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The integration of digital technology, particularly virtual reality, is proving to be a pivotal tool in preserving and sharing the rich cultural heritage found within Cave art sites. This article deliberates on the use and application of digital technology in the field of cave painting conservation that provides an authentic and effective method of Cave art preservation for the future. Employing advanced techniques of photogrammetry, terrestrial laser scanning, structured light scanning, and high-resolution photography can digitally preserve the intricate details of Cave art, while the utilization of humidity, temperature, and CO2 sensors may provide a comprehensive digital monitoring system to track the condition of Cave art over time. This paper deals with the evolving landscape of technologies and their application to safeguard Cave art from environmental degradation and anthropogenic factors. The digitization of cave art has the potential to accurately conserve a site if used in an effective manner while also allowing visitors to experience this art form in ways never before feasible. The application of advanced digital technology in cave art conservation is not merely a choice but a necessity, considering the impermanent nature of these paintings in their natural environment. This paper underscores the urgency and significance of leveraging digital tools to ensure the enduring legacy of Cave art, an example of how digital technologies, as they evolve, will play an increasingly essential role in the conservation and dissemination of our world's extraordinary cultural heritage. [ABSTRACT FROM AUTHOR]

On November 2,2001, the UNESCO Convention on the Protection of the Underwater Cultural Heritage provided a detailed state cooperation system and set out the basic principles for the protection of underwater cultural heritage. To date, the Convention has been ratified by 51 countries. One of the four main principles states that the in situ preservation of underwater cultural heritage should be considered as the first option before allowing or engaging in any further activities. In accordance with these principles and recommendations, in the last years many projects intended for developing and testing new techniques and tools to support in situ conservation of underwater archaeological remains have been funded and are now underway. This paper describes the contribution of the CoMAS project (Insituconservation planning of Underwater Archaeological Artifacts--http://www.comasproject.eu), funded by the Italian Ministry of Education, Universities and Research (MIUR) and run by a partnership of private companies and public research centers. The CoMAS project aims at the development of new materials, techniques, and tools for the documentation, conservation, and restoration of underwater archaeological sites in their natural environment. The paper describes in detail the results achieved during the project in the development of innovative materials, mechatronic tools, and armed remotely operated vehicle systems that can efficiently support the restorers' work in all their activities for preserving underwater cultural heritage in its original location on the seafloor. [ABSTRACT FROM AUTHOR]

In this paper, an overview of the recent applications of pulsed infrared thermography is presented. Pulsed infrared thermography, which provides stratigraphic information by analyzing the heat diffusion process within the sample after a thermal perturbation, is applied to the investigation of different kinds of cultural heritage artefacts. In particular, it is used to analyze repairs, decorative elements, and casting faults on bronzes, to detect texts hidden or damaged in ancient books/documents, and to characterize paint decorations. Moreover, the integration of pulsed infrared thermography and three-dimensional shape recording methods is proposed in order to provide a three-dimensional representation of the thermographic results. Finally, it is shown how the obtained thermographic results may be crucial from the historical and artistic points of view for understanding the modus operandi of a specific artist and/or of a workshop and for reconstructing the manufacturing process of the analyzed artefacts. [ABSTRACT FROM AUTHOR]

[Display omitted] Computed Tomography (CT) has proven itself as a powerful technique for analysing the internal structure of cultural heritage objects. The process followed by conservators and technical art historians for investigating an object is explorative: each time a new question is asked based on the outcome of the previous investigation. This workflow however conflicts with the static nature of CT imaging, where the planning, execution and image analysis for a single CT scan can take days, or even weeks. A new question often requires conducting a new experiment, repeating the process of planning, execution and image analysis. This means that the time that is needed to complete the investigation is often longer than originally anticipated. In addition, it brings up more practical challenges such as the transportation of the object, facility availability and dependence on the imaging operator, as well as the cost of running additional experiments. A much needed interactive imaging process, where the user can adapt the CT scanning process based on the insights discovered on the spot, is hard to accomplish. Therefore, in this paper we show how a time-efficient explorative workflow can be created for CT investigation of art objects, where the object can be inspected in 3D while still in the scanner, and based on the observations and the resulting new questions, the scanning procedure can be iteratively refined. We identify the technical requirements for a CT scanner that can address the diversity in cultural heritage objects (size, shape, material composition), and the need for adaptive steering of the scanning process required for an explorative workflow. Our approach has been developed through the interdisciplinary research projects The See-Through Museum and Impact4Art. We demonstrate the key concepts by showing results of art objects scanned at the FleX-ray Laboratory at CWI, Amsterdam. [ABSTRACT FROM AUTHOR]

The use of GPR data multipath summation on data acquired over parallel study lines is presented here within the framework of a study on the effects of natural hazards on cultural heritage areas in order to image weak zones within carbonates, such as fractures and caverns. This study was realized at the archeological site of Xochicalco in Mexico, where fractures and caverns are potential sources of the degradation of the archeological remains. Dense parallel GPR study lines spaced every 0.25 m were surveyed using a 400 MHz monostatic antenna with the aim to image possible weak zones in three dimensions. We used a 2D imaging approach, namely, the method of multipath summation, which efficiently focused the scattered energy within the GPR sections. The study revealed, at depths of 1.6m and 1.8m, several linear events attributed to fractures, leading to the preliminary conclusion of this on-going project that cracks on the walls of the Quetzalcoatl Temple after a large earthquake in 2017 are prone to instability of carbonates rocks. [ABSTRACT FROM AUTHOR]

The remains that typically compose the human fossil record often bear cracks, damage, and deformations. The recent rapid development of 'virtual anthropology' has provided innovative tools to manage, study, and preserve cultural and natural heritage. Such tools include computerized tomography (CT), laser scanning, photogrammetry, 3D imaging, and rapid prototyping. These approaches can contribute to any archaeological context from the discovery of artefacts to research, preservation, and dissemination. 3D imaging techniques can substitute physical intervention with a virtual protocol to restore the original shape of a fossil specimen. In a similar way, digital morphological information can be recovered using data preserved even on a fragment through the use of 3D comparative samples. Here we present an extended and updated review of the most innovative protocols in virtual anthropology, also applicable in other fields such as natural history and cultural heritage studies, through the description of recent cast studies. [ABSTRACT FROM AUTHOR]

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Nowadays, 3D digital imaging proposes effective solutions for preserving the expression of human creativity across the centuries, as well as is a great tool to guarantee global dissemination of knowledge and wide access to these invaluable resources of the past. Nevertheless, in several cases, a massive digitalisation of cultural heritage items (from the archaeological site up to the monument and museum collections) could be unworkable due to the still high costs in terms of equipment and human resources: 3D acquisition technologies and the need of skilled team within cultural institutions. Therefore, it is necessary to explore new possibilities offered by growing technologies: the lower costs of these technologies as well as their attractive visual quality constitute a challenge for researchers. Besides these possibilities, it is also important to consider how information is spread through graphic representation of knowledge. The focus of this study is to explore the potentialities and weaknesses of a newly released low cost device in the cultural heritage domain, trying to understand its effective usability in museum collections. The aim of the research is to test their usability, critically analysing the final outcomes of this entry level technology in relation to the other better assessed low cost technologies for 3D scanning, such as Structure from Motion (SfM) techniques (also produced by the same device) combined with dataset generated by a professional digital camera. The final outcomes were compared in terms of quality definition, time processing and file size. The specimens of the collections of the Civic Museum Castello Ursino in Catania have been chosen as the site of experimentation. [ABSTRACT FROM AUTHOR]