DOCSLIB.ORG

Sarah Younan Thesis.Pdf (11.44Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sarah Younan Thesis.Pdf (11.44Mb) Towards a Digital Dream Space: How can the use of digital 3D scanning, editing and print technologies foster new forms of creative engagement with museum artefacts? by Sarah Younan M.A. Thesis submitted to the Cardiff Metropolitan University for the degree of Doctor of Philosophy Art and Design Submitted 05.11.2015 Director of Studies: Professor Cathy Treadaway Supervisor: Mr. Andrew Renton Supervisor: Professor Steve Gill Cardiff School of Art and Design Cardiff Metropolitan University United Kingdom Collaborating institution National Museum Cardiff United Kingdom © 2015 S. Younan 2 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed…………………………………………… Date………………………………………………. Statement 1 This thesis is the result of my own investigation, except where stated otherwise. Other sources are acknowledged by footnotes and explicit references. Signed…………………………………………… Date………………………………………………. Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans. I also give consent for the summary to be made available to outside organisations. Signed…………………………………………… Date………………………………………………. i To my family, for showing me that the first answer is not always the right one and to Dave, for sharing his home. ii Acknowledgements I would like to express gratitude to my Director of Studies, Professor Cathy Treadaway for her continuous guidance and support in academic as well as personal matters. I also want to thank my supervisors, Andrew Renton and Professor Steve Gill for their encouragement and commitment over the last three years. I am particularly grateful to Andrew Renton, Keeper of Art, and to his colleagues at the National Museum Cardiff. They opened the doors of the National Museum Cardiff to me; without their enthusiasm, their willingness to experiment and their spirit of enquiry this research would not have been possible. I am indebted to the many participants who contributed their time and thoughts to this research, especially to the artists who participated in (Im)material Artefacts and whose creations brought this study alive; Jonathan Monaghan, Guy Davis, Katie Parker, Mohamed Hossam, Mario Padilla, Ian Cooke Tapia, Zachary Eastwood-Bloom, Jeff Waweru, Zack Dougherty, Jon Rainey, Flemming Tvede Hansen, Jason Rouse. This research would not have been possible without funding by the Arts and Humanities Council and The Welsh Institute of Research in Art and Design in the form of a studentship bursary. The Arts Council of Wales also provided crucial financial support which made the (Im)material Artefacts exhibition possible. I would also like to thank Alicia Miller and her colleagues at Axis Web, for helping to promote this research through the Behind the Scenes at the Museum symposium. Many thanks to my friends and colleagues at Cardiff School of Art and Design. iii Contents 1. Introduction…………………………………..…………………………………..…………………..1 1.1. Rationale and scope of the research………………………………………………...5 1.2. Aims and objectives…………………………………..……………………………………7 2. Literature and Contextual Review…………………………………..……………………10 2.1. Introduction…………………………………..…………………………………..………...10 2.2. Technical review…………………………………..……………………………………...10 2.2.1. 3D scanning…………………………………..………………………………..12 2.2.2. 3D editing…………………………………..…………………………………..14 2.2.3. 3D print…………………………………..……………………………………...16 2.3. Digital museum strategies…………………………………..………………………...20 2.3.1. Knowledge-based strategies……………………………………………21 2.3.2. Social engagement…………………………………..………………………22 2.3.3. Digital 3D repositories of museum artefacts online…………..23 2.3.4. Museum hackathons…………………………………..…………………...27 2.4. The museum object and its reproductions……………………………………..30 2.4.1. The museum object…………………………………..…………………….30 2.4.2. Originals and copies…………………………………..……………………36 2.4.3. Digital copies…………………………………..………………………………39 2.4.4. Digital poaching…………………………………..………………………….43 2.4.5. Digital media and the museum dream space…………………….45 2.5. Artist engagement…………………………………..……………………………………48 2.5.1. Forms of artistic museum engagement…………………………….50 2.5.1.1. Mining the museum…………………………………………...51 2.5.1.2. Mock museums………………………………………………….51 2.5.1.3. Opening the archive…………………………………………...52 2.5.1.4. Museum displays……………………………………………….53 2.5.1.5. Guiding the viewer…………………………………………….54 2.5.1.6. The Museum as place…………………………………………56 2.5.1.7. Invading the museum………………………………………...57 2.5.1.8. Going digital………………………………………………………58 iv 2.6. Discussion and research plan………………………………………………………..60 3.Research Methodology…………………………………..………………………………………63 3.1. Introduction…………………………………..…………………………………………….63 3.2. Methodological approach…………………………………..…………………………66 3.3. Theoretical framework…………………………………..……………………………..68 3.3.1. Case study…………………………………..…………………………………..69 3.3.2. Practice-led research..………………………………..……………………70 3.3.3. Comparative case study…………………………………..………………72 3.4. Data collection…………………………………..…………………………………………74 3.4.1. Surveys…………………………………..………………………………………74 3.4.2. Interviews…………………………………..…………………………………..75 3.4.3. Visual data, creative prctice and production….………………….78 3.5. Undertaking data analysis…………………………………..………………………...80 3.5.1. Analysis of interview and survey data……………………………...81 3.5.2. Analysis of artefacts and artworks…………………………………...82 3.6. Discussion of research methodology……………………………………………..84 4. Case Studies…………………………………..…………………………………..…………………86 4.1. Introduction…………………………………..……………………………………………86 4.2.(Im)material Artefacts case study…………………………………..……………...89 4.2.1. Exploration and selection of museum artefacts………………...89 4.2.2. Participating artists…………………………………..…………………….89 4.2.3. Creation of artworks and data collection………………………….91 4.2.4. Artworks…………………………………..…………………………………...92 4.2.5. Public exhibition…………………………………..…………………….…105 4.3. Comparative case study: Lincoln 3D Scans…………………………………..106 4.3.1. 3D scans of artefacts from Lincoln…………………………………107 4.3.2. Users…………………………………..…………………………………….…109 4.3.3. Lincoln 3D Scans artworks…………………………………..………..110 4.4. Discussion…………………………………..…………………………………..…………124 v 5. Analysis…………………………………..…………………………………..…………………...…127 5.1.Introduction …………………………………..…………………………………………..127 5.2. Artefacts and artworks…………………………………..………………………...…127 5.2.1. Function and form…………………………………..…………………….128 5.2.2. Materiality and production…………………………………..……..…134 5.2.3. Discussion…………………………………..………………………………...141 5.3. Digital possibilities…………………………………..…………………………………142 5.3.1. 3D digitisation and editing…………………………………..………...143 5.3.2. 3D print…………………………………..……………………………………153 5.3.3. Hybrid practices…………………………………..……………………….156 5.3.4. Discussion…………………………………..………………………………...160 5.4. Art context…………………………………..…………………………………………..…161 5.4.1. Museum intervention…………………………………..……………..…162 5.4.2. Remix art.…………………………………..…………………………………165 5.4.3. A third space…………………………………..……………………….……171 5.4.4. Discussion…………………………………..……………………………...…176 5.5. Dream space…………………………………..…………………………………..………178 5.5.1. Memories…………………………………..…………………………………179 5.5.2. Memory tokens…………………………………..…………………………181 5.5.3. Present-day associations and popular culture……………...…187 5.5.4. Identity…………………………………..…………………………………….191 5.5.5. Discussion…………………………………..……………………………..…194 5.6. Institutional setting…………………………………..……………………………..…196 5.6.1. Critical voices…………………………………..……………………………197 5.6.2. Moving with the times…………………………………..………………200 5.6.3. Feedback loops…………………………………..…………………………202 5.6.4. Learning experiences…………………………………..……………..…205 5.6.5. Digital divides, digital literacies…………………………………..…209 5.6.6. Museum policies…………………………………..………….……………213 5.6.7. Control or chaos?.....……………………………….……………………...216 5.6.8. Discussion…………………………………..……………………………...…220 vi 6. Interpretation of Findings………………………………………………………………..…224 6.1. Introduction…………………………………..……………………………..…224 6.2. Institutional considerations…………………………………..…………224 6.2.1. Discussion…………………………………..……………………...230 6.3. Artistic impact…………………………………..…………………………..…232 6.3.1. Digital remixes……...………………………………..………..…233 6.3.2. Digital museum intervention………………………………235 6.3.3. Discussion…………………………………..…………………...…237 6.4. Extending dream space…………………………………..………………..238 6.4.1. Discussion…………………………………..……………………...240 6.5. Summary and Implications for the future………………………….241 6.5.1. Future plans…………………………………..…………………..243 References……..…………………………..…………………………………..………………………245 Glossary and Acronyms…………………………………..…………………………………...…270 Appendix A Case Studies…………………………………………………..……………………278 A.1. Introduction……………………………………………………………………278 A.2. Open call…………………………………………………………………………278 A.3. Information on museum artefacts…………………………………….280 A.3.1. Archival information…………………………………………..287 A.3.2. Lincoln 3D Scans…………………………………………………291 A.4. Surveys………………………………………………………………………..…292 A.4.1. Survey (Im)material Artefacts………………………….…292 A.4.2. Survey Lincoln 3D Scans………………………………….….296 A.5. Interview protocols…………………………………………………………299 A.5.1. (Im)material Artefacts………………………………………...299 A.5.2. Lincoln 3D Scans…………………………………………………300 A.6. Participant profiles……………………………………………………….…301 A.7. Forms……………………………………………………………………………..303 A.7.1. (Im)material Artefacts……………………………………..…303 A.7.2. Lincoln 3D Scans…………………………………………………317 vii A.8. Interview summaries………………………………………………………326 A.8.1. (Im)material Artefacts……………………………………...…326 A.8.2. Lincoln 3D Scans…………………………………………………354 A.9. (Im)material Artefacts exhibition……………………………………..364 A.10. Analysis……………………………………………………………………...…365
Load more

Recommended publications
  • 3D Modeling and the Role of 3D Modeling in Our Life
    ISSN 2413-1032 COMPUTER SCIENCE 3D MODELING AND THE ROLE OF 3D MODELING IN OUR LIFE 1Beknazarova Saida Safibullaevna 2Maxammadjonov Maxammadjon Alisher o’g’li 2Ibodullayev Sardor Nasriddin o’g’li 1Uzbekistan, Tashkent, Tashkent University of Informational Technologies, Senior Teacher 2Uzbekistan, Tashkent, Tashkent University of Informational Technologies, student Abstract. In 3D computer graphics, 3D modeling is the process of developing a mathematical representation of any three-dimensional surface of an object (either inanimate or living) via specialized software. The product is called a 3D model. It can be displayed as a two-dimensional image through a process called 3D rendering or used in a computer simulation of physical phenomena. The model can also be physically created using 3D printing devices. Models may be created automatically or manually. The manual modeling process of preparing geometric data for 3D computer graphics is similar to plastic arts such as sculpting. 3D modeling software is a class of 3D computer graphics software used to produce 3D models. Individual programs of this class are called modeling applications or modelers. Key words: 3D, modeling, programming, unity, 3D programs. Nowadays 3D modeling impacts in every sphere of: computer programming, architecture and so on. Firstly, we will present basic information about 3D modeling. 3D models represent a physical body using a collection of points in 3D space, connected by various geometric entities such as triangles, lines, curved surfaces, etc. Being a collection of data (points and other information), 3D models can be created by hand, algorithmically (procedural modeling), or scanned. 3D models are widely used anywhere in 3D graphics.
    [Show full text]
  • A Survey Full Text Available At
    Full text available at: http://dx.doi.org/10.1561/0600000083 Publishing and Consuming 3D Content on the Web: A Survey Full text available at: http://dx.doi.org/10.1561/0600000083 Other titles in Foundations and Trends R in Computer Graphics and Vision Crowdsourcing in Computer Vision Adriana Kovashka, Olga Russakovsky, Li Fei-Fei and Kristen Grauman ISBN: 978-1-68083-212-9 The Path to Path-Traced Movies Per H. Christensen and Wojciech Jarosz ISBN: 978-1-68083-210-5 (Hyper)-Graphs Inference through Convex Relaxations and Move Making Algorithms Nikos Komodakis, M. Pawan Kumar and Nikos Paragios ISBN: 978-1-68083-138-2 A Survey of Photometric Stereo Techniques Jens Ackermann and Michael Goesele ISBN: 978-1-68083-078-1 Multi-View Stereo: A Tutorial Yasutaka Furukawa and Carlos Hernandez ISBN: 978-1-60198-836-2 Full text available at: http://dx.doi.org/10.1561/0600000083 Publishing and Consuming 3D Content on the Web: A Survey Marco Potenziani Visual Computing Lab, ISTI CNR [email protected] Marco Callieri Visual Computing Lab, ISTI CNR [email protected] Matteo Dellepiane Visual Computing Lab, ISTI CNR [email protected] Roberto Scopigno Visual Computing Lab, ISTI CNR [email protected] Boston — Delft Full text available at: http://dx.doi.org/10.1561/0600000083 Foundations and Trends R in Computer Graphics and Vision Published, sold and distributed by: now Publishers Inc. PO Box 1024 Hanover, MA 02339 United States Tel. +1-781-985-4510 www.nowpublishers.com [email protected] Outside North America: now Publishers Inc.
    [Show full text]
  • Üç Boyutlu Yazıcılar Ve Gelecekte Yaratacağı Olası Fikri Haklar Çatışmaları
    ÜÇ BOYUTLU YAZICILAR VE GELECEKTE YAR ATACAĞI OLASI FİKRİ HAKLAR ÇATIŞMALARI Mustafa Güney ÇALIŞKAN* * Patent Uzmanı, Türk Patent Enstitüsü, Patent Dairesi Başkanlığı. Mustafa Güney ÇALIŞKAN GİRİŞ Bu çalışmada, son birkaç yılda gündemde önemli bir yer tutmaya başlayan üç boyutlu (3D) baskı teknolojisinin gelecekte fikri mülkiyet hakları üzerinde ortaya çıkarabileceği etkiler incelenmeye çalışılmıştır. Geçmişi aslında 1980’lere dayanıyor olmasına rağmen, son birkaç yılda gündemde çok yoğun bir şekilde işlenmiş olması nedeniyle çok yeni bir tek- nolojiymiş izlenimi veren üç boyutlu baskı teknolojisinin önümüzdeki yıllarda çok daha fazla konuşulacağı tahmin edilmektedir. Son birkaç yılda üç boyutlu baskı tekniklerinin temelini oluşturan bazı önemli patentlerin koruma süresinin dolmasının ardından söz konusu alanda çalışan firma sayısı hızla artmış ve bu teknoloji ticari şirketlerden bireysel kullanıcılara pek çoklarının ilgisini çekmeye başlamıştır. Öyle ki hızla yeni yöntemlerin geliştirildiği ve yeni nesil cihazla- rın üretildiği son derece aktif bu alanda yapılabilecekler hayal gücünün bile sınırlarını zorlamaya başlamıştır. Protezden uçak yedek parçasına, astronotların uzayda yiyebileceği yemeği üretmelerinden, kendi silahını evde yapabilmeye kadar akla gelebilecek pek çok şey üç boyutlu yazıcılarla üretilebilir vaziyettedir. Daha da dikkat çekici olanı ise, söz konusu yazıcıların fiyatlarının günümüzde artık sıradan kullanıcıların alabileceği makul düzeylere kadar inmiş olmasıdır.[1] Gelecekte her eve girmesi kuvvetle muhtemel olan bu yazıcıların özellikle patent ve telif hakları alanında ciddi sorunlar yaratabileceği düşünülmektedir. Çalışmanın birinci bölümünde üç boyutlu baskı tekniği ve çeşitleri ile gele- cekteki olası olumlu ve olumsuz etkileri üzerinde durulacaktır. Ardından ikinci bölümde üç boyutlu yazıcıların patent ve telif hakları üzerindeki olası etkileri tartışılacaktır. Bu bağlamda üçüncü bölümde üç boyutlu baskı teknolojisinin gelecekte sebep olabileceği olası ihlaller ya da hak kayıplarına karşı ne gibi önlemler alınabileceği tartışılacaktır.
    [Show full text]
  • Additive Manufacturing, Cloud-Based 3D Printing and Associated Services—Overview
    Journal of Manufacturing and Materials Processing Review Additive Manufacturing, Cloud-Based 3D Printing and Associated Services—Overview Felix W. Baumann 1,2,* and Dieter Roller 2 1 TWT GmbH Science & Innovation, Stuttgart 70565, Germany 2 Institute of Computer-aided Product Development, University of Stuttgart, Stuttgart 70569, Germany; [email protected] * Correspondence: [email protected]; Tel.: +49-711-215-777-1207 Received: 22 September 2017; Accepted: 13 October 2017; Published: 17 October 2017 Abstract: Cloud Manufacturing (CM) is the concept of using manufacturing resources in a service-oriented way over the Internet. Recent developments in Additive Manufacturing (AM) are making it possible to utilise resources ad-hoc as replacements for traditional manufacturing resources in case of spontaneous problems in the established manufacturing processes. In order to be of use in these scenarios, the AM resources must adhere to a strict principle of transparency and service composition in adherence to the Cloud Computing (CC) paradigm. With this review, we provide an overview of CM, AM and relevant domains as well as presenting the historical development of scientific research in these fields, from 2002 to 2016. Part of this work is also a meta-review on the domain to further detail its development and structure. Keywords: additive manufacturing; cloud manufacturing; 3D printing service 1. Introduction Cloud Manufacturing (here CM, in other works also CMfg) as a concept is not new and has been executed in enterprises for many years [1], under different terms, e.g., Grid Manufacturing [2] or Agile Manufacturing [3]. The decision to have a globally distributed production process with many contractors or partners interconnected and related supply chains is a luxurious one.
    [Show full text]
  • 3D Printing for Ecology and Evolution: a Hands-On Guide to Turn an Idea Into Reality
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 12 March 2020 doi:10.20944/preprints202003.0220.v1 3D printing for ecology and evolution: a hands-on guide to turn an idea into reality Nicolas Schtickzelle, Estelle Laurent, Thibaut Morel-Journel Université catholique de Louvain Earth and Life Institute &Biodiversity Research Centre Croix du Sud 4, L7.07.04 1348 Louvain-la-Neuve Belgium Corresponding author: Nicolas Schtickzelle [email protected] +3210472052 Key-words 3D printing, 3D scanning, customized ecological objects, methods, stereolithography, open-source lab Abstract 3D printing is described as the third industrial revolution: its impact is global in industry and progresses every day in society. It presents a huge potential for ecology and evolution, sciences with a long tradition of inventing and creating objects for research, education and outreach. Its general principle as an additive manufacturing technique is relatively easy to understand: objects are created by adding material layers on top of each other. Although this may seem very straightforward on paper, it is much harder in the real world. Specific knowledge is indeed needed to successfully turn an idea into a real object, because of technical choices and limitations at each step of the implementation. This article aims at helping scientists to jump in the 3D printing revolution, by offering a hands-on guide to current 3D printing technology. We first give a brief overview of uses of 3D printing in ecology and evolution, then review the whole process of object creation, split into three steps: (1) obtaining the digital 3D model of the object of interest, (2) choosing the 3D printing technology and material best adapted to the requirements of its intended use, (3) pre- and post- © 2020 by the author(s).
    [Show full text]
  • Survey on Additive Manufacturing, Cloud 3D Printing and Services
    Survey on Additive Manufacturing, Cloud 3D Printing and Services Felix W. Baumann, Dieter Roller University of Stuttgart, Stuttgart, Germany Abstract Cloud Manufacturing (CM) is the concept of using manufacturing resources in a service oriented way over the Internet. Recent developments in Additive Manufacturing (AM) are making it possible to utilise resources ad-hoc as replacement for traditional manufacturing resources in case of spontaneous problems in the established manufacturing processes. In order to be of use in these scenarios the AM resources must adhere to a strict principle of transparency and service composition in adherence to the Cloud Computing (CC) paradigm. With this review we provide an overview over CM, AM and relevant domains as well as present the historical development of scientific research in these fields, starting from 2002. Part of this work is also a meta- review on the domain to further detail its development and structure. Keywords: Additive Manufacturing; Cloud Manufacturing; 3D Printing Service 1. Introduction Cloud Manufacturing (here CM, in other works also CMfg) as a concept arXiv:1708.04875v1 [cs.CY] 7 Aug 2017 is not new and has been executed in enterprises for many years [275], under different terms, e.g., Grid Manufacturing [50] or Agile Manufacturing [215]. The decision to have a globally distributed and with many contractors or partners interconnected production process and related supply chains is a luxurious one. Large global corporations and competitions makes \expen- sive" local production nearly impossible. Email addresses: [email protected] (Felix W. Baumann), [email protected] (Dieter Roller) Preprint submitted to arXiv August 17, 2017 CM is based on a strict service orientation of its constituent production resources and capabilities.
    [Show full text]
  • Does Blockchain for 3D Printing Offer Opportunities for Business Model Innovation?
    Cambridge BMI Group Working Papers: 02/2020 DOES BLOCKCHAIN FOR 3D PRINTING OFFER OPPORTUNITIES FOR BUSINESS MODEL INNOVATION? Maximilian Klöckner Stefan Kurpjuweit (ETH Zurich) (ABB Ltd) Chander Velu Stephan M. Wagner (University of Cambridge) (ETH Zurich) Overview: Blockchain combined with 3D printing offers businesses untapped opportunities. Blockchain can help businesses overcome intellectual property and data security barriers, allowing them to take advantage of emerging 3D printing business models. Specifically, blockchain can facilitate local manufacturing and may lay the groundwork for new business models like industrial design marketplaces and shared factories. Businesses could also improve their value proposition by offering additional services around a printed part, improving value delivery, and offering less costly and more customized products that involve fewer risks. Blockchain could transform the way firms create, deliver, and capture value in 3D printing ecosystems. Keywords: Blockchain, 3D printing, Additive manufacturing, Business model innovation Does Blockchain for 3D Printing Offer Opportunities for Business Model Innovation? Blockchain use in financial services, global trade, and supply chain management has received significant attention in the last five years, whereas interest in blockchain for 3D printing remains limited. The low level of interest is not surprising given the fact that other manufacturing processes are much more mature than 3D printing. At the same time, the limited interest is surprising since the recent adoption of distributed (interorganizational) 3D printing has fuelled discussions about intellectual property (IP) and secure data management while other production processes have not (Kurfess and Cass 2014; Yampolskiy et al. 2018). 3D printing has emerged as an important technology for parts production, but most businesses have not yet taken full advantage of its potential.
    [Show full text]
  • Editorial Note on 3 Dimensional Study Case
    Research Article Journal of Volume 10:4, 2021 Applied & Computational Mathematics ISSN: 2168-9679 Open Access Editorial Note on 3 Dimensional Study Case Dover Department of mathematics, Umea University, Sweden Today, 3D models are utilized during a good kind of fields. The medical of e.g. squares) are popular as they have proven to be easy to rasterize industry uses detailed models of organs; these could even be created with (the surface described by each triangle is planar, therefore the projection multiple 2-D image slices from an MRI or CT scan. The movie industry uses is typically convex);.[6] Polygon representations aren't utilized altogether them as characters and objects for animated and real-life motion pictures. the rendering techniques, and within these cases the tessellation step isn't pc game industry uses them as assets for computer and video games. The included within the transition from abstract representation to rendered scene. science sector uses them as highly detailed models of chemical compounds. 3D models can also be created using the technique of Photogrammetry The architecture industry uses them to demonstrate proposed buildings with dedicated programs like RealityCapture, Metashape, 3DF Zephyr, and landscapes in lieu of traditional, physical architectural models. The and Meshroom. Cleanup and further processing are often performed with engineering community utilizes them as designs of latest devices, vehicles applications like MeshLab, the GigaMesh Software Framework, netfabb or and structures also as variety of other uses. In recent decades the planet MeshMixer. Photogrammetry creates models using algorithms to interpret science community has begun to construct 3D geological models as a typical the shape and texture of real-world objects and environments supported practice.
    [Show full text]
  • Remarks on 3D Printing, Free Speech, and Lochner
    Minnesota Journal of Law, Science & Technology Volume 17 Issue 2 Article 5 6-2016 Remarks on 3D Printing, Free Speech, and Lochner Kyle Langvardt Follow this and additional works at: https://scholarship.law.umn.edu/mjlst Part of the Common Law Commons, Constitutional Law Commons, Intellectual Property Law Commons, and the Science and Technology Law Commons Recommended Citation Kyle Langvardt, Remarks on 3D Printing, Free Speech, and Lochner, 17 MINN. J.L. SCI. & TECH. 779 (2016). Available at: https://scholarship.law.umn.edu/mjlst/vol17/iss2/5 The Minnesota Journal of Law, Science & Technology is published by the University of Minnesota Libraries Publishing. Remarks on 3D Printing, Free Speech, and Lochner Kyle Langvardt* I. The Mall and the Library...................................................... 780 II. The Regulatory Interest in CAD Files ................................ 786 III. Restricting Availability of 3D-Printable Designs ............. 789 IV. The Uncertain Constitutional Meaning of 3D Printing .... 794 V. Admitting that Code Is Rarely Speech................................ 801 In Reno v. ACLU, the Supreme Courts first opinion to apply the First Amendment to the Internet, Justice Stevens compared the World Wide Web to both a vast library including millions of readily available and indexed publications, and a sprawling mall offering goods and services.1 He could not have known in 1997 how sprawling the mall would become, with Amazon, eBay, Silk Road, and so on, and we surely cannot imagine the sprawl to come in the future. But the emergence of 3D printing technology nevertheless allows us to see what is coming: a mall in which shoppers not only form contracts for goods, but also take possession of the goods themselves after they are, for all intents and purposes, delivered over the wires.2 If the Internets mall was metaphorical in 1997, that mall will become increasingly literal as home manufacturing becomes more effortless.
    [Show full text]
  • Medical Applications for 3D Printing: Current and Projected Uses C
    Medical Applications for 3D Printing: Current and Projected Uses C. Lee Ventola, MS INTRODUCTION files, allowing the creation of complex, customized anatomical Medical applications for 3D printing are expanding rapidly and medical structures (Figure 2).3,5,10 and are expected to revolutionize health care.1 Medical uses for 3D printing, both actual and potential, can be organized THE HISTORY OF 3D PRINTING into several broad categories, including: tissue and organ Charles Hull invented 3D printing, which he called “ste- fabrication; creation of customized prosthetics, implants, and reolithography,” in the early 1980s.1 Hull, who has a bach- anatomical models; and pharmaceutical research regarding elor’s degree in engineering physics, was working on making drug dosage forms, delivery, and discovery.2 The application plastic objects from photopolymers at the company Ultra Violet of 3D printing in medicine can provide many benefits, includ- Products in California.6 Stereolithography uses an .stl file format ing: the customization and personalization of medical products, to interpret the data in a CAD file, allowing these instructions drugs, and equipment; cost-effectiveness; increased produc- to be communicated electronically to the 3D printer.6 Along tivity; the democratization of design and manufacturing; and with shape, the instructions in the .stl file may also include enhanced collaboration.1,3-6 However, it should be cautioned information such as the color, texture, and thickness of the that despite recent significant and exciting medical
    [Show full text]
  • Additive Manufacturing, Cloud-Based 3D Printing and Associated Services—Overview
    Journal of Manufacturing and Materials Processing Review Additive Manufacturing, Cloud-Based 3D Printing and Associated Services—Overview Felix W. Baumann 1,2,* and Dieter Roller 2 1 TWT GmbH Science & Innovation, Stuttgart 70565, Germany 2 Institute of Computer-aided Product Development, University of Stuttgart, Stuttgart 70569, Germany; [email protected] * Correspondence: [email protected]; Tel.: +49-711-215-777-1207 Received: 22 September 2017; Accepted: 13 October 2017; Published: 17 October 2017 Abstract: Cloud Manufacturing (CM) is the concept of using manufacturing resources in a service-oriented way over the Internet. Recent developments in Additive Manufacturing (AM) are making it possible to utilise resources ad-hoc as replacements for traditional manufacturing resources in case of spontaneous problems in the established manufacturing processes. In order to be of use in these scenarios, the AM resources must adhere to a strict principle of transparency and service composition in adherence to the Cloud Computing (CC) paradigm. With this review, we provide an overview of CM, AM and relevant domains as well as presenting the historical development of scientific research in these fields, from 2002 to 2016. Part of this work is also a meta-review on the domain to further detail its development and structure. Keywords: additive manufacturing; cloud manufacturing; 3D printing service 1. Introduction Cloud Manufacturing (here CM, in other works also CMfg) as a concept is not new and has been executed in enterprises for many years [1], under different terms, e.g., Grid Manufacturing [2] or Agile Manufacturing [3]. The decision to have a globally distributed production process with many contractors or partners interconnected and related supply chains is a luxurious one.
    [Show full text]
  • Exploring Effective Publishing in the Web3d World
    University of Pisa Department of Computer Science Ph.D. Thesis: XXX cycle Exploring Effective Publishing in the Web3D World Marco Potenziani Supervisor Supervisor Dr. Roberto Scopigno Dr. Marco Callieri April, 2018 Abstract Web3D is most certainly an intriguing world. Its story has changed suddenly with the advent of WebGL, evolving from a slow and stagnant past to a dynamic and rapidly-evolving present. 3D data is becoming one of the key digital media on the Web, with a wide number of solutions specifically designed for publishing and consuming three-dimensional content online. Unfortunately, this field experimented a quick and often chaotic growth, presenting nowadays a dichotomy between pure research-oriented and market-oriented approaches. This has somehow shaped the directions of Web3D development, creating de-facto standards and solutions tailored to specific fields, or only focused towards mainstream publishing actions and thus unable to cope with the needs of more specialized and technical 3D users. Under these premises, the aim of the thesis has been to investigate the shortcomings and missing features of Web3D technology, as well as to propose a solution aimed at filling these empty spots. We start by presenting an analysis of the state of the art of 3D Web publishing, surveying the features provided by the major current approaches, useful to categorize the existing solutions and to cross-map them with the requirements of the different application domains. Then, in what is the main contribution of the thesis, we exploit the result of our analysis of the Web3D and discuss the design and implementation of a flexible platform, aimed at providing an effective framework for the Web presentation of specialized 3D content.
    [Show full text]