Talks
Forthcoming talks
Past talks
Do we know what we are missing? Exploring the real value and potential of virtual touch in museum display
Where: What's the Damage?', the conference for the AHRC/EPSRC Science and Heritage Programme research cluster: Cultural Encounters and Explorations: Conservation's 'Catch-22'. UCL Institute of Archaeology Dates: 23rd September 2009 - When: 23rd September 2009
Highly precise 3D data capture capabilities; visualisation techniques and advanced virtual interactive technologies offer us possibility of replicating our experience of museum artefacts. Haptic (touch interactive) interfaces can allow us to touch the untouchable – precious and fragile objects from paintings to fossils can be simulated haptically in form, mass and surface. Visual simulation can be highly authentic to an original artefact – but there is nothing quite like touching something to really convince us and add impact to our encounter – whether real or simulated.
Despite advances in technology and computing power, haptics remains an unresolved field of computer interaction. Haptic devices are typically encumbering, restrictive or awkward physical devices. This is, in part, simply due to the practical difficulties in engaging our bodies’ and limbs in haptic interaction in naturalistic and perceptually comfortable ways. Multi-utility haptic systems do a reasonable job of simulating many “grasp and poke” types of interactions with one or two hands, however, it is difficult to imagine that a “universal” haptic system can be developed in the scope of conventional engineering and interaction science as we know it.
In the context of museum collections, the physical complexity of the artefacts and materials involved brings considerable challenge. Beyond weight and dimensions, including 3D capture in this, we do not gather specific haptic data in the process of documenting museum artefacts. Information such as average forces involved in shearing, tearing and compressing materials; surface friction against moving touch; elastic or plastic modulus and so on, are valuable in this context. As artefacts become aged, damaged or lost, knowledge of these intrinsic qualities preserved alongside colour and form would facilitate highly authentic simulation or facsimile production.
The materiality of experiencing cultural heritage is undeniable and a poor analogue may be worse than none at all – given the rich capability of our own imaginations. Defining a future role and framework for applying multi-sensory and haptic interaction in the museum context may be more about what it can add, rather than replace, in our encounters with artefacts. Low-tech., as well a high-tech., solutions to enhancing our understanding of the material experience of artefacts require exploration as we consider what exactly are we missing when we may look at, but not touch, an artefact.
LikeDigital Physicality - Exploring Hybrid Practices in Drawing and Printmaking
Where: CAA Annual Conference, Los Angeles , The Tangiality of Digital Media panel Dates: 25th February 2009 - 28th 2009 When: 25th February 2009, 2pm - 5pm
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.
Haptic Virtual Reality Simulation Training for Conservation
Where: Topics in Preservation Science, Library of Congress, Washington D.C. When: 19th February 2009, 10am - 11am
Dr. Angela Geary will speak about her experiences developing and adapting a haptic computer interface technology, similar to virtual reality systems used in the medical profession, for teaching basic conservation skills. She will discuss some of the advantages and limitations of haptics that she explored in her research, and review recent advances in virtual training environments for conservation. Dr. Geary was principal investigator for the Conservation Simulation research project at University of the Arts, in London. She is currently Reader and Program Leader in Fine Art Conservation at Northumbria University in the UK.
Cultures of Collaboration: Reviewing Five Years of Applied Research in the Arts, SASS Seminar Series 2008 - Arts and Humanities Research in Progress
Where: Northumbria University , School of Arts and Social Sciences When: 24th April 2008, 4pm - 6pm
A review of my recent collaboration driven research undertaken at the University of the Arts London since 2002. I will present several case studies of interdisciplinary research conducted with partners in science and technology. These include a project to reconstruct an damaged Henry Moore sculpture, haptic training for conservation, developing prototype 3D software for museums and practice led work into the visual impact of the energy industries of oil extraction and wind power. The highs (and lows!) encountered in initiating and managing both externally and internally funded academic research projects in the Arts will be discussed.
3D Capture for Cultural Heritage Visualisation: Recent Projects,
Where: National Conservation Centre, Liverpool., ICON Science Group Dates: August 2006 -
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