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Commerce, Execution, and the Black Corpse: Injustice and Sherman Arp.Nazis in the Heartland: The German-American Bund in Indianapolis.Dispossession and Demolition: Razing Second Christian Church.Follow Archaeology and Material Culture on.Plastic artifact replicas image from Bernard Means’ Facebook page Technical Briefs in Historical Archaeology 6: 1–12Īcheulian hand axe scanning image, Camp Misery pipe image, Roman oil lamp, and dog mandibles image courtesy VCU Virtual Curation Laboratory Means, Ashley McCuistion, and Courtney BowlesĢ013 Virtual Artifact Curation of the Historical Past and the NextEngine Desktop 3D Scanner.

Northeast Historical Archaeology 38:29-48.īernard K. The moment when global collections are so accessible may be well away from us at the moment, but as increasingly more collections are available in a variety of digitized forms there are some profound implications for how we practice archaeology that will move beyond the primal field experience and an authentic artifact as one freshly excavated.Ģ009 The Mother of the Father of Our Country: Mary Ball Washington’s Genteel Domestic Habits. Potentially any archaeologist may one day be able to produce ambitious comparative studies from the comfort of their own office untroubled by the demand to raise travel funds or conduct a time-intensive and costly field excavation. Many archaeologists are fixated on handling the excavated object, ideally dug up under their own direction, but this is becoming an increasingly untenable position: repositories around the world hold enormous collections of excavated artifacts, many of which remain unreported if not unanalyzed long after their excavation. The implications of 3D scanning as both pedagogical and research mechanism extend beyond the philosophical question of whether the plastic reproduction is an artifact unto itself, a symbol of the real, or some hybrid. At another level, though, the mundane thing is rendered into something quite visually novel when it becomes a visual representation slowly revolving on our computer screen.įrom top, an excavated dog mandible, a painted replica, and an unpainted replica from Jamestown’s “Starving Time” exhibit (image courtesy VCU Curation Laboratory).įor some viewers and certainly some archaeologists, the reproductions are symbols of technological wizardry, and while they have some genuine teaching applications they seem at least initially perceived as things that are neither genuine artifacts nor “fakes.” Archaeology rests much of its authoritative voice on the authenticity of excavated things, but the 3D models and images are utterly “real” in their dimensions even if they are quite clearly reproductions. The scans register detailed material form that is not readily perceived by the naked eye, so at some level the technology itself draws our sight to the object in a new way. Ironically, archaeologists often do not see things with much reflection, especially those items that are most common in the archaeological record instead, we see a faithfully memorized style or a functional form to be counted and placed into perpetual storage. The images force us to look at material things as though they are once more novel: the scans may be less about documenting an object than they are about re-visualizing things. The artifact images are hypnotically revolving, oddly colored, otherwise familiar things like animal skeletons and arrowheads. Virginia Commonwealth University’s Virtual Curation Laboratory has been doing 3D scanning of artifacts, a project directed by Bernard Means with the support of the Department of Defense’s Legacy Program. A variety of technologies now make it possible to produce exceptional 3D digital models of artifacts that can be rendered as visual and even material recreations: now archaeologists can visualize or handle a perfectly accurate scale model of, for instance,a 20 th-century cap gun, a butchered dolphin bone from Jamestown, a Roman oil lamp (this example is from a 17 th-century context at Jamestown), or an effigy pipe, all scanned by Virginia Commonwealth University’s Virtual Curation Laboratory and included in their Virtual Curation Museum.Ī Roman oil lamp recovered from 17th century context at Jamestown, probably part of a colonist’s collection of antiquities (image courtesy VCY Virtual Curation Laboratory). Yet we often cannot physically experience artifacts that are in distant places, and many objects are too fragile to be handled. Much of the lure of archaeology rests in the seduction of things: we are fascinated with the texture, color, heft, and odor of material artifacts that invoke antiquity, the allure of the alien, and the sensory richness of material life. 3D scan of pipe from Camp Misery in Stafford County, Virginia (image courtesy VCU Virtual Curation Museum)