PRISMS: remote high resolution in situ multispectral imaging of wall paintings

The non-invasive monitoring and examination of wall paintings in grotto sites, tombs and buildings is particularly important since these paintings are often extremely vulnerable. Traditionally, inspection of wall paintings at high resolution (i.e. sub-millimetre resolution) requires either scaffolding or some heavy and cumbersome mechanical structure to lift a person or camera to the upper parts of a wall or ceiling. We have developed a proto-type portable remote imaging multi-spectral camera that operates at ground level for in situ high-resolution colour and spectral imaging of wall paintings. We present here the latest developments for the instrument and examples of how the instrument can be used for diagnosis of wall paintings

Advanced optical imaging methods for investigating manuscripts

This paper gives an overview of advanced optical imaging methods relevant to the study of manuscripts. While some of the methods covered are well established, others are very much in active development. ‘Optical’ in this context is loosely defined to cover the near ultraviolet, visible and the near infrared part of the electromagnetic spectrum. Optical imaging methods are in general non-destructive and can be applied in situ. They are non-invasive if care is taken to ensure a safe dosage of illumination during the imaging process. The examples given in this paper are biased towards work that the author has been involved in. This is by no means a comprehensive review. The aim of the paper is to illustrate how advanced optical imaging techniques can assist in the investigation of manuscripts

Reflectance Transformation Imaging (RTI) System for Ancient Documentary Artefacts

This tutorial summarises our uses of reflectance transformation imaging in archaeological contexts. It introduces the UK AHRC funded project reflectance Transformation Imaging for Anciant Documentary Artefacts and demonstrates imaging methodologies

PRISMS: a portable multispectral imaging system for remote in situ examination of wall paintings

We present a proto-type portable remote multispectral imaging system, PRISMS (Portable Remote Imaging System for Multispectral Scanning), that is light-weight, flexible and without any cumbersome mechanical structure for in situ high resolution colour and spectral imaging of large and inaccessible paintings such as wall paintings. This is the first instrument to be able to image paintings at inaccessible heights in situ from ground level to produce not only high resolution colour images but also multispectral images

Photography as a tool of Alienation: Aura

Regular photographical imaging record volumetric planes with smooth surfaces. The reason is the camera’s deficiency in perceiving and documenting the visual richness of “persuasive” details in life. HDR imaging methods used in creating this artwork series titled “Aura” helped making invisible organism-like textures emerge and point to the notions of decay and symbiosis. One of the main objectives in this series of artworks is to facilitate the emergence of the experiential visual complexity between the animate and inanimate, that is otherwise not possible to record. The latent aura of textural presences around us is not always noticeable easily since we tend to consume things too fast. With the rich textures achieved after high-dynamic-range-imaging (HDRI) procedures, a new symbiotic painterly visual relationship between biological (humans) and non-biological (space) was intended. In addition, the paper will focus on photography rather as a tool of personal world making, instead of photography as witnessing. During the process of unfolding this practice; notions of superimposition, palimpsest, painting vs. photography, truth, photography as an apparatus to provoke de-familiarization will be covered. The final aim is to confirm photography as a visual language that enriches and transforms human perception

Application of a combination of digital image processing and 3D visualization of graffiti in heritage conservation

[EN] In recent years, heritage documentation processes have largely benefited from the application of both 2D imagery analysis and 3D techniques for recording and visualization of assets. In this paper, a combined 2D-3D methodological workflow, especially helpful for the documentation of graffiti on closed and narrow spaces, is presented. It is proposed, firstly, the use of structure from motion software to obtain the 3D model and texture information. Then, the use of decorrelation stretching algorithms is used to obtain enhanced textures. This study found that the performance of the algorithms usually recommended for enhancement of the different colours is sometimes suboptimal. Finally, the integration of 2D and 3D information into Blender, a powerful 3D open-source tool, allows for a detailed exploration of the areas containing graffiti. Additionally, it allows high quality rendition of the resulting model that helps to better understand and record heritage resources. This methodological approach has been applied to the military defense heritage site of Puig-Carassols trench line in Spain.Palomar-Vázquez, J.; Baselga Moreno, S.; Viñals Blasco, MJ.; García-Sales, C.; Sancho-Espinós, I. (2017). Application of a combination of digital image processing and 3D visualization of graffiti in heritage conservation. Journal of Archaeological Science Reports. 12:32-42. doi:10.1016/j.jasrep.2017.01.021S32421

Can Computers Create Art?

This essay discusses whether computers, using Artificial Intelligence (AI), could create art. First, the history of technologies that automated aspects of art is surveyed, including photography and animation. In each case, there were initial fears and denial of the technology, followed by a blossoming of new creative and professional opportunities for artists. The current hype and reality of Artificial Intelligence (AI) tools for art making is then discussed, together with predictions about how AI tools will be used. It is then speculated about whether it could ever happen that AI systems could be credited with authorship of artwork. It is theorized that art is something created by social agents, and so computers cannot be credited with authorship of art in our current understanding. A few ways that this could change are also hypothesized.Comment: to appear in Arts, special issue on Machine as Artist (21st Century

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

Multispectral imaging has been applied to the field of art conservation and art history since the early 1990s. It is attractive as a noninvasive imaging technique because it is fast and hence capable of imaging large areas of an object giving both spatial and spectral information. This paper gives an overview of the different instrumental designs, image processing techniques and various applications of multispectral and hyperspectral imaging to art conservation, art history and archaeology. Recent advances in the development of remote and versatile multispectral and hyperspectral imaging as well as techniques in pigment identification will be presented. Future prospects including combination of spectral imaging with other noninvasive imaging and analytical techniques will be discussed