The title of the workshop is “The Use of Digital Technologies Within the Creative Process of the Arts”. Our members have asked who the workshop is aimed at and the answer is everyone within an arts organisation, because nowadays IT/digital technology underpins both the administrative process and artistic creation and delivery. Bringing people together from all parts of the organisation produces a lot of energy, excitement and inspiration, which is what we as an organisation are all about.
We have two outstanding presentations scheduled for the evening.
David Mathews’ presentation is entitled “We don’t call it ‘distance’ anymore…” His presentation plots the deployment of two specific technologies which are being used to multiply and amplify teaching, learning and assessment opportunities for students enrolled in the Theatre Studies programme of Rose Bruford College in Sidcup. Specifically, these are video conferencing (webinars) – for on-line, real-time teaching, study support, vivas and other assessment and e-portfolio – thereby increasing opportunities for practice, assessment and facilitation of self-guided research as well as broadening the suite of transferrable skills which the programme aims to develop. The presentation will also outline approaches to teaching which are more often associated with full-time practical actor programmes.
Our second presentation will be by Carlos Bayod Lucini of Factum Arte in Madrid and he will be talking about LUCIDA.
Lucida is the 3D scanner custom built by Factum Arte for conservation purposes. Designed by artist and engineer Manuel Franquelo, this system is the result of more than 10 years’ investigation into high resolution recording of the surface of paintings and relief.
Digitisation of the relief of a work or art is a relatively new field of investigation: it can be used both to study and monitor the surface of an object and to re-materialise the object in diverse forms, ranging from projection to the construction of exact facsimiles. The validity of this type of recoding is dependent upon the quality of the data gathered. And in the field of fine arts this is usually synonymous with surface resolution and accuracy. 3D recording has traditionally focused on capturing the shape of an object and it is only very recently that the technology has been available to accurately record surface data. This surface data (texture) is essential for research, investigation and documentation purposes. Recording the relief and texture of an original work of art (usually in combination with colour) as reliably as possible is leading to new insights and an intimate knowledge about why artworks look the way they do.
Factum Arte has extensive experience employing digital technology to record cultural heritage sites and objects, from the Valley of the Kings in Egypt to the Musée du Louvre in Paris. Each project has required adaptation and improvements to the systems available in the market in order to achieve the necessary standards.
After years of adapting what was available on the market Factum Arte decided to design and build a bespoke 3D laser scanning system which put its focus on both capturing the dimensional data but also focuses on faithfully and reliably recording texture, which is essential for meaningful reproduction within the conservation field.
David Mathews is VLE Development Manager and a Lecturer in Theatre Studies (online) at Rose Bruford College of Theatre and Performance. He works with a large international cohort of online learners and supports staff and students on the Sidcup campus in their use of the virtual learning environment and associated platforms. He has a BA in Drama from Goldsmiths College and an MPhil from Royal Holloway, focusing on polyphonic poetry in performance. His research has diversified into e-learning and technology-enhanced learning. He has taught at Royal Holloway and Central School of Drama and is a fellow of the Higher Education Academy and a certified member of the Association for Learning Technology.
Carlos Bayod Lucini is architect and director of conservation projects at Factum Arte. His work explores the technological processes that define the original qualities of objects, proposing a contemporary approach to the conservation of cultural heritage through the creation of facsimiles- exact replicas of works of art. He is collaborating with Manuel Franquelo in the development of Lucida.
He has participated as lecturer is various events throughout Europe. In all the conferences and courses he has taught he has emphasised the relationship between digital technology and craftsmanship within the design process as well as the multidisciplinary and experimental approach in the professional work carried out by Factum Arte.
He has been guest professor in the Master in Digital Architecture of IUAV (Istituto Universitario di Architettura di Venezia), where he has taught the module on rapid prototyping and digital fabrication. He has been invited to the open jury in the Architectural Association School in London and has organized different seminars in Madrid with various European universities.
Within Factum Arte he has developed the following exhibitions: Facsimile of the tomb of Tutankhamun’s permanent installation (Valley of the Kings, Luxor, Egypt, 2014); Penelope’s Labour: Weaving Words and Images (Venice, 2012); Arachne’s Return (Zurich, 2012); Facsimile of the Sala Bologna’s permanent installation (Bologna, 2011).
2010 – 2014, Factum Arte, Madrid
2009 – 2010, Herreros Arquitectos, Madrid
2003 – 2004, UrbanLab, Chicago
2009, School of Architecture, Polytechnic University of Madrid
2004, School of Architecture, Illinois Institute of Technology, Chicago
- Date 15/05/2014