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Title : standard furniture diep river
standard furniture diep river
>> [music playing] >> david j. malan: this is cs50. this is the end of week nine, and wehave so much fun stuff to do today. and in fact, not only are we goingto demonstrate some three dimensional technology for you in virtualreality with a very special guest, we're also shooting today'slecture in virtual reality. in three dimensions with a camerahere, with a set of cameras here. and so just so that we can approximatethe experience of having one of you come up on stage, could one ofyou actually come up on stage?
standing in-- let's go right here. i think i saw your hand among the first. >> come on up. what's your-- [audio out]. arianna. come on up and-- [audio out] whati'm going to do is you come on up is throw onto our screenover here-- what the headset that colton has ready for you. nice to see you.
and if you want to goahead and put this on. colton, what do we have that ariannais going to be putting before her eyes? >> colton: you're going to bewatching a movie trailer. >> david j. malan: a movie trailer. and as i recall, this is afairly scary movie trailer. arianna: really? david j. malan: for atleast one of us in the room. no one saw that. all right.
and in a moment it should beprojecting onto colton's laptop an in turn the screen here. let me go over here to that input,and here's what arianna seeing. so she sees it as one image, whereaswe see it, of course, in two. left eye and right eye. let me go ahead and i'lltoss it on the overhead too, even though it's a little bright. >> in this virtual reality there's a bigplay button in the middle of the room. >> colton: make sure it's highlighted.
hit the play button. >> david j. malan: there you go. >> colton: [inaudible]. david j. malan: ok, we're hitting play. it's very scary. very scary movie. here we go. loading. loading the very scary room.
colton: so now you shouldjust be in a dark room. david j. malan: nowshe is in a black room, which is scary and very realistic. there we go. go ahead and look around. the wi-fi's being alittle slow for us here. oh, that's scary. who's she? very scary menu keeps coming up too,
>> [laughter] >> notice that it certainlyfigures out where she's going. time is passing. something very creepy. oh, my goodness. blood in the shape of the movie's logo. and i think if we wait longenough, arianna, something will start crawling toward you. you see it yet?
arianna: yeah. david j. malan: all right. that can't be good. ok, careful. now you're going to-- [inaudible]a big round of applause. sorry. >> it's me. it's me. ok, thank you to arianna for coming up.
>> [applause] >> we'll show you-- we'll see if we can sharesome of that footage with you. so let's take a quick look at a coupleof announcements, a couple of examples, and then we'll turn the stage over toour friend, professor peter manuelian, who's going to talk to us todayabout the use of technology and the application of computerscience to the world of archaeology in just a bit. so first, doughnuts areavailable today at 4:00 pm
if you are hungry for that, andadvice about concentrating in or doing a secondary in computer science. maxwell dworkin is just downthe road at 33 oxford street. do feel free to join a bunch ofthe staff and cs concentrators and faculty for some tips. >> so recall that last time we leftoff with a somewhat technical topics but that syntactically arepretty easily implemented. one was an anonymous function, andthe name kind of says what it means. but just in relative layman's terms,what is an anonymous function?
>> [loud noise] >> that was scary. yes? >> audience: [inaudible] david j. malan: yeah. it literally is that. it's a function to whichyou don't give a name. and that seems a little weird becauseif it has no name, how do you call it? how do you call afunction that has no name?
yeah? david j. malan: bind it to an event. so this is a fancy way of saying youtell the [? web ?] browser in advance that when something interestinghappens, call this function. and in fact, there's another buzz wordfor this, which is simply a callback. so indeed a callbackfunction is a function that gets called when some data isready or when some event has happened. and so in particular,when we did something like an [? oncommit ?]handler or an onclick handler,
you might actually want some functionto get called when that event happens. and it doesn't matter whatits name so long as you told the browser in advancewhat function to call and how that code should look,which we'll see again in a moment. >> and we'll also now take alook at one other topic, ajax, which once upon a time stood forasynchronous javascript and xml but now it stands for really just a moregeneral technology or technique whereby a browser, by way of javascript,can request more data from a server even after the web pagehas initially loaded.
so you're not using ajax in pset seven. every time you click a buttonor hit enter or fill out a form and then send it to the server,the whole page is refreshing, the url is probably changing, andsome dynamic output is happening. in problem set eight we'll usejavascript and a bit of ajax as well so that things happen much moreseamlessly and a lot less deliberately step by step by step. >> but first, let's takea look at javascript by way of this super simple example.
this is just a web page wherei've got a big div in the middle of the page and really big text. and with what language did iprobably make the text really big? html, but in css. css properties allow meto specify really big. i could specify colors orany number of other things. >> but back in the day--actually, around the time i was making those terrific personalwebsites i showed you on monday-- there was actually an html tag calledthe blink tag, whose purpose in life
was to do exactly that. if you do open tag blink,some text, close tag blink, the text would just blink on the screen. so web pages in the'90s did a lot of this. literally. >> worse yet, there was a marquisetag whereby your text would just scroll across the screen as thoughthat was a good idea as well. so amazingly, one of the few things thatbrowser manufacturers like microsoft and mozilla and googlehave actually agreed on
is to kill off tags like that. so they don't then exist any longer,but if we're really insistent we could probably re-implement this. >> so let me show you the bottom ofa file here called blink.html. and there's obviously some html here,and it's a pretty simple web page. indeed, there's that div i mentioned. i've given it a unique identifier sothat either in css or in javascript i can uniquely refer to it so that i'mnot confusing it with any other divs if there were actually any.
and now notice at the top i've gota style tag in the head of the page, though i could certainly factor thatout and put it in a styles.css file as you have in pset seven. >> and this just why it's big. it's 96 point, it's got a big marginaround it which pushes it down toward the middle, andit's aligned in the center. but now, i've also gota script tag up top. and even though someof the syntax is new, let's take a look at how wecould re-implement this atrocity
from years past known as the blink tag. so here's a function,and i have named it. so it's not an anonymousfunction in this case, but it does have a name blank. takes no arguments. now this first line here isthe first interesting one. and what is this return to me? on the left hand side it givesme a variable called div, and what is that div ultimately?
how would you describe this toa somewhat technical roommate? what is that line of code doing? what's that line of code doing? so it declares a variableon the left called div, and then what is the right handside of the expression return? what's a good way to think about it? >> david j. malan: say again? >> audience: the value stored in greeting. >> david j. malan: thevalue stored in greeting.
not quite. so if you think of the htmlpage as a tree in memory, the so-called dom ordocument object model whereby you just have a whole bunch--like a family tree draped down from some root node. the element that has an id isliterally referring to the html element down here that has an id of greeting. so if you think of this div tagas being a node in a tree, what get element by id is doing quitesimply is returning to you,
if we were using c, a pointerto that node in the tree. a pointer to that nodein your data structure. we don't have pointers anymore. now we just think of things morehigher level, like variables, but stored in div right now withsome kind of reference or pointer to that node in the tree. now this is interestingbecause that's the node that we want to make blink on or off. on or off.
and we have a technique forchanging the style of a tag, of course, which is css. and what's nice today isthat we see that there's this bridge betweenjavascript and css whereby you can use javascript to change thecss properties of existing elements. you don't have to hard codeall of your css in advance. you can actually dynamically changethe aesthetics of your page as follows. >> notice here, and you might not haveever seen this property before, but it turns out in css there'sa property called visibility.
and for reasons that have never beenclear to me, the opposite of hidden is visible and theopposite of visible is hidden, as opposed to itbeing invisible but so be it. but what i'm doing here is i'm checking. if div.style.visibility-- so we'veseen this dot notation a lot, and it's common in javascript becauseobjects like these nodes that we're talking about have properties. and those properties mighthave properties inside of them. so relate it to data.
>> so if that div style has a visibilityproperty that equals hidden, what do i want to do if iwant to make this thing blink and that div is currently hidden? i want to make it visible. else, if it's not hidden-- ergo it'svisible-- i want to make it hidden. so these six or so lines of codehere-- eight lines of code-- simply have the effect of makingsomething hidden or visible. hidden or visible. but just once becausethere's no kind of loop here,
so it doesn't feel likeit's blinking quite yet. >> but down here, noticei've got this line. it turns out that built into browsers,and javascript specifically, there is a global variable called window. and we've seen anotherglobal variable called document, which we used a moment ago. there's another one calledwindow that generally refers not to the contents of the page but justthe general idea of the whole browser window.
and window.setinterval, you cankind of guess what this means. it's going to do something maybecyclically every some number of milliseconds apparently,according to my comment? >> so in english i'm saying,blink every 500 milliseconds. but a little more technically, whatis this highlighted line of code telling the browser to do? it's making it blink, but why? what's it doing technically? no?
[? put that instead. ?] yeah? david j. malan: exactly. it's calling a function every 500milliseconds, or half a second, and that function is called blink. and so recall on monday that we saidthat just like variables, functions, because they have names orsymbols associated with them, you can pass those around justlike their pieces of data as well. so here we're just saying,hey, browser window. set the following interval.
every 500 millisecondscall that function. and the browser doesn't evenhave to care what the function is so long as it's defined somewhere. >> so the net effect, if i go ahead andsave this and go back to this page and reload now that i'veenabled that function, is that this is literally what a lotof websites looked like in the 1990s. you reach here. hello. welcome to my creepy web page,as i recall, it was on monday.
so the goal here is not tore-implement the blink tag but to show this convergence betweenjavascript, a language, and css, this sort of stylization. but now let's do somethinga little more interesting. >> in problem set seven,you have already been or will soon be implementing a quotepage, whereby you can type in a stock symbol, hit submit, andthen the page reloads and you see a share of google costssuch and such dollars or something like that.
and that's not ajax. that's just http. a form submits from one page toanother, and you get back a response. but what if i wanted aslightly more elegant approach? let me go ahead and type ingoog and click get quote. now, this is not the prettiestuser interface to be sure, but notice that just like onmonday, i got this pop up. but the contents of that popup, though wordy, tell me that the price is apparently $731.37.
not all that elegant, but let'ssee a slightly better example. >> let me now go to versionone of this, if i may. version one looks like this. same very ugly form. but if i type in googhere-- so similarly, it's just giving me this prompt. but we can make it even prettier. so this is a little more interesting. i clearly didn't put all thatmuch effort into the aesthetics,
but this is much more akin now to whatgmail would do or facebook would do. you don't get some stupid pop up. instead, the contents of theexisting page change like that. >> so what's going on? if i go ahead and reload this page,the contents go back to the default and i can do something likefb for facebook, get quote, and it looks that up as well. so what's going on? well, let me go into ajax0.htmland first look at the html part.
so notice, like monday, i'm usingthe on submit handler, or on submit event handler, but we've seenother ways of doing this. so we're just keepingthings simple for now. and on submit is telling me, callthe quote function then return false. and just a sanity check. why return false? what does that prevent? >> david j. malan: the wholepage from reloading, which would put us back into psetseven territory, which is not the goal.
we're trying to make things a littlebetter, a little more seamless for the user. so now i just have html,and it's kind of long. it wraps over the edgeof the screen there, but i've got an input whose type,if i keep scrolling, is text. but what's important is thatit has a unique id of symbol, and then i have a submit button. so this is the very first version. >> but if i now scroll up-- let'stake a look at the quote function.
it's kind of neat that now, ifyou understand or are reasonably comfortable with httpfrom pset six or prior, all that we need todo really intuitively is create a url that containsthe symbol we want to look up. >> so it turns out thati wrote in advance-- and we won't look at the code for this,but i wrote in advance a file called quote.php that works as follows. let me go back into my file directory. it's not going to work if i just clickon it, but if i go up to my url here
and go to quote.php and i doquestion mark symbol equals goog and then hit enter, noticethat i get just this back. it's not a web page. it's just text. but it's text that's formattedin an interesting way. what format is this text, if you recall? json. javascript object notation. and so it's just a bunchof key value pairs.
it's a little hard to readwhen it's a long line, but i see a bunch of quotesand colons and curly braces, and that's just the general structureof associating one piece of data with one particular value. >> so if i now have a file called quote.phpthat clearly, much like pset six, supports very simple http getrequests, what if in javascript i use my budding skillswith this new language, construct a url thatlooks exactly like that, and behind the scenes senda request from my browser
to the server to get that json data? and that's exactly what we do here. >> so here's my quote function. i'm declaring a variable called url. on the right hand sidei'm using single quotes, but you could use double quotes as well. notice i'm doing quote, unquote--that's no pun intended-- quote.php?symbol equals. and then, even if you're notquite familiar with this syntax,
and indeed most ofyou wouldn't be-- this is using that speciallibrary called jquery that you'll see moreon in online resources, perhaps in the final project. what am i concatenating onto questionmark symbol equals apparently? just generally speaking. >> audience: the symbol. >> david j. malan: yeah, the symbol. whatever the human typed into the form.
that is apparently the code injavascript for going into my html page, finding whatever element, whatevertag, has a unique id of symbol, and this hashtag in htmljust means the unique id. so whatever element has a uniqueid of symbol that means go get it. and .val is a jqueryfunction, it turns out, that just says give methe value of that field. >> and then finally, and thesyntax is a little funky-- so it turns out that jquery, thislibrary to which i keep referring, literally has a specialglobal variable called jquery.
but it turns out in javascript,somewhat confusingly, the dollar sign is not a special symbol,whereas in php it's a special symbol. if you have something with a dollarsign it means it's a variable. in javascript, a dollar signis just like a, b, c, or z. it's just a letter of the alphabetthat you can use in variables. so the people who inventedjquery just thought it would be kind of cool to lay claimto a global variable called dollar sign, but it just is an alias for jquery. >> so $.getjson is calling a functionthat comes with this popular library,
whose purpose in life is to go getjson data, issue an http request, and get back the response. the first argument is apparently the urlfrom which you want to get that data, and the second argument, just to tiethings together, is apparently what? generally speaking? what kind of functionis this, if you will? yeah, an anonymous functionbecause there's no name. and using another piece of jargonfrom today, it's also a call back. >> and the purpose here isthat the web can be slow,
and just because you askjavascript and the browser to go get you some datafrom a website via http get, it could take half a second,it could take five seconds if your internetconnection is really slow. and you don't want thewhole web page to just hang and some stupid spinningbeach ball to come up, blocking the user from doingabsolutely everything else. >> and so the way javascript works isthat it's generally asynchronous, whereby you can domultiple things at a time
so long as you tell thebrowser, hey, browser, when you are done getting this json data. even if it takes fiveseconds, call this function. don't make the user wait. don't hang the browseruntil this happens. rather, call me back,almost like a phone call, when you're ready andhave the data for me. now what does that function do? it's super trivial.
all it does is it displaysthe data that comes back, and specifically the pricefield inside of an alert. that's all. and so that's why, to be clear,when we go to this example, which was [? ajax0 ?] and i typed in goog andhit enter, i got this simple, simple little prompt. now it turns out wecan make this better. and our final example here changesthe quote function as follows. it's almost identical, but thiswas that new and fancy version
whereby i had a placeholder. this was version two. and instead of just printingsome silly prompt like that, i instead changed my actual web page. and to be clear, let me gointo chrome's inspector. let me go down to the bottom here. and notice, if i zoom in on this bottompart, this is the html of the page currently. and notice that right now i'vegot a span, which is like a div
but it's a thinner div, if you will. a span whose id is priced thatliterally says, to be determined. >> if i go into this form, typefb, and click get quotes, watch the bottom of the page. the actual html of the page changes. so this is like when you get a facebookmessage and it suddenly pops up, or a new gmail row in your inbox. that's literally what's happening. someone wrote javascriptcode at facebook or google
that actually changes the webpage that you have already downloaded to reflect that new content. >> and if you really want to be fancy andunderstand this, noticed what happened. let me reload againand clear all of this. and now notice i'm onchrome's network tab. if i do fb here and click getquote, notice just ala pset six, you can see the http request, andyou can see that my browser requested quote.php?symbol equals something. and then if i scroll down here,if you really want to geek out,
you can see all of the http headers thatmy server, cloud 9, has returned to me. it's more headers than you guyswere spitting out for pset six because we kept it simple, but inthere is a whole bunch of information, among which is that 200 ok message. and below that's going to be the json. and so all we needed to do to make thishappen is tweak my quote function ever so slightly. >> instead of calling the pretty lamealert function, i simply do this. which admittedly, syntactically itlooks frightening at first glance
because there's so muchnew syntax going on. but the ideas are pretty simple. this means, hey, browser, gocall the special jquery function that returns to me a pointer to ora reference to the node in my tree whose unique identifier is price. that's that placeholder. then it turns out that jquery comeswith a special function called .html, whereby if you want to update thecontents of a node in your tree, you literally just grab thatnode, you call the html function,
and you hand it whatever you want. >> so if i wanted to besort of silly here i could do something like ha ha, nothinghere, save it, go back over here, and now if i click get quote up topleft, you just get something-- whoops. if i reload the pageand search for facebook, you get something stupid like that. but i'm dynamically changingthe content [inaudible]. any questions? >> speaker 1: stop touching your mic.
>> david j. malan: the teamis telling me to stop touching my mic which keepsfalling out of my ear, so it's just as well thatwe're out of material here and we have time nowfor our special guest. >> audience: if there's an opportunityto change the actual html of the page, does that make itvulnerable to an exploit? david j. malan: if there'snot-- say that again? audience: since there's an opportunityto change the actual html of the page, does it make itvulnerable to an exploit?
>> david j. malan: oh, yes. so because you are able tochange the html of a page, is it vulnerablepotentially to an exploit? potentially yes. if you're not sanitizing your inputsor [? scaping ?] them in the right way, absolutely could you end up triggeringtheft of cookies, which is actually a good segue to what we'llbe talking about on monday, which is security topics. and indeed, that's going to beone of the exploits we discuss.
tricking a browser intoinjecting something malicious into its source code. any other questions? >> all right. well, i'm so excited today. so i did my phd incomputer science, but about halfway through my degreein computer science my eye started wonderingacademically and so i started taking-- i think as an auditoror non-credit status-- anthropology
1010. it was me the grad student and a wholebunch of freshman and sophomores here. but it was amazing classever, and to this day i continue to subscribe to archaeologymagazine, which comes once a month, and sort of introduces me to what'sgoing on in the world of yesteryear. >> and we're so happy today to have ourfriend, professor peter manuelian, to talk to us about the convergence ofcomputer science and the application thereof to this amazingfield of archaeology. professor manuelian.
>> peter manuelian: thank you, sir. great privilege to be onthis stage with the maestro. thanks so much for having me here today. i'm going to try to show a little bitof a real world application of some of the skills that you've alreadybeen amassing this semester and to try to get you excitedabout the human past as well. so we're going to goto my favorite place, outside of harvard square, of course,which is the giza pyramids, just west of modern cairo.
and if you're wondering what bcestands for, it's before computer era. >> so three pyramids built by threefamous pharaohs of egypt's old kingdom or fourth dynasty. think about 2,500 or so. but what's all around them arehundreds and hundreds of tombs as well. so think of giza astwo amazing data sets. one data set is what's still there. these incredible tombssurrounding the pyramids that have these amazing decorations inside.
there are statues, theyare inscriptions-- frozen moments, if you will, of just aboutevery aspect of life in ancient egypt. so anything you want to study come here. it's not just a cemeteryfull of dead people. it's a document on how the egyptianslived, and as well as how they died. so that's the data set out at the site. >> the other one, of course, iseverything that came from giza. things you'll see in thepeabody museum, things you'll see in the museum of finearts, and in museums and collections
all over the world. it's mummies, it's statues,it's steely, it's jewelry, it's objects of daily life. all kinds of cool stuff. >> so what makes this place so special isthat right here at harvard university this is the major excavation thatworked at the site of the giza pyramids. and this is the guy who did it,my predecessor george reisner. 1867 to 1942. died at the pyramids in themiddle of the second world war.
and if you're wonderingwhere this photo was taken, this class photograph, at the end ofclass leave by that door, go out there, and yes, you'll see rightoutside this theater, right against the wall-- that's whereclass photos were taken in that day. >> so an amazing individual, one of thegreatest archaeologists of his time, way ahead of his time in many ways,and this is what's called harvard camp. it was a collection of simple mudbrick huts to the west of the pyramids. and in the courtyard at any particularday you would see amazing things, and people came to discuss with themaster about all sorts of topics.
here are pieces of giant statues. you can see those in themuseum of fine arts today. and down below is our computermodel of harvard camp. that's something you mightwant to get involved with. if you're searching for a final project,some kind of simulation or website introduction to harvardcamp, the dig site. >> by the time george reisner was done,the harvard university boston museum of fine arts expeditionworked at 23 different sites. all the ones that you see in red here.
so 40 years, 23 sites. he only came back here to teachabout three or four semesters over that whole time, so you knowwhat he enjoyed doing the most. >> what happens with the massivearchaeological backlog that a responsible expedition produces? so 45,000 glass platedig photos, diaries, register books, maps, plans,small drawings, big drawings, thousands of pages of manuscripts--some published books, some unpublished. all this stuff.
and this is where the computer and thedatabases and the websites come in. how do you organize all of this? try to get a travel grant to boston andin a couple of days study this stuff. you will be overwhelmed. >> so this is a project thati started way back in 2000, and the team here at harvardhas been working on it ever since the last several years. first at the mfa, themuseum, and now at harvard. what we had to do is look atgiza as one big manhattan.
one gridded site. and thanks to reisner,he numbered all the tombs in a wonderfully systematic manner. so we're looking from the airdown at the three pyramids here, and we realize that it's not even enoughjust to master this one expedition. the areas you see in red arethe harvard expedition sites, but the german austrianexpedition worked there-- those are the blue areas--and the egyptians dug as well. >> so holistically, trying to understandan ancient site in all of its functions
and all of itschronological development, you've got to take the whole place. so that sent me on a worldwide tourwith all the colleagues in egyptology and the museums at allthese places and gathering all of their diaries, their photographs,their documents, their notes-- gathering it at all hereelectronically at harvard. and the next step is. how do we put this all together? >> this is sort of our sitemap, and right in the middle
is an individual tomb knownin arabic as a [? mastaba, ?] this sort of bench like shape. and so for every tomb, you've gotx number of this type of data. so many old photographs, so many objectsregistered in the register books. diary entries that mention that tomb. objects found, drawingsmade, plans and sections, published books on published books,and more recently, visualization. 3d computer models. >> and there's just asample of an aggregation
of a search for a particular monument. you see all the different thingsthat are gathered together. 1,012 finds, 45 diary pages thatmention this particular temple. ancient people, modern people,publications, the whole bit. downloadable pdfs all gatheredtogether from a sql database. why is this important? just take the comparison ofthese two images then and now. this is happening at giza, thisis happening all over egypt, and more dramatically, happeningall over the middle east.
and sometimes not by accident,not the elements of time, but obviously intentional damage. >> let me ask you, whichof these two things you're going to be able toread in a couple of years? which one of these will survive? which one will have a device that canaccess it in a couple of years time? so i think the egyptiansgot something right here. put it on stone. we can still translatethe hieroglyphs there.
i'll bet you anythingthis hard drive is going to fail sometime in the near future. so maybe they understoodsomething that we didn't. so that's why we've gotto preserve this stuff. >> and from all the databases,all the aggregations and the websites and things, the naturalnext step, of course, is visualization. put you at the site. give you access in 3d to some of thesetombs and temples that you might not be able to see otherwise.
it's a research tool, it's ateaching tool, it's edutourism, it's even edutainment. and a lot of this goes backto the really simple stuff. you see that old, wooden stereoviewer in 3d photography? just what we were seeinga little bit before. it's the same principle, right? we're just putting ittogether with things like gopro cameras over here andgear vr and oculus rift headsets, and anything is possible now.
>> so we're moving from teaching in specialcustomized classrooms-- visualization center labs. we have one above thegeological lecture hall. now we're trying tobring it to the people. get it into these headsets. so imagine all of you oreveryone watching live or everyone in harvardxdonning one of these headsets and we're all standing togetherin front of the sphinx, listening to someone likeme drone on all about it.
and we're all there in real timeable to look around in 360 degrees. you can kill the audio on that. we don't need it on the model. i'm going to show you how we can go fromvisualization and a visualized world to a real physical world too. this is a find that georgereisner made at giza right beside the great pyramid in 1925. and way down at the bottomof 100 foot deep burial shaft there was an unfinished room withmillions of bits of tiny fragments.
all the wood had decayed. it was a real mass. so the photos you're seeing showthe original condition of that tomb, and now we're going intoour 3d computer model. and we're able, thanks tometiculous documentation, to put that whole tomb'scontents together. >> and you see all this furniture-- thatcurtain box and chairs and tables. i want you to focus on that chairthat has the falcon arms there. so this material was actuallyreconstructed in modern wood,
and it's on display inthe cairo museum and used to be on display in the boston mfa,although they've taken it off view to use that gallery for something else. nobody, however, hasbeen able to reconstruct that fancy chair with the falcon arms. thanks to this computermodel and this simulation, though, we can actuallystart to do that. >> so in the upper left yousee the reproductions of some of that furniture.
and it turns out to belong to a queen. not any queen, but the mother of theking who built the great pyramid-- queen hetepheres. big, mysterious burial. all this stuff deteriorated. what do we make of it? but we were able totake our computer model and reproduce this chair withthe beautiful falcon arms. so now you're seeing thisrotating 3d of the model.
then we decided to go to the real world. >> we looked at photographs of allthe teensy, tinsy fragments. the gold, the gilding, the [inaudible]inlay tiles, the desecrated wood. all of this is on trays in thebasement of the cairo museum. and from there, we were ableto move to a shop bot, which is a 3d milling machine or router. and you can see a simple [? mac ?] witha 3d model is driving the drill here, and it's actuallycarving those falcon arms that will go on the sides of the chair.
so this has been an exciting projectput together by my colleagues, russ [? gant ?] and [? dave hopkins ?]of the giza project. and we're almost done, and wehope to have this on display in a couple of months inthe harvard semitic museum, which i have the privilege to direct. >> so from that arm, there you go. you see some of the piecesalready coming together. for those of you who havebeen across the river, the harvard ceramics centerhas donated their time,
and we've been baking [inaudible]tiles in these wonderful plaster molds. we just ordered the goldtoday because the whole thing has to be wrapped and gilded. and eventually, we hopeto put this on display. >> from there, the question is holisticallyagain, how do we treat the entire site? how do we build computermodels of all of giza? not just one tomb here orthere, but the whole thing. the pyramids, the landscape, the[inaudible] tombs, the royal temples. and i'm part of a projectthat just got permission
from the egyptianauthorities about a week ago, and we'll start thismonth doing all kinds of pretty interesting experiments. so take a look at this video. maybe the music could come up a littlebit just to add a little bit of drama. just a minute or so. >> so these are some of the tools we'llbe using to explore inside the pyramids and survey the entire site. this is my favorite part.
it's right out of the terminator withthe drones hovering over the place and scanning the entire landscape. something i've been dreamingof doing for many, many years. >> so with that kind of comprehensiveaccessible to the whole place, everything is possible. and our ultimate vision is to put itall together so you have a navigable, immersive, 3d model of the whole site. you can dive down burial shafts, youcan go into tombs, click on walls. the 100-year-old photography pops up.
you can read the diaryentries, you can virtually replace statues and thingsthat were found inside. it all comes together. for those of you who want toexplore what's online so far we have a slightly old and outdatedwebsite up above. gizapyramids.org. we're working very hard toreplace that with version 2.0. we could use your helpin various aspects of it. and then the 3d models thatwe're about to take a look at are down on this other website, whichunfortunately does not work on macs,
which kills me but nevertheless. pcs only and no www there. take a look at that, and you'llsee the 3d models there as well. >> there is our new layout. you can see how massiveamounts of data like this have to be organized clearly becauseit's not all egyptologists out there. we've got to make thisunderstandable and accessible to all kinds of audiences. and maybe a mock up of what ourfuture website might look like.
hopefully a lot more elegantand not like those creepy blinking websites from the 1990sthat i remember oh so well, even from my own days. >> so i just thought i'd put togethera list of the kind of projects that you might be interested in ifyou're hovering around and looking for a final project. i know due dates arecoming up pretty soon. something like these mightbe of interest to you. obviously you want to bite offsomething that you can chew and swallow.
not too ambitious. but if this is something up youralley, get in touch with me, get in touch with theprofessor, [inaudible] get in touch with [? russ gant ?]and the other giza team and maybe we can help you outand build something together, which might be kind of fun. we can post this list, so you don't needto jot everything down instantly right now. and check it out later on.
and if you really like ancient egyptand want to get into more of this stuff next semester, there'sa gen ed class which surveys 3,000 or 4,000years of egyptian culture, and you might want tolook into that as well. >> so that is just a quick overview. and i thought if mymodel is behaving now we might take a look atwhat giza looks like in 3d. and this is what you wouldsee on that second website. so welcome to the giza pyramids.
and in this case, we had to studynot just the layout of the site but of course the ancient landscape. look at the nile and howclose it is to the pyramids. today, the nile is way far away. it's much closer to cairo itself. but in those days, inthe third millennium, it was hovering and flowingmuch closer to the site as well. so we had to take away modernarchaeological debris dumps and houses and all kinds of things andreally study the site carefully.
>> so what we have built so faryou can just hover around. and you see things blinking red, andyou can visit various places such as the temple of [? kingman ?][? kalray ?] here. this is an interesting onebecause it allows us to study the place at multiple points in time. this is a temple that was built by[? kingman ?] [? kalray, ?] the builder of the third and smallest pyramid, buthe died too soon and his son had to try to finish it not instone, but in mud brick. so i can go to my little free cam here.
different ways to navigate. and i can just hoveraround and cruise inside. we've got to go visit the kitty cat. one of my favorites. there he is. try to build one of thosefor your final project. >> but the interesting thingis this particular courtyard underwent a lot of change. and so this is how it looked atone point, and then as i mentioned,
the king died too soon. later, priests move in andactually settled the place and turned it into akind of sacred slum. and you can see all thesettlements now filling the courtyard with silos andovens and other storage place. [? it's ?] a very, verydifferent kind of location. >> so this is an interesting research tool. you can visit these placesat different points in time. you can even see the pyramids beingbuilt, or you come into the courtyard.
and if i can get tothat photograph, you can see what those statuesthere actually looked like when the excavators found them. here it is in one of thoseglass plate negatives. beautiful dig shots. or you can come back to the mainsite and visit something else. >> let me take you inside abeautiful tomb found in 1927. of course, on the lastdays of the dig season. isn't that always the way?
so clicking these buttons willeither give you a narrated tour, you can see some photos,you can see wire frames of how we put some ofthese things together, or of course, you could wanderright into the monuments themselves. so this is a beauty because a lotof the original color was preserved, and that let us restorethe tomb completely. it's another navigationsystem i'm using. so how cool is that? and again, you can click on photosand up popped the actual images
for comparison's sake. >> so trying to put this all together--take a comprehensive view of giza, the ancient site of giza, thehistory of the excavations, the 3d visualization, a teachingtool, a research tool-- basically, there's no end to it. and of course, it's giza past, it'sgiza present, and it's giza future. there is work being doneat the site nowadays too, and we want to capture all that as well. so the goal is to try to create acenter, if not an actual physical space
but at least online, that anyonecan come and study, have access to all this material. you don't need a specialtravel grant and permissions to get into some dusty museum archive. you can access whatever you need to. >> let me take you to the sphinx here. and again, imagine wearing these 3dheadsets and everybody having access to the same file at thesame time and all of us meeting at the sphinx for a lecture.
and then push the button. we'll go down a burialshaft or go someplace else. the interesting thing about thesemodels too, once you simulate them, is they bring up interesting questions. for example, no one in myfield really thinks too much about how the sphinx was painted. is that the accurate appearance? was the whole thing colored,or was it just the head of the sphinx as we'vechosen to do it now?
switching my navigation. so it's a little easierfor me to get around. so this is probably one of themost accurate reconstructions of the sphinx ever attempted, andagain, you don't think of these issues until you have to build them. how was the sphinx originally laid out? how was it colored? where was that beard? we haven't added things that were addedby the egyptians in later centuries
when they came back and sortof resuscitated the site. >> or another example. we have a tomb with awindow in it to the outside. and in reconstructing that tomb werealized the sunlight would come right through that window and illuminatea kind of sacred offering place inside the chapel,and that's something we wouldn't have realized ifwe hadn't simulated the tomb and put it back together. and that, in turn, makes you think,well, what building was right outside
and would it have blocked that sunlight? and if it blocked that sunlight and thatreligious significance of illuminating a sacred space, does that meanthat our tomb was here first and the second building came second? can we now start tohistorically reconstruct the sequence of giza tombs justbased on sunlight, just based on simulations and reconstructions? >> so those are some of the ways thatwe're using these models to study giza, to teach about giza, and moreimportantly, to roam the world,
assemble all the materialthat we can find, and then move into the 3d space andthe visualization space and bring it home to your desktops,to your phones, to your headsets. and you'll be able to travelto the site without even buying a plane ticket eventually. thanks very much. >> happy to answer aquestion or if you have more headsets you want to demonstrateor anything we need to do in the time we have left.
if any of those topics caught your eyeand you'd like to hear more about it, do come up afterwards andhappy to chat further. questions? comments? >> audience: do you havea position on the idea that there was watererosion [inaudible]? peter manuelian: great question. so water erosion at the sphinx. there was a theory bygeologists who thought
that this proved that the sphinxwas 5,000 or 10,000 years older than the rest of the pyramidsbased on water erosion patterns. it actually doesn't holdup particularly well. you can look at theerosion patterns in areas around the sphinx which prettymuch discredit that theory. >> there are three geologicalmember formations of the sphinx. the solid one is at the top. that's why the facesurvived so well today. others a lot more [? friable, ?] butit doesn't hold up archaeologically
that the sphinx is of a different timeperiod from the pyramids themselves. there is debate aboutwho carved the sphinx. whether it was khafre, the builderof the second pyramid, or some people now think khufu himself, thebuilder of the great pyramid. that's an ongoing debate,but they're all contemporary. they're all old kingdom,all about 2500 bc. great question. yeah, please. >> audience: what was the [inaudible]?
peter manuelian: say again. the head of the sphinx painted? peter manuelian: why wasthe head of the sphinx painted and not the rest of the body? great archaeological question,and we don't know the answer. it's possible that theentire body was painted. it's so deteriorated and thecasing stones around the edge are not always preserved,so it may have been painted and we just don't seethe traces left today.
>> i personally have troublebelieving that the egyptians would amass that much paint to cover theentire body with a reddish brown tinge, but it's certainly possible. we've opted for just doing the headdressand the face where there are traces of reddish brown colorand there are traces of the stripes on theso-called headdress. and nowadays, you can see a piece ofthe sphinx's beard in the british museum and a piece of the uraeus,the cobra on the brow there, is actually in the cairo museums.
so we have some good evidence for that. in the corner. >> audience: you said that the nile was alot more [inaudible] giza [inaudible] closer to cairo now. how does the river more? >> peter manuelian: howdoes the river move? there's a lot of meandering. so a lot of power and pushingand oxbow lakes and things are part of river formations.
the nile doesn't quite do that,but it has meandered quite a bit. i could refer you to an article bysome geologists colleagues of mine. and it's an amazing ribbon overthe last several thousand years of just where the nile has moved to. so once you realize that landscapeissues like where the nile was, you start to understand, oh,that's why they built that causeway and that's why it turns a corner. that must be the high groundthey're trying to stay on. and so you understandharbors a lot better.
>> you understand how they gotsome of the fine casing stones to giza from sites acrossthe nile, for example. so these all contribute toour understanding of the site. it's a little myopic to just studythe hieroglyphs or study the buildings and not understand thelandscape and how it changed. egypt was a lot less arid at that pointto, so there may even be landscaping around the pyramids that we shouldbe putting in and a lot more growth and vegetationand interesting things. some of the issues in themodels i didn't show you
but we have in ourvisualization center classroom is the ability to put humans into thescene as avatars performing activities. and so for example, we can showthe great pyramid being built and take you to the query where alot of the stones are being carved. and that's a model thatas 2,000 avatars all traveling around the site and hackingthe limestone bits and hauling them along sleds and things like that. so it also brings thesite to life and shows you how the construction process worked.
>> we've also done the re-animationceremony of king khufu. that's called the openingof the mouth ceremony. so in his temple, right beside hispyramid, we have got his mummy there, the priest are there. they're doing their ritual gestures. they're saying the spellsto magically reanimate the spirit of the deceasedking for the nether world. so these are all ways thatthe models can actually show us actual activitiesof the ancient egyptians.
and there again, theybring up new questions. did it occur here? did it occur there? should it be daytime? should it be nighttime? all of these things you don't thinkabout when you're writing a journal article with black andwhite line drawings, but you're doing ananimated 3d simulation. yes, please?
audience: [inaudible] peter manuelian: little louder, sorry. can't hear you. >> audience: [inaudible] do these modelsincorporate sounds [inaudible]? >> peter manuelian: are theresounds in the model here? was that your question? yes, there are actually. sometimes it's music to certain tastes,but we do have rumblings of the wind, for example.
we haven't recreated people actuallyspeaking in ancient egyptian. they could, but we'd probably getthe pronunciations pretty bad. there are spells and rituals and thingsrepresented on the carved tomb wall scenes and paintings, sowe could certainly do that. the occasional cat probablyscreeches and things like that, but otherwise we haven'tdone too much with the audio. ambiance. another question? yes, please.
>> audience: why are there exterior walls? peter manuelian: why arethere exterior walls? these are enclosure walls. so don't think of the pyramidas a standalone monument. think of it as a pyramid, a temple. you see that reddish one withthe granite blocks there? that's called the pyramid temple. it extends down a longcauseway to what's called the valley temple close tothe harbor and close to the nile.
all of that is part ofthe royal pyramid complex, and it could alsoinclude little pyramids like you see here for the queensand even a ritual pyramid, like you see here,where no one is buried but it's just part of the animateddeceased's spirit of the deceased king. so enclosure walls areprobably to protect it. >> who has access to this place? remember, these are the upperechelons of egyptian society. your average, illiterate,farming egyptian
is not going to get a tomb like this. he's never going to see pharaoh. he can't read hieroglyphs. so these are the elites ofthe elite of the old kingdom, and they get enclosurewalls to protect them. got time for one more. >> audience: why were the pyramids built? >> peter manuelian: whywere the pyramids built? they are basically tombsfor the deceased pharaoh.
so in the popularliterature, in the movies, you've got this despotic tyrant whois bringing all these slaves in-- and they're not hebrew slaves. they're actual egyptians. i tend to stay awayfrom the word slavery. these are conscripted egyptians. and my view is thatthey're actually buying into this national project in some way. by guaranteeing a successfulafterlife for this king
they are guaranteeing theprosperity of the country. they're paving the way forthe next pharaoh who will inhabit this institution of kingship. so these are national prideprojects for the reigning pharaoh, for the success of the country. it's almost an investmentin their future in a way. >> a colleague of mine likes tosay that the egyptians didn't build the pyramids. the pyramids built egypt.
and by that he means that this ishow state formation came about. project management information. management. of course, these people have tobe fed, they have to be housed, they have to be organized. where does all that come from? >> who brings them the meat sothey have good diets so they have strength to move the blocks? who organizes the housing?
where do they come from indifferent parts of the country? how many people do you needto haul a certain block? all of this had to be workedout, and we're exploring those aspects of the site today too. so more chapters about thepyramids will be written, more discoveries will be made,more statues will be found, and more tombs and inscriptionswill be forthcoming as well. the place is alive and growing. david j. malan: professormanuelian's team
kindly brought some of their ownheadsets in addition to ours. if you'd like to comeup for any demos do. otherwise, we'll adjourn hereand we'll see you on monday. thank you so much.