Evaluating morphological variability in lithic assemblages using 3D models of stone artifacts

Technological and morphological variability in lithic artifacts is commonly used to identify taxonomic entities in Paleolithic research contexts. Assemblages are mainly studied using either linear distance measurements or qualitative assessments of morphologies. Here, we present a method to quantify morphological variability in lithic artifacts using 3D models of stone artifacts. Our study on the sequence of the Upper Paleolithic layers V–I from the site Yabroud II in western Syria, demonstrates that utilizing 3D models provides a new insight into the variability of lithic technologies. We use quantitative data on convexities, twist and scar patterns on cores and blades, attributes previously not readily quantifiable, to trace technological change through the archaeological sequence. We are able to identify differences and translate these findings into a grouping of the layers. While layers VI–II are characterized by technological continuity and were grouped together, layers V and I can be separated from this group and represent technologically different groups chronologically before and after. Our results demonstrate the potential of 3D models for studying morphological variability in lithic assemblages.     

Terrestrial laser scanning and close range photogrammetry for 3D archaeological documentation: the Upper Palaeolithic Cave of Parpalló as a case study

Graphic and metric archaeological documentation is an activity that requires the capture of information from different sources, accurate processing and comprehensive analysis. If monitoring of the state of conservation is required, this task has to be performed before intervention, during and after the completion of the works in a repetitive way.This paper presents the use of terrestrial laser scanning (TLS) in order to effectively produce, prior to intervention, accurate and high-resolution 3D models of a cave with engravings dating back to the Upper Palaeolithic era. The processing of the TLS data is discussed in detail in order to create digital surface models. The complexity of the cave required the integration of two techniques, TLS and close range photogrammetry to yield not only traditional drawings such as sections and elevations, but also photo-realistic perspective views and visual navigation worlds fully operational in 3D environments. This paper demonstrates the potential of integrating TLS and close range photogrammetry to provide both accurate digital surface models and photo-realistic outputs. This processed data can be used to systematically improve archaeological understanding of complex caves and relief panels of prehistoric art with tiny engravings.     

大佛真三维模型贴图方法初探

随着三维技术的发展,以数字城市为主的真三维景观建设已越来越贴近人们的生活。国内外许多科研机构进行了文物数字化的研究,但传统的文物重建多用于单个文物实体,在纹理采集、模型制作等方面制作时间长、经费需求高,无法大规模应用推广,不能满足文物真三维场景建设的需要。文物真三维景观建设的关键就是大型文物的真三维建设。而大型古文物结构复杂,测量数据量大,在纹理影射、后期成果组织等方面都相当复杂。为此,提出了一种基于三维激光扫描多边形模型快捷的贴图方法,并以彬县大佛寺主窟大佛重建为例,论述对于大型文物贴图的可行方案,实现建立大型文物的真三维模型,为文物真三维实体场景建设提供了供新的思路及技术方法。     

Digital Photogrammetry for Documentation of Maritime Heritage

Documentation of maritime heritage is essential for its protection, and for reference in restoration and renovation processes. These functions become problematic in the case of historical ships and boats that lack lines drawings. The purpose of this paper is to describe a procedure for creation of lines drawings based on the shape analysis of surviving historical boats or their small-scale models with the help of reverse engineering (RE) techniques. The paper describes how digital photogrammetry and the iterative method were used to analyze the shape of three historical boats: Tomahawk, Refola and Nada. The application of the proposed procedure produced the lines drawings of the boats as its result. The accuracy of the 3D CAD model obtained with the photogrammetric technique was verified by comparing it against a more accurate 3D model produced with the help of a RE laser scanner. The examination of the resulting lines drawings proves that the digital photogrammetry process and the proposed iterative method are adequate tools for developing lines plans of boat models. The research offers the methodological basis for the creation of an archive of lines drawings of historical boats. Such an archive would provide reference for philologically correct restorations, and permit definition and classification of distinctive elements of various types of historical boats, particularly those produced in the Campania Region.     

The Evolution of Happiness

The authors reveal a dramatic but previously unsuspected pattern in archaeological illustration: the presence of smiling faces composed of artifacts arranged in plates of archaeological illustrations and photographs. In this paper, we explore the possible meanings that lurk behind and emerge from these mysterious portraits, questioning whether they are byproducts of human agency or whether, instead, they represent new examples of how material objects act back on (or “interfere with”) human agency.     

Relief Maps and Models in the Archives of The Palestine Exploration Fund in London

Abstract

The primary objective of the article is to present the relief maps and models of Palestine, Jerusalem and some historical monuments, which are kept in the PEF Archives in London. We will describe each of these objects, try to identify its date, maker, and circumstances of its making. We will present them according to the site represented in them, but suggest also classifying them as (a) artifacts brought as souvenirs from Jerusalem; (b) models and relief maps created by the Fund and its members as a product of their scientific endeavours; and (c) models and relief maps created by scholars who were not directly connected with the PEF.     

Towards a three-dimensional cost-effective registration of the archaeological heritage

Archaeological practice within the European context of heritage management is facing huge challenges in ways of recording and reproduction of ex-situ preserved sites. As a consequence of the Valletta-treaty, numbers of archived images and drawings of excavated structures as prime sources of past human activity, are exponentially growing. Contrarily to portable remains however, their future study and revision is biased by the two-dimensional character of the recorded data, rendering difficult their future reconstruction for new study or public dissemination. A more realistic three-dimensional (3D) way of recording and archiving should be pursued. In this paper the possibilities for 3D registration of archaeological features are examined in a computer vision-based approach using the PhotoScan software package (Agisoft LCC). It proved to be a scientific and cost-effective improvement compared to traditional documentation methods. Advantages can be found in the high accuracy and straightforwardness of the methodology. The extraction of an orthophoto or a Digital Terrain Model from the 3D model makes it feasible to integrate detailed and accurate information into the digital archaeological excavation plan. The visual character of 3D surface modeling offers enhanced output-possibilities allowing a better documentation of in-situ structures for future research and a higher public participation and awareness for the archaeological heritage.     

利用照片建模技术重建文物的三维数据模型

基于照片的三维建模技术是指直接通过二维数码照片来重建物体的三维数据模型。根据照片建模的基本方法和基本原理,利用该建模技术实际完成了重庆大学校内一尊塑像的三维数据模型的建立。照片建模技术在文物遭遇自然灾害或者意外事件之后的成功应用表明,文物的三维模型重建和文物保护等方面具有一定的实用价值和推广应用前景。     

高句丽青铜器及冶铸遗物的检测分析与探讨

高句丽为古代东北地区的一个地方政权,公元前37年(汉建昭二年)建都至公元668年(唐高宗总章元年)灭亡,经历七百余年。多年来,考古发掘出土了高句丽时期的青铜容器、兵器、青铜铃等多种类型的器物。对于高句丽铜器、青铜器展开了一系列器物类型学的考证。而高句丽人是否拥有独立的铜冶炼以及加工的能力,一直是考古学家和冶金史学家十分关注的问题。本研究以科技手段揭示冶铸遗物及铜器、青铜器的内涵,对于探讨高句丽青铜冶铸业的发展状况及高句丽经济发展水平具有重要的意义。     

3D reality-based artefact models for the management of archaeological sites using 3D Gis: a framework starting from the case study of the Pompeii Archaeological area

This work describes the procedures, the different techniques and the pipeline used for creating a digital framework that should assist the Superintendence of Pompeii in the digital reconstruction, classification, management and visualisation of archaeological finds inside an advanced 3D web-based repository of reality-based data. Specific topics have been focused on the quality assessment procedures adopted to ensure consistency and reliability of data throughout the whole 3D models acquisition and pipeline creation, as well as on the particular semantic reality-based structure adopted to develop an information system into a knowledge one. The main purposes of our framework have been the usage of 3D digital models as a restitution of the real object and as a metaphor for navigating through the data; 3D models were used as archaeological cognitive systems and developed as a collection of structured objects, identified through a precise terminology that allows to easily extend the concept of 2D GIS to 3D GIS. In addition, the system was developed as a scalable application that allows the use of the same database by different users, simply filtering the data according to the specific requirements, and can operate both as standalone and web-based application.     

3D heritage visualisation and the negotiation of authenticity: the ACCORD project*

This article examines the question of authenticity in relation to 3D visualisation of historic objects and monuments. Much of the literature locates their authenticity in the accuracy of the data and/or the realism of the resulting models. Yet critics argue that 3D visualisations undermine the experience of authenticity, disrupting people’s access to the materiality, biography and aura of their historic counterparts. The ACCORD project takes questions of authenticity and 3D visualisation into a new arena – that of community heritage practice – and uses rapid ethnographic methods to examine whether and how such visualisations acquire authenticity. The results demonstrate that subtle forms of migration and borrowing occur between the original and the digital, creating new forms of authenticity associated with the digital object. Likewise, the creation of digital models mediates the authenticity and status of their original counterparts through the networks of relations in which they are embedded. The current pre-occupation with the binary question of whether 3D digital models are authentic or not obscures the wider work that such objects do in respect to the cultural politics of ownership, attachment, place-making and regeneration. The article both advances theoretical debates and has important implications for heritage visualisation practice.     

A computerized system to determine the provenance of finds in archaeological sites using acoustic signals

Some archaeological excavations require the accurate determination of the provenance of finds (three-dimensional location and orientation) for a subsequent spatial analysis. The traditional manual measurement using a grid reference is not a very efficient registration method. Some proposed computerized solutions based on total stations, photogrammetry and DGPS, are more effective but have some limitations. This paper presents a new acoustic localization system (3D-LOCUS) for measuring the three-dimensional position of finds in archaeological sites. The system can also be used for registering the size, shape and orientation of artifacts. 3D-LOCUS basically consists of a set of wireless rod-like pointing devices that are localized with a network of intelligent nodes installed above the excavation site. Archaeologists use the pointing device as a stylus to locate and outline the object under study. The main technological characteristics of the system are: omnidirectional wideband acoustic transducers, Bidirectional Time-Of-Arrival (BTOA) estimation, redundant ranging and robust trilateration. 3D-LOCUS achieves an accurate registration, even if used simultaneously to the digging labor, or in noisy or turbulent airflow conditions. We tested the system in the Gran Dolina archaeological site (Atapuerca, Spain). The typical location accuracy is below 10 mm in natural conditions, and the achieved resolution is 5 mm, which allows us sketching objects with enough detail.     

Latest developments in rock art recording: towards an integral documentation of Levantine rock art sites combining 2D and 3D recording techniques

This paper presents a further step in the integral documentation of prehistoric rock art, combining 2D and 3D digital recording techniques. Image processing and digital enhancement techniques are an invaluable aid to obtain high quality and accurate 2D recordings, especially when working with faint motifs or complex superimpositions. But what constitutes a real breakthrough is the possibility of combining 2D digital tracings with metric 3D models, providing a whole set of metric outputs that improve our understanding of the motifs in their context and, at the same time, can be used to deliver accurate metric reproductions.     

3D geometrical modeling of excavation units at the archaeological site of Tell ‘Acharneh (Syria)

3D geometric modeling consists of representing geometric and spatial relationships of volumetric objects. We think it could be helpful in the context of archaeological excavation units representation and analysis. This article presents a procedure developed to generate 3D models from GPS positions taken at the top and the bottom of the excavation units boundaries on the archaeological site of Tell ‘Acharneh (Syria). It shows and discusses two geometrical modeling approaches (voxel and tetrahedral) used in the Gocad 3D modeling tool. Once excavation units are geometrically modeled, it is possible to refer them within a trench or the entire archaeological site, to handle them in various ways (zoom, rotation, translation), to perform on them 3D spatial analysis such as volumetric calculus or intersection computation, to make various kinds of queries such as to find out excavation units that have a certain number of artefacts, to generate sections anywhere in the 3D model, and finally to publish it with VRML (Virtual Reality Modular Language). As well as improving data analysis techniques, we think that if this 3D modeling operation can be done during the excavation, it could greatly help archaeologists to plan more efficiently their daily excavation strategy.     

‘Resemblances to archaeological finds’: Guido Boggiani,Claude Lévi-Strauss and Caduveo body painting

In 1942, Claude Lévi-Strauss published an article on Caduveo body painting in the first number of the surrealist magazine VVV, with the editorial assistance of André Breton and cover by Max Ernst. In the article, Lévi-Strauss uses the photographs of the Caduveo women taken during his fieldtrip in 1935–36, together with drawings of facial designs collected to reflect on their ‘strong originality’, which ‘evokes a very ancient culture, and one full of preciosities’. Amongst these illustrations, there is an engraving taken from Guido Boggiani’s book, I Caduvei, published in 1895. Boggiani, an Italian landscape painter who visited South America in 1887–93, was captivated by the Caduveo graphic art, which he sketched in detail. In 1896 he returned, travelling to Paraguay, this time equipped with a new tool to help his ethnographic research: a photographic camera. Over a period of five years, Boggiani completed more than 400 photographs on glass gelatin plates of various sizes. For Lévi-Strauss, as for Boggiani, the originality of the Caduveo graphic art remained enigmatic, evoking a very ancient culture; it was a topic to which he would return in several of his most influential works. In this article, I focus on the visual images (engraved, drawn, photographed and filmed) that depict the body painting of the Caduveo people in central Brazil by Boggiani and Lévi-Strauss in order to explore the ways in which they enabled an ephemeral art – delicate arabesques painted on skin – to be studied as archaeological vestiges. In the process, I trace the aesthetic sensibility of Boggiani and Lévi-Strauss that provided them with the imaginative tools to do so.     

云南昆明石寨山出土汉代青铜器的初步分析

云南昆明的石寨山墓葬是汉代滇池区域的土著文化,为了了解该地汉代铜器的制作工艺水平,本研究通过金相显微镜观察、扫描电镜及能谱分析的现代分析手段来对M3、M5、M6、M7、M10、M12这6个墓葬群的31件青铜器展开探讨。结果显示在31件铜器样品中,有30件为铜锡合金,1件为红铜,所有器物均为铸造,其中有1件铜戈的刃部经历过热锻加工。这一分析结果丰富了石寨山文化的铜器研究,为器物的保护修复提供科学依据,同时也为云南汉代时期的铜器考古学以及金属技术史补充部分资料。     

三维激光扫描在文物考古中应用述评

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

Metallurgical analysis of copper artifacts from Cahokia

Copper artifacts from Cahokia Mounds, Illinois were analyzed from a materials science perspective to shed light on techniques used by Mississippian copper workers to deform nuggets of native copper into thin sheets. Eight small copper pieces from a copper-working site at Cahokia’s Mound 34 were subjected to metallographic examination. Replication experiments thereafter recreated features of the artifacts under controlled conditions. It is concluded that copper sheets were thinned through repeated cycles of hammering and annealing performed at temperatures achievable in an open wood fire. The welding of sheets to create multilayered objects was not observed in any artifacts and could not be accomplished experimentally. Additionally, a possible cutting method used on some artifacts was identified.     

CHOOSING NOT TO LOOK: REPRESENTATION,REPATRIATION, AND HOLOCAUST ATROCITY PHOTOGRAPHY1

This essay considers, from ethical and historical‐critical perspectives, alternatives to unconditional public access to Holocaust atrocity photographs. Photographic images have become the common coin of public awareness and historical information about the Holocaust. For the generations immediately following the genocide, atrocity photos and images of Nazi crimes served as vital testimony. For succeeding generations, however, access to certain “recirculated” images (Barbie Zelizer) has created a sense of familiarity with the Holocaust and with the National Socialist era that may prevent, rather than facilitate, engagement with the historical subject, particularly for students. Few of the victims of the Shoah pictured in either the best known or the least circulated images were willing subjects. As such, the bulk of Holocaust and National Socialist photography should perhaps fall under the same category as the results of Nazi medical experiments: they have been rendered inadmissible because they are ethically compromised materials, made without the participants’consent. While I am not advocating the wholesale destruction of Holocaust photographs, I will suggest that removing them from view or “repatriating” them might serve Holocaust memory better than their reduction to atrocious objects of banal attention. Just as the Native American Grave Protection and Repatriation Act of 1990 provided a mechanism for the reclassification of human remains, from ethnographic to spiritually sacred artifacts, we should consider what a similar reclassification of Holocaust photographs could offer. Have Holocaust atrocity photographs reached the limits of their usefulness as testimony?     

Practical Application of Digital Photogrammetry for Fieldwork in the American Midwest: An Example from the Middle Ohio Valley

The use of close-range digital photogrammetry for field documentation has been steadily increasing in the past half decade in several parts of the world. However, this technology has not been widely utilized in archaeological contexts in the American Midwest. We explore the utility of close-range photogrammetry in this region with examples from the Guard site (12D29), a Fort Ancient village located in southeastern Indiana. This article outlines the methods utilized for production of georeferenced 3-D models of several units excavated during the 2016 field season. These models as well as plan and profile orthophotos derived from them act as important supplements to standard photographs and drawings made in the field and easily integrate with the site GIS. Overall, we found close-range digital photogrammetry to be very useful to better document excavation details, doing so for limited cost and time expenditure.