CH7 Publishing 3D

Sunoikisis Digital Cultural Heritage, Spring 2021

Session 7. Publishing 3D models and intellectual property

Thursday Mar 4, 16:00 UK = 17:00 CET

Convenors: Tom Flynn (SketchFab), Dinusha Mendis (Bournemouth University), Alicia Walsh (Recollection Heritage)

YouTube link: https://youtu.be/wJivJmiOuME

Slides: tbs

Session outline

1. Alicia Walsh: we will begin with a brief introduction for options for distributing 3D models, and a summary of what 3D printing involves and can be useful for.
2. Tom Flynn: As 3D capture and content production become simpler and more widely adopted, a natural consequence is that producers of said content seek to publish that content both for viewing the 3D data and making the 3D data available for download. Numerous platforms now exist for publishing interactive 3D models online, each taking different approaches meeting the needs of 3D content publishers with regards to accepted 3D file formats, display options, user agreements and content licensing. This section of the session will give a broad overview of online publishing platforms for 3D content and a more in depth look at how sketchfab.com has approached these topics.
3. Dinusha Mendis: 3D Printing, 3D Scanning and IP Law: Ownership, Authorship and Infringement. Drawing on the results of a project completed for the European Commission, the talk will consider the IP implications arising from 3D printing and 3D scanning, with particular focus on copyright and cultural organisations. In doing so, the presentation will give an insight into the IP implications surrounding the 3D printing and scanning process, from the perspective of designing a CAD file to sharing, printing and distributing it.

Seminar readings

For discussion in this thread

• (Two open access titles will be chosen from the list below. Please add suggestions below, not here.)

Further Reading

• Diana Burton, Zach Challies & Bernard Guy (2019). "Creative expression through tangible narrative: How 3D printing may complement our pedagogical investigation of heritage." IEEE: Digital Heritage International Congress 2018. Available: https://doi.org/10.1109/DigitalHeritage.2018.8810121 (Paywalled)
• Mona Hess & Stuart Robson, 2013. “Re-engineering Watt: a case study and best practice recommendations for 3D colour laser scans and 3D printing in museum artefact documentation.” Archetype Publications. Available: http://discovery.ucl.ac.uk/1411525/1/23-Lacona-IX-Hess.pdf
• Hannah Scates Kettler (2021). “Linked Open Data for 3D Models and Environments.” in Linked Open Data for the Ancient Mediterranean: Structures, Practices, Prospects (edd. Bond, Dilley, Horne). ISAW Papers 20. Available: http://dlib.nyu.edu/awdl/isaw/isaw-papers/20-5/
• Dinusha Mendis, Davide Secchi & Phil Reeves. 2015. A Legal and Empirical Study into the Intellectual Property Implications of 3D Printing: Executive Summary. Available: http://eprints.bournemouth.ac.uk/21874/
• David P. Smith (2016). "Active learning in the lecture theatre using 3D printed objects." F1000Research 2016, 5:61. Available: https://dx.doi.org/10.12688%2Ff1000research.7632.2
• Giorgio Verdiani (2015), "Bringing Impossible Places to the Public: Three Ideas for Rupestrian Churches in Goreme, Kapadokya Utilizing a Digital Survey, 3D Printing, and Augmented Reality." Open Archaeology 1.1. Available: https://www.degruyter.com/document/doi/10.1515/opar-2015-0007/pdf

Other resources

• GLAM 3D – best practices for 3D Open Access programs at GLAM institutions
• Sketchfab Help Center
• Europeana 3D Task Force & Report
• Cultural Heritage 3D in the wider 3D Landscape (Thomas Flynn)
• Sketchfab Cultural Heritage User Survey 2019 Results (Thomas Flynn)
• Institutional Barriers to Open Access (Thomas Flynn)

Exercise

1. tba

(If you have any technical problems with this exercise, you may ask for help in this forum thread)