三维激光扫描在文物考古中应用述评

对文物和遗址遗存进行精确描述和测绘一直是文物保护和考古发掘工作中的一个重要内容。相较于传统测绘方法,三维激光扫描具有快速、准确、无需接触文物表面等优势,已被广泛采用于文物保护和考古发掘工作中。本文对三维激光扫描的原理和工作流程进行简要介绍,并对其近期在文物保护和考古工作中的应用情况做出综述和评论。     

博物馆计算机技术虚拟修复与复制文物方法初探——以德国美因茨博物馆为例

随着计算机技术的迅猛发展,作为博物馆硬核的文物藏品,在保护修复、展陈及复制品制作等方面也成为IT界施展其技术的新领域。本文列举德国美因茨博物馆几个项目案例,旨在阐述文物无触碰信息采集与虚拟修复以及复制品制作等技术,作为对传统技术的有益补充,还弥补了传统修复、复制不可能实现的缺憾,对文物保护修复技术发展领域的拓宽进行了有益的尝试。     

基于新经济地理“3D”框架的旅游经济空间结构特征分析——以长江三角洲地区为例

本文借鉴新经济地理学的"3D"(density,distance,division)框架理论,构建了旅游经济空间"T—3D"分析体系,分别以旅游经济地理集中度、时空距离及旅游联系诠释了旅游经济空间的密度、距离及整合。以长三角地区为例,刻画了旅游经济空间的T—3D特征。研究结果表明:长三角地区各市旅游经济空间密度的数值差异明显,空间分布差异显著,整体呈现"南疏北密"的分布特征;长三角地区旅游经济空间距离总体较优,各城市间距离较近,且差异不大,呈现出"核心—边缘"特征;旅游经济空间整合表现为上海、杭州、苏州三足鼎立之势,呈现出"一核两翼"的区域旅游发展特征。通过对长三角地区的实证分析,验证了旅游经济空间"T—3D"分析体系的有效性。     

Strengthening Innovation Through Closer Bilateral Integration

While the Canadian economy has outperformed the US economy over the past decade by several macroeconomic indicators, both economies have been characterized by relatively slow real economic growth and relatively high unemployment rates. One focus of bilateral cooperation that could promote improved economic, social, and environmental conditions in both countries over time is scientific and technological (S&T) innovation. It is widely acknowledged that technological change associated with innovation has been the single most important contributor to productivity growth, and it is also the likely source of success in meeting major public policy challenges facing both countries in areas such as renewable energy and health care.     

3D打印技术在龙门石窟金刚经洞修复中的应用

为了缓解龙门石窟金刚经洞因局部坍塌引起的水害、微生物等病害发育问题,利用3D打印技术对坍塌部位进行修复:修复部件以光敏树脂为打印材料,修复部件为空心结构以减轻荷载；对修复部件进行光场、温度场仿真设计,使洞窟内日光辐射强度降低至日光直射的50%~56%,窟内温度分布差值由6.6℃降低到1.9℃；修复部件采用S8801涂覆内外表面,S8801老化实验后主要性能保持率均大于90%,并采用玄武岩纤维与玻璃纤维增强修复部件内表面。经多次降雨后观察,龙门石窟金刚经洞由缺失导致的雨水倒勾等问题得到有效缓解。该工作为3D打印技术与不可移动石质文物修复工作结合奠定基础。     

Policy and creative strategies: Hong Kong CEPA films in the China market

Abstract

This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.