes these overlaps, and based on them creates the three-dimensional model. This model can, and generally also must, later be edited on a computer.
One very technically advanced – and very expensive – piece of equipment is a strip light scanner, which projects strips of light onto the object, generating a large number of pictures within just a few seconds. Users can follow on a screen how the device scans the object and assembles the first model. “Since the machine operates on standard electricity, it’s not really suitable for use in remote locations,” Paul explains.
The future of archaeology is (also) digital
In what ways are digital technologies changing the profile of archaeology? “Digital methods enrich the methodological toolkit in the archaeological sciences. They enable new scientific findings and facilitate certain types of work, including evaluating large amounts of data or helping make objects more accessible, say by using 3-D models in teaching or museums. New tasks are being added to traditional activities. This takes specific skills, especially when it comes to the interface between archaeological expertise and technology – like being able to simultaneously speak the languages of archaeology and of technology/IT so as to understand certain technological developments and formulate specific requirements,” says Wolf.
What do the archaeology students think about 3-D digitization – will working with it also alter their career prospects? “I’m still doing my Bachelor’s, so I don’t have any specific idea about a future career just yet. But I’m grateful for the opportunity to discover what new technologies can do. Creating a 3-D model myself could be very useful for my final dissertation,” says Johanna. Katharina is also not really sure which field she wants to work in: “Aside from an academic career, there are also fascinating areas of work in museums, monument conservation and the cultural field. Regardless of where we end up later, it’s wonderful that we have these digital technologies that make objects universally available.” Paul is excited by the fact that 3-D digitization can make a huge contribution to the permanent documentation of cultural monuments. “Many ruins suffer climate change-related damages or war. Digital technology allows us to move buildings or even entire cities into the three-dimensional space – something that already finds application in science, but also in tourism.”
Johanna, Katharina and Paul are already looking forward to the third seminar, when the results – the final computer-generated 3-D models – will be examined, analyzed and discussed. In the summer semester, the second part of the class will focus on potential practical applications of the technology within archaeology. Ulrike Wolf still sees many questions and challenges associated with the broad use of 3-D technology, also when it comes to protecting and preserving cultural heritage: “Anyone using this type of technology needs a huge amount of computer storage, which in turn consumes energy. We need to discuss – if only for reasons of sustainability – what can and cannot be digitized.”
