Arts and Humanities Commons^™

A Digitalização 3d Das Cerâmicas Da Coleção Valentin Calderón Como Ferramenta Para A Preservaço, Mara Lúcia Carrett De Vasconcelos, Robert Z. Selden Jr.

CRHR: Archaeology

Valentin Calderón figura como um dos pioneiros da arqueologia no Nordeste do Brasil. Membro do Programa Nacional de Pesquisas Arqueológicas entre as décadas de 1960 e 70, foi responsável pelos levantamentos sistemáticos nos sítios arqueológicos do estado da Bahia e identificou a tradição cerâmica Aratu. Calderón foi também o idealizador do Museu de Arqueologia e Etnologia da Universidade Federal da Bahia (MAE/UFBA), que hoje salvaguarda sua coleção arqueológica e seu arquivo pessoal. Em uma parceria realizada com pesquisadores do Center for Regional Heritage Research da Stephen F. Austin University, Texas, EUA, os artefatos cerâmicos da coleção Valentin Calderón foram digitalizados …

3d Scan Data For Selected Artifacts From Blackwater Draw National Historic Landmark (La3324), New Mexico, Usa, Robert Z. Selden Jr., George T. Crawford

CRHR: Archaeology

Between February 8-11, 2016, selected artifacts from the Blackwater Draw National Historic Landmark (LA3324) were scanned in advance of a grant proposal to digitally aggregate the Clovis-era artifacts from the Clovis type site. These data were collected using a NextEngineHD running ScanStudioHD Pro, and were post-processed in Geomagic Design X 2016.0.1. All data associated with this project have been made publicly available (open access) and are accessible in Zenodo under a Creative Commons Attribution license, where they can be downloaded for use in additional projects and learning activities. These data have the capacity to augment a variety of research designs …

Tarl_41ce19_424-21, Robert Z. Selden Jr.

CRHR: Archaeology

Three-dimensional (3D) model of a Caddo burial vessel (TARL_41CE19_424-21) from Caddo Mounds SHS (41CE19) curated at the Texas Archeological Research Laboratory.

Tarl_41ce19_2006-4-84, Robert Z. Selden Jr.

CRHR: Archaeology

Three-dimensional (3D) model of a Caddo burial vessel (TARL_41CE19_2006-4-84) from Caddo Mounds SHS (41CE19) curated at the Texas Archeological Research Laboratory.

Using Photogrammetry To Document, Analyze, And Reverse-Engineer Grave Markers, Robert Z. Selden Jr.

CRHR: Archaeology

There are a wide range of applications for three-dimensional (3D) data in archaeology, and a diverse array of methods for collecting and analyzing those data. In this article, free 3D photogrammetry software (Autodesk 123D Catch) is used to document a series of grave markers. The data are subsequently exported to Geomagic Design X to demonstrate and briefly discuss the various potential analyses that might be used to illustrate the effects of preservation treatments and marker degradation through time. Further, one marker is reverse-engineered, illustrating the capacity of 3D modeling to expedite the process of design, should elements warrant replacement. Additional …

Advances In Documentation, Digital Curation, Virtual Exhibition, And A Test Of 3d Geometric Morhpometrics: A Case Study Of The Vanderpool Vessels From The Ancestral Caddo Territory, Robert Z. Selden Jr., Timothy K. Perttula, Michael J. O'Brien

CRHR: Archaeology

Three-dimensional (3D) digital scanning of archaeological materials is typically used as a tool for artifact documentation. With the permission of the Caddo Nation of Oklahoma, 3D documentation of Caddo funerary vessels from the Vanderpool site (41SM77) was conducted with the initial goal of ensuring that these data would be publicly available for future research long after the vessels were repatriated. A digital infrastructure was created to archive and disseminate the resultant 3D datasets, ensuring that they would be accessible by both researchers and the general public (CRHR 2014a). However, 3D imagery can be used for much more than documentation. To …

Deep East Texas Grave Markers: Types, Styles, And Motifs, Nancy Adgent, Perky Beisel, George Avery

CRHR: Archaeology

Grave markers are often the only physical evidence of a person’s existence and offer opportunities for even ordinary people to ‘speak’ from the grave. Sometimes the deceased selects the marker or leaves instructions for its composition.

In modern times, the grieving family typically chooses the type, style, motif, and inscription according to commercial availability, aesthetic appeal, and budgetary constraints. A cemetery visitor will likely have no idea of the actual circumstances that caused a particular marker to have its shape, design, and decorative elements.

Like other possessions, markers are subject to fashion trends and since the advent of mass production …