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

Multifocus HDR VIS/NIR hyperspectral imaging and its application to works of art

The authors would like to thank Mr. Francisco Fernández Fábregas, owner of the Transfiguration of Christ for allowing us the privilege of studying this painting. We also acknowledge the collaboration of Angela Tate.This paper presents a complete framework for capturing and processing hyperspectral reflectance images of artworks in situ, using a hyperspectral line scanner. These capturing systems are commonly used in laboratory conditions synchronized with scanning stages specifically designed for planar surfaces. However, when the intended application domain does not allow for image capture in these controlled conditions, achieving useful spectral reflectance image data can be a very challenging task (due to uncontrolled illumination, high-dynamic range (HDR) conditions in the scene, and the influence of chromatic aberration on the image quality, among other factors). We show, for the first time, all the necessary steps in the image capturing and post-processing in order to obtain high-quality HDR-based reflectance in the visible and near infrared, directly from the data captured by using a hyperspectral line scanner coupled to a rotating tripod. Our results show that the proposed method outperforms the normal capturing process in terms of dynamic range, color and spectral accuracy. To demonstrate the potential interest of this processing strategy for on-site analysis of artworks, we applied it to the study of a vintage copy of the famous painting “Transfiguration” by Raphael, as well as a facsimile of “The Golden Haggadah” from the British Library of London. The second piece has been studied for the identification of highly reflective gold-foil covered areas.Spanish Ministry of Economy and Competitiveness, DPI2015-64571-R, ECQM2018-004952-

Compressive Sensing for Dynamic XRF Scanning

X-Ray Fluorescence (XRF) scanning is a widespread technique of high importance and impact since it provides chemical composition maps crucial for several scientific investigations. There are continuous requirements for larger, faster and highly resolved acquisitions in order to study complex structures. Among the scientific applications that benefit from it, some of them, such as wide scale brain imaging, are prohibitively difficult due to time constraints. However, typically the overall XRF imaging performance is improving through technological progress on XRF detectors and X-ray sources. This paper suggests an additional approach where XRF scanning is performed in a sparse way by skipping specific points or by varying dynamically acquisition time or other scan settings in a conditional manner. This paves the way for Compressive Sensing in XRF scans where data are acquired in a reduced manner allowing for challenging experiments, currently not feasible with the traditional scanning strategies. A series of different compressive sensing strategies for dynamic scans are presented here. A proof of principle experiment was performed at the TwinMic beamline of Elettra synchrotron. The outcome demonstrates the potential of Compressive Sensing for dynamic scans, suggesting its use in challenging scientific experiments while proposing a technical solution for beamline acquisition software.Comment: 16 pages, 7 figures, 1 tabl

Optical coherence tomography- a non-invasive technique applied to conservation of paintings

It is current practice to take tiny samples from a painting to mount and examine in cross-section under a microscope. However, since conservation practice and ethics limit sampling to a minimum and to areas along cracks and edges of paintings, which are often unrepresentative of the whole painting, results from such analyses cannot be taken as representative of a painting as a whole. Recently in a preliminary study, we have demonstrated that near-infrared Optical Coherence Tomography (OCT) can be used directly on paintings to examine the cross-section of paint and varnish layers without contact and the need to take samples. OCT is an optical interferometric technique developed for in vivo imaging of the eye and biological tissues; it is essentially a scanning Michelson’s interferometer with a ‘broadband’ source that has the spatial coherence of a laser. The low temporal coherence and high spatial concentration of the source are the keys to high depth resolution and high sensitivity 3D imaging. The technique is non-invasive and noncontact with a typical working distance of 2 cm. This non-invasive technique enables cross-sections to be examined anywhere on a painting. In this paper, we will report new results on applying near-infrared en-face OCT to paintings conservation and extend the application to the examination of underdrawings, drying processes, and quantitative measurements of optical properties of paint and varnish layers

Paintings and their implicit presuppositions: High Renaissance and Mannerism

All art historians who are interested in questions of "styles" or "schools" agree in identifying a High Renaissance school of Italian painting. There is, however, a disagreement, which has seemed nonterminating, regarding Mannerism: Is it another distinct school or is it merely a late development of the Renaissance school? We believe that this disagreement can be terminated by distinguishing questions of fact about paintings from questions about the definitions of schools. To this end we have had two representative subsets of paintings--one earlier, one later--rated on four of the dimensions of implicit presuppositions that we have introduced in other Working Papers. When the paintings are scaled in this way a very distinct profile emerges for the earlier, or Renaissance, paintings. In contrast, the later, or Mannerist, paintings are so heterogeneous that we conclude that they are best described as deviations from the Renaissance profile, rather than a separate school. These results are not unimportant--at least for art historians. But they are more important methodologically inasmuch as the procedures applied here can be used in classifying and distinguishing from one another all kind of cultural products

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

High precision dynamic multi-interface profilometry with optical coherence tomography

Optical coherence tomography (OCT) has mostly been used for high speed volume imaging but its profilometry potentials have not been fully exploited. This paper demonstrates high precision (as good as ~50nm) multi-interface profilometry using a Fourier domain OCT system without special anti-vibration devices. The precision is up to two orders of magnitudes better than the depth resolution of the OCT. Detailed analysis of the precision achieved for different surfaces is presented. The multi-interface profiles are obtained as a by-product of the tomography data. OCT has advantage in speed and sensitivity at detecting rough and internal interfaces compared to conventional optical profilometry. An application of the technique to the dynamic monitoring of varnish drying on paint-like substrates is demonstrated, which provides a better understanding of the formation of surface roughness. The technique has potential benefits in the field of art conservation, coatings technology and soft matter physics

Modeling On-Line Art Auction Dynamics Using Functional Data Analysis

In this paper, we examine the price dynamics of on-line art auctions of modern Indian art using functional data analysis. The purpose here is not just to understand what determines the final prices of art objects, but also the price movement during the entire auction. We identify several factors, such as artist characteristics (established or emerging artist; prior sales history), art characteristics (size; painting medium--canvas or paper), competition characteristics (current number of bidders; current number of bids) and auction design characteristics (opening bid; position of the lot in the auction), that explain the dynamics of price movement in an on-line art auction. We find that the effects on price vary over the duration of the auction, with some of these effects being stronger at the beginning of the auction (such as the opening bid and historical prices realized). In some cases, the rate of change in prices (velocity) increases at the end of the auction (for canvas paintings and paintings by established artists). Our analysis suggests that the opening bid is positively related to on-line auction price levels of art at the beginning of the auction, but its effect declines toward the end of the auction. The order in which the lots appear in an art auction is negatively related to the current price level, with this relationship decreasing toward the end of the auction. This implies that lots that appear earlier have higher current prices during the early part of the auction, but that effect diminishes by the end of the auction. Established artists show a positive relationship with the price level at the beginning of the auction. Reputation or popularity of the artists and their investment potential as assessed by previous history of sales are positively related to the price levels at the beginning of the auction. The medium (canvas or paper) of the painting does not show any relationship with art auction price levels, but the size of the painting is negatively related to the current price during the early part of the auction. Important implications for auction design are drawn from the analysis.Comment: Published at http://dx.doi.org/10.1214/088342306000000196 in the Statistical Science (http://www.imstat.org/sts/) by the Institute of Mathematical Statistics (http://www.imstat.org

Optical interferometry- from astronomy to art

After more than a century, Michelson’s interferometer is still at the forefront of scientific investigation. While the first application was in astronomy, it is now used as a novel technique in a wide range of subjects, notably in the form of Optical Coherence Tomography used primarily for biomedical applications. This paper will introduce a new application of the interferometer for the examination of art for conservation purposes