Unfolding the Past through 3-Dimensional Scanning of Pre-Columbian Classic Period Maya Artifacts
As artifacts lose their glow through the passage of time, the history they bear sink into the darkness. Fortunately, technology provides a solution. In this op-ed, Asli Erem, Anthropology MA student at Hunter College, discusses how 3D scanning helps us preserve and uncover pieces of the Maya civilization.
Asli examining the artifacts to be scanned © Asli Erem
“This project was important to me in terms of providing contextual research of these objects for the museum and students. I had the opportunity to expand my research skills while building up the awareness for further archaeological and art historical research to continue ”
A solution to the loss of cultural memory
Asli’s audience interacting with the 3D models she created © Asli Erem
Asli Erem, an alumna of Queens College and current MA student at Hunter College, researched various Classic (AD 200 to 900) Maya artifacts. She created 3D scans of the objects while conducting extensive research regarding their use, material, and ritual significance. After her presentation, her audience could interact with the 3D models by wearing a virtual reality headset or viewing miniature models printed from a 3D printer.
The artifacts Asli scanned included jade ornaments, eccentric flints, ritual objects, and a vessel, all likely used during the peak of Maya reign. Jade is a precious gemstone that symbolizes life and death and demarcates prestigious social identities. The gemstone was formed under high temperatures and low pressure in Guatemala's Upper and Middle Montague River Valley. The objects comprised various mythological depictions and represented the sophisticated Maya stone technology within each jade pendant and pectoral.
The artifacts were donated by a donor over ten years ago, with no information provided regarding their origin and provenance. Every object bears witness to unique social and historical contexts. Unfortunately, due to factors like looting or the passage of time, the stories of the objects often fade into oblivion. Many unanswered questions only surface when someone takes the objects out of the dark storage space and attempts to conduct research.
Asli believes that 3D scanning enables the wider scholarly community to study the artifacts in great detail. Through collaborative efforts, we can retrieve the lost stories of the objects and uncover pieces of Maya and Mesoamerican history.
What is 3D Scanning, and how it works
3D scanning in progress © Asli Erem
3-Dimentional scanning is a non-invasive method where a scanner, phone, or camera collects images of a physical object from different angles and converts the information into a 3-dimensional model. LIDAR and photogrammetry are the most common and affordable 3-D scanning methods. If a scanner utilizes the LIDAR (Light Detection and Ranging) method, it shoots a laser that calculates its distance to the object. The other method, photogrammetry, captures more than thirty clear images of the objects from all angles and feeds the information to the application. 3D scanning has become so affordable and accessible that it can be done with a phone. IPhone 12+ phones have a built-in LIDAR system that allows users to create 3D scans with either LIDAR or photogrammetry.
3D scans offer precise visual records of the current condition of an object or site. Researchers can zoom in on the details of the scan, recognizing new details that are otherwise not obvious. The clear rendering of the defining features of an artifact is what separates a good scan from a poor one. Therefore, identifying all of the important aspects of an object to be scanned allows for a greater knowledge of the artifact in question and ensures the accuracy of the scan. 3D scanning of glass, transparent, irregularly shaped, or shiny objects can be especially tricky.
A Great Tool for Public Education
A temple in Tikal, Guatemala © Asli Erem
3D scanning and models are great tools for outreach and public-facing education. Researchers and the public no longer need to come in person to view an artifact, which allows for public engagement without risking damage to the artifact. Participants of all ages can spin the scan of an artifact, zoom in on details, or even look inside.
3D scanning is widely used in archaeological research on Mesoamerica. On Sketchfab, many accounts have published various scanned Mesoamerican objects. For example, ItzaArch, a Sketchfab account created by Proyecto Itza, publishes various 3D scans from the sites they work on, including Nixtun Chi’ch’ and Zacpetén. 3D models created by The Center of Digital Heritage and the Cleveland Museum of Art are also on the platform. Dr. Timothy Pugh, a Mesoamerican Maya archaeologist and director of the Itza Proyecto project, posts his scans onto Roblox, a desktop video game where players can have their character walk on the Nixtun Chi’ch’ and visualize how the site looks. He also uses 3D scanning to document the stratigraphy and context changes of his excavated archaeological pits.
The ethical complexities of 3D scanning
Asli presenting her work to the audience © Asli Erem
Though there are many positives of 3D scanning, we must highlight the ethical issues that can arise as 3D scanning becomes a common tool. Individuals can re-print objects and sell them online, raising questions as to whether they are commercializing history to make a profit. Also, the public should not have the right to share the scans without the institution’s and/or Indigenous community’s permission, similar to how various museums or historical sites prohibit images from being captured. Maybe an analogy can be drawn between 3D scanning and photography. In the same way that individuals can not be photographed without permission, the right to create 3D scanning of artifacts must be granted by the communities or individuals who take custody of the objects.
As 3D scanning gains more popularity, clear ethical rules should be in place. Museums and organizations should create policies requiring researchers and the general public to refrain from creating 3D scans and posting them online without permission. Our top priority should be making sure that culturally significant objects are responsibly researched. We must value what is ethical for the local communities and the heritage over one’s desire to take advantage of a “cool 3D model they created.”
Asli is an Anthropology MA student at Hunter College, majoring in Anthropology. She has conducted field work in Guatemala and New Jersey. She has excavated at Nixtun- Chi’ch’, a Middle Pre-Classic Maya site located in Petén, Guatemala. She recently participated in the Cohansey River Bluff Rescue Dig, collaborating with the Nanticoke Lenni-Lenope Tribal Nations. Her research interests include lithic stone tools, zoo-archaeology, and osteology.
Written by Asli Erem. Edited by Roxana Wang.