November 15, 2017
Gaby Bloom is a current Wired! Fellow who interned at the Frick Collection in New York this past summer. Here she describes her work with Wired! and how she was able to apply this experience at the Frick:
I have been working in the Wired! Lab since my sophomore year when I started working with Professor Huffman on her project, A Portrait of Venice. During this time, I used Neatline and Omeka to map out the provenance of paintings owned by prominent collectors in Venice during the sixteenth century. I learned how to use the software and developed a strong interest in studying provenance. When I returned from my semester abroad in Aix en Provence, France, last spring, I joined Professor Galletti on her project, Paris of Waters. I studied secondary source documents and then began compiling a dataset of fountains in Paris. I will continue working on this project this year.
This past summer, I interned at the Frick Collection’s Digital Art History Lab, which is connected to the Frick Art Reference Library. I worked specifically on the Frick’s Vermeer database, enhancing the database. I also researched visualization tools and used these tools to display data from the Vermeer database. The research experience and skills I learned in the Wired! Lab really helped me to excel in my internship. My supervisors valued my knowledge of Omeka and Neatline as well as my knowledge of other visualization tools. By the end of my internship, I had created a timeline of Vermeer attributions (screenshot shown above). I mapped out five different catalogue raisonnés to examine the occurrence of different paintings in Vermeer literature. This internship enabled to learn about the inner workings of an art museum as well as to expand my knowledge about the art world, and the Wired! Lab helped me get there!
Image Credit: Gaby Bloom
March 23, 2017
We in the lab are excited about the range of conversations happening around digital humanities at Duke this spring! Here are some of the upcoming events that feature Wired! Lab scholars:
Monday, March 20th
Munch & Mull Duke Libraries Discussion Group
Unconventional Curriculum — Encouraging students’ scholarly use of images
12:00-1:00pm – Lee Sorensen
(Murthy Digital Studio, Bostock Library)
Friday, March 24th
“Humanities at Large” Visiting Faculty Fellows Conference
Transforming Pedagogy: How can we best engage undergraduate students in the process of research and the production of knowledge in the Humanities?
1:00-2:30pm – Sheila Dillon & Elizabeth Langridge-Noti
(Holsti-Anderson Family Assembly Room, 153 Rubenstein Library)
What is the future of digital humanities?
This event will feature speakers on the topical issue of digital humanities and its ramifications for the future direction of Comparative Literature studies.
2:30-5:30pm – Valerie Beaudouin, Caroline Bruzelius, Alex Gil
Thursday, March 30th
GIS Summit: Dissecting Humanities GIS Projects: Cross-sections, Guts and a Good Story
The purpose of this lecture and round-table discussion is to construct a cross-section of the spatial humanities process by dissecting a handful of projects according to their purpose, tools chosen, required knowledge, and audience.
4:00-6:00pm – Edward Triplett, Brian Norberg
(Collision Space – Bay 10, 2nd Floor)
Friday, March 31st
GIS Summit: 3D Mapping
3D Mapping for Historical Subjects – Opportunities and Obstacles – Edward Triplett
Cesium, open formats and the future of streaming 3D geospatial over the web – Todd Smith (Product Manager, Cesium)
(PhD Lab, Bay 4, 1st Floor, Smith Warehouse)
Wednesday, April 12th
Managing Qualitative Research
Talk and moderated discussion with PhD students about challenges to managing and analyzing their research data and the ways in which digital tools (DEVONThink and NVivo, respectively) helped them to address these needs.
12:00-1:00pm – Kathryn Desplanque, Andrew Van Horn Ruoss, Victoria Szabo (moderator)
(Ahmadieh Family Lecture Hall – C105, Bay 4 (South), Smith Warehouse)
Saturday, May 6, 2017
FHI-NCCU Digital Humanities Fellows Symposium
Please join us for this half-day symposium marking the end of the first year of the Franklin Humanities Institute (FHI) – North Carolina Central University (NCCU) Digital Humanities Initiative.
10:00am – 2:00pm
(North Carolina Central University)
March 2, 2017
After an exciting year of discovery, the international team of scholars and students investigating the history of Sta. Chiara’s lost choir screen will present their findings at the site of study. Congratulations to all on their hard work and scholarly contribution to historic understandings of Sta. Chiara in Naples and medieval Italian architecture! Read more about the project and about the research team.
January 20, 2017
Fall 2016 yielded exciting new mapping and modeling projects from Wired! courses. We are pleased to be able to share some of them with you:
Students in ARTHIST 256 Italian Baroque Art used Omeka and Neatline to create digital archives and exhibitions that use annotated historical maps, timelines, and multimedia to construct visual narratives about significant artists, patrons, and sites created in Italy during the seventeenth century.
Students in ARTHIST 190S Medieval Castles of Europe worked in Autodesk 3D Studio Max to create counterfactual models of medieval castles drawing on their knowledge of medieval architecture, politics, and geography. Their projects have been made available through Sketchfab.
Students in ARTHIST 225 Gothic Cathedrals spend the semester designing architectural plans for plausible medieval European cathedrals. They develop an historical and religious narrative, budget, iconography, and elevations, sections, and floor plans. Here is one example of such a project.
MA students’ semester projects:
For ARTHIST 305 Virtual Museums, Yuchen Zhao designed an augmented reality app using Unity 3D that visualizes annotated 3D models on the plan of a Roman complex:
For ISS 320 Introduction to Unity, Wei Tan created a game to demonstrate her knowledge of designing interactivity in Unity3D:
January 10, 2017
Whether you’re a student, staff or faculty member, there are many opportunities to brush up your digital knowledge this spring at Duke. Topics range from Microsoft Office to command line to HTML to 3D printing to data visualization and everywhere in between. Here are some workshop series you’ll want to check out:
In Spring 2017, DVS is implementing new workshops in graphic design for diagrams, with a focus on Adobe Illustrator. Other new and returning workshops of interest include data management and historical GIS.
Check out their January 18 events on data management & publishing!
Hear colleagues at Duke, as well as visitors from other institutions and private industry, discuss their visualization projects. Most Fridays during the semester.
Colleagues in the labs in Art, Art History & Visual Studies present on their work-in-progress and hear from visitors in higher education and private industry on a range of topics.
Learn qualitative data analysis tools, social science research methods, and more!
Check out their annual university-wide symposium, January 18-20!
OIT offers both in-person and online training in tools such as Microsoft and Qualtrics. They also have a great lunchtime series that takes on a wide range of topics of interest to staff and faculty at the university.
And don’t forget that Duke community members have access to the extensive training library at Lynda.com!
Looking for more? Also check out the curated lists at digitalhumanities.duke.edu. Happy computing!
December 21, 2016
In Fall 2016, the Wired! Lab hosted two Master’s students, Andrea Basso and Elisa Castagna, from the University of Padua. The following is an account of their experience at Duke and the project they worked on.
Sta. Chiara is one of the largest churches of Naples, erected between 1310 and c. 1340 by the King and Queen of Naples, Robert the Wise and Sancia of Mallorca. It was reconstructed after the Allied bombardment of August, 1943, which damaged the walls and destroyed the stucco decoration of the 18th century.
In the Middle Ages the nave of Sta. Chiara, as in other religious buildings, was divided into several sections by a choir screen, or tramezzo. These were substantial masonry walls that separated the lay public from the clergy; in the case of this church, the choir screen would have included chapels and altars that were important for the devotion of the lay public.
Prof. Caroline Bruzelius (Duke University) has worked with a group of students and colleagues at Duke University and the Universities of Padua, Naples, and Salerno on this project, trying to reconstruct the choir screen and the church with the help of 3D technologies. Creating a 3D model enabled the research team to think through the various options and arrive at a plausible hypothesis of the dimensions of the choir screen at Sta. Chiara, engaging as well with issues of visibility from the nave of the church through to the main altar and the tomb of King Robert the Wise (d. 1343).
Elisa Castagna and Andrea Basso, two students of Building Engineering and Architecture at the the University of Padua, created with the help of Paolo Borin, a PhD student at the IUAV University of Venice, a 3D model with Revit, a building information modeling software that allows architects and other building professionals to design and document a building by creating a parametric three-dimensional model that included both the geometry and non-geometric design and construction information.
The point cloud of the interior and the exterior of Sta. Chiara produced by Emanuela De Feo at the University of Salerno was the starting point of the reconstruction: it allowed us to create a scale 3D model and to build new parametric objects in Revit that represent each type of window, wall, door, roof, vault, and column.
The reconstruction of the choir screen was based on the evidence of geo-radar groundscans given by Prof. Leopoldo Repola (University of Naples) with the help of Prof. Andrea Giordano (University of Padua): good evidence of the location of a monumental partition wall was found.
Working with Andrea and Elisa, Lucas Giles, an MA student in Digital Art History at Duke, and Prof. Caroline Bruzelius were able to produce a hypothetical model of the tramezzo through historical data, geo-radar evidence and the 3D church: thanks to the power of the parametric modeling the choir screen could change the shape and the size easily, so it was possible to see how the tramezzo connected with the entire church.
In order to study also the issues of visibility from the nave through to the main altar and the tomb of King Robert the Wise, these last two elements were built and placed in the model of the church.
Finally the modeling team decided to insert on the top of the choir screen the relief that was destroyed during the war: with the help of some pictures before the destruction it was possible to create a simple model with the use of Photoshop and CrazyBump of how the relief could have appeared.
The last step was to export the model of the church into 3D StudioMax and then into Unity. This latter software was used to write scripts with the help of David Zielinski, Research and Development Engineer for the Duke Immersive Virtual Environment (DiVE), and Prof. Regis Kopper (Duke University) in order to visualize the model inside the Cardboard and the Duke’s immersive environment: in this way it was possible to see the relationship between the choir screen and the interior of the church in full scale.
During this workflow other aspects concerning the use of Revit were analysed:
- how to export the geometry from Revit to 3DStudioMax
- the research about passing BIM information through Unity, in which all elements have their ID and their properties
- how to obtain a 3D printed model from a Revit file
- the importation of mesh inside Revit and Dynamo
The development of this project has required the knowledge of Photoscan, Recap, Autocad, Revit, Dynamo and MeshLab for the modeling of the church, Photoshop and CrazyBump for the relief’s reconstruction, and 3DStudioMax and Unity in order to visualize the project in virtual reality.
About Our Experience
Working with Prof. Caroline Bruzelius we were able to develop our knowledge about Building Information Modeling and how to use this tool for historical research; for the first time we could work with virtual reality and with software that we had never used before.
This experience has taught us not only how to work with people of different disciplines and how our knowledge in the field of Achitecture and Engineering can be used to obtain a good model and visualization, but also how to build a model that contains for each element qualitative and quantitative information.
Any of this wouldn’t have been possible if many people, with different knowledge backgrounds, hadn’t come together to work towards a common goal. It has been a remarkable experience for us, being able to engage with a lot of different people and get to know Duke University, in particular the people and the projects of the Wired! Lab in the department of Art, Art History and Visual Studies.
September 16, 2016
The North Carolina Museum of Art recently opened a new exhibition in collaboration with a Duke University research group, Image Processing for Art Investigation (IPAI), headed by Professor Ingrid Daubechies. A group from Wired! traveled to Raleigh to tour the exhibit with the museum’s head conservator, Bill Brown, and our own member of the project team, Ed Triplett. The exhibit tells the story of a fourteenth-century Italian altarpiece, its conservation, and scholars’ attempts to understand how it was made through modern recreation. In addition to the altarpiece itself, the narrative is shared with museum goers through digital models, videos, and material displays. Triplett contributed to a 3D digital rendering of the altarpiece that simulates how the altarpiece may have appeared at the time of its creation.
The exhibition will be open through March 5, 2017. Read more about the project’s development here.
September 1, 2016
We’re publishing our Visualizing Venice 2016 Summer Workshop materials online under a CC-BY-NC-SA 3.0 license. These include our schedule, slides, tutorials, and links to other resources. The site was edited throughout the workshop, and we’ve made only minor changes to its organization. (Remember, a messy desk is a sign of creativity.) We hope you’ll use these and share them with your students and colleagues! (Just remember to cite your sources.) Enjoy!
Access the Visualizing Venice: The Ghetto of Venice Website.
Read more about the Visualizing Venice Summer Workshop.
What happened at the Visualizing Venice 2016 workshop? Check out our public archive of the event: