Documental: Soñar el futuro Patrimonio Histórico
¿Cómo será el mundo en 2050? ¿Cómo afectarán los descubrimientos de hoy a la vida del mañana? ¿Cuáles son los proyectos y tendencias que darán forma al futuro? ¿Qué respuestas daremos a los retos económicos, ecológicos y culturales? Científicos y pensadores de todo el mundo se reúnen para mostrarnos sus sueños del futuro, gracias a efectos especiales de última generación. En cada episodio abordan distintos aspectos de la vida, desde la energía y la medicina, hasta los deportes, la moda y el sexo. El futuro ya no es ciencia ficción; descubre el mundo de la próxima generación.
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00:00The pyramids of Egypt, the Moais of Easter Island, the Great Wall of China and the Acropolis
00:14of Athens.
00:16All these cultural relics unite us and are part of the legacy of the most valuable humanity.
00:22Our heritage is not just bricks and stones, but it is all our history and the values
00:28that it transmits to us.
00:32And what will happen in 2050 with this shared heritage?
00:36The dangers they face are innumerable.
00:39What can we do in the future to avoid this situation and pass this heritage on to future
00:54generations?
00:58The creative people are trying to find out all possible ways to raise awareness, educate
01:05and preserve what we already have.
01:08All over the world, archaeologists, restorers and scientists are inventing tools and developing
01:14techniques to overcome the limits and understand, protect and legate this heritage of the past.
01:26We hope that archaeologists of the future will know these places through virtual data,
01:33because the physical environment will have disappeared or will be seriously damaged.
01:39For some, it is about discovering a hidden piece of this legacy, unexplored or inaccessible
01:44places.
01:45There is a lot to discover underwater, as far as archaeology is concerned.
01:51But a machine that allows us to be there, without the need to be physically there, is
01:57impressive.
01:58Why don't we go back in time and create a Facebook of the past?
02:06I would love to rebuild the social networks of the past, see what relationship there was
02:10between people, their friends, their professional contacts.
02:16Others are already designing the museum of the future.
02:21I can easily imagine that in the future there will be tactile technology that allows us
02:27to imagine the touch of something without actually touching it.
02:31All these dreamers follow in the footsteps of those who, before them, sought to legate
02:35our cultural heritage.
02:37It is a need that has been with us since, well, since we started leaving our mark on
02:42the earth.
02:43Rupestrian paintings are more than 30,000 years old.
02:46We appreciate the relics of the past, and so it should be, because they are our history.
02:50That is why, to preserve and share these treasures, we immediately had the idea of centralizing
02:55them all in one place.
02:56Thus, in the 6th century BC, the princess Babylonia in Higaldinana built the first
03:01museum.
03:02However, that word only appeared in the Greek temples dedicated to the muses and to house
03:07the best of art and science.
03:10Already in the 1st century of our era, Pliny the Elder made all works of universal value
03:14accessible to all citizens.
03:18Preserving them was another story.
03:19But when it came to preserving its prestige, the religious authorities did not run out
03:24on budget.
03:25The Temple of the Sun in the Inca capital, Cuzco, was renovated in 1450.
03:30And the Vatican was no exception.
03:32In the middle of the 16th century, it restored the frescoes of the Sistine Chapel, which were already
03:37damaged.
03:38In the search for these valuable relics, we also began to look underground.
03:44At the beginning of the 18th century, the excavations of Pompeii and Herculean in Italy launched
03:50a methodical archeology.
03:52At the same time, pieces from all corners of the world formed large collections.
03:58The British Museum opened its doors in 1753 and 40 years later, the Louvre Palace became
04:05a museum.
04:06Throughout the 19th century, great scientists such as Faraday, Pasteur and Roentgen put
04:11their discoveries to the service of art conservation.
04:16The 20th century marked the beginning of a new dimension.
04:19In 1959, the Aswan dam project threatened to swallow the Egyptian temples of Abu
04:25Sinbel.
04:26There was an urgent need to safeguard our common universal heritage and the money to
04:31do so.
04:32As a result, in 1972, UNESCO established the Convention on the Protection of World Heritage.
04:40In the third millennium, many of these places are in danger.
04:43In the digital era of new technologies, the future of our past is in serious danger.
04:48Can you imagine Egypt without the pyramids?
04:54Can you imagine Peru without the Machu Picchu?
04:58In fact, I think people understand perfectly the great importance of preserving our heritage.
05:06Finding the mummy of Nefertiti or burying the Holy Grail?
05:13And if in 2050 technological advances would allow us to access previously inaccessible places
05:20and new fields of research?
05:23And if that would allow us to discover new traces of our heritage that we did not know?
05:29Going out to look for sunken treasures in the seabed that have been waiting for centuries
05:33to rise to the surface is a dream that can awaken our adventurous spirit.
05:39UNESCO estimates that there are more than 3 million pieces yet to be discovered, some
05:45of them with invaluable value.
05:48The challenge is to respond to the great demand of a population that wants to access their
05:54heritage.
05:55Sunken treasures for centuries or even millennia that are in an incredible state of conservation
06:02because the sea water and not being exposed to sunlight when the price is at a considerable
06:07depth, make the organic material such as saltwater, leather and wine be preserved for long periods
06:13of time and obtain fascinating information for archaeology, for history and for the history
06:19of our methods.
06:21At Stanford University in California, Oussana Khatib, a world authority in robotics, has
06:26invented the marine archaeologist of tomorrow.
06:30The laboratory he leads has developed the OceanOne, a unique robot capable of challenging
06:36the depths.
06:37Designed especially to search for our submerged heritage, it will explore with as much ease
06:43as a man the remains that are more than 100 meters deep and that are inaccessible for
06:49now.
06:53As far as archaeology is concerned, we cannot do all the work that we would like.
06:59So having a machine that allows us to be there, without being physically there, is
07:06impressive.
07:08Ah yes, leave it like that for a moment.
07:31Okay, now close it.
07:34Robotics is something I discovered during my doctorate.
07:39It was love at first sight.
07:42Open it again.
07:47Bravo.
07:49Most of what we currently have are robots that can explore, that can navigate, but that
07:56cannot do much.
07:58And OceanOne was the result of thinking, maybe we can build a humanoid diver that can reach
08:07those places.
08:08And that was the beginning of our adventure with OceanOne.
08:13Our mission, or at least that is how we consider it, is to take the robotics of the controlled
08:19manufacturing environment, where everything is structured, to an entirely open, unknown
08:25environment, and that you cannot pre-program.
08:29So what we try to do is to create a robot with skills, skills of physical interaction,
08:36and then allowing the man to guide the robot.
08:40And that's what OceanOne is about.
08:43So what we try to do is to create a robot that can navigate, that can explore, that can
08:52navigate, that can navigate, that can navigate, that can navigate, that can navigate, that
08:57can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
08:58that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
08:59that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:00that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:01that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:02that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:03that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:04that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:05that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:06that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:07that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:18that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:25that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:31that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:36that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:41that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:46that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:49that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:52that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:55that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:59All right, let's go, let's go, Denny.
10:01Frank, please, can you give me a hand?
10:06It's still moving as before.
10:09Yes, wait. It's getting close to 85.4.
10:18I really think exploring the interior of these places,
10:23going deep in depth, requires a lot of help.
10:29And the concept of Ocean One is to form an orchestrated team of robots
10:36that work together, placing structures, moving material,
10:41opening carefully, removing and putting things.
10:46This is a new dimension of possibilities for archaeology in the oceans and in the seas.
11:04In 2050, we will continue to feel attracted to the mythical sites.
11:08We want to continue exploring ancient places, visiting famous castles.
11:13We want to be there, where everything happened,
11:16feeling its atmosphere and projecting ourselves into a past era.
11:22But in the future, to be able to preserve the most fragile places,
11:26we will have to protect them from mass tourism.
11:33We have to continue limiting the number of visitors,
11:36imposing increasingly strict visiting conditions.
11:40If access to the millenary construction of Chichen Itza in Mexico is already prohibited
11:45and visits to the temples of Angkor are restricted,
11:48can we admire the pyramids of Egypt in 2050?
12:03Why do we like to visit historical places?
12:06It is thought that the most important thing is to see how they were built and not to see reality,
12:11but to see the reconstructions that allow us to imagine the history of that place is something magical.
12:19That is what the artist and visionary Adam Lowe understood.
12:22He combines cutting-edge technology with more traditional knowledge to make facsimiles.
12:28Thanks to their copies made with amazing fidelity,
12:32the valuable and fragile objects kept so far can leave the collections and can be shown to the public.
12:46This is the story of this little book from the 12th century,
12:49kept in a chest for 700 years.
12:53Adam Lowe's copies allow the public to enjoy the precious archaeological sites of our heritage without damaging them.
13:03With the number of people who want to have access to culture,
13:08it is critically important to adopt new strategies to have a responsible cultural tourism.
13:23Very good.
13:33I have to admit, I think, what you've done here on the...
13:36I have to admit that you have done a beautiful job.
13:39I don't think many people have actually seen a 3D physical model with this precision and complexity,
13:46and it's so natural and so similar to the original.
13:49I think feeling him in wood is fabulous.
13:54Fifteen years ago, when I would go to the dinners of middle-class people,
13:58and I would say that I was dedicated to making copies,
14:01everyone would say, what a horror.
14:03As if you had thrown a fart or something worse.
14:08What I would like is to change the perception of what we do,
14:12because our job is to preserve and protect things, not destroy them like crazy.
14:19This looks very good.
14:20I like those greens.
14:22They're very convincing.
14:23But the blacks should be more black.
14:25Okay.
14:29Fact to Marte began as a collaboration between myself and Manuel Franquelo,
14:34who is an extraordinary Spanish painter, but also an exceptional engineer.
14:39The first thing we focused on was a 3D scanner that recorded the surface of objects with great precision,
14:46which means that, for example, we could record this wall that I have in front of me,
14:51we could process the data and reproduce that wall.
14:55One next to the other would have the same quality.
14:58Each grain on the surface of a tomb or a sculpture can be faithfully documented.
15:04We don't just record the shape.
15:06We build a system to record both the shape and the surface.
15:11As you can see here, we have exactly three marks that correspond to each other.
15:16By heating the skin and pressing on it,
15:19by fitting perfectly in that slightly bulging position,
15:23the realism will be out of sight.
15:28The first thing we do is to measure the size of the wall.
15:31We measure the width of the wall.
15:33We measure the height of the wall.
15:35By heating the skin and pressing on it,
15:38by fitting perfectly in that slightly bulging position,
15:42the realism will be out of sight.
15:51In Egypt, tombs were built to last forever,
15:55but they were not built to be visited.
15:58As soon as someone enters, the climate changes,
16:01the conditions inside the tomb change,
16:04and this is the real objective,
16:06to get people to think,
16:08can I understand Seti I's tomb by looking at the facsimile,
16:11or do I have to visit the original and contribute to its destruction?
16:26Technology has a really critical role to play
16:29in the conservation and protection of works of art.
16:34Will that change things?
16:36Yes, it will change things,
16:38because high-resolution data,
16:41such as color,
16:44and what could be under the surface or on the surface,
16:48we are looking for multisensory ways
16:51to make a copy that is the same, that smells the same,
16:54and that even tastes the same.
16:58I think the work we are trying to do is revolutionary.
17:05For me, walking into the facsimile of Tutankhamun's tomb
17:10is something that gives me a visceral response in the stomach,
17:16because at a certain distance you can't tell the difference.
17:27I know that there are many purists
17:29who only look for authenticity and the true stuff,
17:33but I think that new technologies
17:36give us the incredible opportunity to discover certain things.
17:47Preserving our heritage as best as possible
17:50also includes restoring it,
17:52knowing when and how to intervene in an object that we want to preserve.
17:57To achieve this, we must first understand what it is made of,
18:00discover the process of making it,
18:03and reveal its fragility.
18:07There are two things for which science or scientific data can be used
18:12to understand what is happening with that piece of art
18:15in terms of its degradation,
18:18and we can also use those data to see how those things have been made.
18:25Ultra-powerful analytical tools capable of providing such data,
18:29such as the X-ray and infrared fluorescence spectrometer,
18:34already exist in research laboratories.
18:36In 2050, they will be in all restoration workshops.
18:41Culture is not static.
18:44Culture would only disappear if it wasn't questioned,
18:47if it wasn't explored, and if it wasn't investigated.
18:50And these new tools help us do that.
18:54Scientists, restorers and historians who feel passion
18:58and want to preserve our cultural heritage,
19:01observe to see beyond the color,
19:04and reach the heart of the object to reproduce the action of the brush
19:08and restore it to slow down the impact of time on our heritage.
19:15In 50 years, we will possibly know exactly what the object is made of,
19:20what color it is, how it was assembled, or how the pieces were joined,
19:24whether it is inside a mummy or inside a completely closed ceramic jar.
19:29We have a series of challenges ahead that can teach us many things.
19:34In 2050, the analytical tools should allow us to restore original polychromies,
19:40such as the statues of the Acropolis of Athens,
19:43and then maybe we will have the right methods
19:46to dare to restore pieces as emblematic as the Mona Lisa.
19:50My dream is to have a complete scanner of a work of art
19:56before I start working with it.
20:00Marion Boillyé is a restorer.
20:03For 30 years, she has been looking for new technologies
20:06that help her better understand the works that pass through her hands
20:09and solve the mystery of how these Tibetan tanks were made,
20:13painted tanks that date back to the 12th century.
20:17Together with the chemistry of the National Center for Scientific Research,
20:21Lorenz de Viguerie, Marion Boillyé gives us a detailed report of these tanks
20:25that have not been studied until now and that are difficult to restore.
20:30I believe that each restoration is a mystery.
20:33When we approach a work, we do not know what it has been subjected to.
20:43The Malaquites
21:00I have to restore this work.
21:03The Malaquite greens and the azure ones,
21:07I don't know if they are pure.
21:09If we could get out of doubt, it would be magnificent.
21:14When you start a restoration,
21:17there is a period of comprehension, of reading.
21:21There is a period of analysis and a period of diagnosis
21:25in which you decide whether to do something.
21:28Sometimes you don't dare because you don't have enough knowledge.
21:35The difficulty of restoration is to be able to mix
21:39what you know about painting, about its history,
21:43about the history of techniques and new technologies
21:47and the new tools we have at our disposal.
21:50I have made a calibration of Lalin A10.
21:53I don't know if you will be able to calculate it with your device,
21:58but you have the whole range of pigments and their origin.
22:02If they come from Tibet, Nepal, India, Japan,
22:08maybe we can study the tank thoroughly.
22:11I hope so.
22:29With a combination of analysis techniques
22:32such as X-ray fluorescence,
22:35specific images or hyperspectral images,
22:39photographic techniques under different lighting,
22:42UVA, infrared,
22:45I think we can help Marion Boyer to know the exact composition,
22:49to know which pigments and which dyes have been used
22:53so that she can reproduce exactly that mixture.
22:57Here, to help the restorer, we can click on an area
23:01and I get the associated spectrum that tells me which pigments have been used.
23:13We can say that your first idea is the right one.
23:19We know where we are going.
23:22We can be sure of the colors and what the painter wanted,
23:27because the most important thing is to respect that.
23:33Now, in the future, with a simple camera or a video camera,
23:42I hope we can get to the heart of the object
23:45and be closer than ever to the painter.
23:48Preserving works of art of our heritage as its authors conceived it
23:52is a dream within our reach.
23:58In 2050, maybe we can travel back in time
24:01and immerse ourselves in the time of our ancestors.
24:07What are those?
24:09They're your mother's memory tabs.
24:11With them, you can watch the world through her eyes.
24:20What do I do?
24:22Place one on each temple.
24:27Natalie!
24:35Natalie!
24:37Imagine that we could restructure a Facebook from the Middle Ages,
24:41go back in time with Google Maps
24:44and find out who lived here or there,
24:46who went out with whom,
24:48and know all the little secrets of the neighborhood.
24:53We have the information from yesterday and from today.
24:56We have images and videos.
24:58How can we put all that together
25:00to one day choose a drop-down menu
25:03and have a general image of that time?
25:06For example, 1602.
25:08What was going on in this part of the world at that time?
25:13We'll have a series of new instruments at our disposal
25:16that will profoundly change the environment of research.
25:20Everything will become popular and spread
25:23to show how things have evolved over time
25:26and how our heritage has evolved.
25:34Máquina del Tiempo de Venecia
25:36is the name of Frédéric Caplan's crazy project.
25:39This artificial intelligence researcher
25:41is digitizing the 80 km of archives in the city of Los Canales.
25:47They are using digital simulation
25:49to reconstruct 1,000 years of history
25:51and urban planning.
25:56We are in year zero of a new era of historical research.
26:00We are about to make many unexplored documents available.
26:05There are so many new technologies
26:07that allow us to handle this great mass
26:10that we have the impression
26:12that history is about to begin.
26:20The Dream
26:38The dream when I see these corridors full of documents
26:41is to think,
26:43could we transform them into an information system?
26:46Could we search in this file as we do on the Internet?
26:49Could we type, for example, the name of a Venetian
26:52and find all the documents in which that name appears
26:55regardless of which part of the file it is?
26:59This is Cardinal Mazzarino.
27:02For the peace...
27:05Between the two crowns, yes.
27:10In these 80 km of documents
27:12is a good part of the history of Europe
27:14that is still unexplored.
27:17How many documents have already led to many investigations?
27:20One or two percent?
27:22The challenge with a project like the time machine in Venice
27:25is to make it possible to do a great investigation
27:28in a system of information
27:30that is currently hidden in these documents on paper.
27:33We have to do an immense work of translation,
27:36transformation and readaptation of the data of the past.
27:44If we want to transform these kilometers of documents
27:47into an information system,
27:49we have to digitize them.
27:51This requires specific techniques
27:53since there are a large number of very old documents.
27:56We therefore have to develop
27:58a massive digitization technique
28:00that respects the documents.
28:02Then, when we have millions of images,
28:05we have to develop algorithms
28:07that allow us to read their content.
28:10We have to develop algorithms
28:12that allow us to read their content,
28:14recognize certain words.
28:18Then we have to create a graph
28:20to relate people and places
28:22that form a kind of Facebook of the past
28:25in which we can reconstruct
28:27the context of a particular person,
28:30their relationships and a part of their biography.
28:34One of the great challenges in the history of art
28:37is to do what we are doing
28:39with text and images.
28:41It has been very difficult to achieve so far
28:44because the works were still inaccessible.
28:47That is why we have developed in our laboratory
28:51a search engine called Replica.
28:54Thanks to the methods of learning
28:57of artificial intelligence,
28:59this program can recover images
29:02from visual similarities.
29:05Therefore, we have the possibility
29:08with a single click
29:10to see all the visual similarities
29:13of a sketch,
29:15of a composition,
29:17of a chiaroscuro.
29:19This wealth is priceless,
29:22but it is still to be explored.
29:25I think it is the next step
29:28for the history of art of the future.
29:35When you reconstruct the city,
29:37not only do you have to reproduce the buildings
29:40for which there are plans or images
29:42that represent the facades.
29:44You have to create hypotheses
29:46about the minor architecture
29:48for which there are certain clues,
29:50but not necessarily
29:52a visual iconographic proof.
29:55For that we need more algorithms,
29:58to build architectural grammar
30:01and generate the missing buildings
30:04according to those hypotheses.
30:07That is the only way
30:10to fill the gaps
30:13between the data
30:15and a continuous representation of the past.
30:20How will we experience
30:22this co-presence of the past?
30:25The models of the past
30:27could align directly with the present.
30:31With a simple tablet
30:33I see that it has changed.
30:35I see both worlds,
30:37one related to the other.
30:39The time machine in Venice
30:41tries to demonstrate a method.
30:44If all these methodologies
30:46could be used
30:48in other European cities,
30:50this territory of the past
30:52would gradually take shape
30:54and would add that dimension
30:56that is visually absent from the Internet.
30:59The passage of time.
31:05In the future, the past
31:07will become another territory
31:09to explore on the Internet.
31:11We will learn to experience that other dimension
31:14as long as we have files to revive,
31:16but that is not always possible.
31:24The wear and tear of time
31:26and other natural degradations
31:28are eroding the memory
31:30of a valuable part of our past.
31:33But there are more violent dangers
31:35that threaten our heritage
31:37that is at risk of being eliminated forever.
31:40We are talking, unfortunately,
31:43of the human behavior
31:45that is unacceptable.
31:47Be it any type of conflict,
31:49war, espolio,
31:51or, as recently,
31:53terrorist attacks are causing
31:57a very negative impact
31:59on our heritage.
32:01The Bamiyan Buddhas were destroyed,
32:04dynamited by religious reasons,
32:06and at the time
32:08they were two magnificent
32:10and colossal Buddha statues
32:12on the rock.
32:14Today there are only two holes left.
32:17We could try to find
32:19all the photos taken by tourists
32:21over the years
32:23and put them on the computer
32:25to try to reconstruct
32:27a 3D model
32:29from those photos.
32:33Reconstructing models in three dimensions
32:35from digital images
32:37is a strategy that is gaining followers
32:39quickly.
32:41Old places and temples
32:43can be kept in memory,
32:45but for the digital simulation
32:47to be in consonance with reality
32:49and reflect the original context,
32:51the level of precision must be impeccable.
32:53And that precision can only be obtained
32:55by extracting data in situ.
33:01The Frenchman Yves Huvelman
33:03has made the field work his vocation.
33:05He and his team are developing
33:07new tools to document
33:09the remains located in conflict areas,
33:11the last witnesses
33:13of ancient civilizations.
33:15For this, he conducts studies
33:17in the most threatened places
33:19on our planet.
33:23We think especially
33:25about future archaeologists
33:27who will only find these places
33:29through virtual data
33:31because the physical environment
33:33will be very damaged
33:35or will have disappeared.
33:39The future of archaeology
33:41is in the hands of the future archaeologists.
33:49Just after finishing
33:51my architecture studies,
33:53I went to countries like
33:55Syria, Afghanistan, Iran.
33:57I realized that
33:59the archaeological sites
34:01were disappearing
34:03at great speed in these regions.
34:05There are very few
34:07archaeological traces left.
34:09The slightest clue
34:11has a great historical importance.
34:13Here you can clearly see
34:15the steps.
34:17We have to represent
34:19this type of detail
34:21in the scanner
34:23that we make from here.
34:25I think we could provide
34:27a contextualized documentation
34:29of the place by combining
34:31two completely new technologies.
34:33The first technology
34:35is that of drones.
34:37Drones allow us
34:39to take thousands of images
34:41from a territory.
34:43The second technology
34:45is an algorithm
34:47that processes a lot of images
34:49that represent the same object
34:51to reconstruct
34:53that object in 3D.
34:55The first thing we do
34:57is a general map
34:59of the place
35:01around which
35:03the flying wing
35:05flies at an altitude
35:07of 200 meters.
35:09Then it goes down
35:11again,
35:13about 80 meters,
35:15for example,
35:17to capture more details
35:19of the areas of interest.
35:21I can't stabilize it.
35:25Then we also use
35:27what we call
35:29ground captures,
35:31using bars of different heights
35:33that allow us to complete
35:35this documentation
35:37to be able to go down
35:39to the millimeter scale
35:41or less,
35:43to the details
35:45that interest us.
35:47In fact,
35:49we could call it
35:51multiscale captures,
35:53and also architectural,
35:55to see the blocks
35:57with great precision.
35:59And we have a capture
36:01at the level of details
36:03that includes a small inscription,
36:05the mark of some tools
36:07to carve the stone,
36:09and that will allow us
36:11to make a reasonable interpretation
36:13of the construction methods
36:15or even of the epigraphy
36:17of the texts engraved
36:19on these stones.
36:23We are very excited
36:25about the future progress
36:27of these techniques.
36:29In a few years,
36:31we have witnessed
36:33the speed at which
36:35they have evolved.
36:37The world has so many
36:39archaeological sets
36:41in its heritage,
36:43and what we want
36:45is that autonomous machines
36:47can be used
36:49all over the world
36:51and that everyone
36:53can participate
36:55in this digitization,
36:57in this digitalized file
36:59of the world.
37:01With our team in Paris,
37:03we are building
37:05a collaborative platform.
37:07Everyone can put
37:09their images on this platform.
37:11We have to be aware
37:13that when someone
37:15visits an archaeological site
37:17and takes a picture,
37:19that picture has a historical value.
37:25Radical democratization
37:27of technology
37:29and access to it
37:31turns us from passive
37:33readers and data consumers
37:35to active participants.
37:43And these tools
37:45will change our connection
37:47not only in these historical places.
37:53Currently, museums
37:55have more and more visitors.
37:57New technologies,
37:59augmented reality
38:01and virtual reality
38:03are revolutionizing
38:05our relationships
38:07with the objects
38:09that are exhibited here.
38:11We are already starting
38:13to interact with them.
38:15The next level
38:17is augmented reality
38:19in the objects themselves.
38:21You can observe an object,
38:23but by digitally
38:25augmenting it,
38:27you can see it
38:29in a different way.
38:31The next level
38:33is augmented reality
38:35in the objects themselves.
38:37You can observe an object,
38:39but by digitally
38:41augmenting it,
38:43you can see it
38:45in a different way.
38:47You can section it
38:49and it looks like you're
38:51chopping it,
38:53but it's superimposed information
38:55that you experience
38:57in a different way.
38:59How will our museums
39:01be in 2050?
39:03Can we visit the Louvre
39:05or the Hermitage
39:07from anywhere in the world?
39:09It's a dream to visit
39:11a virtual museum
39:13that will allow, for example,
39:15to see all the works of art
39:17of an artist.
39:19We would have to travel
39:21around the world
39:23to see all the works
39:25of the same painter
39:27such as Leonardo da Vinci,
39:29for example.
39:31The Louvre has many of its works,
39:33but to see them all,
39:35you would have to travel
39:37to Florence, Milan,
39:39as long as there are
39:41those works of our heritage
39:43that interest us the most.
39:45You could have access
39:47to all the collections
39:49of the museums,
39:51even those that are in their reserves
39:53and cannot be seen by the public.
39:55These new types
39:57of interactive platforms
39:59that allow us to access
40:01digital reality,
40:03these technologies
40:05will allow us to access
40:07the world and experience it
40:09in a different way.
40:11Through these experiments,
40:13the Smithsonian Museum
40:15of the United States,
40:17which has the largest
40:19collections in the world,
40:21would make its 137 million objects
40:23accessible.
40:25Currently, it only exhibits 2%.
40:31The Museum of the Future
40:33will have other big surprises.
40:35Immersion technologies
40:37will make our experience
40:39educational, entertaining
40:41and unique.
40:49Experiences that may
40:51allow us to touch
40:53everything we see in museums.
41:01This is what Robert Eerdman
41:03of the Dutch Institute
41:05of Conservation, Art and Science.
41:07This American doctor
41:09had an experience that changed his life.
41:11Since then, he has put his knowledge
41:13and his talent as a programmer
41:15at the service of the Rijksmuseum
41:17in Amsterdam, so that in the future
41:19many people like him can benefit
41:21from the proximity to paintings.
41:27Introducing technologies and methods
41:29and sciences from other fields
41:31that are usually associated
41:33with cultural heritage
41:35or museums,
41:37would really help the world
41:39to advance a lot in that field.
41:55Just by pure coincidence,
41:57I was in Chicago
41:59at a baseball game.
42:01A friend of mine worked
42:03in the Department of Conservation
42:05of the Chicago Institute of Art
42:07and she kindly gave me a tour
42:09of the public area.
42:11During that tour,
42:13she let me touch one of the paintings
42:15and, for me, it was an electrifying moment.
42:23When a visitor comes to a museum,
42:25he only has the context of the museum.
42:27They may have some explanatory text
42:29or a brochure,
42:31and if they are cults,
42:33they may know something more
42:35about that particular object
42:37or have read something somewhere.
42:39The value of those individual objects
42:41in a museum and the amazing stories
42:43they have is not at all apparent.
42:45If you work in a museum,
42:47you have the opportunity
42:49to see the secret life of art,
42:51as I call it.
42:53If you are only a visitor,
42:55you have the opportunity
42:57to experience the objects
42:59in more depth
43:01and to understand them better.
43:03With the technologies
43:05that interpret scientific data
43:07and merge and condense them,
43:09we can make them directly
43:11accessible to the public,
43:13not only to the scientists.
43:19Also, the development
43:21of the museum
43:23also develops
43:25web visualization technology
43:27that will work
43:29on all browsers in the world
43:31and also on mobile phones,
43:33which will allow access
43:35to the data,
43:37enter the work
43:39and shred the layers of a painting.
43:41If we take as an example
43:43the painting of the Jewish bride,
43:45which is one of the paintings
43:47of Rembrandt
43:49that is here in the Rijksmuseum,
43:51we can then experience
43:53what it would be to fly
43:55down into the canvas
43:57and see closely
43:59each of the nuances of the work.
44:01A completely different way
44:03to observe a painting.
44:05In the future,
44:07I can easily imagine
44:09that there will be
44:11several tactile technologies
44:13that will allow us to feel,
44:15to imagine that we feel something
44:17without actually touching it.
44:19This is just the beginning,
44:21but the fact of having the Internet
44:23is supposed to have
44:25a huge democratizing force.
44:27I'm sure
44:29that this accessibility
44:31will continue to grow.
44:33If we can make the work
44:35we do accessible
44:37through the Internet
44:39in an intuitive and magical way,
44:41we will contribute
44:43to the general public
44:45being able to observe
44:47The museums are museums
44:49and they are places
44:51where people want to forget everything
44:53and want to reach the feeling
44:55of, my God,
44:57all this I'm observing is real.
44:59Therefore, the virtual museum
45:01is not a threat,
45:03it is an alternative
45:05and this is how it should be considered.
45:07New technologies
45:09will not cast a shadow on museums,
45:11on the contrary.
45:13Whether the museum is virtual or real,
45:15the question of heritage
45:17goes beyond its walls.
45:19The most important thing
45:21we have in our society
45:23is our past,
45:25what we are.
45:27The challenge for 2050
45:29is to help each of us
45:31to forge an essential link
45:33with the past we share
45:35and that it is crucial
45:37that we continue to transmit
45:39to future generations.
45:41My dream for the future
45:43is that heritage should be
45:45part of our life,
45:47that culture in general
45:49should not be considered
45:51something for the elites.
45:55Not only should we know
45:57our past,
45:59but we can learn from it
46:01to build a better future.