A self-portrait of young Leonardo

One of the most famous drawings by Leonardo da Vinci is a self-portrait in red chalk, where he looks quite old. In fact, there is a sketch in one of his notebooks, partially covered by written notes, that can be a self-portrait of the artist when he was young. The use of image processing, to remove the handwritten text and improve the image, allows a comparison of the two portraits.Comment: Image processing, digital restoration, Leonardo da Vinc

The Archigram Archive

The Archigram archival project made the works of seminal experimental architectural group Archigram available free online for an academic and general audience. It was a major archival work, and a new kind of digital academic archive, displaying material held in different places around the world and variously owned. It was aimed at a wide online design community, discovering it through Google or social media, as well as a traditional academic audience. It has been widely acclaimed in both fields. The project has three distinct but interlinked aims: firstly to assess, catalogue and present the vast range of Archigram's prolific work, of which only a small portion was previously available; secondly to provide reflective academic material on Archigram and on the wider picture of their work presented; thirdly to develop a new type of non-ownership online archive, suitable for both academic research at the highest level and for casual public browsing. The project hybridised several existing methodologies. It combined practical archival and editorial methods for the recovery, presentation and contextualisation of Archigram's work, with digital web design and with the provision of reflective academic and scholarly material. It was designed by the EXP Research Group in the Department of Architecture in collaboration with Archigram and their heirs and with the Centre for Parallel Computing, School of Electronics and Computer Science, also at the University of Westminster. It was rated 'outstanding' in the AHRC's own final report and was shortlisted for the RIBA research awards in 2010. It received 40,000 users and more than 250,000 page views in its first two weeks live, taking the site into twitter’s Top 1000 sites, and a steady flow of visitors thereafter. Further statistics are included in the accompanying portfolio. This output will also be returned to by Murray Fraser for UCL

Application of OCT to examination of easel paintings

We present results of applying low coherence interferometry to gallery paintings. Infrared low coherence interferometry is capable of non-destructive examination of paintings in 3D, which shows not only the structure of the varnish layer but also the paint layers

Power law observed in the motion of an asymmetric camphor boat under viscous conditions

We investigated the velocity of an asymmetric camphor boat moving on aqueous solutions with glycerol. The viscosity was controlled by using several concentrations of glycerol into the solution. The velocity decreased with an increase in the glycerol concentration. We proposed a phenomenological model, and showed that the velocity decreased with an increase in the viscosity according to power law. Our experimental result agreed with the one obtained from our model. The results provided an approximation that the characteristic decay length of the camphor concentration profile at the front of the boat was sufficiently shorter than that at the rear of the boat, which was difficult to measure directly

Non-invasive imaging of subsurface paint layers with optical coherence tomography

Optical coherence tomography (OCT) systems are fast scanning infrared Michelson interferometers designed for the non-invasive examination of the interiors of the eye and subsurface structures of biological tissues. OCT has recently been applied to the non-invasive examinations of the stratigraphy of paintings and museum artefacts. So far this is the only technique capable of imaging non-invasively the subsurface structure of paintings and painted objects. Unlike the traditional method of paint cross-section examination where sampling is required, the non-invasive and non-contact nature of the technique enables the examination of the paint cross-section anywhere on a painting, as there is no longer an issue with conservation ethics regarding the taking of samples from historical artefacts. A range of applications of the technique including the imaging of stratigraphy of paintings and painted artefacts, the imaging of underdrawings to the analysis of the optical properties of paint and varnish layers is presented. Future projects on the application of OCT to art conservation are discussed

Token Finds At Pre-Pottery Neolighic ‘Ain Ghazal, Jordan A Formal And Technological Analysis

‘Ain Ghazal is a Neolithic site located near Amman, Jordan. It was excavated between 1982 and 1998 by an American-Jordanian team directed by Gary O. Rollefson, Whitman College, Walla Walla, Wa. and Zeidan Kafafi, the University of Yarmouk at Irbid, Jordan. ‘Ain Ghazal was first settled about 7250 B.C., during the so-called Pre-Pottery Neolithic B (PPNB) period. In a matter of a few centuries the village of stone houses had spread over 30 acres along the Zarqa River. During a prosperous period when the mixed economy increasingly relied on farming, ca. 7250-6000 B.C., ‘Ain Ghazal witnessed what can be termed an explosion of symbolism. The site was abandoned in the Yarmoukian period ca. 5000 BC. The volume deals with the uniquely rich and varied ‘Ain Ghazal assemblage of symbols including tokens of many shapes, animal and human figurines, modeled human skulls, plaster statues and, mural and floor paintings.A collection of 137 clay and stone tokens from the Neolithic site of ‘Ain Ghazal in Jordan was studied in terms of formal and technological characteristics. The assemblage includes spheres, cones, and other shapes that are well known from Near Eastern token collections. A visual technological classification based on surface and fabric characteristics was supplemented by petrographic and XRD studies of smaller samples of artifacts and local clay and stone raw materials. Results show some correlations between shapes and technological processes and close technological similarities among tokens recovered as groups, suggesting single episode production, use and discard.Art and Art Histor

Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency

Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and on the other, historical analysis is about the careful and scholarly reconstruction of a past social reality, the two must be at loggerheads. What the art historian writes about on a weekday whilst wearing her hard hat at the office must not be confused with what she personally feels, wandering around a gallery in her woolly hat at the weekend

The storage of art on paper : a basic guide for institutions

Includes bibliographical references (p. 27-30)