DOCSLIB.ORG

Where Digital Archaeology Might Go Next 167

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Where Digital Archaeology Might Go Next 167 The Open Digital Archaeology Textbook Shawn Graham, Neha Gupta, Jolene Smith, Andreas Angourakis, Andrew Reinhard, Kate Ellenberger, Zack Batist, Joel Rivard, Ben Marwick, Michael Carter, Beth Compton, Rob Blades, Cristina Wood, & Gary Nobles 2020-07-11 2 Contents notice 5 About the Authors 7 Getting Started 11 Instructors: How to use this text ............................................ 11 Students: How to use this text ............................................. 11 How to contribute changes, or make your own version ................................. 12 How to access and use the computational environment ................................ 13 Colophon ....................................................... 13 Welcome! 15 1 Going Digital 17 1.1 So what is Digital Archaeology? ......................................... 19 1.2 Project Management Basics ........................................... 24 1.3 Github & Version Control ............................................. 26 1.4 Open Notebook Research & Scholarly Communication .............................. 31 1.5 Failing Productively ............................................... 37 1.6 The Ethics of Big Data in Archaeology ...................................... 39 1.7 Effective Collaboration .............................................. 40 2 Making Data Useful 45 2.1 Proper Prior Planning .............................................. 45 2.2 Designing Data Collection and Curation ..................................... 54 2.3 Cleaning Data .................................................. 57 2.4 Arranging and Storing Data for the Long Haul (Databases!) ............................ 60 2.5 Linked Open Data and Data Publishing ...................................... 65 2.6 Using Application Programming Interfaces (APIS) to Retrieve Data ........................ 66 2.7 Scraping Data .................................................. 67 3 Finding and Communicating the Compelling Story 71 3.1 Designing for Accessibility ............................................ 71 3.2 Statistical Computing with R and Python Notebooks; Reproducible code ..................... 74 3.3 Data Driven Documents ............................................. 76 3.4 Storytelling and the Archaeological CMS: Omeka, Kora, and Mukurtu ....................... 82 3.5 What is Web Mapping? ............................................. 85 3.6 Virtual Archaeology ............................................... 93 3.7 Archaeogaming ................................................. 97 3.8 Social Media as Public Engagement & Scholarly Communication in Archaeology ................. 99 3.9 Computational Creativity ............................................. 107 4 Eliding the Digital and the Physical 117 4.1 3D Photogrammetry ............................................... 117 3 4 CONTENTS 4.2 3D Printing, Raspberry Pi and “Maker” Archaeology ............................... 120 4.3 Place-based Interpretation with Locative Augmented Reality ........................... 137 4.4 Artificial Intelligence in Digital Archaeology .................................... 140 4.5 Computer Vision and Archaeology ........................................ 159 5 Digital Archaeology’s Place in the World 163 5.1 Marketing Digital Archaeology .......................................... 163 5.2 Sustainability & Power in Digital Archaeology ................................... 164 6 On the Horizons: Where Digital Archaeology Might Go Next 167 References 169 notice This volume goes hand-in-glove with a computational environnent that uses Jupyter Notebooks coupled with the Binder service as a way of serving and running the notebooks online in a browser. This relieves both instructors and students of the problems of installing software in different environments and the troubleshooting that this entails. Instead, students and instructors can concentrate on the learning and writing literate code that explores archaeological issues. To launch the ODATE notebooks, please go to the list of notebooks and hit the appropriate launch binder button. To examine or download the code, click the repository links instead. Digital archaeology is never finished; consider ODATE to be in ‘perpetual beta’. This means that you will encounter rough edges from time to time, and as technology and archaeology evolve, some topics will need to be added. Some will need to be pruned. If you feel so moved, we invite you to join us, and contribute corrections, additions, or deletions. All contributors will be credited as authors. Feel free to annotate with the Hypothesis toolbar at right. Figure 1: This book will, with time, have many branches and off-shoots. It is meant to be customized and expanded; there will never be a canonical version. Photo by Brandon Green, unsplash.com. 5 6 CONTENTS The online version of this book is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. About the Authors Shawn Graham Shawn Graham trained in Roman archaeology but has become over the years a digital archaeologist and digital humanist. He is currently an associate professor in the Department of History at Carleton University in Ottawa Canada. He keeps an open lab notebook of his research and experiments in digital history and archaeology at his research blog, electricarchaeology. He can be found on Twitter at @electricarchaeo. Neha Gupta Neha Gupta is a broadly trained archaeologist and a postdoctoral fellow at the University of New Brunswick. Her research programme addresses geospatial and digital methods in post-colonial and Indigenous archaeology. Her specialties include geo- visualization and GIS, landscape and settlement archaeology and the archaeology of India and Canada. She recently launched MINA | Map Indian Archaeology, a public digital project to promote the archaeology of India and to encourage collaboration in the development of digital tools and technologies appropriate for archaeology. Recent scholarship centers on themes of colonial practices, web maps, Indigenous peoples and archaeology’s relationship with society. Michael Carter Michael Carter is an Assistant Professor in the School of Creative Industries at Ryerson University. He is also Director of Industry Relations - Master in Digital Media Program/Yeates School of Graduate Studies. His research is primarily centred around the Theory, Method and Practice of Virtual Archaeology, which flows naturally from his previous career in animation and visual special effects. More about his research can be explored on his Research Gate profile Beth Compton Mary Elizabeth (Beth) Compton is a Trillium Scholar and Archaeology PhD candidate at the University of Western Ontario. She is also a Co-Founder of the MakerBus Collaborative (now MakerBus Consulting). Her academic papers, conference presenta- tions, doctoral dissertation, and collaborative projects beyond academia primarily explore various aspects of digital archaeology, ethics, and the social impact of 3D technologies. Through the MakerBus project, she has gained experience teaching at all age levels, using hands-on productive activities (building, inventing, creating, making) as a way of bridging physical and conceptual exploration. Her technological area of expertise is in archaeological object representation and replication with a focus on digital photography, 3D modelling, and 3D printing. Driven by the belief that archaeologists have an obligation to be actively engaged with the communities they serve, she also examines how they present information, represent people, and interpret a multifaceted past in the present. Connect with her on Twitter as @Beth_Compton and on Academia.edu. 7 8 CONTENTS Jolene Smith Jolene Smith is an archaeologist who manages statewide digital archives and archaeological data at the Virginia Department of Historic Resources. She is interested in open data, preservation, and developing easy-to-use tools to help small organizations create, use, and manage archaeological data. Andreas Angourakis Andreas Angourakis is a PhD student at the Department of History and Archaeology, University of Barcelona. He is a generalist that underwent training in humanistic disciplines, social sciences, and biology. He is self-taught in software and programming languages, including R and NetLogo. His research in archaeology has been focused on the development of simulation models of socio-ecological dynamics in the past, mainly using agent-based modeling, and assembling multivariate statistical protocols for analyzing and interpreting archaeological data. As digital archaeology’s bones of the trade, he believes that creativity and science are unmistakably intertwined. He can be found on Twitter as @AndrosSpica, GitHub as Andros-Spica, and is present on both Research Gate and Academia. Andrew Reinhard Andrew Reinhard literally wrote the book on video game archaeology: Archaeogaming: An Introduction to Archaeology in and of Video Games (Berghahn Books 2018). He led the team of archaeologists that excavated the Atari Burial ground in Alamogordo, New Mexico (April 2014) as well as the first in-game archaeological expedition via No Man’s Sky (Hello Games 2016). He is a PhD candidate at the University of York’s (UK) Department of Archaeology where his thesis focuses on evaluating tools and methods for archaeological investigation of digital spaces. Kate Ellenberger Kate Ellenberger is a consulting public and digital archaeologist. She received her PhD in Anthropology from Binghamton Univer- sity in 2018 for her dissertation
Load more

Recommended publications
  • Assistant Curator Job Description ……
    Assistant Curator Job description ……. Background For over a century, the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucien Freud, Sarah Lucas and Walid Raad. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the newly expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Exhibitions Department The Exhibitions Department realises the ambitious programme of temporary exhibitions and commissions, including the production of catalogues to accompany these events. In addition, the Department is closely involved with an MA in Curating Contemporary Art, taught jointly with London Metropolitan University. The Department consists of the Chief Curator, Curator and Head of MA Curatorial Studies, Curator, 3 x Assistant Curators, Assistant Curator – Special Projects, Archivist and Archive Curator, Head of Exhibition Design and Production, Gallery Manager and Installation Manager. Role The Assistant Curator works with a small and busy team on the realisation of projects with artists, lenders and arts institutions; delivering modern and contemporary exhibitions and commissions, including the organisation of transport and insurance; registrarial duties; and the production of catalogues. As a member of the exhibitions team, the Assistant Curator contributes ideas to the Gallery’s programme, is essential to the department's collegiate work environment and liaises with other internal departments and with the professional art world, in one of the most dynamic art environments in Europe.
    [Show full text]
  • 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.
    [Show full text]
  • Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data
    Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data Cultural Heritage Partners, PLLC Prepared for: Arizona State University October 25th, 2012 © 2012 Arizona State University. All rights reserved. This report by Cultural Heritage Partners, PLLC describes and analyzes federal requirements for the access to and long-term preservation of digital archaeological data. We conclude that the relevant federal laws, regulations, and policies mandate that digital archaeological data generated by federal agencies must be deposited in an appropriate repository with the capability of providing appropriate long-term digital curation and accessibility to qualified users. Federal Agency Responsibilities for Preservation and Access to Archaeological Records in Digital Form Federal requirements for appropriate management of archaeological data are set forth in the National Historic Preservation Act (“NHPA”), the Archaeological Resources Protection Act (“ARPA”), the regulations regarding curation of data promulgated pursuant to those statutes (36 C.F.R. 79), and the regulations promulgated by the National Archives and Records Administration (36 C.F.R. 1220.1-1220.20) that apply to all federal agencies. We discuss each of these authorities in turn. Statutory Authority: Maintenance of Archaeological Data Archaeological data can be generated from many sources, including investigations or studies undertaken for compliance with the NHPA, ARPA, and other environmental protection laws. The NHPA was adopted in 1966, and strongly
    [Show full text]
  • Deaccessioning Done Right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore
    technical bulletin Deaccessioning done right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore Oklahoma Museums eaccessioning is the process used to ered; private sales can be problematic due to Association Dremove permanently an object from a transparency and accountability issues. The Technical Bulletin #47 museum’s collection or to document the rea- use of all proceeds should comply with the Published January sons for an involuntary removal of an object professional ethics and the law. from such a collection. The deaccession- 2009 ing process is used only when accessioned Procedures should be developed along with objects are at issue. Deaccessioning should policies. Deaccession check lists should not be viewed as a routine way to manage follow policy parameters. The registrar/col- indiscriminate collecting. The first rule is lection manager/curator should oversee the Back issues of techni- careful, focused collecting. process and maintain permanent records of cal bulletins published all deaccessions. by the Oklahoma There are a number of reasons why a mu- seum may be prompted to consider deacces- Problems may arise with the deaccession of Museums Associa- sioning. The condition of the object may be an object. The title to the object may be in- tion are available free so bad that it threatens other objects in the complete. Restrictions may have been placed to members. For a collection. A collection may contain unneces- on deaccessioning the object when donated. complete list of tech- sary duplicates. These dupes take resources Other issues that may appear include pri- nical bulletin topics, that could be used for new objects.
    [Show full text]
  • Digital Reconstruction of an Archaeological Site Based on the Integration of 3D Data and Historical Sources
    International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XL-5/W1, 2013 3D-ARCH 2013 - 3D Virtual Reconstruction and Visualization of Complex Architectures, 25 – 26 February 2013, Trento, Italy DIGITAL RECONSTRUCTION OF AN ARCHAEOLOGICAL SITE BASED ON THE INTEGRATION OF 3D DATA AND HISTORICAL SOURCES G. Guidi a, *, M. Russo b, D. Angheleddu a a Dept. of Mechanics, Politecnico di Milano, Italy (gabriele.guidi, davide.angheleddu)@polimi.it b Dept. of Design, Politecnico di Milano, Italy [email protected] Commission V, WG V/4 KEY WORDS: 3D survey, archaeological sites, reality based modeling, digital reconstruction, integration of methods, Cham Architecture ABSTRACT: The methodology proposed in this paper in based on an integrated approach for creating a 3D digital reconstruction of an archaeological site, using extensively the 3D documentation of the site in its current state, followed by an iterative interaction between archaeologists and digital modelers, leading to a progressive refinement of the reconstructive hypotheses. The starting point of the method is the reality-based model, which, together with ancient drawings and documents, is used for generating the first reconstructive step. Such rough approximation of a possible architectural structure can be annotated through archaeological considerations that has to be confronted with geometrical constraints, producing a reduction of the reconstructive hypotheses to a limited set, each one to be archaeologically evaluated. This refinement loop on the reconstructive choices is iterated until the result become convincing by both points of view, integrating in the best way all the available sources. The proposed method has been verified on the ruins of five temples in the My Son site, a wide archaeological area located in central Vietnam.
    [Show full text]
  • 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.
    [Show full text]
  • Bioarchaeology (Anthropological Archaeology) - Mario ŠLAUS
    PHYSICAL (BIOLOGICAL) ANTHROPOLOGY - Bioarchaeology (Anthropological Archaeology) - Mario ŠLAUS BIOARCHAEOLOGY (ANTHROPOLOGICAL ARCHAEOLOGY) Mario ŠLAUS Department of Archaeology, Croatian Academy of Sciences and Arts, Zagreb, Croatia. Keywords: Bioarchaeology, archaeological, forensic, antemortem, post-mortem, perimortem, traumas, Cribra orbitalia, Harris lines, Tuberculosis, Leprosy, Treponematosis, Trauma analysis, Accidental trauma, Intentional trauma, Osteological, Degenerative disease, Habitual activities, Osteoarthritis, Schmorl’s nodes, Tooth wear Contents 1. Introduction 1.1. Definition of Bioarchaeology 1.2. History of Bioarchaeology 2. Analysis of Skeletal Remains 2.1. Excavation and Recovery 2.2. Human / Non-Human Remains 2.3. Archaeological / Forensic Remains 2.4. Differentiating between Antemortem/Postmortem/Perimortem Traumas 2.5. Determination of Sex 2.6. Determination of Age at Death 2.6.1. Age Determination in Subadults 2.6.2. Age Determination in Adults. 3. Skeletal and dental markers of stress 3.1. Linear Enamel Hypoplasia 3.2. Cribra Orbitalia 3.3. Harris Lines 4. Analyses of dental remains 4.1. Caries 4.2. Alveolar Bone Disease and Antemortem Tooth Loss 5. Infectious disease 5.1. Non–specific Infectious Diseases 5.2. Specific Infectious Disease 5.2.1. Tuberculosis 5.2.2. Leprosy 5.2.3. TreponematosisUNESCO – EOLSS 6. Trauma analysis 6.1. Accidental SAMPLETrauma CHAPTERS 6.2. Intentional Trauma 7. Osteological and dental evidence of degenerative disease and habitual activities 7.1. Osteoarthritis 7.2. Schmorl’s Nodes 7.3. Tooth Wear Caused by Habitual Activities 8. Conclusion Glossary Bibliography Biographical Sketch ©Encyclopedia of Life Support Systems (EOLSS) PHYSICAL (BIOLOGICAL) ANTHROPOLOGY - Bioarchaeology (Anthropological Archaeology) - Mario ŠLAUS 1. Introduction 1.1. Definition of Bioarchaeology Bioarchaeology is the study of human biological remains within their cultural (archaeological) context.
    [Show full text]
  • 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.
    [Show full text]
  • Monuments, Materiality, and Meaning in the Classical Archaeology of Anatolia
    MONUMENTS, MATERIALITY, AND MEANING IN THE CLASSICAL ARCHAEOLOGY OF ANATOLIA by Daniel David Shoup A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Art and Archaeology) in The University of Michigan 2008 Doctoral Committee: Professor Elaine K. Gazda, Co-Chair Professor John F. Cherry, Co-Chair, Brown University Professor Fatma Müge Göçek Professor Christopher John Ratté Professor Norman Yoffee Acknowledgments Athena may have sprung from Zeus’ brow alone, but dissertations never have a solitary birth: especially this one, which is largely made up of the voices of others. I have been fortunate to have the support of many friends, colleagues, and mentors, whose ideas and suggestions have fundamentally shaped this work. I would also like to thank the dozens of people who agreed to be interviewed, whose ideas and voices animate this text and the sites where they work. I offer this dissertation in hope that it contributes, in some small way, to a bright future for archaeology in Turkey. My committee members have been unstinting in their support of what has proved to be an unconventional project. John Cherry’s able teaching and broad perspective on archaeology formed the matrix in which the ideas for this dissertation grew; Elaine Gazda’s support, guidance, and advocacy of the project was indispensible to its completion. Norman Yoffee provided ideas and support from the first draft of a very different prospectus – including very necessary encouragement to go out on a limb. Chris Ratté has been a generous host at the site of Aphrodisias and helpful commentator during the writing process.
    [Show full text]
  • CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee
    CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee Standing Committee on Ethics ABSTRACT Curator Core Competencies is a comprehensive statement of the domains in which curators work, the duties they perform, and the applied skills that they must all possess to be successful in today’s profession. It defines who we are, what we do, and why curators are important. 1 A Curator’s Core Competencies Introduction The role of the museum curator is rewarding, broad and challenging. This compilation of curatorial core competencies created by CurCom’s Standing Committee on Ethics addresses the skills required of curators to be successful in their profession. During the creation of this document, several sources provided valuable information regarding the skills identified by respective institutions as integral to the role of curators. The AAM, CurCom’s Code of Ethics, US Federal Government’s position classifications, US National Park Service classifications, College Art Association’s standards and guidelines, International Committee for the Training of Personnel and International Council of Museums served as references, helping to create the foundation for this document. Most important were the informal conversations with curatorial colleagues and conference sessions since the 2012 AAM annual meeting, which provided valuable insights into the demands on museum curators today, and revealed the growing need to formally study curatorial education, experience, and training, as well as to express the competencies required to practice the craft. The 2014 survey conducted by CurCom validated much of the input taken from these discussions and revealed other interesting considerations. For all the things this document is, there are several things that it is not.
    [Show full text]
  • Curator of Archaeology and Assistant Professor in Anthropology
    Curator of Archaeology and Assistant Professor in Anthropology The University of Colorado Museum of Natural History and the Department of Anthropology invite applications for a tenure-track, joint position as Curator of Archaeology and Assistant Professor. Applicants should have PhD with specialization in Archaeology, and museum experience. Strong preference for candidates with experience in Southwestern material culture research and publication, NAGPRA, collaborative research, and teaching, with strengths in contemporary archaeological and museological theory. The successful candidate will teach no more than one course per semester and be a part of the museum’s Anthropology Section, working closely with the Collections Manager and the Curator of Cultural Anthropology. Duties include establishing and executing a vital research program with extramural funding; curating archaeology collections (including a large collection of Southwest pottery); implementing NAGPRA; teaching in both units including graduate and undergraduate courses; and, advising MA and PhD students in Anthropology (http://www.colorado.edu/Anthropology) and Museum & Field Studies (http://cumuseum.colorado.edu). We offer a collaborative, intellectually stimulating, and supportive environment in which a new professor can thrive. Contact: [email protected]. The anthropology collections at the University of Colorado Museum of Natural History include more than 1.5 million archaeological and ethnographic objects, and nearly 50,000 photographic images relevant to these collections. The geographic foci of the collections are the North American Southwest and Rocky Mountain-Plains. The anthropology collections are primarily archaeological materials resulting from the systematic work of Earl H. Morris and Joe Ben Wheat. Morris built the museum's anthropological collections from 1913–1956. Wheat served as Curator of Anthropology and Curator Emeritus from 1952–1997, and directed the Yellow Jacket field school from 1954–1991.
    [Show full text]
  • Digitization of Blocks and Virtual Anastylosis of an Antique Facade in Pont-Sainte-Maxence (France)
    The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-2/W5, 2017 26th International CIPA Symposium 2017, 28 August–01 September 2017, Ottawa, Canada DIGITIZATION OF BLOCKS AND VIRTUAL ANASTYLOSIS OF AN ANTIQUE FACADE IN PONT-SAINTE-MAXENCE (FRANCE) E. Alby*a, P. Grussenmeyer a, L. Bitard a, S.Guillemin a, V. Brunet-Gaston b, C. Gastonb, R. Rougier b a Photogrammetry and Geomatics Group, ICube Laboratory UMR 7357, INSA Strasbourg, France (emmanuel.alby, pierre.grussenmeyer, laurent.bitard, samuel.guillemin)@insa-strasbourg.fr b National Institute for Preventive Archaeological Research (INRAP) (veronique.gaston, christophe.gaston, richard.rougier )@inrap.fr COMMISSION II KEY WORDS: Close Range Photogrammetry, Laser Scanning, Archaeology, Anastylosis, Simulation ABSTRACT: This paper is dedicated to the digitization of blocks and virtual anastylosis of an antique façade in Pont-Sainte-Maxence (France). In 2014 during the construction of a shopping center, the National Institute for Preventive Archaeological Research (INRAP) discovered a Gallo-Roman site from the 2nd century AD. The most interesting part of the site for the study is a façade of 70 meters long by nearly 10 meters high. The state of the conservation of the blocks of the façade makes them exceptional due to the question raised by the collapse. Representative and symbolic blocks of this building have been selected for a virtual anastylosis study. The blocks discovered belong to different types: decorated architectural blocks, monumental statuary elements and details of very fine decorations. The digital reproduction of the façade will facilitate the formulation of hypothesis for the collapse of the structure.
    [Show full text]