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	*Image Economy (or model economy; ): Q: Why scan this particular statue? Who should support* financially the scanning of heritage objects and sites,?
	Who owns the scans?

	If a site is a heritage site should they be free for people in that culture—or the world at large?
	Who controls them?
	Who determines in what ways they can be altered?

	You cannot automatically download this data from the Web :
	“The models in this archive are available to anyone, but for scientific use only, and users must first obtain a license in writing from us. Although these licenses prohibit commercial use of the models, permission for such uses can be obtained by applying to the Italian government. “ [DM Project web site]
	•The license includes permission from the Stanford group as well as the Italian government and indicated that royalties would have to be paid for money-making commercial projects such as selling replicas.
	•Just as a further note on this, notice that I included an attribution for this particular rendering. So the IP for this image is spread out among at least three people/organizations: Michelangelo (now the Italian government), Marc Levoy and the Digital Michelangelo project, and Henrik Jensen)

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	Obviously some technical background is necessary to even know what the description of this model means:

	--in general, polygons straight-sided closed shapes, but in CG they refer to the triangles in the triangular “mesh” you saw in the slide before

	--”veining” and “reflectance” refer to the commonsense use of these terms when describing a stone. [is the “veining” of the stone or painted veins of the David? I think the stone…]

	--“subsurface scattering” refers to procedural (algorithmic) methods of simulating the scattering of light below the physical surface of an object. Marble has this property, which is one of the reasons it’s such a beautiful stone. Early computer graphics looked like plastic—current CG effects include sophisticated simulation of real physics of light interacting with material [back ref “computation of everything]

	3D graphics in general incorporates most of the concepts learned in 2D graphics—the texture maps and “7000 color images” referred to are all raster data—something we’ll at in a moment. Artists , scientists, art historians, and others wil ned to know the basic terminology and concepts in this field.