3D Heritage Documentation and GPS Survey of Chalcatzingo, Morelos, Mexico

University of South Florida Scholar Commons

Digital Heritage and Humanities Collections Faculty and Staff Publications Tampa Library

1-15-2017

Lori Collins University of South Florida, [email protected]

Travis Doering University of South Florida, [email protected]

Jorge Gonzalez University of South Florida, [email protected]

Follow this and additional works at: https://scholarcommons.usf.edu/dhhc_facpub

Scholar Commons Citation Collins, Lori; Doering, Travis; and Gonzalez, Jorge, "3D Heritage Documentation and GPS Survey of Chalcatzingo, Morelos, Mexico" (2017). Digital Heritage and Humanities Collections Faculty and Staff Publications. 16. https://scholarcommons.usf.edu/dhhc_facpub/16

This Technical Report is brought to you for free and open access by the Tampa Library at Scholar Commons. It has been accepted for inclusion in Digital Heritage and Humanities Collections Faculty and Staff Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Prepared for: Mario Córdova Tello and Carolina Meza Rodríguez, 2017 del Proyecto Chalcatzingo, Morelos In Review

3D Heritage Documentation and GPS Survey of Chalcatzingo, Morelos, Mexico

By: Lori Collins, Ph.D., Travis Doering, Ph.D., and Jorge Gonzalez

University of South Florida 1/15/2017 | P a g e

Acknowledgements The Principal Investigators (Collins and Doering), wish to acknowledge the outstanding contributions to the work in 2016 by Jorge Gonzalez with the Digital Humanities and Heritage Collections (DHHC) at the University of South Florida Libraries. Jorge performed the laser scanning field work and the 3D modeling and visualization workflow for these efforts including innovative use of augmented and virtual reality applications that have been utilized for field conservation efforts, and online visualization of modeling data. We also express our appreciation for the ongoing collaboration and partnerships with the Proyecto Chalcatzingo, and all of the people and staff that have made our work successful and without whom this project would not be possible.

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Contents Acknowledgements ...... i Project Description ...... 2 The Importance of Carved Stone Monuments ...... 2 Description of Methods ...... 4 Results ...... 5  Cartography and Mapping efforts ...... 5  Visualization Products ...... 6  3D Prints ...... 6 3D Models ...... 7  CAD and digital renderings ...... 12 Directions for Future Research ...... 16 References Cited ...... 18 Appendix A ...... 20

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Table of Figures Figure 1. Map of Chalcatzingo in the Valley of Morelos, Mexico...... 3

Figure 2. GIS map layout showing contour data from earlier INAH survey work at the site combined with GPS location information for monument locations...... 5

Figure 3. Examples of high resolution imagery of monuments, emphasizing iconographic analysis and research. Chalcatzingo Monument 31 is shown with examples of digital data capture and areas of interest...... 6

Figure 4. 3D print of Chalcatzingo Monument 41, showing detail of iconography captured with 3D laser scanning and used to produce this accurate scaled print model...... 7

Figure 5. Landscape level TLS survey has allowed for capture of terrain and architectural details at Chalcatzingo...... 8

Figure 6. TLS and close range laser scanning and imaging were used to capture the newly discovered Chalcatzingo Monument 45, and GPS was used to map the archaeological context and surroundings. .... 9

Figure 7. 3D model produced from laser scanning data of the newly discovered Chalcatzingo Monument 45. Areas of iconography are shown highlighted and extracted, with models used in analysis, preservation, and interpretation efforts...... 10

Figure 8. 3D laser scanning of the ceramic Chalcatzingo baby (above), included imaging and surface scanning to produce the final model, which is freely accessible and viewable in 3D https://skfb.ly/OZN7 ...... 11

Figure 9. Examples of digital line and detail extraction from monuments that have been laser scanned. These line work details can be brought into a CAD environment, and are useful for iconographic analysis and comparison, especially to pieces previously documented that have been impacted by surface erosion and loss of carving and offers a less subjective way of producing line drawings...... 12

Figure 10. Terrestrial laser scanning (TLS) survey data was used in the creation of 3D models of the Chalcatzingo Monument 22, which was documented before and then after a fire caused significant damage to the sculpture. Above is the CAD rendered file showing the various pieces of the sculpture, and below is a 3D model shared as a portable document file (PDF) that was useful in the field for restoration efforts...... 13

Figure 11. 3D CAD models made from the laser scan data collected prior to the fire, were useful in conservation treatment planning and restoration procedures...... 14

Figure 12. Differences from laser scans taken before the fire can be compared to those taken after restoration (above), are shown with areas of red and dark blue, and are indicative of the largest degree of change to the sculpture, allowing for a quantification of change and loss experienced (below)...... 15

Figure 13. Students at USF learn about Chalcatzingo from INAH archaeologists participating virtually through SKYPE with the class (Dr. Collins’ 2014 Museum Visualization class at University of South Florida)...... 16

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Project Description In 2006, The World Monuments Fund added the archaeological site of Chalcatzingo, in the Valley of Morelos, Central Highlands Mexico, to the World’s 100 Most Endangered Monuments Watch List (Figure 1). Chalcatzingo is an important Formative Period archaeological site, founded about 1500 B.C. Famous for the extensive corpus of bas-relief carvings and Olmec-style monumental art and iconography, this civic-ceremonial center, has architecture that includes pyramids, plazas, and ballcourts, with a considerable quantity of stone sculptures that provide substantial information about the Olmec culture. The site covers more than 100 acres and is situated between two towering rock formations, or cerros, that rise up from the valley floor.

Beginning with talks in 2009, University of South Florida researchers Drs. Lori Collins and Travis Doering, have partnered with Mario Cordova Tello and Carolina Meza Rodriguez, archaeologists with Mexico's Instituto Nacional de Antropología e Historia (INAH), to help address long-term management, protection, and research analysis needs at Chalcatzingo. During this time, a comprehensive digital documentation survey and database construction has been undertaken, with the most recent work in 2016, which is the focus of this report. A combination of 3D and imaging technologies and GPS survey, have been used to document the majority of sculptures and structures at the site. Documentation in 2016 included recently discovered carved stone monuments and their fragile context. The results of these efforts include the best available documentation of the monuments and the environmental contextual setting and location details. In this report, we cover work performed to date, with emphasis on the work from the 2016 field season effort.

Results from this work provide important documentation for conservation, preservation, and site management needs. This partnership and results have also demonstrated innovations in the approach and study of stone sculpture, and in the visualization of carving and detail of sculpture and the analysis of the relation of monuments to the archaeological landscape. Improvements in technology transfer and accessibility of information, and partnerships for world heritage preservation and iconographic research have also developed from this on-going effort ((Cordova Tello 2016) (Cordova Tello 2014) (Cordova Tello 2007).

The Importance of Carved Stone Monuments The commissioning and display of carved stone monuments demonstrated and signaled not only power, wealth and connection to a larger interaction sphere, but also conveyed imagery with important symbolic meaning and inferences that connected people through the ideological concepts presented at Formative Period sites like Chalcatzingo and others across Mesoamerica, these monolithic carvings constitute an iconic system of communication “that transmitted potent symbolic imagery” that represented political and ideological concepts across these linguistically diverse regions (Guernsey 2006:16).

At Chalcatzingo the narrative of these carved scenes has been interpreted as relating water, agricultural fertility, rulership and associate to the underworld and otherworldly powers (see: (Angulo 1987) (Chan 1955; Cook deLeonard 1967; Cordova Tello 2007; Grove 1987) (Guzmán 1934; Nava-Rivero 2002; Reilly 1996)). The elaborate carvings also demonstrate connectedness to a larger and much broader interaction sphere, showing motifs and symbolism well known from other Olmec sites, such as La Venta, San Lorenzo, and Tres Zapotes (Clark and Pye 2000; Coe 1965; Cyphers 1993; Diehl 2000; Guernsey 2006){Pool, 2007

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Figure 1. Map of Chalcatzingo in the Valley of Morelos, Mexico.

#4748}. Yet, there is also a uniqueness to the Chalcatzingo carvings and their storyline that demonstrates a more localized connection to the environment. The landscape of Chalcatzingo, with its desert-like xeric plant life, commanding cerros and karst features including cave and karst features, and striking vistas and views to a volcano, are infused into the messages carved on the monuments. Plants, animals, water features, and their connection to important locations across the site, strongly convey the interconnectedness of people and landscape at Chalcatzingo, but are also related to the broader “shared language of power” (Guernsey 2006:1) and interaction sphere iconography that present a continuity of ideas throughout the Middle Formative Period.

Feline motifs are common in Olmec art, with Jaguars and were-jaguars abundant in iconographic representations at Formative Period sites (Benson 1972; Coe 1965; Grove 1972). The number of known and newly discovered carvings at Chalcatzingo involving felines is remarkable, with five monuments (Monuments 3, 4, 31, 41, and 45) now recorded that are depicting felines and feline-human encounters. Additionally, feline representations and transformative depiction is also found in the Monument 2 bas- relief panel of noted significance at the site(Cordova Tello 2007, 2014).

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Description of Methods The objective of our work at Chalcatzingo since 2012 has been to address questions relating to Formative period monumental stone sculpture, architectural heritage, and to provide vital documentation data to the Chalcatzingo Archaeological Project that assists in the management, interpretation and recordation of the archaeological zone and landscape. The overall project aim has been to provide a comprehensive digital archive of the monuments, artifacts, and architectural, landscape and terrain features. A combination of terrestrial LiDAR and terrain spatial mapping tools has been utilized, with 3D laser scanning conducted at short and mid-range and long-range distances. Photogrammetry and imaging techniques, and global positioning system (GPS) survey strategies have been undertaken in efforts to record the context and setting of each of the in situ monuments, architecture and features at the site. Our survey has included aspects of tourism, site management and environmental feature mapping, including trials, signage, and site museum-related documentation These data and analyses will not only provide important information about the people and society that created these artworks, put will greatly assist in the long-term planning and heritage site management at Chalcatzingo.

The value of this archive is confirmed by the significant applications for which it can be used that include:

▪ A precise, enduring record of the monuments in their present state will be preserved for future generations ▪ The quantitative and qualitative data produced will be available for conservation, preservation, and restoration ▪ The archive data will provide unprecedented analytical and research capabilities ▪ The ability to share the information with students, educators, and researchers worldwide will continue to grow through these efforts, including the promotion of research by INAH archaeologists who have equal access to data resulting from this collaboration

The resulting datasets have been collected with the emphasis of being able to share and utilize these data in ways that contribute to shared scholarship, education and outreach and for heritage management and tourism development. A Geographic Information Systems (GIS) approach along with utilizing freely accessible and/or open-source online platforms is one such way of creating readily available means for viewing and working with information collected.

Additionally, the DHHC at USF Libraries is investigating long-term archival and stable platforms that will be used to create and share digital collections developed from this project, and the Principal Investigators are also promoting a technological exchange environment, teaching and working with our collaborators and staff at Chalcatzingo to allow for wider use, research, and applications to be developed using these technologies. Our work has incorporated legacy and historical materials, including previous site and monument location maps, descriptions, drawings, photographs, and published literature, in an effort to increase contextual understanding, associating spatial locations with archaeological occurrences, and also providing broader interpretative value. Important Spanish and English language documents and representative materials are included in our database and collection strategies, and our collaboration with INAH and the Proyecto Chalcatzingo are paramount to the successful implementation and use of these materials.

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Results A list describing all digital documentation efforts and results to date is provided as an appendix to this document (Appendix A). Results from the continuing collaboration at Chalcatzingo can be classified in the following way:

 Cartography and Mapping efforts – sub-decimeter level and better GPS has been utilized across the site to accurately document positions of all monuments, architecture, and features including the previously recorded “miscellaneous carved rocks” or MCRs that consisted of carved and modified stones cartographically depicted during the fieldwork of David Grove (see: (David Grove and Angulo 1987:116)). Also documented are all areas integral for site management, such as fences, trails, interpretative aspects and signage, facilities, museum assets, parking areas, and associated infrastructure. Special areas and environmental features have also been recorded, including cave and karstic expression areas, notable vegetation, and water features. Historic maps and survey data, including INAH cartographic efforts as well as earlier survey data from Grove (1987) have been georeferenced and are now a part of the digital GIS geodatabase. Additionally, GPS photos that are linked to positions provide important asset management and condition information as well as provide further contextual understanding of the site. These datasets are being developed to provide online and easy and free to access (for example through Google Earth) information for site managers and researchers (Figure 2).

Figure 2. GIS map layout showing contour data from earlier INAH survey work at the site combined with GPS location information for monument locations.

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 Visualization Products - these files consist of videography and standard imagery files that were produced to show detail, archaeological and environmental context, or to enhance experience and interpretation of the site or its features. Video and imagery consists of files made directly or produced from other types of files, and used to create video and image products (Figure 3).

 3D Prints – these consist of tangible models produced from three-dimensional scan data. Models made to date have been in support of needs for del Proyecto Chalcatzingo, and have been made for use in outreach, education, and for greater interpretation. Models have also promoted the understanding for the use of 3D data for replica production and scaled model creation, and for the furtherance of preservation and conservation efforts (Figure 4).

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Figure 4. 3D print of Chalcatzingo Monument 41, showing detail of iconography captured with 3D laser scanning and used to produce this accurate scaled print model.

3D Models – models have been produced of all monuments and site features (e.g. pyramid structures and architecture) that have been documented to date. These models are in the format of .obj file extensions and 3D portable document format (PDF) files that are readily usable and viewable in software- neutral platforms. Models have also been made available through online sharing (e.g. Sketchfab.com) platforms and in ways that can be utilized via collaborative and cloud-based rendering and sharing. Terrestrial laser scan (TLS) data collected across wider areas or of architectural features are provided as viewable point cloud and spherical imaging files, that allow for 3D experience and understanding of landscape features. Efforts centering on use and teamwork collaboration with collected data is ongoing, and product development, metadata creation, and digital data sharing, continuing to be a focus of efforts

7 | P a g e moving forward as we experiment and try different ways of sharing, archiving, and preserving the digital record of Chalcatzingo (Figure 5). These 3D models also include the documentation and digital recording of newly discovered monuments, such as Chalcatzingo monument 45 that was uncovered in 2016 (Figures 6-7), and of objects and artifacts that have been curated and are fragile, but for which 3D models and virtual display offer significant means of sharing, interpretation, research, and preservation, such as the ceramic baby figure from Chalcatzingo (Figure 8).

Figure 5. Landscape level TLS survey has allowed for capture of terrain and architectural details at Chalcatzingo.

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Figure 6. TLS and close range laser scanning and imaging were used to capture the newly discovered Chalcatzingo Monument 45, and GPS was used to map the archaeological context and surroundings.

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 CAD and digital renderings – work to date in this area has largely focused on digital line extraction enhancing iconographic interpretative potentials for carved monuments (Figure 9). Additionally, CAD and 3D model products were created in an effort to assist conservation measures following a fire and damage of Chalcatzingo Monument 22 (Olmec Altar). TLS data was used to create CAD and 3D models that were used to help restore the sculpture, and to analyze before and after treatments (Figures 10 and 11). The Olmec Altar example showcasing the benefits for 3D scanning of heritage, has also received international recognition, and was part of professional presentations made to international societies and groups (see: http://www.sciencemag.org/news/2016/02/3d-computer-scans-may-help-preserve- endangered-archaeology and (Collins and Doering 2016; Cordova Tello 2016)). All data collected to date, have the potential for use and further application with computer assisted drawing needs and can provide a more accurate foundation for reference and baseline information into the future. Pre- and post-fire and restoration scan assessment is also allowing for a greater understanding of damages, loss and restoration success (Figure 12).

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Figure 11. 3D CAD models made from the laser scan data collected prior to the fire, were useful in conservation treatment planning and restoration procedures.

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Directions for Future Research Moving into the next phase of field exploration and research, emphasis will be placed on the development of scholarship, shared teaching and educational exposure, and developing field experiences for students from Mexico to work with researchers using the latest in digital heritage technologies at Chalcatzingo. Efforts in future digitization will align with the needs of the site management and interpretative planning for Chalcatzingo, as well as center on key research questions relating to iconography, landscapes, shared ideology and formulating stronger understanding of Formative Period sites. The collaboration has increased exposure of the site to wider audiences, and has demonstrated the importance of Chalcatzingo in Formative archaeology. Courses at USF have benefitted from virtual teaching (Skype) with INAH archaeologists, and we have also developed online tools for teaching that have been shared in both Mexico and the United States (Figure 13). We anticipate stronger outreach and utilization of data collected, including with universities in Mexico and beyond, and also development of strategies and digital archive plans that will continue to enhance and offer new ways to visit and study the site.

New and improved technologies, such as PhoDAR (photogrammetric detection and ranging) utilizing new tools to create point clouds similar to those from aerial LiDAR through photogrammetric means (Shear 2014). PhoDAR using Structure from Motion (SfM), is a technique that we will employ at the site, to allow for low atmosphere aerial elevation assessment and digital terrain modeling (Dubbinia, et al. 2016). These techniques offer an affordable solution and alternative to the more costly acquisition of aerial LiDAR, and

16 | P a g e is feasible given the low canopy and exposed features and architecture at Chalcatzingo. Additionally, further applications with imaging and close range 3D laser scanning, as well as landscape and feature documentation with TLS across the site will continue. GPS efforts will concentrate on the location of any of the missed MCR and cup-marked rocks from previous surveys that were not located in the 2016 field survey. It appears that several of these stones were lost to site modification prior to management of the area. Future work to further clarify positions of sculpture no longer present at the site will also be made, including better position information for Monuments 9 and 16.

Specialized imaging such as Reflectance Transformation Imaging (RTI) will be used on faintly carved monuments, or monuments that we have targeted for further data needs following the processing of our 3D models obtained to date. Portions of Monuments 1, 2, and the sculpture panel adjacent to Monument 1 will all be documented using RTI techniques. Faint and diminished carved detail resurrection in these areas are particularly needed, and could result from a careful survey. Additionally, we intend to work with site collaborators to target sculpture for studying potentials for pigment and color remnants that could be detected through reflectance and different types of imaging. Finally, 3D spherical images will be made in the site museum and at key locations in the site to enhance research potentials and offer new ways of viewing and engaging with the archaeological landscape, including virtual reality applications.

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References Cited

Angulo, Jorge 1987 The Chalcatzingo Reliefs: An Iconographic Analysis. In Ancient Chalcatzingo, edited by D. C. Grove, pp. 132-158. University of Texas Press, Austin.

Benson, Elizabeth (editor) 1972 The Cult of the Feline: A Conference in Precolumbian Iconography. Dumbarton Oaks Research Library and Collections, Washington, D.C.

Chan, Roman Pina 1955 Direccion de Monumentos pre-Hispanicos: Chalcatzingo, Morelos. Instituto Nacional de Antropologia e Historia, Mexico.

Clark, John E. and Mary E. Pye (editors) 2000 Olmec Art and Archaeology in Mesoamerica. National Gallery of Art, Washington, D.C.

Coe, Michael D. 1965 The Olmec Style and its Distribution. In Archaeology of Southern Mesoamerica, edited by G. R. Willey, pp. 739-787. Handbook of Middle American Indians. vol. 3, R. Wauchope, general editor. University of Texas Press, Austin.

Collins, Lori and Travis F. Doering 2016 Technologies for Global Heritage Preservation, 3D Learning, Outreach, and Education. Paper presented at the American Association for the Advancement of Science Washinton D.C.

Cook deLeonard, C. 1967 Sculptures and Rock Carvings at Chalcatzingo, Morelos. In Studies in Olmec Archaeology, edited by B. Contributions of the University of California Archaeological Research Facility, pp. 57-84. vol. vol. 3.

Cordova Tello, Mario, and Carolina Meza Rodriguez 2007 Chalcatzingo, Morelos Un discurso sobre piedra. Arqueología Mexicana XV(87):60-65.

Cordova Tello, Mario, Carolina Meza Rodriguez, Omar Espinosa Severino, Travis Doering and Lori Collins 2014 Una aproximación a los relieves de Chalcatzingo: el escaneo láser 3D. Paper presented at the Primer Congreso Internacional El Patrimonio Cultural y las Nuevas Tecnologías, una visión contemporánea.Mesa 2.Prospección 3D, Mexico City, Mexico.

Cordova Tello, Mario, Travis Doering, Lori Collins, and Carolina Meza Rodriguez 2016 El registro 3D de la escultura en Chalcatzingo y sus alcances en la conservación. Paper presented at the Congreso de patrimonio cultural y nuevas tecnologías, Mexico City, Mexico.

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Cyphers, Ann 1993 From Stone to Symbols: Olmec Art in Social Context at San Lorenzo Tenochtitlan. In Social Patterns in Pre-Classic Mesoamerica, edited by D. C. Grove and R. A. Joyce, pp. 155-180. Dumbarton Oaks Research Library and Collection, Washington, DC.

David Grove and Angulo, Jorge 1987 A Catalog and Description of Chalcatzingo's Monuments. In Ancient Chalcatzingo, edited by D. Grove. First ed. University of Texas Press, Austin, Texas.

Diehl, Richard A. 2000 Olmec Archaeology after Regional Perspectives: an Assessment of Recent Research. In Olmec Art and Archaeology in Mesoamerica, edited by J. E. Clark and M. E. Pye, pp. 19-30. National Gallery of Art, Washington, D.C.

Dubbinia, Marco, Lucia Curzioa and Alessandro Campedellib 2016 Digital elevation models from unmanned aerial vehicle surveys for archaeological interpretation of terrain anomalies: case study of the Roman castrum of Burnum (Croatia). Journal of Archaeological Science, Reports 8(August 2016):121-134.

Grove, David 1972 Olmec Felines in Highland Central Mexico. In The Cult of the Feline: A Conference in Pre- Columbian Iconography, edited by E. Benson. Dumbarton Oaks Research Library and Collections, Washington, D.C. .

Grove, David C. 1987 Ancient Chalcatzingo. University of Texas Press, Austin.

Guernsey, Julia 2006 Ritual and Power in Stone: The Performance of Rulership in Mesoamerican Izapan Style Art. University of Texas Press, Austin.

Guzmán, Eulalia 1934 Los relieves de las rocas del Cerro de la Cantera, Jonacatepec, Mor. Mexico Museo Nacional de Arqueología, Historia y Etnogafia, Anales época 5, 1:237-251.

Nava-Rivero, Jesús 2002 Arqueología mexicana, historia y esencia. Siglo XX. In Arqueología mexicana, historia y esencia. Siglo XX: En reconocimiento al Dr. Román Piña Chán, edited by J. N. Rivero, pp. 319-332. Coleccíon Científica. Instituto Nacional de Antropología e Historia, México, D.F.

Reilly, Kent 1996 The Lazy-S: A Formative Period Iconographic Loan to Maya Hieroglyphic Writing. Paper presented at the Eighth Palenque Round Table, Palenque, Mexico.

Shear, David 2014 PhoDAR, LiDAR and Forestry: Using SfM for Canopy Height Modeling - A Case Study. Paper presented at the American Geophysical Union, San Francisco, California.

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Appendix A

 Monument 1 – El Rey- terrestrial laser scanners (120 and 330 meter range), also we used the structured light scanner on the central figure area and we conducted photogrammetry on the entire piece – GPS position taken.  Monument 2 – The Procession - terrestrial laser scanners (120 and 330 meter range), also we used the structured light close range scanner, and we conducted photogrammetry on the entire piece – GPS position taken.  Monument 3 - terrestrial laser scanners (120 and 330 meter range), GPS position taken – structured light used on eye, ear, and mouth of feline.  Monument 4 - terrestrial laser scanners (120 and 330 meter range), GPS position taken, structured light used on feline and human figure areas.  Monument 5 - terrestrial laser scanner (120 meter range), GPS position taken.  Monument 6 - terrestrial laser scanner (120 meter range), GPS position taken.  [Monuments 5, 6, 8 and 14 were also scanned with the structured light instrument to examine higher resolution detail].  Monument 7 – area documented using terrestrial laser scanners (120 and 330 meter range), GPS position taken.  Monument 8 - terrestrial laser scanners (120 and 330 meter range), also we used the structured light scanner and we took images, GPS position taken.  Monument 9 – GPS of position was taken on area where piece is thought to have been found.  Monument 10- Not visited- No GPS or photos and no scan taken acquired.  Monument 11- terrestrial laser scanner (120 and 330 meter range), we took images, GPS position taken.  Monument 12 - terrestrial laser scanner (120 meter range), GPS position taken.  Monument 13 - terrestrial laser scanner (120 meter range), GPS position taken.  Monument 14 - terrestrial laser scanner (120 meter range), GPS position taken.  Monument 15 - terrestrial laser scanner (120 meter range), GPS position taken.  Monument 16 - (at Mexico City Museum) – photos (non-professional) were taken on our visit to museum for planning purposes.  Monument 17 – photographed.  Monument 18 – photographed and GPS position taken.  Monument 19 - terrestrial laser scanner (120 meter range), GPS position taken.  Monument 20 – piece in the Chalca museum – scanned with structured light close range scanner.  Monument 21 - terrestrial laser scanner (120 meter range), GPS position taken, photos for photogrammetry also conducted.  Monument 22 – Olmec Altar – terrestrial laser scanners (120 and 330 meter range) – GPS position taken.  Monument 23 – in museo – documented with photos only.  Monument 24 - piece in the Chalca museum – scanned with structured light close range scanner.

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 Monument 25 – altar circular - terrestrial laser scanner (120 meter range), GPS position taken, photos for photogrammetry also conducted.  Monument 26- piece in the Chalca museum – scanned with structured light close range scanner.  Monument 27 – El Cazador - terrestrial laser scanner (120-meter range), GPS position taken, photos for photogrammetry also conducted.  Monument 28- buried – can’t relocate – missing.  Monument 29- located in town square – we did photogrammetry with it and have GPS position  Monument 30- ball court marker – missing.  Monument 31- FELINO AGAZAPADO - terrestrial laser scanners (120 and 330 meter range) – GPS position taken, images and close range scanning of feline detail and carving areas.  Monument 32- piece in the Chalca museum – scanned with structured light close range scanner.  Monument 33- piece in the Chalca museum – scanned with structured light close range scanner.  Monument 34- terrestrial laser scanners (120-meter range), GPS position taken, photos for photogrammetry also conducted.  Monument 35 - piece in the Chalca museum – scanned with structured light close range scanner.  Monument 36 - piece in the Chalca museum – scanned with structured light close range scanner.  Monument 37 - piece in the Chalca museum – scanned with structured light close range scanner.  Monument 38 – structured light scanner used as was photogrammetry images taken (in Bodega).  Monument 39 – located in Bodega - structured light scanner used as was photogrammetry images taken.  Monument 40- circular altar terrestrial laser scanners (120-meter range), GPS position taken, photos for photogrammetry also conducted.  Monument 41 – terrestrial laser scanners (120 meter range), GPS position taken, structured light scanner also used on the feline detail areas, and photos taken for photogrammetry and texture mapping.  Monument 42- photos and GPS position taken.  Monument 43 - terrestrial laser scanners (120 meter range).  Monument 44 - terrestrial laser scanners (120 meter range), and scanned with the structured light instrument and photos taken for photogrammetry modeling.  Monument 45 - terrestrial laser scanners (120 and 330 meter range), also we used the structured light close range scanner, and we conducted photogrammetry on the entire piece – GPS position taken.  Also documented the Nina piece and a black vaso with Olmec design using structured light scanner and photographs. These artifacts were located in the Bodega at Chalcatzingo.  GPS positions were taken of all trails, interpretative signage, fences and walkways of note, and also all MCR stones and pieces listed in Grove that could be relocated in our survey.

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