Cultural Heritage Imaging -CHI, une organisation à but non lucratif américaine développe et met à disposition des outils d’imagerie pour le patrimoine. Les logiciels de construction et visualisation des images de réflectance transformées (reflectance transformation imaging RTI) sont en particulier disponibles gratuitement sur leur site, comme des méthodes de photogrammétrie ou de gestion des données.
Cultural Heritage Imaging (CHI) drives development and adoption of practical digital imaging and preservation solutions for people passionate about saving humanity’s treasures today, before they are lost.
Our vision at CHI is to democratize technology, empowering people all over the world to document their own cultural heritage, helping to preserve and protect it for future generations.
The technologies and principles that guide our work are leading to new and easy-to-learn imaging techniques that can be made available and accessible to people all over the world.
By providing tools, technology, and training, CHI drives the adoption of new practices by a broad constituency, from major art museums to remote archaeological sites to fields in the natural sciences.
Archaeologists have been interested in the survey and analysis of mobile works of Paleolithic art since their discovery during excavations in the 19th century.
Examples of mobile art — made of stone, bone, antler, ivory or clay — are often found as weathered fragments with surface wear that makes the reading of these objects difficult. Since the 19th century, archaeologists have used photography, direct tracing, and oblique light to decipher the marks of the artists. Modern tools and techniques for analysis have continued to evolve. Since the early 1980s, optical and electron microscopy have been used in the analysis of the finest traces. From the 1990s on, 3D laser scanning (30 years after its invention) has been used in all fields of archaeological research. Many techniques followed, quickly evolving.
Today, we face an explosion of the techniques in the field, which offer more and more precision and rapidity that can be useful in archaeological research if applied in the service of well-reasoned lines of inquiry.
This study focuses on two engraved bones from the Magdalenian period. The main aim of the study was to understand the objects, their history and role in the prehistoric context, and their means of production. Ultimately this study informed the conservation, handling, and interpretation of the objects in the museum environment.
A secondary result of the study is an evaluation of the means of analysis in research on cultural heritage. Over the years many objects have been the subject of high-resolution digital photography, infrared photography, ultra-violet photography, RTI, digital microscopy, and microtopographical scans based on axial chromatism.
The feedback of our experience of ten years of 3D approaches provides insight into the evolution of devices and software, and indicates which innovations are of the most value to the field of archaeological study and how their use in combination may yield optimal results.
Day 2, 1st December 2016, 14h, the C2RMF imaging group will present » Conservation of art works with 3D technologies »
PARTHENOS is pleased to announce its upcoming Workshop on “Digital 3D objects in Art and Humanities: challenges of creation, interoperability and preservation”, which will take place in Bordeaux (France), from Wednesday, 30th November to – Friday, 2nd December 2016.
The goal of this workshop is to review and discuss the status of 3D technologies (creation, visualisation, reuse and preservation) with a specific focus on the needs and perception of Digital Humanities professionals and how we can steer technology development to fit better the Digital Humanities requirements. The workshop will be attended by an international audience composed of both Digital Humanities scholars and technologists.