No abstract

Featured Application: This work presents several hyperspectral techniques that can provide a scientific and non-destructive method for the study, conservation and management of rock art. Tasks such as recognition of coloring matter, formal recognition of the figures, superposition of forms and documentation of the state of conservation can be solved efficiently with hyperspectral imaging.Abstract: Paleolithic rock art is one of the most important cultural phenomena in the history of mankind. It was made by making incisions and/or applying natural pigments mixed with water or organic elements on a rock surface, which for millennia has been subjected to different factors of natural and anthropogenic alteration that have caused its deterioration and/or disappearance. The present paper shows a methodology that employs hyperspectral technology in the range of visible light and the near infrared spectrum, providing a scientific and non-destructive way to study, conserve and manage such a valuable cultural heritage. Recognition of coloring matter, formal recognition of the figures, superposition of forms and documentation of the state of conservation are relevant topics in rock art, and hyperspectral imaging technology is an efficient way to study them. The aim is to establish a method of creating pigment cartography and enhancing the visualization of rock art panels. Illumination sources, spectroradiometry measurements and camera adjustments must be taken into account to generate accurate results that later will be pre-processed to derive reflectance data, and then pigment analysis and enhanced visualization methods are applied. This methodology has allowed us to obtain 76% more figures than using traditional techniques throughout the case study area.The deteriorating factors can act in an isolated or combined way on this cultural heritage and its support, and include dirt, impacts, flaking, disintegration, washing, glazes, coatings, etc.The conservation of industrial, technical and cultural heritage requires a deep understanding of the significance and complexity of a place. Good conservation of our heritage is based on informed decisions, and good documentation ensures that knowledge of heritage places will be passed on to future generations.This work analyses, develops and implements a methodology to generate information not visible to the naked eye due to dirt, washing, glazes and coatings. This information not only improves the visualization of the panels, but also helps us to understand how they were created and sheds light on the stratigraphy or sequence of the execution of different motifs.The methodology is applicable to any rock art panels, and any cultural or industrial heritage objects in general, that need to be studied or controlled in time. The method has been tested on a panel that has been studied since the beginning of the 20th century, which presents a series of complex cases to solve such as superposition of paints, calcite glazes, pigment-sketch combination, etc.Traditional rock art documentation s...

No abstract

Rock art is one of the most fragile and relevant cultural phenomena in world history, carried out in shelters or the walls and ceilings of caves with mineral and organic substances. The fact it has been preserved until now can be considered as fortunate since both anthropogenic and natural factors can cause its disappearance or deterioration. This is the reason why rock art needs special conservation and protection measures. The emergence of digital technologies has made a wide range of tools and programs available to the community for a more comprehensive documentation of rock art in both 2D and 3D. This paper shows a workflow that makes use of visible and near-infrared hyperspectral technology to manage, monitor and preserve this appreciated cultural heritage. Hyperspectral imaging is proven to be an efficient tool for the recognition of figures, coloring matter, and state of conservation of such valuable art.

Recibido el 5 de julio de 2013. Aceptado el 31 de julio de 2013 Resumen. La Cueva de Ambrosio (Vélez-Blanco, Almería, España)

We are pleased to present here a preliminary account of the first discovery of Palaeolithic cave art in Britain.On 14 April 2003 we made the first discovery of Palaeolithic cave art in Britain. Since portable art of the period has long been known in this country (Sieveking 1972; Campbell 1977: vol. 2, figs 102, 105, 143), it has always seemed probable that parietal art must also have existed. We knew that we were most unlikely to discover paintings, since these are generally quite visible; but as far as we knew, nobody with a trained eye and advantageous lighting had combed the British caves in search of engravings, which are often extremely difficult to see. Such was the purpose of our initial survey and, sure enough, we rapidly encountered engraved marks in a number of caves, which we will be investigating more fully and systematically in the near future. At the well-known sites of Creswell Crags, in Derbyshire, we found both figurative and non-figurative engravings of the period. What follows is a brief, preliminary announcement of a discovery soon to be further amplified in print following systematic investigation.

There is a growing demand for measurements of natural and built elements, which require quantifiable accuracy and reliability, within various fields of application. Measurements from 3D Terrestrial Laser Scanner come in a point cloud, and different types of surfaces such as spheres or planes can be modelled. Due to the occlusions and/or limited field of view, it is seldom possible to survey a complete feature from one location, and information has to be acquired from multiple points of view and later co-registered and geo-referenced to obtain a consistent coordinate system. The aim of this paper is not to match point clouds, but to show a methodology to adjust, following the traditional topo-geodetic methods, 3DTLS data by modelling references such as calibrated spheres and checker-boards to generate a 3D trilateration network from them to derive accuracy and reliability measurements and post-adjustment statistical analysis. The method tries to find the function that best fits the measured data, taking into account not only that the measurements made in the field are not perfect, but that each one of them has a different deviation depending on the adjustment of each reference, so they have to be weighted accordingly.

En el yacimiento solutrense de La Cueva de Ambrosio se han encontrado durante las campañas de 1992 y 1994 un conjunto de representaciones artísticas parietales pintadas y grabadas del Paleolítico Superior. Entre