For part 4 of my series on photogrammetry, I will discuss the creation of a 3D model of the sepulchre, the object I've chosen for the second part of my 3D recording assignment (for more information regarding the sepulchre and the process of taking photos of the sepulchre itself, see Explorations in Photogrammetry - Part 3). As with the bowl from the National Museum of Ireland (see Part 1 and Part 2 of Explorations in Photogrammetry), the construction of the object
In part 3 of my photogrammetry series, I will discuss the second aspect of the photogrammetry assignment: using an outdoor object. While the mechanics of this aspect of the assignment were similar to that of the first part (see Explorations in Photogrammetry - Part 1 and Part 2 for more information), this part of the assignment presented unique challenges. As I mentioned in earlier posts, while working at the National Museum of Ireland, I was working in a controlled environment. The
In part 2 of my series on photogrammetry, I will discuss the process of creating the three-dimensional model of the bowl from the National Museum (for more information on the process of taking the images of the bowl—which I mentioned in my last post—see part 1 of Explorations in Photogrammetry). The process itself involves the use of two pieces of software: Adobe Photoshop and Agisoft Photoscan Pro.
Photoshop to the Rescue
The first step was to unify the images. This process
We are now almost two months into the second half of Digital Scholarly Editing. The bulk of the work this semester is focused on the creation of a digital scholarly edition. We have chosen the war diary of Albert Woodman, a signaller with the Royal Engineers during the Great War. The diary itself is an interesting object; it spans two physical books and, unlike traditional diaries in which the author tends to only write a single entry per page,
Our first assignment in AFF 621: Remaking the Physical involves photogrammetry. Photogrammetry is a technique used to create three dimensional images of an object. This is accomplished by taking a series of photographs of an object, where each photograph overlaps by at least 60%. Special software is then used to create point clouds that stitch the pictures together into a three dimensional representation of the object.
Over a series of several blogs, I intend to document the process of
One of the things we've covered quite a bit in my Digital Scholarly Editing class is metadata and the various standards and encoding practices used within Digital Humanities. These standards are especially useful when creating a digital project (whether that project be a simple digital edition, a scholarly archive, or a large digital library). The most commonly used standard seems to be the Text Encoding Initiative (TEI), but it is certainly not the only one that exists. Other encoding
Visualisations have played a very important role in our understanding of large sets of data. Contrary to what you might think, they aren't a relatively recent phenomenon; they've existed for hundreds of years. After all, the very first maps were a type of data visualisation - a way to visualise area (otherwise known as spatial visualisations). Today, however, I want to talk a bit about temporal visualisations - visual representations of time as it is related to data. Using
The Letters of 1916 is a project involving the transcription and compilation of letters written by or to Irish residents between November 1915 and October 1916. Originally begun at Trinity College Dublin, the Letters of 1916 project has recently been transferred to Maynooth University. My Digital Scholarly Editing class has had the privilege to assist with the upload and transcription of some of the letters on the website. But one of the things that has fascinated me most about
In a recent class entitled Transformations In Digital Humanities, we discussed the notion of aura as it relates to an object, and how the individual's perception of the aura can affect its value. We then discussed the notion of digital auras, and more specifically, if digital objects have an aura. We also discussed if that aura is lost once the object moves from the analogue to the digital (or if the object is born digital, if it has an aura to begin with). This got me
When I first applied to the Digital Humanities programme at Maynooth University, I was faced with a bit of a conundrum. Up to the point of my application, I had focused my research interests in the area of Anthropology, and I was most interested in how various cultures interacted with computer systems. Specifically, I wanted to explore what UI paradigms could be leveraged or created to overcome some of those culture boundaries that can often make the absorption of