Articles by Justin J L Kimball
Journal of Cultural Heritage, 2024
The cultural heritage sector has increasingly explored the use of micro-CT (μCT) across numerous ... more The cultural heritage sector has increasingly explored the use of micro-CT (μCT) across numerous projects seeking to better understand past cultures and the materials they have left behind. As such, the role of micro-CT (μCT) is still being developed and projects continue to show novel ways that the technology can be adapted to. The Gjellestad ship, located in Halden (Østfold in Viken), Norway, is dated to the Viking Age and was found in a poor state of preservation. Both organic and metallic materials were deteriorated to the degree that standard excavation methods would have resulted in further damage to, or even the destruction of, these elements. A new approach was needed, and this presented an opportunity to explore the use for μCT as a documentative tool for field archaeology and conservation. As the remaining rivets were too fragile to handle directly, they were removed together with the surrounding matrix as soil blocks. To retain important stratigraphic and position information, a georeferencing system was developed that would be visible to μCT and included within each soil block. This enabled the spatial (re)positioning of the soil blocks by use of 3D GIS and in alongside with other spatial documentation gathered at the time of excavation. The quantity of soil blocks will give us a large dataset to work with and, although we continue to document the soil blocks with μCT, we now can discuss our preliminary results pertaining to the positive impact that μCT has for the documentation, conservation, and reconstruction of cultural heritage.
Nothing invigorates nor expresses a culture quite like a national sport or game. These events cou... more Nothing invigorates nor expresses a culture quite like a national sport or game. These events could be viewed as outlets functioning not only as a means of entertainment, but as a manner through which competitors strive to sculpt their minds and bodies with the mentality, prowess, and raw strength that epitomise the ideals of the associated culture(s). The sports and games of a culture can lead to the creation and reinforcement of generalisations—thereby ultimately leading to a fabrication and proliferation of stereotypes. However, through careful observation of the rules, cultural ideas, and messages contained within these games, one may be able to see past the stereotypes and gain a glimpse of the true character of the associated culture. Using the relationship between the game of chess and medieval European culture as a comparison, this paper will examine the Iron Age Scandinavian board game of hnefatafl in order to dispel misconceptions and suggest an alternative, more constructive, means of describing Late Iron Age Scandinavian culture.
E-Books by Justin J L Kimball
Access Archaeology, Feb 3, 2016
A recent trend concerning archaeological research has focused on producing a real-time methodolog... more A recent trend concerning archaeological research has focused on producing a real-time methodology for 3D digital models as archaeological documentation within the excavation setting. While such methodologies have now firmly been established, what remains is to examine how 3D models can be integrated more fully alongside other forms of archaeological documentation. This work explored one avenue by developing a method that combines the interpretative power of traditional archaeological drawings and the realistic visualisation capacity of 3D digital models. An experiment was initiated during archaeological excavations at Uppåkra, Sweden where photographic data was captured to produce 3D digital models through Photoscan. These models were geospatially located within ESRI’s 3D GIS ArcScene where shapefile editing tools were used to draw overtop of their surfaces in three-dimensions. All drawings closely followed the single context method of drawing, were allotted context numbers, and given descriptive geodatabase attributes. This methodology resulted in the further integration of 3D models alongside other forms of archaeological documentation. The drawings increased the communicative powers of archaeological interpretation by enabling the information to be disseminated in a 3D environment alongside other formats of data that would have otherwise been disconnected in 2D space. Finally, the database attributes permitted the drawings complete integration within the geodatabase, thereby making them available for query and other analytical procedures. Archaeological information is three-dimensional; therefore, archaeologists must begin to approach documentation bearing this in mind. This technique has demonstrated that 3D models are a fluidic form of documentation allowing for accurate preservation of archaeology while enabling new forms of data to be derived all within a limited amount of time. Archaeologists must begin to affect change towards embracing 3D models and their associated applications as a standard tool within the excavator’s toolbox.
Papers by Justin J L Kimball
Lund Archaeological Review, 2013
Nothing invigorates nor expresses a culture quite like a national sport or game. These events cou... more Nothing invigorates nor expresses a culture quite like a national sport or game. These events could be viewed as outlets functioning not only as a means of entertainment, but as a manner through which competitors strive to sculpt their minds and bodies with the mentality, prowess, and raw strength that epitomise the ideals of the associated culture(s). The sports and games of a culture can lead to the creation and reinforcement of generalisations—thereby ultimately leading to a fabrication and proliferation of stereotypes. However, through careful observation of the rules, cultural ideas, and messages contained within these games, one may be able to see past the stereotypes and gain a glimpse of the true character of the associated culture. Using the relationship between the game of chess and medieval European culture as a comparison, this paper will examine the Iron Age Scandinavian board game of hnefatafl in order to dispel misconceptions and suggest an alternative, more constructive, means of describing Late Iron Age Scandinavian culture.
Viking, 2019
The iril at Øverby in Vingulmark This article presents the first interpretation of a 5th century ... more The iril at Øverby in Vingulmark This article presents the first interpretation of a 5th century proto-Norse runic inscription discovered in 2017 at Øverby, Østfold, Norway: "Cut runes in, skilled iril, for Isni”. The meaning of the word iril is discussed in light of the ten other proto-Norse inscriptions in Scandinavia where irils are mentioned. Through analysis of the language, history, archaeology and landscape context of all the iril inscriptions, we argue that the iril in the Roman and Migration period was a military leader, an earl, subordinate to a King. The iril at Øverby was Earl in the medieval shire of Vingulmark. The Earls in this period were located in strategic places in the outskirts of larger habitation areas close to the shire borders. The findings are set in context with among other Danish bog offering sites. We consider the iril a military leader for major warrior groups that fought in Scandinavia and on the continent 1500–1800 years ago.
A recent trend concerning archaeological research has focused on producing a real-time methodolog... more A recent trend concerning archaeological research has focused on producing a real-time methodology for 3D digital models as archaeological documentation within the excavation setting. While such methodologies have now firmly been established, what remains is to explore how 3D models can be integrated more fully alongside other forms of archaeological documentation. This thesis explored one avenue by developing a method that combines the interpretative power of traditional archaeological drawings and the realistic visualisation capacity of 3D digital models. An experiment was developed during archaeological excavations at Uppakra, Sweden where photographic data was captured to produce 3D digital models through Photoscan. These models were geospatially located within ESRI’s 3D GIS ArcScene where shapefile editing tools were used to draw overtop of their surfaces in three-dimensions. All drawings followed closely the single context method of drawing, were allotted context numbers, and given descriptive geodatabase attributes. This methodology resulted in the further integration of 3D models alongside other forms of archaeological documentation. The drawings increased the communicative powers of archaeological interpretation by enabling the information to be disseminated in a 3D environment alongside other formats of data that would have otherwise been disconnected in 2D space. Finally, the database attributes permitted the drawings complete integration within the geodatabase, thereby making them available for query and other analytical procedures. Archaeological information is three-dimensional, therefore archaeologists must begin to approach documentation bearing this in mind. This technique has demonstrated that 3D models are a fluidic form of documentation allowing for accurate preservation of archaeology while enabling new forms of data to be derived all within a limited amount of time. Archaeologists must begin to affect change towards embracing 3D models and their associated applications as a standard tool within the excavator’s toolbox. (Less)
Viking
The iril at Øverby in Vingulmark This article presents the first interpretation of a 5th century ... more The iril at Øverby in Vingulmark This article presents the first interpretation of a 5th century proto-Norse runic inscription discovered in 2017 at Øverby, Østfold, Norway: "Cut runes in, skilled iril, for Isni”. The meaning of the word iril is discussed in light of the ten other proto-Norse inscriptions in Scandinavia where irils are mentioned. Through analysis of the language, history, archaeology and landscape context of all the iril inscriptions, we argue that the iril in the Roman and Migration period was a military leader, an earl, subordinate to a King. The iril at Øverby was Earl in the medieval shire of Vingulmark. The Earls in this period were located in strategic places in the outskirts of larger habitation areas close to the shire borders. The findings are set in context with among other Danish bog offering sites. We consider the iril a military leader for major warrior groups that fought in Scandinavia and on the continent 1500–1800 years ago.
Viking, 2019
This article presents the first interpretation of a 5th century proto-Norse runic inscription dis... more This article presents the first interpretation of a 5th century proto-Norse runic inscription discovered in 2017 at Øverby, Østfold, Norway: “Cut runes in, skilled iril, for Isni”. The meaning of the word iril is discussed in light of the ten other proto-Norse inscriptions in Scandinavia where irils are mentioned. Through analysis of the language, history, archaeology and landscape context of all the iril inscriptions, we argue that the iril in the Roman and Migration period was a military leader, an earl, subordinate to a King. The iril at Øverby was Earl in the medieval shire of Vingulmark. The Earls in this period were located in strategic places in the outskirts of larger habitation areas close to the shire borders. The findings are set in context with among other Danish bog offering sites. We consider the iril a military leader for major warrior groups that fought in Scandinavia and on the continent 1500–1800 years ago
Lund University Publications, Jun 13, 2014
A recent trend concerning archaeological research has focused on producing a real-time methodolog... more A recent trend concerning archaeological research has focused on producing a real-time methodology for 3D digital models as archaeological documentation within the excavation setting. While such methodologies have now firmly been established, what remains is to explore how 3D models can be integrated more fully alongside other forms of archaeological documentation. This thesis explored one avenue by developing a method that combines the interpretative power of traditional archaeological drawings and the realistic visualisation capacity of 3D digital models. An experiment was developed during archaeological excavations at Uppåkra, Sweden where photographic data was captured to produce 3D digital models through Photoscan. These models were geospatially located within ESRI’s 3D GIS ArcScene where shapefile editing tools were used to draw overtop of their surfaces in three-dimensions. All drawings followed closely the single context method of drawing, were allotted context numbers, and given descriptive geodatabase attributes. This methodology resulted in the further integration of 3D models alongside other forms of archaeological documentation. The drawings increased the communicative powers of archaeological interpretation by enabling the information to be disseminated in a 3D environment alongside other formats of data that would have otherwise been disconnected in 2D space. Finally, the database attributes permitted the drawings complete integration within the geodatabase, thereby making them available for query and other analytical procedures. Archaeological information is three-dimensional, therefore archaeologists must begin to approach documentation bearing this in mind. This technique has demonstrated that 3D models are a fluidic form of documentation allowing for accurate preservation of archaeology while enabling new forms of data to be derived all within a limited amount of time. Archaeologists must begin to affect change towards embracing 3D models and their associated applications as a standard tool within the excavator’s toolbox.
Conference Presentations by Justin J L Kimball
CAA Nordic, 2020
Modern 3D documentation methods, and their derived products, have reached fantastic levels of det... more Modern 3D documentation methods, and their derived products, have reached fantastic levels of detail. We have the capacity to describe surfaces on scales ranging, for example, between kilometres and micrometres. The scope of this is truly staggering. Yet, how does one define the “quality” of documentation? In the lab today between technicians and researchers, one will often here some variation of the phrase “this is a <level + 'quality/resolution' + model>” (e.g. low-quality; high-resolution). This habit has even permeated down into the public's lexicon, which can be readily seen in various technological products and how they are promoted.
From a technician's perspective, it is easy to define a 3D model by its processing parametres, that are often named after these phrases within the software itself. A researcher on the other hand is concerned with working from and presenting the highest-quality data possible—and a consumer/client, will obviously be looking to get the best model for a reasonable price.
But what does it all mean? How do we define the phase “<level + 'quality/resolution' + model>”? Does this phrase actually convey an accurate and relatable meaning between technicians, researchers, and clients? Can the phrase even accomplish this between technicians? In my experience, the answer is no—it does not.
This problem can obviously have many repercussions and it behoves us to find a solution. This paper aims to identify the common pitfalls and suggest possible solutions—not as a cure-all strategy—but rather as a means to open a dialogue to help us explicitly define what we mean by quality in 3D documentation and how we can best communicate these definitions to others.
CAA Norge , 2019
3D scanning has the potential to give researchers new opportunities to study engravings found in ... more 3D scanning has the potential to give researchers new opportunities to study engravings found in a variety of mediums, including stone, bone, wood, and metal. As a documentation tool, 3D scanning can reproduce the surface of a real-world object in very high detail. This is important, because it can allow researchers to digitally manipulate objects in ways that are impossible otherwise. Another key feature of 3D scanning is that it is possible to use the computer itself—through software designed for 3D data—to make analyses on the surface of the object in order to better understand its geometric properties. A well-known example of such processes are topographic maps, which describe the surface contours of a landscape as with contour lines or, better yet, gradient colour scales.
A technology company named Gesellschaft für Optische Messtechnik (GOM) has developed software that collects 3D data and analyses it. In this software, “Surface Defect Analysis” is one of the tools that can identify subtle variances in manufactured materials. The software tool works by calculating what the nominal value of the surface is and then identifying both positive and negative deviations from the calculated value. For researchers concerned with engravings, this means that the software can discern the difference between the natural/nominal surface of the material and areas modified by engraving.
We tested this methodology and applied it to three objects: a known runestone, an unknown rock carving, and an ornate metal buckle. As a result, we found that the software helped to illuminate details in the engravings that were difficult to discern by manual inspection of the surface. In the case of the runestone, the software played a key role in helping to first transcribe and then translate the runic script. Although not commonly used within cultural heritage, this software shows great potential and more discussion and experimentation must take place to define the role it can play.
Photogrammetry is becoming a standard tool within archaeology, yet there remains uncertainty to i... more Photogrammetry is becoming a standard tool within archaeology, yet there remains uncertainty to its definitive role. Important questions remain, the most notable being “how can photogrammetry benefit archaeological documentation?” and “when is it appropriate to use photogrammetry?”. We must be willing to answer questions like these in order for archaeology to incorporate and benefit from new technologies. This is an active issue within research archaeology; however, the goals of research archaeology do not necessarily match those within archaeology as a whole. Today, infrastructural archaeology, not research archaeology, accounts for the majority of excavations and it is within this that we must explore the role of new technologies. We have endeavoured to address this issue within the Sotrasambandet project—a large infrastructural archaeology project managed by the University of Bergen. The project involves the excavation of several Stone Age sites situated on the western coast of Norway ahead of the construction of a new roadway. These kinds of projects are fast-paced and highly dynamic, and archaeologists working in these environments must have access to the right tools and methodologies to perform their jobs. At the Sotrasambandet project, we have found that photogrammetry is a powerful component of our documentation strategy. Through this technology, we have been able to achieve both traditional and novel formats of documentation for infrastructural archaeology. Most significant, has been that using this technology has allowed us to achieve an adaptive photogrammetry—in other words, we have established a methodology that allows archaeologists to document in 3D and return that data quickly to the field in a variety of formats for immediate use. Our use of photogrammetry addresses the issues highlighted above by developing a framework for the technology while demonstrating its ability to affect the quality and functionality of documentation within the constraints of infrastructural archaeology.
CAA-Norway 2017 Conference Presentation. 3D/4D GISs have been the subject of study within researc... more CAA-Norway 2017 Conference Presentation. 3D/4D GISs have been the subject of study within research archaeology for several years now. This paper looks at how rescue archaeology could benefit from a 3D/4D GIS as part of the documentation strategy. The data for the GIS were gathered during the 2017 Sotrasamband Project (University of Bergen). The methodology to establish the GIS is described and the experiences from its use are recounted. A strategy is then proposed for the 2018 excavation season, based on the benefits and challenges of using a 3D/4D GIS within rescue archaeology.
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Articles by Justin J L Kimball
E-Books by Justin J L Kimball
Papers by Justin J L Kimball
Conference Presentations by Justin J L Kimball
From a technician's perspective, it is easy to define a 3D model by its processing parametres, that are often named after these phrases within the software itself. A researcher on the other hand is concerned with working from and presenting the highest-quality data possible—and a consumer/client, will obviously be looking to get the best model for a reasonable price.
But what does it all mean? How do we define the phase “<level + 'quality/resolution' + model>”? Does this phrase actually convey an accurate and relatable meaning between technicians, researchers, and clients? Can the phrase even accomplish this between technicians? In my experience, the answer is no—it does not.
This problem can obviously have many repercussions and it behoves us to find a solution. This paper aims to identify the common pitfalls and suggest possible solutions—not as a cure-all strategy—but rather as a means to open a dialogue to help us explicitly define what we mean by quality in 3D documentation and how we can best communicate these definitions to others.
A technology company named Gesellschaft für Optische Messtechnik (GOM) has developed software that collects 3D data and analyses it. In this software, “Surface Defect Analysis” is one of the tools that can identify subtle variances in manufactured materials. The software tool works by calculating what the nominal value of the surface is and then identifying both positive and negative deviations from the calculated value. For researchers concerned with engravings, this means that the software can discern the difference between the natural/nominal surface of the material and areas modified by engraving.
We tested this methodology and applied it to three objects: a known runestone, an unknown rock carving, and an ornate metal buckle. As a result, we found that the software helped to illuminate details in the engravings that were difficult to discern by manual inspection of the surface. In the case of the runestone, the software played a key role in helping to first transcribe and then translate the runic script. Although not commonly used within cultural heritage, this software shows great potential and more discussion and experimentation must take place to define the role it can play.
From a technician's perspective, it is easy to define a 3D model by its processing parametres, that are often named after these phrases within the software itself. A researcher on the other hand is concerned with working from and presenting the highest-quality data possible—and a consumer/client, will obviously be looking to get the best model for a reasonable price.
But what does it all mean? How do we define the phase “<level + 'quality/resolution' + model>”? Does this phrase actually convey an accurate and relatable meaning between technicians, researchers, and clients? Can the phrase even accomplish this between technicians? In my experience, the answer is no—it does not.
This problem can obviously have many repercussions and it behoves us to find a solution. This paper aims to identify the common pitfalls and suggest possible solutions—not as a cure-all strategy—but rather as a means to open a dialogue to help us explicitly define what we mean by quality in 3D documentation and how we can best communicate these definitions to others.
A technology company named Gesellschaft für Optische Messtechnik (GOM) has developed software that collects 3D data and analyses it. In this software, “Surface Defect Analysis” is one of the tools that can identify subtle variances in manufactured materials. The software tool works by calculating what the nominal value of the surface is and then identifying both positive and negative deviations from the calculated value. For researchers concerned with engravings, this means that the software can discern the difference between the natural/nominal surface of the material and areas modified by engraving.
We tested this methodology and applied it to three objects: a known runestone, an unknown rock carving, and an ornate metal buckle. As a result, we found that the software helped to illuminate details in the engravings that were difficult to discern by manual inspection of the surface. In the case of the runestone, the software played a key role in helping to first transcribe and then translate the runic script. Although not commonly used within cultural heritage, this software shows great potential and more discussion and experimentation must take place to define the role it can play.