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Archaeological 3D digitization of skeletal elements is an essential aspect of the discipline. Objectives are various: archiving of data (especially before destructive sampling for biomolecular studies for example), study or for pedagogical purposes to allow their manipulation. As techniques are rapidly evolving, the question that arises is the use of appropriate methods to answer the different questions and guarantee sufficient quality of information. The combined use of different 3D technologies for the study of a single Mesolithic bone fragment from Brittany (France) is here an opportunity to compare different 3D digitization methods. This oldest human bone of Brittany, a clavicle constituted of two pieces, was dug up from the mesolithic shell midden of Beg-er-Vil in Quiberon and dated from ca. 8200 to 8000 years BP. They are bound to post-mortem processing, realized on fresh bone in order to remove the integuments, which it is necessary to better qualify. The clavicle was studied through a process that combines advanced 3D image acquisition, 3D processing, and 3D printing with the goal to provide relevant support for the experts involved in the work. The bones were first studied with a metallographic microscopy, scanned with a CT scan, and digitized with photogrammetry in order to get a high quality textured model. The CT scan appeared to be insufficient for a detailed analysis; the study was thus completed with a µ-CT providing a very accurate 3D model of the bone. Several 3D-printed copies of the collarbone were produced in order to support knowledge sharing between the experts involved in the study. The 3D models generated from µCT and photogrammetry were combined to provide an accurate and detailed 3D model. This model was used to study desquamation and the different cut marks, including their angle of attack. These cut marks were also studied with traditional binoculars and digital microscopy. This last technique allowed characterizing their type, revealing a probable meat cutting process with a flint tool. This work of crossed analyses allows us to document a fundamental patrimonial piece, and to ensure its preservation. Copies are also available for the regional museums.

In the past two decades or so, digital tools have been slowly integrated as part of the archaeological process of information acquisition, analysis, and dissemination. We are now entering a new era, adding the missing piece to the puzzle in order to complete this digital revolution and take archaeology one step further into virtual reality (VR). The main focus of this article is the methodology of digital archaeology that fully integrates virtual reality, from beta testing to interdisciplinary teamwork. We briefly discuss data acquisition and processing necessary to construct the 3D model, the analysis that can be conducted during and after the making or creation of the 3D environment and the dissemination of knowledge. We explain the relevance of this methodology through the case study on the intendant’s palace, an 18th century archaeological site in Quebec City, Canada. With this experience, we believe that VR can prompt new questions that would never have occurred otherwise and can provide technical advantages in terms of gathering data in the same virtual space. We conclude that multidisciplinary input in archaeological research is once again proven essential in this new, inclusive and vast digital structure of possibilities.

We present the study of a wreck, in a foreshore area, in the North of Brittany, France, using two different digitization methods, photogrammetry and laser scanning. The digitization process had to deal with the tide constraints. The 3D data produced using these technologies has been deployed in a large immersive infrastructure dedicated to virtual reality research, in order to propose new practises for archaeologists. The overall purpose of our research project is to define an innovative and efficient methodology for the study and preservation of cultural heritage in an inter-tidal context. In the inter-tidal context, heritage is really fragile and the risk of destruction is real (storms, erosion, coastal development...). The traditional methods are no longer efficient. This paper describes preliminary results, through the joint work of a research institute specialized in underwater archaeology, a research laboratory of archaeology and archaeosciences, and a research laboratory in computer science.

The IRMA project aims to design innovative methodologies for research in the field of historical and archaeological heritage based on a combination of medical imaging technologies and interactive 3D restitution modalities (virtual reality, augmented reality, haptics, additive manufacturing). These tools are based on recent research results from a collaboration between IRISA, Inrap and the company Image ET and are intended for cultural heritage professionals such as museums, curators, restorers and archaeologists.

This paper presents an immersive application where users receive sound and visual feedbacks on their interactions with a virtual environment. In this application, the users play the part of conductors of an orchestra of factory machines since each of their actions on interaction devices triggers a pair of visual and audio responses. Audio stimuli were spatialized around the listener. The application was exhibited during the 2013 Science and Music day and designed to be used in a large immersive system with head tracking, shutter glasses and a 10.2 loudspeaker configuration.

This paper presents an application of photogrammetry on ceramic fragments from two excavation sites located north-west of France. The restitution by photogrammetry of these different fragments allowed reconstructions of the potteries in their original state or at least to get to as close as possible. We used the 3D reconstructions to compute some metrics and to generate a presentation support by using a 3D printer. This work is based on affordable tools and illustrates how 3D technologies can be quite easily integrated in archaeology process with limited financial resources. 1. INTRODUCTION Today, photogrammetry and 3D modelling are an integral part of the methods used in archeology and heritage management. They provide answers to scientific needs in the fields of conservation, preservation, restoration and mediation of architectural, archaeological and cultural heritage [2] [6] [7] [9]. Photogrammetry on ceramic fragments was one of the first applications contemporary of the development of this technique applied in the archaeological community [3]. More recently and due to its democratization, it was applied more generally to artifacts [5]. Finally joined today by the rise of 3D printing [8] [10], it can restore fragmented artifacts [1] [12]. These examples target one or several particular objects and use different types of equipment that can be expensive. These aspects can put off uninitiated archaeologists. So it would be appropriate to see if these techniques could be generalized to a whole class of geometrically simple and common artifacts, such as ceramics. From these observations, associated to ceramics specialists with fragments of broken ceramics, we aimed at arranging different tools and methods, including photogrammetry, to explore opportunities for a cheap and attainable reconstruction methodology and its possible applications. Our first objective was to establish a protocol for scanning fragments with photogrammetry, and for reconstruction of original ceramics. We used the digital reconstitutions of the ceramics we got following our process to calculate some metrics and to design and 3D print a display for the remaining fragments of one pottery.