3D models related to the publication: Virtual reconstruction of cranial endocasts of traversodontid cynodonts (Eucynodontia: Gomphodontia) from the upper Triassic of Southern Brazil.

MorphoMuseuM ◽  
2019 ◽  
Vol 5 (4) ◽  
pp. e97
Author(s):  
Ane Elise Branco Pavanatto ◽  
Leonardo Kerber ◽  
Sérgio Dias-da-Silva
Keyword(s):  
3D Models ◽  
Upper Triassic ◽  
Southern Brazil ◽  
Virtual Reconstruction

3D models related to the publication: A new prozostrodontian cynodont (Eucynodontia, Probainognathia) from the Upper Triassic of southern Brazil

MorphoMuseuM ◽  
2020 ◽  
Vol 6 (5) ◽  
pp. e120
Author(s):  
Micheli Stefanello ◽  
Leonardo Kerber ◽  
Agustin Martinelli ◽  
Sérgio Dias-da-Silva
Keyword(s):  
3D Models ◽  
Upper Triassic ◽  
Southern Brazil

The nasal cavity of two traversodontid cynodonts (Eucynodontia, Gomphodontia) from the Upper Triassic of Brazil

2021 ◽  
pp. 1-16
Author(s):  
Arymathéia Santos Franco ◽  
Rodrigo Temp Müller ◽  
Agustín G. Martinelli ◽  
Carolina A. Hoffmann ◽  
Leonardo Kerber
Keyword(s):  
Nasal Cavity ◽  
Fossil Record ◽  
Nasal Septum ◽  
Internal Surface ◽  
Nasolacrimal Duct ◽  
Upper Triassic ◽  
Late Triassic ◽  
Southern Brazil ◽  
Dorsal Region ◽  
Left And Right

Abstract Traversodontidae is a group of Triassic herbivorous/omnivorous cynodonts that represents the most diversified lineage within Cynognathia. In southern Brazil, a rich fossil record of late Middle/mid-Late Triassic cynodonts has been documented, with Exaeretodon riograndensis Abdala, Barberena, and Dornelles, 2002 and Siriusgnathus niemeyerorum Pavanatto et al., 2018 representing two abundant and well-documented traversodontids. The present study provides a comparative analysis of the morphology of the nasal cavity, nasal recesses, nasolacrimal duct, and maxillary canals of both species using computed tomography, highlighting the changes that occurred in parallel to the origin of mammaliaforms. Our results show that there were no ossified turbinals or a cribriform plate delimiting the posterior end of the nasal cavity, suggesting these structures were probably cartilaginous as in nonmammaliaform cynodonts. Both species show lateral ridges on the internal surface of the roof of the nasal cavity, but the median ridge for the attachment of a nasal septum is absent. Exaeretodon riograndensis and S. niemeyerorum show recesses on the dorsal region of the nasal cavity, which increase the volume of the nasal cavity, potentially enhancing the olfactory chamber and contributing to the sense of smell. On the lateral sides of the nasal cavity, the analyzed taxa show a well-developed maxillary recess. Although E. riograndensis and S. niemeyerorum have roughly similar nasal cavities, in the former taxon, the space between the left and right dorsal recesses of the nasal cavity is uniform along its entire extension, whereas this space narrows posteriorly in S. niemeyerorum. Finally, the nasolacrimal duct of S. niemeyerorum is more inclined anteroposteriorly than in E. riograndensis.

scholarly journals Reliving history: the digital reconstruction of the convent of Santa Maria delle Grazie in Milan

2020 ◽  
Vol 11 (23) ◽  
pp. 106
Author(s):  
Damiano Aiello ◽  
Cecilia Bolognesi
Keyword(s):  
Cultural Heritage ◽  
New Technologies ◽  
Methodological Approach ◽  
3D Models ◽  
Documentary Sources ◽  
Digital Reconstruction ◽  
Virtual Reconstruction ◽  
Combining Data ◽  
The City ◽  
Santa Maria

<p class="VARAbstract">Can we preserve cultural heritage and, consequently, the memory of the past? To answer this question, one should look at the digital revolution that the world has gone through in recent decades and analyse the complex and the dialectical relationship between cultural heritage and new technologies. Thanks to these, increasingly accurate reconstructions of archaeological sites and historical monuments are possible. The resulting digital replicas are fundamental to experience and understand cultural heritage in innovative ways: they have complex and dynamic relationships with the original objects. This research paper highlights the importance and the scientific validity of digital replicas aimed at understanding, enhancing and protecting cultural heritage. The study focuses on the virtual reconstruction of the constructive phases, from the mid-15<sup>th</sup> century to date, of one of the most emblematic Gothic-Renaissance buildings in the city of Milan (Italy): the convent of Santa Maria delle Grazie, famous worldwide for hosting Leonardo da Vinci's Last Supper painting. This site proved to be an ideal case study because of its troubled and little-known history that led to numerous changes over the centuries. Thanks to a methodological approach based on the analysis of the documentary sources and three-dimensional (3D) modelling, it was possible to outline the chronological succession of the convent transformations; the way in which these overlapped the pre-existing structures was described starting from the Renaissance harmonious and organic interventions, to finally reach 18<sup>th</sup>-19<sup>th </sup>centuries inhomogeneous and incompatible additions. Finally, the research was completed by mapping the 3D models based on the sources used and their different levels of accuracy. The 3D models have thus become a valid tool for checking and verifying the reconstruction hypotheses.</p><p class="VARAbstract">Highlights:</p><ul><li><p>The study focused on the virtual reconstruction of the convent of Santa Maria delle Grazie, one of the most emblematicGothic-Renaissance buildings in the city of Milan.</p></li><li><p>By combining data from documentary sources, architectural treatises, period photos and digital survey, the mainbuilding phases of the convent, from the 15th century to date, were digitally reconstructed.</p></li><li><p>The 3D models are enriched with information about the accuracy of the digital reconstruction, creating 3D databasesthat can be easily consulted and updated.</p></li></ul>

scholarly journals Surgical management of palatal teratoma (epignathus) with the use of virtual reconstruction and 3D models: a case report and literature review

2021 ◽  
Vol 48 (5) ◽  
pp. 518-523
Author(s):  
Cynthia Minerva Gonzalez-Cantu ◽  
Pablo Juan Moreno-Peña ◽  
Mayela Guadalupe Salazar-Lara ◽  
Pablo Patricio Flores García ◽  
Fernando Félix Montes-Tapia ◽  
...  
Keyword(s):  
Cleft Lip ◽  
Cleft Lip And Palate ◽  
Surgical Intervention ◽  
Mature Teratoma ◽  
3D Models ◽  
Bloc Resection ◽  
3 Dimensional ◽  
Live Births ◽  
Virtual Reconstruction ◽  
Adjacent Structures

Epignathus is a rare congenital orofacial teratoma that arises from the sphenoid region of the palate or the pharynx. It occurs in approximately 1:35,000 to 1:200,000 live births representing 2% to 9% of all teratomas. We present the case of a newborn of 39.4 weeks of gestation with a tumor that occupied the entire oral cavity. The patient was delivered by cesarean section. Oral resection was managed by pediatric surgery. Plastic surgery used virtual 3-dimensional models to establish the extension, and depth of the tumor. Bloc resection and reconstruction of the epignathus were performed. The mass was diagnosed as a mature teratoma associated with cleft lip and palate, nasoethmoidal meningocele that conditions hypertelorism, and a pseudomacrostoma. Tridimensional technology was applied to plan the surgical intervention. It contributed to a better understanding of the relationships between the tumor and the adjacent structures. This optimized the surgical approach and outcome.

A new Upper Triassic cynodont-bearing fossiliferous site from southern Brazil, with taphonomic remarks and description of a new traversodontid taxon

2018 ◽  
Vol 88 ◽  
pp. 179-196 ◽  
Author(s):  
Ane Elise Branco Pavanatto ◽  
Flávio Augusto Pretto ◽  
Leonardo Kerber ◽  
Rodrigo Temp Müller ◽  
Átila Augusto Stock Da-Rosa ◽  
...  
Keyword(s):  
Upper Triassic ◽  
Southern Brazil

New Dinosauriform (Ornithodira, Dinosauromorpha) Record from the Upper Triassic of Southern Brazil

2014 ◽  
Vol 18 (2) ◽  
pp. 118-121 ◽  
Author(s):  
Rodrigo Temp Müller ◽  
Max Cardoso Langer ◽  
Alex Sandro Schiller Aires ◽  
Sérgio Dias-da-silva
Keyword(s):  
Upper Triassic ◽  
Southern Brazil

Lacertoid footprints from the Upper Triassic (Santa Maria Formation) of Southern Brazil

2008 ◽  
Vol 262 (3-4) ◽  
pp. 140-156 ◽  
Author(s):  
Rafael Costa da Silva ◽  
Jorge Ferigolo ◽  
Ismar de Souza Carvalho ◽  
Antonio Carlos Sequeira Fernandes
Keyword(s):  
Upper Triassic ◽  
Southern Brazil ◽  
Santa Maria

scholarly journals Retraced memories - virtual reconstruction of an architectural landmark

2021 ◽  
Vol 12 (25) ◽  
pp. 124
Author(s):  
Simone Fallica ◽  
Raissa Garozzo ◽  
Cettina Santagati
Keyword(s):  
Three Dimensional ◽  
3D Models ◽  
Mount Etna ◽  
Ethical Principles ◽  
Digital Reconstruction ◽  
Virtual Reconstruction ◽  
Starting Point ◽  
Archival Documents ◽  
The Church ◽  
Digital Survey

<p class="VARAbstract">This paper addresses the challenge of digitally reconstructing ruined architectural sites and retracing their history, in order to virtually recompose their geometrical, stylistic and material integrity. To this end, the research team analyzed the ruins of the church of Santa Maria de Monasterio Albo, located in the ancient village of Misterbianco (Sicily) and destroyed (together with the entire hamlet) by the 1669 eruption of Mount Etna. In the last years, some excavation campaigns brought the church to the light, unveiling the remains of the main portal and six altars, which are one of the most remarkable examples of Mannerist art in eastern Sicily. This research aimed to three-dimensional (3D) reconstruct both the altars and the portal, ideally reviving their original 17<sup>th</sup> century configuration. This goal was achieved through an in-depth archival research (documents dating back to the years between 1300 and 1666 were consulted), an analysis of Classic and Renaissance treatises, and two integrated digital survey campaigns (laser scans and photogrammetry). The outcome is represented by the 3D models of the seven artifacts, which include surviving parts reconstructed as photogrammetric meshes, several fragments were placed in their likely early location through a virtual anastylosis, and NURBS (Non Uniform Rational Basis-Splines) surfaces (recreating the no longer existing elements). The latter were 3D modelled based on the treatises (which provided information on the correct proportioning) or in analogy with other coeval similar artifacts. Overall, the digital reconstruction was based on the ethical principles of transparency of the intervention, recognition of non-original additions and distinction between evidence and hypothesis, according to the London Charter and the Seville Principles. The experimentation provides a valid support for possible interventions in the real world and is the starting point to develop a digital archive of the site, which would make the different accuracy levels the reconstruction explicit.</p><p><strong>Highlights:</strong></p><ul><li><p>3D virtual reconstruction is effective to visualize and bring back to life ruined architectural artefacts.</p></li><li><p>Information about the artefacts original appearance was harvested through digital survey campaigns, archival documents, and comparisons with iconographic sources and coeval buildings.</p></li><li><p>The 3D reconstruction follows ethical principles of transparency and combines photogrammetric meshes (partly relocated through a virtual anastylosis) and NURBS surfaces.</p></li></ul>

scholarly journals Exploración en tiempo real de la reconstrucción virtual de los instrumentos del Pórtico de la Gloria

2012 ◽  
Vol 3 (6) ◽  
pp. 49 ◽  
Author(s):  
Roi Méndez ◽  
Antonio Otero ◽  
Samuel Jarque ◽  
Julián Flores
Keyword(s):  
Computer Vision ◽  
Human Computer Interaction ◽  
Interactive Visualization ◽  
3D Models ◽  
Tangible Interface ◽  
Virtual Reconstruction ◽  
Computer Interaction

<p>This article presents the development of a system to perform the interactive visualization of the virtual reconstruction of the instruments of the Portico de la Gloria.<br />We describe the process followed for creating a specific set of hardware and software centered on the user that, through a tangible interface, allows interaction with highly realistic 3D views of the instruments of the Portico. The system, using computer vision techniques to control human-computer interaction, allows a user to interact with 3D models in an intuitive and easy way. This will make these models accessible to non-experts, making the system an ideal choice for its exhibition in museums.</p>

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