Interactive relighting, digital image enhancement and inclusive diagrammatic representations for the analysis of rock art superimposition: The main Pleito cave (CA, USA)

Kotoula, Eleni; Robinson, David; Bedford, Clare

doi:10.1016/j.jas.2018.02.012

Cited by 12 publications

(8 citation statements)

References 24 publications

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“…This site contains arguably the widest colour palette of any site known of on the continent, with many hundreds of individual paintings tightly spaced in complex superimposed panels, particularly in the Main Cave of the site. Currently, we are working on a major project to 'unravel' the painting sequences and the painting recipes which constitute the art by integrating imaging techniques and portable analytical instrumentation (Robinson et al, 2015;Bedford et al, 2016;Kotoula et al, 2018). However, within this remarkable site can be found a particular kind of blueish pigment that has drawn attention from scholars for many decades.…”

Section: Emigdiano Rock Art: the Case Of Emigdiano Bluementioning

confidence: 99%

Emigdiano Blues: The California Indigenous Pigment Palette and an In Situ Analysis of an Exotic Colour

2018

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Abstract:The Native inhabitants of South Central California produced rock art containing red, orange, black, white, green and blue colours using a range of mineral and organic materials. Many of these same colours were used on material culture and body painting. This paper focuses on a sub-group of the Chumash, called the Emigdiano, who produced an enigmatic blue colour used in the creation of rock art. Here, we focus on the blue pigment at the rock shelter site of Three Springs in the Wind Wolves Preserve in South Central California. The composition of blue pigments has previously been the focus of discussion with suggestions that they were produced either using European pigments taken from Spanish missions, or that azurite from a local quarry was the source. Previous experimental work had demonstrated that it was possible for the blue to be produced from locally available azurite. Here we present the in situ analyses of these enigmatic blue pigments using handheld X-ray Fluorescence (pXRF). Results from pXRF analysis of rock art, quarried azurite samples and experimental rock art reconstructions showed that the Emigdiano Blue at Three Springs were not azurite based and was composed of optical blue (a mixture of black and white or grey materials which mimic the appearance of blue). This paper discusses the surprising implications of the use, given the availability of a 'true' blue pigment, and the wider ontological importance of combining multiple colours to produce the effect of blue in a rock art panel.

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Section: Emigdiano Rock Art: the Case Of Emigdiano Bluementioning

confidence: 99%

Emigdiano Blues: The California Indigenous Pigment Palette and an In Situ Analysis of an Exotic Colour

2018

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“…Using a technique known as 'Portable X-ray Fluorescence' combined with advanced imaging processes it is possible to analyse the various layers of overpainting that have occurred in the cave over the years. Using data already gathered from the site (Bedford et al, 2016;2018;Gandy and Robinson 2018;Kotoula et al 2018), we are able to reconstruct not only what the cave looks like now as a static record, but also visualise how the cave would have looked over time, by starting with a virtual 'blank canvas' we are able to separate the layers of overpainting providing an immersive 'walk in' visualisation of how the paint was built up over time. This unique perspective is not possible to achieve when interacting with the real site and is the next immediate focus of the work, followed by user studies aimed at identifying how stakeholders interpret the data when presented in different ways.…”

Section: Further Workmentioning

confidence: 99%

“…The site has accessibility issues due to the fragile nature of the rock art found at the site and its remote geographical location. Recent work at the site has generated a lot of rich archaeological data (Robinson et al 2015, Kotoula et al 2018 and makes it uniquely appropriate for prototyping immersive platforms to address issues of accessibility and archaeological data visualisation. The prototype addresses accessibility issues by supporting simultaneous multi-user access and initially supports data visualisation by overlaying digitally enhanced/processed textures of the rock art onto the original geometry, allowing users to walk around and interact with the processed textures 'in situ' to provide a viewing context previously unavailable to researchers.…”

Section: Introductionmentioning

confidence: 99%

A Virtual Reality Platform for Analyzing Remote Archaeological Sites

Cassidy

Sim

Robinson

et al. 2018

Electronic Workshops in Computing

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This paper describes a virtual reality prototype developed to help archaeologists and other stakeholders explore and analyse archaeological data in a more immersive context. We describe a VR reconstruction of Pleito Cave, a fragile world class rock art site with accessibility limitation. Key stakeholders are identified and a prototype is described that provides a VR platform for visualising and interacting with complex archaeological data (gathered from techniques such as decorrelation stretch and x-ray fluorescence) virtually 'in situ', in a way that would not be possible at the real site. The prototype allows multiple remote users to interact with the cave together simultaneously providing opportunities for collaborative interpretation and analysis of archaeological data.

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“…The site has accessibility issues due to the fragile nature of the rock art found at the site and its remote geographical location. Recent work at the site has generated a lot of rich archaeological data (Bedford et al ., 2018 ; Kotoula et al ., 2018 ; Robinson et al ., 2015 ) and makes it uniquely appropriate for prototyping immersive platforms to address issues of accessibility and archaeological data visualization. The prototype addresses accessibility issues by supporting simultaneous multi-user access and initially supports data visualization by overlaying digitally enhanced/processed textures of the rock art onto the original geometry, allowing users to walk around and interact with the processed textures ‘in situ’ to provide a viewing context previously unavailable to researchers.…”

Section: Introductionmentioning

confidence: 99%

A Virtual Reality Platform for Analyzing Remote Archaeological Sites

Cassidy

Sim

Robinson

et al. 2019

Interacting With Computers

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This paper describes a Virtual Reality (VR) prototype developed to help archaeologists and other stakeholders explore and analyse archaeological data in a more immersive context. We describe a VR reconstruction of Pleito Cave, a fragile world class rock-art site with accessibility limitation. Key stakeholders are identified and a prototype is described that provides a VR platform for visualizing and interacting with complex archaeological data (gathered from techniques such as decorrelation stretch and X-ray fluorescence) virtually ‘in situ’, in a way that would not be possible at the real site. The prototype allows multiple remote users to interact with the cave together remotely providing opportunities for collaborative interpretation and analysis of archaeological data. We also present a survey-based evaluation in which both archaeologists and Native American stakeholders indicate positive responses for measures of both engagement and value. Research Highlights An interactive, multi-user, immersive archaeological data visualization tool is described. Survey evaluation elicits insights into where the system provides value and engagement for key stakeholders. Thematic Analysis provides further design insights for future development of immersive archaeological data visualization tools.

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Interactive relighting, digital image enhancement and inclusive diagrammatic representations for the analysis of rock art superimposition: The main Pleito cave (CA, USA)

Cited by 12 publications

References 24 publications

Emigdiano Blues: The California Indigenous Pigment Palette and an In Situ Analysis of an Exotic Colour

Emigdiano Blues: The California Indigenous Pigment Palette and an In Situ Analysis of an Exotic Colour

A Virtual Reality Platform for Analyzing Remote Archaeological Sites

A Virtual Reality Platform for Analyzing Remote Archaeological Sites

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