Sustainable Archaeology is a digital archaeological research facility and repository making Ontario’s archaeological heritage accessible to all. Dedicated to ensuring a sustainable future for Ontario's archaeological heritage.
Our Western University work study students Sarah (left), Rabia (front right) and Mark (middle right) are hard at work in our Digital Conversion lab, testing the database with boxes of archaeological collections recently transferred by our partners, Archaeological Services Inc. Working closely with our database team (including Colin, sitting in the center) they will work through the data entry forms for sites, intra-spatial
contexts, and artifacts by entering real world data from site reports and artifact catalogues. In addition to working with the data entry forms, they will also be testing hardware tools that feed directly into the database (no transcription required!), including the DM barcode scanners, digital scales, and digital calipers.
Sustainable Archaeology has a new piece of analytical equipment - a Nikon SMZ-25 stereoscopic microscope. We are excited by the versatility of this new instrument, which will allow us to view objects within a range of 6.3 to 315x magnification with both direct and transmitted light sources.
Chad Steele, from Nikon Canada, puts the SMZ-25 together.
No single piece of equipment has arrived at our facility intact - everything from our humidity readers to our microCT scanner, even our building, have arrived in multitudes of pre-assembled pieces. This single microscope was no exception - above is an image of just a fraction of the packaging that this piece of equipment came in.
The SMZ-25 is a fully automated microscope; magnification, zoom and even lighting are mechanically adjusted either on the computer or the separate control unit/monitor. Besides magnification, there are a number of lighting options that increase the versatility of the system. It has a transmitted light source in the base that forces light up through an object, allowing us to view things like thin-sections of ceramic or soil on prepared slides. There is a ring light that sits on the lens, providing even illumination of an object, such as a trade bead, from the top-down. And there are goose-neck fibre-optic lights that allow us to move and adjust the angle of the light source to capture and highlight surface details on an object, such as use-wear on the edge of a projectile point. Oblique coherent contrast (OCC) illumination provides contrast and colour to otherwise clear and colourless objects such as diatoms (microscopic algae) or starch. The unit is also equipped with a 5 megapixel camera for capturing publication-quality images, and the Nikon NIS-Elements software comes with the ability to focus-stack (z-stack) multiple images upon one-another in order to capture a clear image with a greater depth-of-field.
Nikon SMZ-25 stereomicroscope with camera and remote control unit.
We look forward to using the microscope to examine floral remains such as seeds and even pollen, phytoliths or diatoms from archaeological sediments. It will also be used to examine the temper inclusions in ceramics, cut marks on faunal remains, usewear on tools, to identify the species of wood/charcoal samples and even examine fingerprints in clay objects. With analytical software capable of defining regions of interest and morphology, counting, measuring, and filtering, this stereomicroscope makes a valuable contribution to the Imaging capabilities of Sustainable Archaeology: Western.
In addition to the open house event hosted by Sustainable Archaeology and the Museum of Ontario Archaeology as part of the 2014 CAA conference held here in London, we also had the opportunity at the end of the conference to participate in a Public Archaeology day. Sponsored by the CAA conference, the public day featured free public lectures by Chris Ellis of Western University, Dana
Poulton and Christine Dodd of D.R. Poulton and Associates Inc., and Ron Williamson of
Archaeological Services Inc., as well as displays by local archaeologists and archaeological firms, the Museum of Ontario Archaeology, the DH Maker Bus, the Ontario Archaeological Society, and others. Sustainable Archaeology's table featured the ever popular Oculus Rift with the virtual recreation of the Lawson site, as well as a number of 3D printed objects.
Events such as the public day provide SA with an opportunity to interface with the public, to share what we are doing, and what we hope to accomplish. The Oculus Rift and the 3D prints offered sufficient "wow-factor" to draw people to the table, but conversations quickly evolved past the "wow" to very interesting discussions regarding how digital technologies can help make archaeological artifacts and data accessible beyond archaeologists, and beyond the facility itself. While SA is not intended to be a public facility in that we are not physically open to the public as a museum would be, our database will be publicly accessible once complete, and events such as the public day can help us to understand what the public would be interested in learning about, and interacting with.
On May 15th Sustainable Archaeology: Western, along with our neighbours at the Museum of Ontario Archaeology, welcomed attendees of the 2014 Canadian Archaeological Association conference for an evening open house.
Tours of the repository and laboratories were conducted by Dr. Neal Ferris, Dr. Rhonda Bathurst, and Kira Westby, with Dr. Andrew Nelson exhibiting examples of scanning projects at the micro-CT station in the Ancient Images Laboratory.
Checking out the micro-CT
Repository tour with Dr. Rhonda Bathurst
It was exciting for us to engage with fellow archaeologists from across the country on issues related to collections management, database development, and integrating digital technologies, to hear their feedback on the facility, and to hear their questions. Garnering particular interest amongst some of the attendees was SA's use of barcoding technologies and inventory management tools, as well as our 3D scanning and 3D printing equipment. And of course the Oculus Rift virtual reality headset, showcasing the re-creation of the Lawson site, is always a big hit, both for those trying it out, and for the crowd watching!
Thank you again to everyone who attended, it was a great evening! We hope to hear from many of you again soon!
One of the reasons that we love sharing and updating Sustainable Archaeology's progress on our blog is the opportunity to look back at how far we have come - literally from the ground up! In March of 2011, our Ancient Images Laboratory was just concrete, an idea of what could be. Now, in March of 2014, we have a fully outfitted and functioning space that features our micro-CT scanner, digital x-ray, artifact photography stations, and 3D printer.
We have been running the 3D printer through its paces, working with scaling the printed objects, and with different processes and products for post-printing infiltration.
Our test object was a small red projectile point. The point was first scanned in 2012 by the Sustainable Archaeology Animation Unit using the macro white light scanner.
The untextured (left) and textured (right) scans of the point
In order to see how the printer was handling the detail captured in the original scans of the projectile point, we decided to print not only an original sized replica, but also one that was 2x larger, and one that was 3x larger.
Print in progress in the build bed
By scaling the model, we are able to better see with the naked eye the detail that was captured in the scan. Depending on the end user need, printing scaled versions of the scanned object may prove beneficial - for example, if there is detail not easily seen by the naked eye, or where we wish to isolate and print one segment of the object at a larger size in order to examine a specific feature of the original. For example, with our print, we are able to better see each flake scar on the point by examining the larger model, and could use the larger model to take measurements (converting to account for the size difference).
Scaled 3D prints (left to right): 3x larger; 2x larger; original size
Back side of the three printed points
In addition to testing scale, we were interested in testing how different infiltration products and methods affect the end product. We printed several copies of the point at its original size, and used the 3D Systems infiltrant Z-bond, as well as Paraloid B-72 resin, and the salt water infiltration we had previously used for our first print test.
Infiltrating the prints (left to right): Z-bond infiltrant; Paraloid B-72; salt water
Back of prints with different infiltrants (left to right): Z-bond; Paraloid B-72; salt water
As you can see from the images, the print infiltrated with the Z-bond demonstrates the most robust colour. The Paraloid resin offers a significant improvement over the salt water, and we plan to explore its use further, using different concentrations of the acrylic resin in acetone. As with scale, the end user need will help determine what infiltration product will be used with a print - for example if the user is interested in a print as a replication, or whether they simply wish to have a physical copy of the scanned object to handle and examine.
Comparison of the original artifact (left) with the Paraloid (center) and Z-bond (right) infiltrants
Our Spring 2014 newsletter features the upcoming Canadian Archaeological Association conference in London, ON, as well as updates on activities at both the Western and McMaster facilities. Scroll through the embedded PDF below, or download a copy from the Publications page of our website
On February 6th and 7th, we received training for our 3D Systems ProJet 660Pro printer. Training included not only how to set up and complete a print using the software, but also essential steps such as the cleaning of the machine that is required after the conclusion of each print.
After completing the necessary setup, calibration, and print head alignment, we performed our first test print, using a scan of a small bone comb that had been completed using Sustainable Archaeology's white light 3D digitizers. To test the process of positioning objects in the build envelope using the software, we printed three copies of the same object.
Printing in progress.
After a print is completed, the parts must be carefully excavated from the excess powder in the build envelope. The parts are quite delicate prior to any post-processing treatment, and can easily be broken during removal from the powder. Our objects were particularly delicate, as to maximize our training time, we did not allow for the usual one to two hours of drying time generally recommended between the conclusion of the printing process and the start of post-processing.
Excavating the prints
For our first test, we experimented with one of the available post-processing techniques, which is infiltration using a solution of Epsom salts and water. We plan to experiment further in the coming weeks to determine what scanning procedures produce the best files for printing, and to determine what post-processing techniques will produce the best colour replication.
Our artifact photography stations are taking shape. Purchased from Vistek, we have two stationary work spaces and one flexible kit for large-scale or on-site photography. Each stationary station consists of a Nikon D5200 DSLR camera with 18-50mm lens, a Manfrotto tripod, a Lastolite Cubelite, Lastolite lamps, and Westcott Apollo reflectors with Nikon SB700 speedlights.
Our floating camera station is outfitted with both an 18-200mm telephoto and 60mm macro lens and a 6' Cubelite for optimal versatility in field and lab, with large artifacts and small. Nikon Camera Capture Pro2 software will be used to take the photographs directly from the tethered laptop at each station.
In addition to the Cubelites, which serve to diffuse light from every direction, we have several different sized reflectors and diffusers, which can be used to manage glare, reflection, and shadow when photographing and 3D scanning artifacts. Every artifact record in the database will include a photo to aid in identification, and to provide remote users with the means to view an artifact online without traveling to the facility.
This past weekend staff from both Sustainable Archaeology Western and McMaster attended the annual Ontario Archaeology Society Symposium in Niagara Falls.
View of both the American and Canadian falls from the conference venue
In addition to our workshop at the end of the day, we were in the book room for the day Saturday, and were able to have some great conversations with a number of professional archaeologists, students, and representatives of other organizations such as the Canadian Conservation Institute and the Canadian Museum of Civilization.
Book room table setup
We received some great feedback on our use of digital tools and inventory management logic for labeling and cataloguing of artifacts at Sustainable Archaeology, and enjoyed introducing people to the "immersive archaeological experience" using the Oculus Rift - a virtual reality headset that is designed for the gaming industry. The Oculus at SA is used to immerse users in a reconstruction of the Lawson village site (located next door to SA: Western at the Museum of Ontario Archaeology) created in summer 2012 by the Sustainable Archaeology Animation Unit internship, using the Unreal game engine.
Trying out the Oculus
We look forward to continuing conversations from the weekend, and continue to welcome feedback on our draft Procedures and Practices document, available on our website. Thanks to the OAS for a great weekend!
Database development at Sustainable Archaeology "as it happens": the database team works with Neo4J .
Neo4j is used to power metadata queries, such as searches across
attributes recorded for each artifact entered into the database.
Screenshot of Neo4J
This
visualization of related nodes will be integrated into each element's
record in the database, allowing a user to explore connections between different elements. For example, if the element of interest is an artifact, the user is able to explore the connections between that artifact and other related elements, such as the artifact's unit, and site of origin.
The Fall/Winter 2013 edition of the SA newsletter Notes from the SA is out! Click through the pages below to view online, or download directly from Issuu.
Sustainable Archaeology's Collections Procedures and Practices are now available on our newly re-vamped website at sustainablearchaeology.org/procedures-practices. These procedures and practices will ensure that all collections transferred to and held in-trust by Sustainable Archaeology are effectively cared for over the long term.
We are currently seeking feedback on this draft version of the Procedures and Practices, and welcome comments and suggestions. Feedback can be provided via email by clicking on the orange "Feedback" button on the left side of every page of the website. Please make reference to the section of the Procedures and Standards that you are providing comments on in your email.
We thank you in advance for your continued
interest in Sustainable Archaeology, and for your contribution to the
finalization of our procedures and practices.
Lena Zepf (pictured below) is a Masters student in the Department of Anthropology at
McMaster University. Using Sustainable Archaeology: McMaster's
telecentric microscope, Lena is examining smoking pipes from sites in
Ontario.
Investigating cultural transformation in south-central Ontario:
an examination of smoking pipes
My MA thesis investigates how smoking pipes change through time, and if certain changes to style can provide insight into cultural transformation in the context of shifting settlement strategies. The purpose of this investigation is two-fold, and consists of a visual and an attribute analysis of a series of sites in the Credit River watershed in Mississauga, and surrounding area. What I am looking for is evidence of style preferences and/or local stylistic changes. Sites of interest include the Wallace and Antrex sites (located at the University of Toronto in Mississauga), as well as the River and Chappell Terrace sites (found at the Peel Art Gallery Museum and Archives).
Sustainable Archaeology at McMaster Innovation Park has provided me with access to materials from some of the southern Ontario site collections as well access to a telecentric microscope, which has allowed me to observe ceramic tempers. Preliminary results, at this time, point towards site specific preferences in style, and in increase in pipe prevalence.
Collections and inventory management strategies at Sustainable Archaeology: Western were presented at the 2013 Society for American Archaeology (SAA) annual meeting in Honolulu, Hawaii by Dr. Rhonda Bathurst and Kira Westby. The poster and its abstract can be viewed below. For more information on Sustainable Archaeology's inventory management strategies, check out the April/May edition of our newsletter Notes from the SA.
Poster Abstract: Digital Tools for Archaeological Collections and Inventory Management
What does archaeology have in common with
weapons manufacturers, NASA or the automotive industry? All require a means of
effectively managing and tracking inventory. There is a lot that archaeologists
can borrow from the standards of practice implemented by these industries.
Advances in coding and labeling systems such as 2D data matrix (DM) and
radio-frequency identification (RFID) can speed up the process of data input
and retrieval, alleviate transcription issues related to human error, minimize
damage to artifacts, and automate collection tracking. Using DM codes to label
and track individual artifacts and RFID tags to manage and track storage
containers, this paper demonstrates a field-to-shelf solution for
archaeological collections management utilizing some of the digital tools
currently employed by major manufacturing industries.
In the summer of 2012, Sustainable Archaeology worked with Art Gallery of Ontario (AGO) conservator Lisa Ellis and curator Sasha Suda to micro-CT scan 16th century prayer beads, in order to understand how these complex and intricately carved beads were constructed. Their work is the subject of recent AGO Art Matters blog, titled "Conservation Notes: A very fine resolution". The project was also featured in the Spring 2013 CODART e-zine. The video below (posted on the AGO's Youtube channel) shows a surface rendered model of one of the prayer beads.
Sustainable Archaeology has been receiving both national and international exposure over the past few weeks. Notably, the project was the subject of an article in the Globe and Mail this week, featuring the labs and facility at SA: McMaster in Hamilton. Digital imaging of boxwood prayer beads by curators Alexandra Suda and Lisa Ellis of the Art Gallery of Ontario at SA: Western's digital imaging labs was featured in the Spring 2013 CODART eZine.
Last Friday, our team here at Sustainable Archaeology: Western took a road trip to visit Sustainable Archaeology: McMaster in Hamilton, Ontario. We met with Dr. Aubrey Cannon and Meghan Burchell of the McMaster facility to discuss the development of Sustainable Archaeology's database, and the integration of the collections held physically at the two facilities in London and Hamilton into the centralized Informational Platform.
From left to right: Kira Westby, SA: Western, Dr. Aubrey Cannon and Meghan Burchell, SA: McMaster,
Dr. Rhonda Bathurst and Dr. Neal Ferris, SA: Western. Photo taken at the McMaster SA facility.
As mentioned in previous blog posts, the labs and storage repository of Sustainable Archaeology: McMaster have been integrated into a renovated facility that is part of McMaster Innovation Park. Like Sustainable Archaeology: Western, the McMaster repository space is outfitted with high density mobile shelving units, and will store materials in the same green archival-grade polypropylene boxes as the Western facility. The two facilities will follow the same policies and procedures for storing and managing collections, using archival-grade packaging materials to ensure longevity and research viability of collections. Although held physically in two different facilities, all collections held by Sustainable Archaeology will be incorporated into the single database system and research platform developed by Sustainable Archaeology, allowing broad access to these materials.
Sustainable Archaeology McMaster lab spaces are designed to enable focus on materials analysis, including
petrographic, biogeochemical, zooarchaeological and geoarchaeological
studies. The facility has a processing and wet lab (seen below), where artifacts, faunal and floral materials, as well as soils and sediments are processed, and where materials preparation and analysis can be performed, as well as a microscopy and analytical lab space that incorporates a number of powerful microscopes, used to facilitate study of micro-artifacts and to produce high resolution digital images.
Over the next few months we'll be working closely with Sustainable Archaeology: McMaster to incorporate our inventory management system, which will allow us to track and manage collections held collectively by Sustainable Archaeology at the two facilities, and to finalize our policies for collections management. We'll also be working with our database team here at SA: Western and with SA: McMaster to begin testing the collections management portions of the database.
The microCT scanner at Sustainable Archaeology was used to non-destructively study charcoal remains from the Arkona site, a ca. AD 1200 Younge Phase village site in Ontario. The scanned charcoal was analyzed and identified by Ontario archaeobotanist Rudy Fecteau. Using the microCT allowed for the charred remains to be digitally "split" in order to examine internal structures while preserving the original specimen for future analysis.
As noted in the video, the species of the second charcoal sample was not determined, and we invite our blog readers to assist us with the identification. Below are two closeup images giving a closer look at the internal structures of the second sample. If you have an idea of what the species might be, let us know by commenting on the blog, by tweeting the answer to us (@SustArchaeology), or by posting on our Facebook page.
Special thank you to Rudy Fecteau for providing feedback and analysis on our scans, and for the delicious strawberry loaf!
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