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Archive for March, 2019

Image: Casto Vocal
Virtual reconstruction of northernmost section of pre-Incan temple in Bolivia.

Here’s why a general education may equip the workforce of the future better than job-specific training: you never know what skills will be needed. In this example, a new breed of adaptable archaeologist is expanding the use of 3-D technology to reimagine lost worlds.

George Dvorsky writes at Gizmodo, “The 1,500-year-old Pumapunku temple in western Bolivia is considered a crowning achievement of Andean architecture, yet no one knows what the original structure actually looked like. Until now.

“Using historical data, 3D-printed pieces, and architectural software, archaeologist Alexei Vranich from UC Berkeley has created a virtual reconstruction of Pumapunku — an ancient Tiwanaku temple now in ruins. Archaeologists have studied the site for over 150 years, but it wasn’t immediately obvious how all the broken and scattered pieces belonged together. The surprisingly simple approach devised by Vranich is finally providing a glimpse into the structure’s original appearance. Excitingly, the same method could be used to virtually reconstruct similar ruins. The details of this achievement were published [last December] in Heritage Science.

“First, some background on the structure. Pumapunku, which means ‘door of the puma,’ was a temple designed and built by the pre-Incan Tiwanaku culture, who lived and thrived in what is now western Bolivia from 500 AD to 1,000 AD. …

“Pumapunku displayed a level of craftsmanship that was largely unparalleled in the pre-Columbian New World, and it’s often considered the architectural peak of Andean lithic technology prior to the arrival of the Europeans. …

“Unfortunately, the ruins of Tiwanaku, and the Pumapunku temple in particular, have been ransacked repeatedly over the past half-millenium. Archaeologists have virtually no idea what the structure actually looked like. None of the blocks that once comprised the original structure are currently located in their original place, and many of them are badly damaged or decayed. …

“To overcome these difficulties and limitations, Vranich and his colleagues integrated historical archaeological data with modern computer software and 3D-printer technology to reconstruct the ancient temple, and by doing so, devised an entirely new approach to reconstructing and visualizing ancient ruins that would otherwise be impossible to build.

“The team created miniature 3D-printed models, at 4 percent actual size, of the temple’s 140 known pieces, which were based on measurements compiled by archaeologists over the past 150 years and Vranich’s own on-site observations of the ruins. … The researchers could have performed this work exclusively in the virtual realm, but they had better luck with tangible, physical pieces they could freely move around.

“ ‘It was much easier to use the 3D-printed models,’ Vranich told Gizmodo. ‘You can quickly manipulate them in your hand and try position after position. It is much slower and less intuitive on the computer.’ …

“Satisfied with their Lego-like configurations, the researchers keyed their creations into an architectural modeling program, culminating in a single hypothetical model of the temple complex. This wasn’t terribly difficult, as the construction methods used by the Tiwanaku people, and how they formed their incredibly geometric stones, are well documented, explained Vranich. But the exercise yielded some new findings.

“ ‘What we found out is that it appears they were making prototypes for each type of stone type, and then would have copied one after the other. It’s almost like it was a pre-Columbian version of Ikea.’ …

“Another interesting finding was that the gateways scattered around the site were lined up in a way to create a mirror effect. That is, ‘one big gateway, then another smaller one in line, then another,’ he said. ‘It would create an effect as if you were looking into infinity in the confines of a single room.’ ”

Read more here.

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Photo: Playhouse Records
Back in the day, Jim Copp (right) “made recordings [with Ed Brown] that offered children funny fables replete with sound effects, and were literate and charming enough for adults,” says the
New Yorker.

Years ago, the older of my two younger brothers received a record player that looked like a jukebox and flashed colored lights. It was the beginning of his long romance with records. Neighbor kids came over to see this wonder, and we listened not only to music on the records but also to stories. Call it an early podcast platform. David Owen has a bit of history at the New Yorker.

“When my wife was a kid, in the early nineteen-sixties, she and her siblings listened, over and over, to records by Jim Copp. … Copp made nine records between 1958 and 1971. They contain stories, poems, and songs that he wrote, performed, and recorded with the help of his friend Ed Brown. …

“Stories involve a family that takes a cross-country car trip with a cow; a duck that, with excruciating effort, manages to speak just enough English to warn his housemate, a carpenter, that their kitchen is on fire; a dog with the longest name in the world who goes to Yale; … a nearsighted heron; and a feeble-minded old man, Mr. Hippity, who thinks his chicken pull toy is sick. Copp may be the reason that my wife and her siblings and both our children have always had good vocabularies: destitute, vituperative, locality, inauspicious, gauche, megalomaniac, union suit. …

“Not long after my wife received [tapes] from her brother, she noticed a tiny advertisement in The New Yorker for rereleases of Copp’s records, on cassette. She called the telephone number in the ad, and eventually realized that the person taking her order was Copp himself. … In 1993, I [interviewed] Copp in his home. …

“In 1939, friends whom he was visiting in Chicago dared him to enter a talent contest at the old Edgewater Beach Hotel, whose ballroom was popular with movie stars and mobsters. He performed several humorous pieces that he’d written as a student — ‘Arabella and the Water Tank,’ ‘Peaches and Myrtle’ (about two showgirls, one of whom murders the other), ‘The Mystery of the Revolving Tree Trunk’ — and won. …

“Copp got hooked on performing. During the next three years, he appeared, as James Copp III and His Things, in some of Manhattan’s most famous night spots, among them the Blue Angel, Le Ruban Bleu, the Rainbow Room, and Café Society. … In 1941, Liberty released six of his night club pieces, on a set of three 78s.

“He was drafted a year later, and became the adjutant of an intelligence unit that took part in the Normandy invasion. … He returned to the United States in 1946, but decided that New York and its night clubs had changed in ways he didn’t like.

“Copp decided that his best chance of preserving his night-club material was to rework it, slightly, for children. He experimented with a wire recorder — a tape precursor, which recorded magnetically on steel wire. He sold one piece, ‘The Noisy Eater,’ to Capitol Records, which Jerry Lewis recorded, in 1952. … He decided that from then on he would make his own records. He … would record a single character or instrument or effect on one machine, then play that tape in the background as he recorded another on one of the others. For some pieces, he ‘ping-ponged’ as many as ninety layers. He sped up some voices and slowed down others, all without fancy equipment, and he added homemade sound effects.” For the long read, check out the New Yorker, here.

The story brought back memories, especially of my father’s wire recorder. He had a couple of his recordings made into actual records, and when I grew up, I found someone to turn a record featuring my squeaky voice (“The Birth of Willie”) into a cassette tape.

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