Geary A. & Howe E. (2009) “Three-dimensional documentation and virtual restoration of the Lichfield Angel”, J-ICON, volume 32 number 2.

Geary A. (2009) “Digital Physicality - Exploring Hybrid Practices in Intaglio Printmaking”

97th International CAA Conference, February 25th-28th, Los Angeles

The “integration” of digital tools and virtual interaction may not have led us to a satisfactory holistic scenario for artistic practice. Recent research is exploring a crossover zone, where computer technology affects the material realm and where digitally driven processes interact with traditional ones. Despite pervasive virtuality, the sustained importance of physicality and tacit intelligence for artists is clear and multi-sensory – particularly touch feedback – interfaces are an unexpectedly poor vehicle to support these aspects of creativity in the virtual realm. The paper discusses these issues and presents a practical investigation exploring and benchmarking the use of computer controlled manufacturing technologies, for drawing and printmaking, alongside traditional processes. The digital is embedded in the artworks, leaving distinctive traces, yet they are manifestly physical and materially vulnerable. Digital physicality presents an opportunity to invigorate digital practice with the human creative excitement that arises through tangible engagement and material outcomes.

Geary A., Harrison J.P., Pullen D. and Mao, M. "Creative Limits: Applying Finite Element Analysis Static Stress in a Large-Scale Stone Sculpture by Henry Moore"

ICHIM 2007: Digital Culture and Heritage, Archives & Museum Informatics, Toronto, Canada.

This paper describes some of the solid body modelling methods developed during our initial analytical findings for Henry Moore’s sculpture, “Large Arch”, executed in fibreglass and travertine, and discusses the interim conclusions and applicability for future work.  These methods include the application of advanced technologies capable of modelling stress behaviour and predicting damage to artefacts deemed critical within the field of cultural heritage conservation.  Our development and use of Finite Elements with Laser Scanning for mechanical analysis of Sculptural Objects (FELSSO) has shown great promise in assessing hazardous static stress in large stone sculptures.  To date, the project has explored the viability of finite element analysis (FEA) used in conjunction with high-resolution data sets obtained via three-dimensional (3D) laser scanning.  This technique will allow analytical predictions of the probable effects on large scale stone sculptures relative to anticipated handling and display methods.  The mature technologies of 3D laser scanning and FEA, are the principal analytical methods that have been applied in the research. The latter is widely used in engineering fields to calculate the structural strength of items such as buildings, cars and aircraft. For the purposes of this study, data capture was accomplished through phase-shift laser scanning, a technology capable of yielding highly accurate results at capture ranges approaching 80 metres.  The research also addressed a key issue in determining the necessary density of scan data required for solid body modelling.  Those findings ensure that sufficient detail of the surface texture of a sculpture is captured whilst preventing the inclusion of too large a number of elements.  As a result, the overall approach is both accurate and economical in its application. 

Hallett K., Geary A., Roberts, Z. and Julian-Lees S. (2007) “High-resolution 3D laser digitisation of the Maiano terracotta roundels for documentation and condition monitoring"

The exterior of Hampton Court Palace is adorned with a significant set of 10 terracotta Renais-sance sculptures of Roman Emperors.  Exposure to the weather for nearly 500 years has lead to deterioration and as a result, a programme of recording, monitoring, analysis and treatment has been initiated.  A crucial component is the use of high-resolution 3D laser scanning technology and metric analysis for documentation and condition tracking.  The paper considers the digitisation of the sculpture using close range high-resolution optical laser scanning.  The employment of specialist reverse engineering software for the production of 3D models and their metric analyses is presented. The documentation and visualisation objectives of the project require that the resulting 3D models have accurately mapped colour data. To achieve this computer graphics techniques including UV coordinate generation and projection mapping are utilised.

Geary A. (2007) “Is Real-Time Photorealistic 3d Viewing on the Horizon?”, 3DVisA Bulletin, Kings College, London

Computational advances, such as multiple processors, 64-bit addressing and increasingly powerful graphics cards in consumer level systems are increasing the potential to exploit new, advanced real-time rendering features available in OpenGL 2.0.  Particularly exciting is the new shading language (GLSL) functionality offered in this widely used, cross-platform graphics API.  Because sufficient processing capability has finally become available, these programmable shading features will allow real-time representation of complex surface textures.  For example, precise diffuse colour and specular colour image maps can be layered and combined with advanced lighting effects - such as bump-mapping - to create highly realistic results.  Additionally, an advanced GLSL lighting method known as ‘per pixel shading’ offers superior realism in object illumination that is both independent of polygonal mesh resolution, and quite unlike the traditional per-vertex approach.  Using these advanced features, it will soon be possible to authentically render complex and challenging materials such as velvet, carved marble or distressed gilding, in a real-time environment accessible to consumer-level computer users.

Barker L., Geary A. and Harrison J. P. (2007) “Towards an Ergonomic Gestural Interface for Computers”,

Recent developments in computer vision technologies within fields as diverse as surveillance, bio-informatics and the film industry, together with advanced image processing algorithms, present opportunities for the development of gestural computer interfaces allowing physical gesture (e.g. a ‘thumbs up’ signal with the hand) to be interpreted by the computer. This research is applying such technologies, together with the results of recent research on human biomechanics and neurobiology, in the development of an ergonomic computer interface that uses hand gestures distinguishable and interpretable by a computer vision system. Integral to this work is the development of a formal gestural syntax and an associated classification system. In addition to presenting the status of the research into gesture interaction, some ideas on how the use of a gestural interface will influence workspace design are outlined.

Geary A., Harrison, J.P. and Pullen D. (2006) “FELSSO - Finite Elements with Laser Scanning for

Geary A., Coldwell, P. and Rashan A. (2006) “VHIP - A Prototype Haptic Environment for Fine Art

Geary A. (2006) “Three-Dimensional Virtual Restoration applied to Polychrome Sculpture”, The

Geary A. (2005) “3D Digital Visualisation and Virtual Restoration of Polychrome Sculpture”, Art of the Past

Geary A. and Sandy M. (2004) “A Haptic Training Simulation for Paper Conservation: Preliminary

Geary A. (2003) “A Haptic Virtual Reality Training Tool for Paper Conservators” Sketches and

Geary A. (1999) “Three Dimensional Digital Visualisation”, V&A Conservation Journal, number 32.

Computing and Visual Culture, Representation and Interpretation, CHArt Conference proceedings Vol. 1.