No abstract

Abstract:For decades, the documentation of rock art has been the backbone of the research on this cultural practice. However, traditional techniques used for this purpose have proved to be imprecise and subjective. With the advent of the digital age there has been a revolution in the field of rock art documentation in general and in particular for petroglyphs. Techniques such as digital nightlight photography or three-dimensional (3D) photogrammetry have opened a world of possibilities. In the case of nightlight photography, its use goes back to the second half of the 20 th century. However, in recent years the emergence of high-power digital cameras along with new lighting systems unthinkable decades ago, such as tactical flashlights, have rejuvenated a technique that seems incombustible. After the numerous tests carried out by the DIPAR (Integral Rock Art Documentation System) project team, it has become evident that, correctly employed, this technique still has immense potential in the field of rock art documentation, especially if we take into consideration its low cost and ease of use. Photogrammetry, on the other hand, is shown as the perfect complement to the records obtained through digital nightlight photography. The possibility of applying filters or shaders that increase the visibility of the digitized petroglyphs, within a metric scheme, is a great advance in their documentation. This paper explores the advantages associated with these techniques with a case study: unpublished petroglyphs of Alcázar de San Juan (Spain).Key words: digital photography, 3D, archaeological heritage, rock art, photogrammetry, documentation Resumen:Durante décadas la documentación del arte rupestre ha constituido la columna vertebral de las investigaciones relativas a esta manifestación cultural. No obstante, las técnicas tradicionales empleadas para ello han demostrado ser imprecisas y subjetivas. Con la llegada de la era digital se ha producido una auténtica revolución en el campo de la documentación del arte rupestre en general y de los petroglifos en particular. Técnicas como la fotografía digital nocturna o la fotogrametría tridimensional (3D) han abierto un mundo de posibilidades. En el caso de la fotografía nocturna su uso se remonta a la segunda mitad del siglo XX. No obstante, en los últimos años la aparición de cámaras digitales de gran potencia junto con nuevos sistemas de iluminación impensables hace décadas, como las linternas tácticas, han rejuvenecido una técnica que parece incombustible. Tras las numerosas pruebas realizadas por el equipo de trabajo del proyecto DIPAR (Sistema de Documentación Integral del Patrimonio Rupestre) ha quedado de manifiesto que, correctamente empleada, esta técnica sigue teniendo un potencial inmenso en el campo de la documentación de grabados rupestres, especialmente si tomamos en consideracion su bajo coste y facilidad de uso. La fotogrametría por su parte, se muestra como el complemento perfecto a los registros obtenidos mediante la fotografía digital nocturna. La posibilidad ...

No abstract

No abstract

ABSTRACT:At present, where 3D modeling and visualisation in cultural heritage are concerned, an object's documentation lacks its interconnected memory provided by multidisciplinary examination and linked data. As the layers of paint, wood, and brick recount a structure's physical properties, the intangible, such as the forms of worship through song, dance, burning incense, and oral traditions, contributes to the greater story of its cultural heritage import. Furthermore, as an object or structure evolves through time, external political, religious, or environmental forces can affect it as well. As tangible and intangible entities associated with the structure transform, its narrative becomes dynamic and difficult to easily record. The Initial Training Network for Digital Cultural Heritage (ITN-DCH), a Marie Curie Actions project under the EU 7th Framework Programme, seeks to challenge this complexity by developing a novel methodology capable of offering such a holistic framework. With the integration of digitisation, conservation, linked data, and retrieval systems for DCH, the nature of investigation and dissemination will be augmented significantly. Examples of utilisating and evaluating this framework will range from a UNESCO World Heritage site, the Byzantine church of Panagia Forviotissa Asinou in the Troodos Mountains of Cyprus, to various religious icons and a monument located at the Monastery of Saint Neophytos. The application of this effort to the Asinou church, representing the first case study of the ITN-DCH project, is used as a template example in order to assess the technical challenges involved in the creation of such a framework.