Book of Abstracts
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1. Introduction
This PDF is a simplified version of the original article published in Internet Archaeology. All links also go to the online version. Please cite this as: Nicholson, C., Fernandez, R. and Irwin, J. 2021 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States, Internet Archaeology 58. https://doi.org/10.11141/ia.58.22 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States Christopher Nicholson, Rachel Fernandez and Jessica Irwin Summary Archaeology in the United States is conducted by a number of different sorts of entities under a variety of legal mandates that lack uniform standards for data archiving. The difficulty of accessing data from projects in which one was not directly involved indicates an apparent reluctance to archive raw data and supplemental information with digital repositories to be reused in the future. There is hope that additional legislation, guidelines from professional organisations, and educational efforts will change these practices. 1. Introduction Though we are well into the 21st century, responsible digital archiving of archaeological data in the United States is not common practice. Digital archiving of cultural resource management reports in State Historic Preservation Offices, where they are often available by request though perhaps at a cost, is common; however, digitally archiving the datasets and other supporting materials that went into the creation of those documents is not. Though a vocal minority advocates for responsible digital archiving practices (Kansa and Kansa 2013; 2018; Kansa et al. -
Mcalab: Reproducible Research in Signal and Image Decomposition and Inpainting
1 MCALab: Reproducible Research in Signal and Image Decomposition and Inpainting M.J. Fadili , J.-L. Starck , M. Elad and D.L. Donoho Abstract Morphological Component Analysis (MCA) of signals and images is an ambitious and important goal in signal processing; successful methods for MCA have many far-reaching applications in science and tech- nology. Because MCA is related to solving underdetermined systems of linear equations it might also be considered, by some, to be problematic or even intractable. Reproducible research is essential to to give such a concept a firm scientific foundation and broad base of trusted results. MCALab has been developed to demonstrate key concepts of MCA and make them available to interested researchers and technologists. MCALab is a library of Matlab routines that implement the decomposition and inpainting algorithms that we previously proposed in [1], [2], [3], [4]. The MCALab package provides the research community with open source tools for sparse decomposition and inpainting and is made available for anonymous download over the Internet. It contains a variety of scripts to reproduce the figures in our own articles, as well as other exploratory examples not included in the papers. One can also run the same experiments on one’s own data or tune the parameters by simply modifying the scripts. The MCALab is under continuing development by the authors; who welcome feedback and suggestions for further enhancements, and any contributions by interested researchers. Index Terms Reproducible research, sparse representations, signal and image decomposition, inpainting, Morphologi- cal Component Analysis. M.J. Fadili is with the CNRS-ENSICAEN-Universite´ de Caen, Image Processing Group, ENSICAEN 14050, Caen Cedex, France. -
Methods in Digital Archaeology and Cultural Heritage Katy Meyers Emery
Methods in Digital Archaeology and Cultural Heritage Katy Meyers Emery Increasingly over the last decade, anthropologists have looked to digital tools as a way to improve their interpretations, engage with the public and other professionals, collaborate with other disciplines, develop new technology to improve the discipline and more. Due to the increasing importance of digital, it is important that current students become equipped with the skills and confidence necessary to creatively and thoughtfully apply digital tools to cultural heritage questions. With that in mind, this course is not a lecture- it is an open discussion and development course where students will learn digital tools by using and making them. This course will provide students with an introduction to digital tools in archaeology, from using social media to engage with communities to developing their own online projects to preserve, protect, share and engage with cultural heritage and archaeology. Course Goals: 1. Understand and articulate the benefits and challenges of digital methods within archaeology and cultural heritage management 2. Critically use digital methods to engage with the public and archaeological community online to promote cultural and archaeological heritage and preservation (ex. Blogging, Twitter, Digital Mapping, etc) 3. Leverage digital tools to create a digital project focused on archaeology or cultural heritage Texts: All reading material for this course will be provided online, although students may need to request or find their own reading material related to a historic site for their final project. **This syllabus was designed based on a course that I helped develop and teach over summer 2014, a Mobile Cultural Heritage Informatics class I assisted in during summer 2011, and my years as a Cultural Heritage Informatics Initiative fellow. -
Scarabs and Cylinders with Names
BRITISH SCHOOL OF ARCHAEOLOGY IN EGYPT AND EGYPTIAN RESEARCH ACCOUNT TWENTY-FIRST YEAR, 1915 SCARABS AND CYLINDERS WITH NAMES ILLUSTRATED BY THE EGYPTIAN COLLECTION IN UNIVERSITY COLLEGE, LONDON BY W. M. FLINDERS PETRIE HON. D.C.L., LL.D., L1TT.D.. F.R.S., F.B.A., HON. F.S.A. (SCOT.), A.R.I.B.A. MEMBER OF THE ROYAL IRISH ACADEMY MEMBER OF THE ITALIAN SOCIETY OF ANTHROPOLOGY MEMBER OF THE ROMAN SOCIETY OF ANTHROPOLOGY MEMBER OF THE SOCIETY OF NORTHERN ANTIQUARIES MEMBER OF THE AMERICAN PIIILOSOPHICAL SOCIETY BDWARDS PROFESSOR OF EGYPTOLOGY, UNIVERSITY OF LONDON LONDON SCHOOL OF ARCHAEOLOGY IN EGYPT UNIVERSITY COLLEGE, GOWER STREET, W.C. AND CONSTABLE (G CO. LTD., 10 ORANGE STREET, LEICESTER SQUARE AND BERNARD QUARITCH, 11 GRAFTON STREET, NEW BOND STREET '917 PRINTED BY =*=ELL, WATSON AND VINEY, L~., LONDON AND AYLESBURY. BRITISH SCHOOL OF ARCHAEOLOGY IN EGYPT AND EGYPTIAN RESEARCH ACCOUNT GENERAL COMMITTEE (*Bxecutiz~z ibfenibsus) Hon. JOHN ABERCROMBY Prof. PERCYGARDNCR *J. G. MILNE WALTERRALLY Rt. Hon. Sir G. T. GOLDIE KOBERTMOND HENRYBALFOUR Prof. GOWLAND Prof. MONTAGUE Rev. Dr. T. G. BONNEY Mrs. J. R. GREEN WALTERMORRISON Prof. R. C. BOSANQUET Rt. Hon. F.-M. LORDGRENFELL *Miss M. A. MURRAY Rt. Hon. VISCOIJNT BRYCEOF Mrs. F. LL. GRIFFITH Prof. P. E. NEWBERRY DECHMONT Dr. A. C. HADDON His Grace the DUKE OF Dr. R. M. BURROWS Dr. JESSE HAWORTH NORTHUMBERLAND. "Prof. J. B. BURY(Cliairr~~an) Rev. Dr. A. C. HEADLAM F. W. PERCIVAL *SOMERSCLARKE D. G. HOGARTH Dr. PINCHES EowARn CLODD Sir H. H. HOWORTH Dr. G. W. PROTHERO Prof. BOYDDAWKINS Baron A. -
Art: Authenticity, Restoration, Forgery
UCLA Cotsen Institute of Archaeology Press Title Art: Authenticity, Restoration, Forgery Permalink https://escholarship.org/uc/item/5xf6b5zd ISBN 978-1-938770-08-1 Author Scott, David A. Publication Date 2016-12-01 Data Availability The data associated with this publication are within the manuscript. Peer reviewed eScholarship.org Powered by the California Digital Library University of California READ ONLY/NO DOWNLOADS Art: Art: Authenticity, Restoration, ForgeryRestoration, Authenticity, Art: Forgery Authenticity, Restoration, Forgery David A. Scott his book presents a detailed account of authenticity in the visual arts from the Palaeolithic to the postmodern. The restoration of works Tof art can alter the perception of authenticity, and may result in the creation of fakes and forgeries. These interactions set the stage for the subject of this book, which initially examines the conservation perspective, then continues with a detailed discussion of what “authenticity” means, and the philosophical background. Included are several case studies that discuss conceptual, aesthetic, and material authenticity of ancient and modern art in the context of restoration and forgery. • Scott Above: An artwork created by the author as a conceptual appropriation of the original Egyptian faience objects. Do these copies possess the same intangible authenticity as the originals? Photograph by David A. Scott On front cover: Cast of author’s hand with Roman mask. Photograph by David A. Scott MLKRJBKQ> AO@E>BLILDF@> 35 MLKRJBKQ> AO@E>BLILDF@> 35 CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CIoA Press READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery READ ONLY/NO DOWNLOADS READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery David A. -
Or on the ETHICS of GILDING CONSERVATION by Elisabeth Cornu, Assoc
SHOULD CONSERVATORS REGILD THE LILY? or ON THE ETHICS OF GILDING CONSERVATION by Elisabeth Cornu, Assoc. Conservator, Objects Fine Arts Museums of San Francisco Gilt objects, and the process of gilding, have a tremendous appeal in the art community--perhaps not least because gold is a very impressive and shiny currency, and perhaps also because the technique of gilding has largely remained unchanged since Egyptian times. Gilding restorers therefore have enjoyed special respect in the art community because they manage to bring back the shine to old objects and because they continue a very old and valuable craft. As a result there has been a strong temptation among gilding restorers/conservators to preserve the process of gilding rather than the gilt objects them- selves. This is done by regilding, partially or fully, deteriorated gilt surfaces rather than attempting to preserve as much of the original surface as possible. Such practice may be appropriate in some cases, but it always presupposes a great amount of historic knowledge of the gilding technique used with each object, including such details as the thickness of gesso layers, the strength of the gesso, the type of bole, the tint and karatage of gold leaf, and the type of distressing or glaze used. To illustrate this point, I am asking you to exercise some of the imagination for which museum conservators are so famous for, and to visualize some historic objects which I will list and discuss. This will save me much time in showing slides or photographs. Gilt wooden objects in museums can be broken down into several subcategories: 1) Polychromed and gilt sculptures, altars Examples: baroque church altars, often with polychromed sculptures, some of which are entirely gilt. -
DIGITAL ARCHAEOLOGY of HERITAGE BUILDINGS of WEST AFRICA Ghana – 28 May – 1 July
NEW Summer 2017 Field School in DIGITAL ARCHAEOLOGY OF HERITAGE BUILDINGS OF WEST AFRICA Ghana – 28 May – 1 July Focusing on the Elmina Castle (1482, Ghana) the school introduces the principles of structural diagnostics of heritage masonry buildings with the aim to produce a systematic survey (manual, photogrammetric, laser scanning, aerial drone photography) and related digital reconstructions of select areas of the Castle. The school also fosters the understanding of the historical environment, and in particular the pivotal role in the Transatlantic World, of Elmina Castle through study visits to other forts and castles in coastal Ghana. In addition, the school offers a broader view of Ghana’s natural and cultural heritage through guided visits to selected archaeological sites and national parks. There are no pre-requisites. The field school is designed to attract undergraduate and graduate students in the humanities, social sciences, and engineering interested in acquiring skills in a multidisciplinary environment. Faculty: Prof. Renato Perucchio, Co-director – Mechanical Engineering and Director, Archaeology Technology and Historical Structures, University of Rochester – [email protected] ; Prof. Kodzo Gavua, Co-director – Archaeology and Heritage Studies and Dean, School of Arts, College of Humanities, University of Ghana - [email protected] ; Prof. Michael Jarvis, History and Director, Digital Media Studies, University of Rochester - [email protected] ; and Prof. William Gblerkpor, Archaeology and Heritage -
Monumental Computations. Digital Archaeology of Large Urban And
Visualising the Past through the Virtual Image Virtual Reconstitutions as interpretations of knowledge Tiago CRUZ, University of Porto, Portugal Abstract: The image has the power to mean something, to tell, to express, to represent, and to present. Based on a reflection upon the place of the virtual image in the visuali- sation of the past, the present article seeks to answer to the transformations that result from the digital revolution, with implications in our relationship with History and in our experience of the built heritage. With the aim of returning the old Convent of Monchique to the city of Porto (Portugal) and its community, the interpretation of knowledge is ex- plored here by using the virtual image as an instrument for the visualisation of the past, in its visibilities and invisibilities, through interpretative exercises of the past, guided by historical accuracy, authenticity, and scientific transparency. Due to the profound formal and functional changes it has undergone over time—even prior to its foundation, in the 16th century, and up to the present—, the convent presents itself as an ideal example to test the use of scientific methodologies and their validity in an interpretative visualisation of the past. Keywords: Virtual image—digital reconstruction—data authenticity—uncertain data— reconstructions CHNT Reference: Tiago Cruz. 2021. Visualising the Past through the Virtual Image. Börner, Wolf- gang; Kral-Börner, Christina, and Rohland, Hendrik (eds.), Monumental Computations: Digital Ar- chaeology of Large Urban and Underground Infrastructures. Proceedings of the 24th International Conference on Cultural Heritage and New Technologies, held in Vienna, Austria, November 2019. Heidelberg: Propylaeum. -
APPENDIX C Cultural Resources Management Plan
APPENDIX C Cultural Resources Management Plan The Sloan Canyon National Conservation Area Cultural Resources Management Plan Stephanie Livingston Angus R. Quinlan Ginny Bengston January 2005 Report submitted to the Bureau of Land Management, Las Vegas District Office Submitted by: Summit Envirosolutions, Inc 813 North Plaza Street Carson City, NV 89701 www.summite.com SLOAN CANYON NCA RECORD OF DECISION APPENDIX C —CULTURAL RESOURCES MANAGEMENT PLAN INTRODUCTION The cultural resources of Sloan Canyon National Conservation Area (NCA) were one of the primary reasons Congress established the NCA in 2002. This appendix provides three key elements for management of cultural resources during the first stage of implementation: • A cultural context and relevant research questions for archeological and ethnographic work that may be conducted in the early stages of developing the NCA • A treatment protocol to be implemented in the event that Native American human remains are discovered • A monitoring plan to establish baseline data and track effects on cultural resources as public use of the NCA grows. The primary management of cultural resources for the NCA is provided in the Record of Decision for the Approved Resource Management Plan (RMP). These management guidelines provide more specific guidance than standard operating procedures. As the general management plan for the NCA is implemented, these guidelines could change over time as knowledge is gained of the NCA, its resources, and its uses. All cultural resource management would be carried out in accordance with the BLM/Nevada State Historic Preservation Office Statewide Protocol, including allocation of resources and determinations of eligibility. Activity-level cultural resource plans to implement the Sloan Canyon NCA RMP would be developed in the future. -
Texture Inpainting Using Covariance in Wavelet Domain
DOI 10.1515/jisys-2013-0033 Journal of Intelligent Systems 2013; 22(3): 299–315 Research Article Rajkumar L. Biradar* and Vinayadatt V. Kohir Texture Inpainting Using Covariance in Wavelet Domain Abstract: In this article, the covariance of wavelet transform coefficients is used to obtain a texture inpainted image. The covariance is obtained by the maximum likelihood estimate. The integration of wavelet decomposition and maximum likelihood estimate of a group of pixels (texture) captures the best-fitting texture used to fill in the inpainting area. The image is decomposed into four wavelet coefficient images by using wavelet transform. These wavelet coefficient images are divided into small square patches. The damaged region in each coefficient image is filled by searching a similar square patch around the damaged region in that particular wavelet coefficient image by using covariance. Keywords: Inpainting, texture, maximum likelihood estimate, covariance, wavelet transform. *Corresponding author: Rajkumar L. Biradar, G. Narayanamma Institute of Technology and Science, Electronics and Tel ETM Department, Shaikpet, Hyderabad 500008, India, e-mail: [email protected] Vinayadatt V. Kohir: Poojya Doddappa Appa College of Engineering, Gulbarga 585102, India 1 Introduction Image inpainting is the technique of filling in damaged regions in a non-detect- able way for an observer who does not know the original damaged image. The concept of digital inpainting was introduced by Bertalmio et al. [3]. In the most conventional form, the user selects an area for inpainting and the algorithm auto- matically fills in the region with information surrounding it without loss of any perceptual quality. Inpainting techniques are broadly categorized as structure inpainting and texture inpainting. -
Curatorial Care of Easel Paintings
Appendix L: Curatorial Care of Easel Paintings Page A. Overview................................................................................................................................... L:1 What information will I find in this appendix?.............................................................................. L:1 Why is it important to practice preventive conservation with paintings?...................................... L:1 How do I learn about preventive conservation? .......................................................................... L:1 Where can I find the latest information on care of these types of materials? .............................. L:1 B. The Nature of Canvas and Panel Paintings............................................................................ L:2 What are the structural layers of a painting? .............................................................................. L:2 What are the differences between canvas and panel paintings?................................................. L:3 What are the parts of a painting's image layer?.......................................................................... L:4 C. Factors that Contribute to a Painting's Deterioration............................................................ L:5 What agents of deterioration affect paintings?............................................................................ L:5 How do paint films change over time?........................................................................................ L:5 Which agents -
Digital Image Restoration Techniques and Automation Ninad Pradhan Clemson University
Digital Image Restoration Techniques And Automation Ninad Pradhan Clemson University [email protected] a course project for ECE847 (Fall 2004) Abstract replicate can be found in the same image where the region The restoration of digital images can be carried out using to be synthesized lies. two salient approaches, image inpainting and constrained texture synthesis. Each of these have spawned many Hence we see that, for two dimensional digital images, one algorithms to make the process more optimal, automated can use both texture synthesis and inpainting approaches to and accurate. This paper gives an overview of the current restore the image. This is the motivation behind studying body of work on the subject, and discusses the future trends work done in these two fields as part of the same paper. The in this relatively new research field. It also proposes a two approaches can be collectively referred to as hole filling procedure which will further increase the level of approaches, since they do try and remove unwanted features automation in image restoration, and move it closer to being or ‘holes’ in a digital image. a regular feature in photo-editing software. The common requirement for hole filling algorithms is that Keywords: image restoration, inpainting, texture synthesis, the region to be filled has to be defined by the user. This is multiresolution techniques because the definition of a hole or distortion in the image is largely perceptual. It is impossible to mathematically define 1. Introduction what a hole in an image is. A fully automatic hole filling tool may not just be unfeasible but also undesirable, because Image restoration or ‘inpainting’ is a practice that predates in some cases, it is likely to remove features of the image the age of computers.