Digital Embodiment and Historical Authenticity

While reading the Favro and Yee and Bailenson articles, and listening to the lecture in class on Wednesday, I was intrigued by the variety in the quality of each project’s model, reflecting both the size and budget of the project as well as the end goal of the project. A project, for example like the Roman Forum prototype that Favro uses in her article, requires more modeling detail than a less academically oriented project, like a video game, might when digitally recreating that sight. However, the inverse would likely be the case when discussing the detail required in modeling people. In the Yee and Bailenson article, the findings of the profound immediate effects on participants of the study highlighted in this article signal the importance and significance of historical accuracy, or at least authenticity in 3D modeling and digital embodiment.

In class on Wednesday, we tried to model the paupers we had studied to create Twine stories in MakeHuman. Trying to accomplish this task in a historically authentic manner proved much more difficult than I had expected. This exercise made me realize the level of research, planning, and thought that would need to go into a digital embodiment project in order to create historically authentic models.



Favro, Diane. “Se non èvero, èben trovato (If Not True, It is Well Conceived): Digital Immersive Reconstructions of Historical Environments.” Journal of the Society of Architectural Historians 71, no.3, (September 2012): 273-277.

Yee, Nick and Jeremy Bailenson. “Walk A Mile in Digital Shoes: The Impact of Embodied Perspective -Taking on The Reduction of Negative Stereotyping in Immersive Virtual Environments.” Stanford University, n.d.

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