The Virtual Curation Laboratory at Virginia Commonwealth University created 3D representations of digital morphological models, termed “artifictions,” of several bone elements from two extinct animals, the passenger pigeon (Ectopistes migratorius Linnaeus Columbidae) and the harelip sucker (Moxostoma lacerum Jordan and Brayton Catostomidae). Procuring recent comparative reference skeletons these species is extremely difficult. The creation of artifictions, 3D printed replicas of skeletal remains, aims to help researchers become familiar with the bones of harelip sucker and passenger pigeon to facilitate morphological identification of remains of these species within archaeological assemblages. Here, we discuss the two species, the techniques used to create digital topological models of individual skeletal elements, and the obstacles encountered regarding 3D printed artifictions in zooarchaeology.
Stewards of the tangible past are increasingly embracing technologies that enable digital preservation of rare and fragile finds. The Virtual Curation Laboratory (VCL) at Virginia Commonwealth University (VCU) partners with museums, cultural heritage locations, and collections repositories to create three-dimensional (3D) digital models of artifacts from archaeological sites distributed across the globe. In the VCL, undergraduate VCU students bring a fresh perspective unburdened by archaeological orthodoxy as they use a laser scanner to record artifact details, edit the resulting digital models, and print plastic replicas that are painted to resemble the original items. The 3D digital models and printed replicas allow for new ways of visualizing the past, while preserving the actual artifacts themselves. These forms of archaeological visualization enable the broader public and not just a narrow band of researchers to dynamically and meaningfully interact with rare and fragile objects in ways that would otherwise not be possible, empowering their own contributions to interpreting, understanding, and reimagining the past. We must embrace co-creation through virtual artifact curation and recognize that, while we sacrifice some control over the stories that are told about the past, more stories will be told and shared as pieces of the past become more accessible.
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