Standardisation in 3D Geometric Morphometrics: Ethics,Ownership, and Methods

The collection and analysis of 3D digital data is a rapidly growing field in archaeology, anthropology, and forensics. Even though the 3D scanning of human remains in archaeology has been conducted for over 10 years, it is still frequently considered as a new field. Despite this, the availability of 3D scanning equipment and the number of studies employing these methods are increasing rapidly, and it is arguably damaging to the validity of this field to continue to consider these methods new and therefore not subject to the same standardisations as other researches. This paper considers the current issues regarding the lack of standardisation in the methods, ethics, and ownership of 3D digital data with a focus on human remains research. The aim of this paper is to stimulate further research and discussion, allowing this field to develop, improving the quality and value of future research.     

Introduction

Abstract

This paper examines mechanical drawings made between 1811 and 1835 by Cesar Nicolas Leblanc, draftsman and engraver for the Conservatoire des Arts et Metiers, for publication by the French patent ministry. It compares Leblanc's engravings with the original drawings of the same machines, drawings which mechanics and inventors had submitted with their patent applications and upon which Leblanc based his published copies. The paper further compares Leblanc's patent engravings with his engravings of other machines, ones of proven utility. Leblanc developed a visual vocabulary to accompany Conservatoire Director Gerard‐Joseph Christian's philosophy of industrial mechanics, and used it to expose a crucial ambiguity in French patenting practice. Patented machines were unproven machines, Leblanc's patent engravings argued, while his other engravings endorsed machines of known value.     

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.     

Application of 3-dimensional microscopy and micro-CT scanning to the analysis of Magdalenian portable art on bone and antler

The appearance of portable artistic objects during the Upper Palaeolithic is characterised by a combination of a wide choice of techniques, use of different materials and a diversity of iconographic expression, with many objects made of bone and antler decorated with animal representations. Taphonomic and experimental approaches have been systematically applied in an effort to understand the technical and artistic procedures followed. In this study, we applied a new combination of 3-dimensional microscopy (focus variation optical microscope) and micro-CT scanning to the analysis of two Magdalenian engraved specimens: a reindeer antler from the site of Neschers (France), engraved with the partial image of a horse in left profile, and a horse metatarsal from Courbet Cave, Penne (France), engraved with a horse head also in left profile. Results of the analysis suggest that both the Neschers and Courbet Cave engravings had been prepared before being carved. The overall contours of the horse body/head were incised first, while anatomical features were added afterwards. In the Neschers case, the incision resulted from the repeated scratching of a previously made incision in order to enlarge the engraving, possibly reflecting the engraver's aesthetic sense. The combination of the techniques used in this study is applicable to fragile or unique archaeological specimens. Micro-CT scanning, in particular, provides non-invasive means for identifying engravings that are obscured by encrusted sediment. The application of these techniques can potentially open new avenues for the authentication, technical and gestural recognition and interpretation of incised forms and artistic creativity.     

Verification of the age of the Palaeolithic cave art at Creswell Crags,UK

Engravings representing Britain's first apparently Pleistocene cave art were discovered in Church Hole and Robin Hood caves, Creswell Crags. Representations of a deer, highly stylised females or birds and vulvae were engraved into the bedrock, and in some cases had been covered with a thin layer of flowstone. In the absence of radiocarbon datable pigments, uranium-series disequilibrium dating was undertaken on these flowstones to provide minimum ages for the engravings. Here we show that the oldest motif was carved earlier than 12,800 years ago which is consistent with radiocarbon dates for the Late Upper Palaeolithic archaeology at Creswell Crags. Thus we demonstrate the authenticity of the engravings and show them to be the oldest known examples in Britain.     

Identification of a possible engraved Venus from Předmostí, Czech Republic

One Gravettian feminine representation – the schematic Venus of P?edmostí – is so different from all the others that it has always been regarded as unique. The engraving, which was closely examined for the purpose of comparison in this study, represents a woman composed of geometric shapes, including a triangular head with interior lattice-work, concentric ellipses for the breasts, belly and pelvis, a double ladder for the remaining arm, hatch marks, and a thigh made up of parallel vertical lines. This article presents the discovery and discusses the authenticity of a second, feminine anthropomorph engraved on a bone shaft fragment, which is labelled as coming from the same site and is highly similar to the one described at the end of the nineteenth century. The modern history of P?edmostí reveals that the site was used as a quarry for the extraction of loess and limestone, and that tons of mammoth bones were extracted to produce spodium. Remarkable objects that were found both during early archaeological excavations and the site’s commercial exploitation went towards private collections. The history of the piece under study traces it back through a succession of owners to the collection of René de Poilloüe de Saint-Périer (b.1877–d.1950) and Raymonde-Suzanne de Saint-Périer (b.1890–d.1978). The engraving is on the periosteal surface of a limb bone from a very large mammal, probably a proboscidian. Microscopic analysis of the bone surface and engravings identify the chronology of the grooves and their relations to the stages of the bone’s alteration and fracturing, starting with: 1) heavy weathering of the bone surface that produced longitudinal cracks, which probably led to its breakage, 2) engraving of the feminine representation, 3) intense mechanical and chemical attacks that smoothed all of the bone’s surfaces and wore down the engravings, 4) covering with a consolidation agent, and, most recently, 5) some abrasion, which resulted in the creation of a few straight lines. Since no evidence is found to suggest that the highly worn appearance of the engravings composing the feminine representation resulted from modifications that were meant to artificially age the periosteal surface of the bone, we conclude that the engraving can be plausibly attributed to the Gravettian and that further analyses are warranted.     

The Style of Blugzeimat and the “Masks” of the Prehistoric Rock Art of the Western Sahara: New Evidence for Long-Distance Contacts

Blugzeimat is a prehistoric rock-art site in the Tiris region (southern Western Sahara), with more than 100 engraved slabs. The major portion of these engravings represents zoomorphs, anthropomorphs and non-figurative signs. Based on the absence of protohistoric texts, chariots or horse riders, and the probable depiction of a halberd, the age of these engravings may correspond to the first half of the second millennium BCE. The stylistic attributes of the engraved bovines, which are the most commonly represented subject, allow us to relate Blugzeimat to several sites with pecked engravings located in the Tiris (Western Sahara) and Adrar (north-western Mauritania) regions. In addition to this first stylistic and geographic delimitation, we have also been able to identify signs, traditionally designated as “masks” in the literature, which relate Blugzeimat to several sites with incised engravings located in the northern Saguia el Hamra basin. As incised and pecked engraving techniques have been regularly considered examples of unrelated rupestrian traditions in the Western Sahara, the engraving of these highly specific signs using both techniques allows us to question that paradigm. Finally, the long-distance thematic coincidence represented by the presence of such signs, in regions far from one another, provides additional evidence to refute the common idea of an absence or scarcity of cultural contacts between the north and south of the Western Sahara before the adoption of the horse and camel.     

Knowledge capture and transfer in rock art studies: Results of a questionnaire on rock art decay in Britain

Abstract

Several thousand prehistoric rock art sites are known in Britain, yet the degree of preservation of these engravings remains a poorly researched and undervalued aspect of the historic environment. Our lack of knowledge has severe implications for how we interpret the rock art sites and how we conserve and manage them. The ongoing ‘Fading Rock Art Landscapes’ project aims to address this gap in our knowledge by gathering information on the rate and nature of decay in prehistoric engravings. As part of the project, a questionnaire was distributed to a number of individuals who, for up to thirty years, have been visiting and recording rock art and who have a detailed knowledge of the sites, how they have changed over time and the types of threat to which they are exposed. In particular, the questionnaire aimed to capture individuals' perceptions of how three groups of agents (physical/chemical, animal, human) influenced the degradation of the engravings. The synthesized results reveal common perceptions of a duality in the rate and nature of decay, with a slow background level of erosion caused by physical and chemical agents, over which is superimposed a rapid, variable degradation from the impact of humans and animals.     

Rock Art Between Preservation,Research and Sustainable Development—a Perspective from Southern Ethiopia

This paper focuses on southern Ethiopia, along the outer rim of the Rift Valley and not far from the Kenyan border, in an area forming part of a larger region known as a cradle of humankind. However, it also hosts a diverse Holocene rock art heritage, which is still underestimated and underdocumented. Paintings and engravings are widespread in the region, both in rock shelters and open-air sites, often located in remote areas currently inhabited by communities belonging to different ethnic groups. The aim of this paper is to present the first results of a new project in the area around Yabelo, within the broader framework of rock art research in East Africa, integrating archaeological research, preservation and heritage management with a relevant involvement of local communities. The outstanding cultural importance of these contexts offers new prospects for both scholarly research and sustainable development. The recording and study of the artworks is underway, using digital technologies that guarantee a high standard of accuracy of the documentation and non-invasive recording methods. This provides important insights for reconstructing cultural dynamics in the area between the final Pleistocene and onset of the Holocene. Moreover, the focus on rock art makes it possible to enhance local knowledge, increasing the awareness of local communities, with a significant impact on the preservation of this fragile heritage and the development of local, sustainable tourism projects. Differently from other archaeological features, rock art can have a more immediate attractiveness for contemporary observers, in terms of the apparent immediacy of the images and their emotional impact, raising awareness of cultural heritage and fostering major involvement in its preservation.     

A NEW METHOD TO DATE PETROGLYPHS

A new calibrated method based on erosion phenomena is presented for the dating of petroglyphs (rock carvings and engravings) and geomorphic surfaces. In contrast to previous methods of petroglyph dating, which sought to determine the age of various mineral and organic deposits coating the art, microerosion analysis attempts to ascertain the time of mark production itself, by creating a geomorphologically based time frame. The method involves the establishment of calibration curves for the crucial variables to be considered. These are the rock type and climate of a particular region, microerosional indices and age. The theory, practical application, and prerequisites of the method are considered, and the paper concludes by defining the disadvantages and advantages of the method.     

THINKING ABOUT 'STYLE' IN THE 'POST-STYLISTIC ERA': RECONSTRUCTING THE STYLISTIC CONTEXT OF CHAUVET

Summary.   Over the past decade, new radiocarbon dating from several art caves has conflicted with the traditional stylistic sequence of Palaeolithic art. Using Chauvet as a paradigm, some archaeologists have suggested that stylistic approaches to Palaeolithic art should be rejected in favour of more sophisticated methods, such as AMS radiocarbon dating. Contrary to this proposal, we suggest that the high antiquity of the Chauvet paintings (dated to c .32,000 years BP) does not necessarily imply the end of all stylistic approaches to Palaeolithic art. Taking the recent discoveries (2003) at the site of Hohle Fels and the attribution of the Palaeolithic engravings of the cave of l'Aldène to the Aurignacian (2005) into account, we suggest that the Chauvet paintings can be placed within an Aurignacian stylistic context. Throughout this analysis, we propose some critical thoughts on the concept of 'style' and discuss some ways in which stylistic approaches can be used to improve our knowledge of Palaeolithic art.     

The Suitability of 3D Data: 3D Digitisation of Human Remains

The use of 3D data in the analysis of skeletal and fossil materials has conveyed numerous advantages in many fields; however, as the availability and use of 3D scanning equipment are rapidly increasing, it is important for researchers to consider whether these methods are suitable for the proposed study. The issue of suitability has been largely overlooked in previous research; for instance, casts and reconstruction methods are frequently used to increase sample sizes, without sufficient assessment of the effect, this may have on the accuracy and reliability of results. Furthermore, the reliability of geometric morphometric methods and the implications of virtual curation have not received sufficient consideration. This paper discusses the suitability of 3D research with regard to the accuracy, reliability, and accessibility of methods and materials, as well as the effects of the current learning environment. Areas where future work will progress 3D research are proposed.     

An early illustrated comparative anatomy of the brain: Samuel Collins' A Systeme of Anatomy (1685) and the emergence of comparative neurology in 17th century England

The concept of comparing of the brains of various animals and of individual human brains was launched in the last half of the 17th century in England and was much influenced by the formation of the European scientific societies and their attempts to guide naturalist observations into a new systematics. An ambitious attempt to document this trend in an extensively illustrated work of encyclopedic pretensions was the singular publication of Samuel Collins (1618-1710), an energetic anatomist and president of the Royal College of Physicians. His little known tow-volume folio presentation, written in teh vernacular for broad acceptance, contains the seeds of a science of comparative neurology with the largest collection of brain illustrations (as well as of other organ systems) attempted in his era. Although lacking the conceptual insight that might derive from a true "comparative" anatomy and an understanding of the relations of different animals, the handsome engravings exemplified the new direction of the 'enlightenment' of the scientific revolution and are discussed in teh context of relevant events of this period.     

铜版组画《平定苗疆战图》初探

本文对《平定苗疆战图》的创作背景、题材选择、艺术水平及乾隆与组画的关系等进行了探讨与评述,对组画作了重新定名,并重新标记了各幅的画题,调整了其排列顺序,对各图作了详细介绍。文章最后阐述了清中期铜版战图创作的若干特色。     

An Early Illustrated Comparative Anatomy of the Brain: Samuel Collins’ A Systeme of Anatomy (1685) and the Emergence of Comparative Neurology in 17th Century England

The concept of comparing of the brains of various animals and of individual human brains was launched in the last half of the 17th century in England and was much influenced by the formation of the European scientific societies and their attempts to guide naturalist observations into a new systematics. An ambitious attempt to document this trend in an extensively illustrated work of encyclopedic pretensions was the singular publication of Samuel Collins (1618–1710), an energetic anatomist and president of the Royal College of Physicians. His little known two-volume folio presentation, written in the vernacular for broad acceptance, contains the seeds of a science of comparative neurology with the largest collection of brain illustrations (as well as of other organ systems) attempted in his era. Although lacking the conceptual insight that might derive from a true “comparative” anatomy and an understanding of the relations of different animals, the handsome engravings exemplified the new direction of the ‘enlightenment’ of the scientific revolution and are discussed in the context of relevant events of this period.     

Matter over mind? The rise and fall of phrenology in nineteenth-century France

ABSTRACT

The history of phrenology in France has a number of unique features. It was in that country that F. J. Gall sought refuge; and it was, above all, in France that phrenology would subsequently attempt to establish its credentials as a new physiological science of the mind. Up until the 1840s, phrenology expanded rapidly in the country, a growth that coincided with attempts to provide this new field with the trappings of respectable scientific endeavor—courses of lectures, learned societies, journals, and so on. This ambitious intellectual project, despite its controversial nature, made a major cultural impact in the nineteenth century, both through its influence on the written word—from learned journals to the novel—and via its striking visual imagery (sculpture, anatomical diagrams and models, engravings, caricatures, and so on). However, as the scientific impact of phrenology declined, allusions to it lost much of their cultural force. On the borderline between respectable science and mere quackery, phrenology in France represented an attempt to construct a whole new intellectual universe based on scientific principles, and as such had a profound impact on its period.     

Seeking a Better View: Using 3D to Investigate Visibility in Historic Landscapes

The examination of historic landscapes at complex, multi-phased archaeological sites is hampered by the limitations of traditional two-dimensional (2D) visibility studies in geographic information systems (GISs). This paper argues for integrating three-dimensional (3D), qualitative methods into the study of visibility of monumental architecture at ancient sites. By transforming 2D GIS data into 3D representations of ancient built and natural landscapes, visibility studies can be greatly enhanced, adding into analysis perspective, monument shape, and color, as well as changing levels of visibility across time and space. The ancient Egyptian site of Saqqara (29° 52′ 16.55″ lat./31° 12′ 59.58″ E long.) is one of a number of cult locations with monumental architecture neighboring the administrative capital of Memphis. The Old Kingdom cult site of Saqqara (2670 bce–2168 bce) is utilized to demonstrate the potential for 3D visibility studies that better replicate such elements of human perception. This method offers new possibilities for more human-centered studies of past landscapes.     

Experiencing Ancient Buildings from a 3D GIS Perspective: a Case Drawn from the Swedish Pompeii Project

In recent times, archaeological documentation strategies have been considerably improved by the use of advanced 3D acquisition systems. Laser scanning, photogrammetry and computer vision techniques provide archaeologists with new opportunities to investigate and document the archaeological record. In spite of this, the amount of data collected and the geometrical complexity of the models resulting from such acquisition processes have always prevented their systematic integration into a geographic information systems (GIS) environment. Recent technological advances occurred in the visualization of 3D contents, led us to overcome the aforementioned limitations and set up a work pipeline in which was possible to put the 3D models not only in the context of data visualization but also in the frame of spatial analysis. The case study described is a part of the Swedish Pompeii Project, a research and fieldwork activity started in 2000 with the purpose of recording and investigating an entire Pompeian city block, Insula V 1. As an additional part of the research, a laser scanning acquisition campaign was conducted in the last few years. The resulting models were thus meant to be used to develop further research lines: Among these, a 3D GIS system was expected to be set up with the purpose to (i) collect in the same geo-referenced environment, different typologies of documentation gathered in the context of the Swedish Pompeii Project; (ii) inter-connect 3D models with the project website; (iii) use the third dimension as a further analytical field of investigation, in the form of spatial analysis and cognitive simulation.