No / ‘Project code-named Humpty’ is a performative art piece involving the creation, fragmentation, and reconstruction of a 2.7 m high classically inspired sculpture. It was conceived to complement an archaeological science research project setting out to explore the use of digital scanning technologies in artefact reconstruction. The statue’s form was free sculpted in clay over a period of four years. It was cast in a self-supporting cementitious material specifically for the purpose of ceremonial fragmentation and subsequent reconstruction by archaeologists. In this chapter, we explore the project’s human/machine intentions, interactions, development processes and their wider implications leading to fragmentation. We explore how 3D terrestrial laser scanning with photogrammetry was used to chart the creation of the sculptural form and how scans informed finite element analysis, essential for safe casting and fragmentation. We show how structured light scanning was essential to create a digital backup of the mould and how drone imagery documented fragmentation tests and 360° imaging recorded studio and quarry activity. / We are very grateful to AHRC, the Arts and Humani[es Research Council who in 2017 awarded follow-on funding to support ‘Project code-named Humpty’ (AH/R004846/1), linked to the AHRC Digital Transformations Theme Large Grant ‘Fragmented Heritage’ (AH/L00688X/1). Highlight Digital Transformations, linked to the ‘Fragmented Heritage’ Project, funded under the Arts and Humanities Research Council’s Digital Transformations Theme Large Grant.
| Identifer | oai:union.ndltd.org:BRADFORD/oai:bradscholars.brad.ac.uk:10454/19161 |
| Date | 19 August 2022 |
| Creators | Johnson, Kate, Evans, Adrian A., Sparrow, Thomas, Black, L., Harman, Robert, Yang, D., Wilson, Andrew S. |
| Source Sets | Bradford Scholars |
| Language | English |
| Detected Language | English |
| Type | Book chapter, No full-text in the repository |
| Rights | Unspecified |
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