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3D modeling of the Cosquer cave by laser survey
... It legitimized activities on a bureaucratic level within the organization. Industrial engineers were exposed to sites like Cosquer Cave and Delphi, and they were able to exchange their knowledge with heritage professionals (Brillault et al. 1995;Brunet and Vouvé 1996;Clottes et al. 1997;Moulin et al. 1998;Thibault 2001). With them came workflows geared toward as-built informationsomething EDF engineers had been exposed to on a daily basis. ...
... Coignard et al. 1998;Moulin et al. 1998;B. Coignard 1999;Thibault 2001). They saw the potential for accurate reconstructions of an artifact or environment: reconstruction based on real-world data. ...
... Coignard et al. 1999). EDF engineer Guillaume Thibault used it to document the Pont Neuf Bridge, Pont Marie Bridge and Henri IV Statue in Paris in 1993, and in 1994 it was also used at the Cosquer Cave in the Calanque de Morgiou at Marseille (Brillault et al. 1995;Brunet and Vouvé 1996;Clottes et al. 1997;Thibault, email to author, July 4 th , 2020;Thibault and d'Aligny 1994;Thibault 2001). These later scans were inspired by natural relief drawings done by prehistoric artists, as well as the practical need for a realistic visitor display to compensate for waterlogged conditions inside the Cosquer Cave. ...
The second part of this article examines the transition of midrange terrestrial laser scanning ( TLS )–from applied research to applied markets. It looks at the crossover of technologies; their connection to broader developments in computing and microelectronics; and changes made based on application. The shift from initial uses in on-board guid- ance systems and terrain mapping to tripod-based survey for as-built documentation is a main focus. Origins of terms like digital twin are identified and, for the first time, the earliest examples of cultural heritage ( CH ) based midrange TLS scans are shown and explained. Part two of this history of laser scanning is a comprehensive analysis upto the year 2020.
... One of the first projects of this type was carried out in 1994. Laser scanning was used for development of a textured 3D model of the underwater Cosquer Cave in France (Thibault, 2001). Later on, 3D models were made for Arago Cave in France, Grotta dei Cervi in Italy, as well as for caves such as Parpalló (Lerma et al., 2010), Altamira (Donelan, 2002), and Peña de Candamo (González-Aguilera et al., 2009) in Spain, and for Wonderwerk Cave in South Africa (Rüther et al., 2009). ...
The study addresses the implementation of the project "A Virtual Model of Denisova Cave in the Altai Mountains" generating a 3D model of the cave and pinpointing certain key finds. The project includes the elaboration of software for interactive visualization in the virtual space of the cave. Apart from information about this unique site, the model is aimed at solving certain research problems. This is the first Russian attempt to create a virtual 3D model of a cave site. Copyright © 2014, Siberian Branch of Russian Academy of Sciences, Institute of Archaeology and Ethnography of the Siberian Branch of the Russian Academy of Sciences.
... The use of 3D technologies in the process of recording palaeolithic parietal art has spread widely throughout the scientific community since the mid-2000s: caves of Cosquer (Thibault, 2001), Chauvet (Aujoulat and Pérazio, 2005), El Castillo (Warzée et al., 2009), La Peña de Candamo (Corchón et al., 2009a(Corchón et al., , 2009b, Las Caldas (Corchón et al., 2009b), Marsoulas (Fritz et al., 2010), Lascaux (Feruglio et al., 2010), Altamira (Lasheras Corruchaga and de las Heras, 2010), La Baume-Latrone (Azéma et al., 2012), La Garma (Arias and Ontañon, 2014), Cussac (Feruglio et al., forthcoming), etc. In this framework, our research on carved parietal art has given a special attention to the development of analytical applications of these technologies that have ensured methodological improvements in the study of these rock art sets. ...
The 3D technologies have become essential in our researches on the Middle Magdalenian rock carving (18 500-17 000 cal. BP), complementary to the other traditional analytic tools. They play a noticeable role in our stylistic studies: the superimpositions of volumes and not only shapes make the form comparisons all the more accurate that margins of difference can be calculated. On the one hand, clarifying the degree of similarity between two carvings brings more data to the problem of the author(s) of the carvings, and thus it questions notions hardly tackled in prehistoric archaeology: the individual and the short time. These form comparisons prove to be very useful for other archaeological problems. Used for shape identification, they help for a better interpretation of the fragmentary representations and, beyond, for a more precise modelling of the chronological evolution of the parietal assemblages.
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