A method to visually rationalise superimposed pigment motifs

Rock Art Research

Volumn 27, Issue 2, 2010, Pages 131-136

  Gunn, R G ^a   Ogleby, C L ^b   Lee, D ^c   Whear, R L ^d  

^a University of Melbourne ^*  (Australia)

^b UNIVERSITY OF MELBOURNE   (Australia)

^c Western Rock Art Research   (United States)

^d Jawoyn Association Aboriginal Corporation   (Australia)

Author keywords

Arnhem Land; Australia; D stretch; Graphic layer; Superimposition

Indexed keywords

EID: 78650215301     PISSN: 08130426     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (25)

1. ABRAMOFF, M. D., P. J. MAGELHAES and S. J. RAM 2004. Image processing with ImageJ. Biophotonics International 11(7): 36-42.
2. ALLEY, R. E. 1996. Algorithm theoretical basis document for decorrelation stretch version 2.2. On line http://trs-new.jpl.nasa.gov/dspace/bitstream/2014/ 18630/1/99-2010.pdf, accessed January 2010.
3. BEGOUËN, R. and J. CLOTTES 1987. Les Trio-Freres after Breuil. Antiquity 60: 180-187.
4. CHALOUPKA, G. 1977. Aspects of the chronology and schematisation of two prehistoric sites on the Arnhem Land plateau. In P. J. Ucko (ed.), Form in indigenous art, pp. 243-259. Australian Institute of Aboriginal Studies, Canberra.
5. CHIPPINDALE, C. and P. S. C. TAÇON 1993. Two old painted panels from Kakadu: variation and sequencein Arnhem Land rock art. In J. Steinberg, A. Watchman, P. Faulstich and P. S. C. Taçon (eds), Time and space: dating and spatial considerations in rock-art research, pp. 32-56. Occasional AURA Publication 8, Australian Rock Art Research Association, Melbourne.
6. CLEGG, J. 1980. Rock art - how to appreciate it. In C. Haigh and W. Goldstein (eds), The Aborigines of New South Wales, pp. 115-122. National Parks and Wildlife Service, Sydney.
7. CLEGG, J. 1983. Recording prehistoric art. In G. Connah (ed.), Australian field archaeology: a guide to techniques, pp. 87-108. Australian Institute of Aboriginal Studies, Canberra.
8. CLEGG, J. 1991. Cleggnotes on recording prehistoric pictures. In C. Pearson and B. K. Swartz (eds), Rock art and posterity: conserving, managing and recording rock art, pp. 113-114. Occasional AURA Publication 4, Australian Rock Art Research Association, Melbourne.
9. COUTTS, P. J. F. and M. LORBLANCHET 1982. Aborigines and rock art in the Grampians. Records of the Victoria Archaeological Survey 12, Ministry for Conservation, Melbourne.
10. DAVID, B., J. BRAYER, I. J. MCNIVEN and A. WATCHMAN 2001. Why digital enhancement of rock paintings works: rescaling and saturating colours. Antiquity 75: 781-792.
11. GILLESPIE, A. R., A. B. KAHLE and R. E. WALKER 2006. Color enhancement of highly correlated images: I Decorrelation and HSI contrast stretches. Remote Sensing of Environment 20(3): 209-235.
12. GUNN, R. G. 1995. Guidelines for recording Australian Aboriginal rock imagery. In G. K. Ward and L. A. Ward (eds), Management of rock imagery, pp. 124-127. Occasional AURA Publication 9, Australian Rock Art Research Association, Melbourne.
13. HARMAN, J. 2008. Using decorrelation stretch to enhance rock art images. Online paper at (http://www.dstretch.com/AlgorithmDescription.html). Updated paper originally presented at American Rock Art Research Association Annual Meeting 2005, accessed January 2010.
14. KEYSER, J. D. 2001. Relative dating methods. In D. S. Whitley (ed.), Handbook of rock art research, pp. 116-138. Altamira Press, Walnut Creek.
15. LEROI-GOURHAN, A. 1967. Treasures of prehistoric art. Abrams, New York.
16. LOUBSER, J. H. N. 1997. The use of Harris diagrams in recording, conservation and interpreting rock paintings. International Newsletter on Rock Art 18: 14-21.
17. MCCARTHY, F. D. 1974. Space and superimpositions in Australian Aboriginal art. In A. K. Ghosh (ed.), Perspectives in palaeoanthropology, pp. 113-128. Firma K. L. Mukhopadhyay, Calcutta.
18. MCCARTHY, F. D. 1976. Rock art of the Cobar pediplain in central western New South Wales. Australian Institute of Aboriginal Studies, Canberra.
19. MCNIVEN, I., B. DAVID and L. BRADY 2002. Torres Strait rock art: an enhanced perspective. Australian Aboriginal Studies 2002/2: 69-74.
20. MARK, R., and E. BILLO 2006. Computer-assisted documentation of rock art. Coalition (electronic newsletter at http://www.rtphc.csic.es/PDF/NL11.pdf) 11: 10-14.
21. MORWOOD, M. J. 1976. Three rock art sites in central Queensland. Occasional Papers of the Queensland University Anthropology Museum 6: 84-96.
22. OGLEBY, C. 1995. Digital technology in the documentation and management of rock art. In A. Thorn and J. Brunet (eds), Preservation of rock art, pp. 80-87. Occasional AURA Publication 9, Australian Rock Art Research Association, Melbourne.
23. ROSENFELD, A. 1977. Recording rock art: a conflict of purpose? In C. Pearson (ed.), Conservation of rock art, pp. 9-14. ICCM, Perth.
24. SZELISKI, R. 2004. Image alignment and stitching: a tutorial http://research.microsoft.com/apps/pubs/default.aspx?id=70092, accessed January 2010.
25. TREZISE, P. 1971. Rock art of south-east Cape York. Australian Institute of Aboriginal Studies, Canberra.