by • February 17, 2016 • No Comments
Feb 18, 2016 | By Andre
History is packed with the rise and fall of civilization and culture. We are certain of this at present in part for the reason of our aptitude to protect and study the physical artifacts that we discover all around the planet we inhabit.
Unfortunately, a number of cases exist in that these artifacts are, for any number of reasons, deemed unnecessary by a ruling power. In 2001, for example, there was international outcry when the Taliban destroyed the fifteen hundred year old Buddhas of Bamiyan and and so additional not long ago when in 2015, ISIS purposefully destroyed priceless artifacts located at the Nineveh Museum in Mosul, Iraq.
Fortunately, Iranian artist Morehshin Allhyari is doing all things in her power to restore the essence of this lost history with the assist of 3D printing. As previously reported, Morehshin utilized photographs and restoration software to turn it into digital reproductions of the destroyed artifacts preceding remaking them with creatively purposed 3D printed replicas (winning an award for her efforts along the way).
This physical to digital to physical restoration system falls right into her philosophy of things to be certain. Morehshin’s described that she thinks “the additional folks who have access to this information, the less that history is forgotten in a way,” and that, “the additional files that are saved on folks’s computers, actually if they’re never printed, the number of PDF files that are read or kept, the additional that history that was initially removed by ISIS can be saved.”
Whilst her efforts to recover and restore a broken past are significant in their own right, the way she presents her efforts are most likely what has won her a gallery revealing at Toronto based art space Trinity Square Video (runs through March nineteenth
The collection, called “Material Speculation” is based entirely on her 3D printed reconstructions. In an effort to add commentary to the works, she has embedded a USB key containing all of her research, photographs and 3D print model files in the statues. Luckily, if you are at the museum you can in addition access the information with USB memory ports upcoming to the 3D printed artifacts.
And for those at home, you are in luck as well for the reason Morehshin Allhyari has voluntarily released all her files online. Found inside the only of 600 megabyte file are email correspondences, relevant video, images, documents and a 3D print eager model of the now destroyed Roman-period rendition of King Uthal of Hatra.
An informative note on her efforts is that while she embraces preservation of history through replication in both a physical and digital medium, she does limit her enthusiasm. When asked of 3D printing, she suggests that “it’s not of celebrating it, but pretty asking folks to use it in ways that are pushing boundaries and are additional than 3D printing a cube, that does nothing to add to the conversation and we will only end up with additional crap and kipple around us.”
Additionally she poses a quite informative ownership question when outlying the notion of tech companies going of their business 3D scanning the world we live in. “A lot of these projects that are saving Middle Eastern culture is that these are only tech companies that are going to the Middle East and Africa and 3D scanning things, but nobody quite knows where these files are going or who owns them.”
To me, her restoration efforts display both historical value and a contemporary commentary on the say of the world we live in at present. And as a Torontonian, I can’t wait to go check out the exhibition for myself this coming weekend. I’ll only have to remember to bring a USB stick to assist additional protect the digital remains of the Nineveh Museum in Mosul.
Posted in 3D Printing Application
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