3D Laser scanning

Although alternatives have become available, pen and ink drawings of stone tools dominate archaeological publications. Despite the existence of a conventional illustration framework, the work produced by illustrators can be inconsistent and hinges on skill level
and time commitment. Discussions going back to the 1880s critically question the use of illustrations for the purpose of scientific publication. Alternatives, such as laser scanning and photogrammetric modeling, are now available for displaying lithics. These alternatives can remove the subjectivity involved in artistic rendering, creating replicable results, regardless of who is collecting the data. In addition to creating more regularized and objective representations, there are a significant number of analytical and other benefits to adopting novel imaging techniques to depict stone tools in publications. A set of three-dimensional (3D) models are presented here to demonstrate the capabilities of laser scanning and, potentially, photogrammetric modeling as replacements for lithic illustration.

Recent technological advancements have made a tremendous impact in the fields of biological anthropology and archaeology. Although advancements in DNA analysis have overshadowed other areas of progress in the subfields of biological anthropology, bioarchaeologists are now utilizing many other new forms of technology in their work. In particular, three-dimensional (3D) laser scanning offers a sophisticated method of documenting and studying prehistoric human skeletons. In recent years, portable laser scanning devices capable of creating high resolution images have become available, enabling researchers to scan and archive skeletal collections from archaeological sites and museum collections around the world. 3D laser scanners are inexpensive, simple to operate, and completely non-destructive to human skeletal material. A major benefit is that they offer a cost-effective method of creating a digital record of skeletal collections for museum archives. Since published research using 3D methods typically focuses on sophisticated analyses used to analyze 3D data that are difficult for the novice user to follow, in this paper we provide a simple and straightforward overview of 3D scanning methods aimed at nonspecialists. We discuss how these methods can be used to preserve and document osteological material in museums, develop research ideas in the subfields of biological anthropology, and increase the potential for scholarly collaboration.

Despite a long history of research and conservation dating back to the late 19th century, when the current stage in the management of the three large Antequeran megalithic monuments started in 2004 there was an almost complete absence of high-resolution cartography to support their study and protection. To being to solve this severe deficiency, a high-resolution cartographic survey of Menga through terrestrial laser scanning, 3D modelling and photogrammetry was carried out in 2005. In this paper we present a short summary of that work, describing its technical and conceptual basis as well as the results that were obtained. In addition, we briefly discuss some examples of the highly positive impact this newly developed cartography has had on the management and research of this megalithic monument.

We tested three surface scanning systems: the low cost NextEngine laser scanner, the white light Fringe Projection Breuckmann Smartscan and the white light Fringe Projection Steinbichler COMET V 4M. We evaluate the potential of such systems for digitalizing original anthropological specimens and compare it with a "nominal" 3D model derived from µCT or CT data. Our results show that surface scanning of teeth is generally problematic even for high end systems. Even though studies of the occlusal surface are possible with high end systems, high resolution µCT still has to be considered the best choice for scientific studies dealing with details of the occlusal surface. However, for general digitalization purposes and recording of dimensions even the NextEngine system is suitable. In our tests, Breuckmann Smartscan produced the best models with the lowest deviation compared to the nominal µCTmodel. The Steinbichler is the fastest system but the quality of the resulting models is slightly lower. NextEngine produces a clearly lower quality than the tested high end systems but if one considers the different price margins of the systems, the proportionally good data provided by NextEngine is remarkable. In the case of bones with a simple geometric structure, this low cost scanner can compete easily with 3D models derived from medical CT for gross morphometric studies.

A total of 11 340 Cartesian coordinates of 42 homologous landmarks on five excavated human crania were recorded by three observers using a three-dimensional (3D) digitiser and computer models created with a 3D laser scanner. The aim was to compare the errors of the coordinate data of landmarks of different types recorded with these two techniques. The results showed that digitiser-based and 3D model-based coordinate measurements had overall standard deviations of, respectively, ±0.79 and ±1.05 mm. However, the 3D digitiser yielded the most precise coordinate data for landmarks defined primarily by biological criteria (Type I landmarks), while the 3D laser scanner models yielded the most precise coordinate data for landmarks defined primarily by geometric criteria (Type III landmarks). These findings are likely to influence the research design of future craniometric studies, as they indicate that the suitability of certain landmark types as reference points for geometric operations, such as partial Procrustes analysis, depends on the method by which they are measured. This information is particularly important for retrospective research or for combined databases such as FORDISC or CRANID, which may integrate different types of landmarks recorded by different researchers and/or instruments. Crania displaying poor preservation and surface discoloration yielded larger measurement errors, especially for the 3D model measurements. This is not surprising given that landmarks on 3D models cannot be located using tactile means, but have to be located solely on a visual basis. Nonetheless, even though the digitiser measurements exhibit an overall precision slightly greater than the 3D model measurements, both techniques yield coordinate data with a precision sufficient for most craniometric research.

Preface:

From culture to computing, archaeology to archiving, documentation to databases, or games to graphics DigitalHERITAGE is all about technology for preserving, protecting, and presenting the past. Yet just a quarter of a century ago, ‘digital heritage’ did not exist.

The Birth of a new Domain:

The last 25 years have witnessed profound changes in the technological landscape around us. In the mid-1990’s there were no “smartphones”, and even text messaging was in its infancy. Few had laptop computers, let alone ‘tablets’. Multimedia typically implied an ‘interactive’ CD-ROM. 3D visual effects were just beginning to overtake traditional methods in Hollywood, with the success of Jurassic Park leading to the first fully synthetic characters. The first LiDAR scanners were emerging from the labs, offering the promise of a replacement for cumbersome large-format analog cameras and photogrammetry workstations. VR was in its infancy, yet required cabinet-sized graphic supercomputers and head- mounted displays costing hundreds of thousands of dollars. Who would have guessed then that VR would be back some 20 years later as a top tech investment opportunity?

Gathering at Japan’s Gifu University in 1995, leaders of the nascent world of virtual technologies and digital media came together for an inaugural Virtual Systems and Multimedia Conference, creating arguably the first international VR technical society. Although VSMM as it came to be known has always had a cross-disciplinary focus, from its earliest days it has had a special place in its heart for heritage. Born in the rich cultural landscape of central Japan, the VSMM Society put an early emphasis on new media and virtual tools for preserving and protecting humanities treasures, launching the Virtual Heritage Network. Meanwhile across the many disciplines of heritage, other domains were also forming expert groups and gatherings around emerging digital tools. CAA in archaeology, ICOMOS/ISPRS’s CIPA in heritage documentation, the Pacific Neighborhood Consortium, and more were also holding early meetings to explore the potential of the digital for culture.

Bridging Traditional Disciplines:

By 2002 numerous initiatives and efforts around virtual heritage, digital culture, 3D documentation, visualization of the past, applications in archaeology, mapping and culture, and more had been born. In the early days of digital heritage, with just a few conferences it was possible to meet with multiple disciplines and learn from specialists in other fields. But with the growth of the new domain and an explosion in activities, professionals were now limited in how far beyond their core disciplines they could explore. Witnessing increasing compartmentalization, at the VAST Conference in Athens that year I argued in my closing keynote for our many communities to come together periodically to promote trans- disciplinary collaboration and avoid the fragmentation and silos so common to new academic domains. Although many of us tried, cross-disciplinary initiatives proved much harder to produce than to propose!

Fast forward another decade to 2013 and the digital landscape of heritage was in full bloom with even more events, publications, and organizations. Consensus was forming across the field that it was time to unite. So in the spring of that year I hosted a gathering of leaders from across our many communities at UNESCO in Paris to plan a ‘federated congress of conferences’ where all could come together under one roof to share, discuss and collaborate, while maintaining their individual identities. In the fall of 2013, under the expert leadership of Livio de Luca in Marseille, UNESCO, VSMM, ICOMOS, CAA, EuroGraphics and more launched DigitalHERITAGE with our first joint Congress. This was followed with a 2nd International Congress two years later in the historic splendor of Granada, Spain. Moving to a 3-year cycle, and recognizing the importance of including the global community beyond Europe, we voted to hold our 3rd International Congress in 2018 in the United States.

New Realities: Authenticity & Automation in the Digital Age:

Gathering in San Francisco, California in late October 2018, some 500 heritage professionals from more than 25 nations came together for the 3rd DigitalHERITAGE International Congress under the theme of New Realities: Authenticity & Automation in the Digital Age. For five sunny days on historic piers overlooking the Golden Gate bridge, experts from a.multitude of domains came together at the epicenter of the silicon economy. From architects to archaeologists, and artists to engineers, surveyors to sociologists, archivists to librarians, information scientists to museologists, tool developers to tool users, faculty to students, and more we presented, discussed and debated heritage’s digital future.

Held at the US National Park Service’s Fort Mason Center for the Arts and Culture, where thousands of young soldiers once boarded ships to fight in far off lands in World War II, the 2018 Congress marked a coming together of cultures and domains, and a chance to find common ground and learn from each other. Following welcome remarks by Dr. Gordon Knox, President of the San Francisco Art Institute, Dr. Chin- Shing Huang, Vice President of Academia Sinica, and Dr. Lewis Lancaster, Director of the Electronic Cultural Atlas Initiative, the Congress leadership representing some 20 special sessions and supporting institutions and societies came on stage to give an overview of the multi-day program. Nine thought- provoking keynote addresses by luminaries from multiple disciplines are detailed in the following pages. Over 100 talks, 20 plus special sessions, panels, and roundtables, numerous workshops, a half-dozen tours, and an expo of hands-on demonstrations filled out the agenda. A final highlight was a special dinner and tour onboard one of the last operational World War II Liberty Ships, the SS Jeremiah O’Brien.
This volume brings together the research and findings of the best of hundreds of submissions to the main track of this our 3rd International Congress. The enclosed papers were peer-reviewed in double blind fashion by an international committee of experts from across the heritage spectrum. Those accepted herein as full and short papers represent the best of digital heritage research today. (A second volume, containing papers submitted to the co-located Pacific Neighborhood Consortium Conference is available separately from IEEE as well.)

In closing, I would like to thank the countless authors and attendees for joining us in the City by the Bay and bringing their presentations, exhibits and ideas to share. It was a truly stimulating week of exploration and discovery. I encourage you to continue your research and to push the power of the digital to help preserve, protect, and promote humanity’s storied heritage.

Lon Addison
Congress Chair

Preface

Bienvenue à Marseille et à DigitalHeritage 2013 – the first International Congress on Digital Heritage.  It is our honor and pleasure to welcome you to this multi-disciplinary global gathering on the application of digital technology to the documentation, conservation, and understanding of humanity’s shared past. Spanning heritage in all its rich variety, from the built, to intangible traditions, and museums and collections, to documentary archives, and creativity and art, this unique Congress bridges research and practice, industry and government, and art and science.

It was 15 years ago that some of us first spoke of the value of trying to bring the many exciting but disparate young events and communities around heritage and technology together. As the field has grown, and a new domain of Digital Heritage has slowly formed, the need to bridge the naturally self-segregating vertical domains has only increased. After a few false starts, finally in late spring of 2013, less than 8 months ago, a critical mass of forward-looking leaders from across the heritage and
technology worlds came together and agreed to unite their respective communities under one roof in a shared experiment in Marseille. It is important to note that DigitalHeritage is a test in cooperation and
shared governance for this new domain, and neither replaces nor supersedes any of the existing events or communities. It was agreed at the outset that a joint event would not be held in 2014, so that the
federating groups could refocus on their individual strengths before any future global gathering might be convened.

Under the patronage of UNESCO, this unique Congress federates over a dozen ‘Digital Heritage’ communities, encompassing three leading scientific events in the field:
VSMM 2013 – the 19th Int’l Conference on Virtual Systems and Multimedia
GCH 2013 – the 10th Eurographics Symposium on Graphics and Cultural Heritage
MEMORY OF THE WORLD the 2nd UNESCO Int’l Conference on Memory of the World in the Digital Age
plus two major public exhibitions:
ARCHAEOVIRTUAL – the 7th Exhibition on Virtual Archaeology and Museums
DAW – the 7th Digital Art Week
and complemented by a rich array of regional and special events:
ARQUEOLÓGICA 2.0 – the 5th Int’l Mtg. on Archaeology, Cultural Heritage & Information
CAA Fall 2013 – Computer Applications & Quantitative Methods in Archaeology Symposium
From Space to Place – the 6th Int’l Symposium on Remote Sensing in Archaeology
ICOMOS/ISPRS CIPA – Heritage Documentation Int’l Scientific Committee meeting
ICOMOS ICIP Panel – ICOMOS Int’l Committee for Heritage Interpretation & Presentation
Museum & Technology – a special session organized by V-MUST.NET
DISH – a special Workshop of the Digital Strategies for Heritage Conference
Heritage Policies & Digital Technologies – a special event of the French Ministry of Culture & Communication
and multiple EU Projects – including: v.must, Eagle, Archaeolandscapes, AthenaPlus, 3dIcons, EuropeanaPhotography, 3nCult, emap, LaCloud, et al.

Over 600 submissions, the largest ever in this field, were received from close to 70 countries in response to the scientific call. An International Program Committee of over 150 experts from across the heritage and technology spectra read through this vast body of works, conducting over 1500 reviews. Seeking to highlight the very best in this new domain, the Congress accepted 101 Full Papers, 110 Short Papers, and 82 Poster abstracts for publication. In addition the Committee accepted approximately 50 Panel, Workshop, Tutorial, and Special Session presentations.

The resulting 350 plus works are grouped in 6 thematic Tracks in this two-volume Proceedings: Digitization; Visualization & Interaction; Analysis & Interpretation; Policy & Standards; Preservation; and Theory, Methods & Applications; plus Special Sessions. An international exhibition of 30 cutting-edge projects spanning 700 square meters is detailed in a separate third volume.

Since interaction, debate, and discussion with colleagues both old and new is as important as research, your program over the week-long Congress has been supplemented with time for interaction in the company of local culture and gastronomy, from lunches on the Esplanade, to evening cocktails and a
gala dinner, plus an array of cultural visits in the region.

As you gather in the 2013 European Capital of Culture, we invite you to look beyond the digital and take time to experience the very real heritage, customs and life of this ancient “Ville” and cultural crossroads of the Mediterranean. France’s second largest city and metropolis, Marseille has also been called France’s oldest. Fittingly, our Congress venue at the gateway of the ancient port spans the old and new, from the picturesque historic Fort Saint-Jean to the technically innovative architecture of the
just-opened Villa Meditérranée and MuCEM.

Such an event would not have been possible without the generous contributions and support of many colleagues and partners, especially in such a short time. To the Congress Chairs and Commissioners we owe a huge debt of thanks for the countless hours they gave to bring this event together. To our many corporate and government sponsors and patrons, and especially CNRS, our thanks for the financial support that made this event possible. To our publisher and partner IEEE we extend our
gratitude for the special alliance to make this first DigitalHeritage Congress open access so that the entire world can learn and benefit from this emerging discipline. Finally, we would like to thank the Local Organizers (CNRS in collaboration with local research institutions Provence : Aix-Marseille University, Arts et Métiers ParisTech, CICRP, School of Architecture and INRIA) and especially the teams at CNRS-MAP and CNR-ITABC who have worked tirelessly for many months to bring this event together.

In closing, we welcome you to Marseille and to the first International Congress on Digital Heritage and wish you an enriching, stimulating, and enjoyable week of discovery.

Alonzo C. Addison,
Livio De Luca,
and Sofia Pescarin
Congress Co-Chairs
Marseille, October 2013

This paper aims to illustrate the preliminary results of a research project on the dome of Pisa Cathedral (Italy). The final objective of the present research is to achieve a deep understanding of the structural behaviour of the dome, through a detailed knowledge of its geometry and constituent materials, and by taking into account historical and architectural aspects as well. A reliable survey of the dome is the essential starting point for any further investigation and adequate structural modelling. Examination of the status quo on the surveys of the Cathedral dome shows that a detailed survey suitable for structural analysis is in fact lacking. For this reason, high-density and high-precision surveys have been planned, by considering that a different survey output is needed, according both to the type of structural model chosen and purposes to be achieved. Thus, both range-based (laser scanning) and image-based (3D Photogrammetry) survey methodologies have been used. This contribution introduces the first results concerning the shape of the dome derived from surveys. Furthermore, a comparison is made between such survey outputs and those available in the literature.

Abstract: In this contribution we discuss some questions relative to the use of New Technologies in the scope of the registry, preservation and spreading of Archaeological Heritage. In particular, through the analysis of an example, we display some advantages and disadvantages of using a 3D digitizer (Konica Minolta Non-Contact 3D Digitizer VI-910) in small archaeological objects, as well as the application of the 3-Dimensional Photopolymers Printing System by means of a 3D printer (Objet EDEN 500VTM).

Key Words: Archaeological Heritage, New Technologies, 3D laser digitizer, 3-Dimensional Photopolymers Printing System, registry-preservation-spreading
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Resumen: En esta aportación vamos a comentar algunas cuestiones relativas al empleo de las Nuevas Tecnologías en el ámbito del registro, la conservación y difusión del Patrimonio Arqueológico. En concreto, a través del análisis de un ejemplo, vamos a presentar algunas ventajas e inconvenientes del empleo de un escáner 3D (Konica Minolta Non-Contact 3D Digitizer VI-910) en pequeños objetos arqueológicos, así como la aplicación del prototipado rápido por medio de una impresora 3D (Objet EDEN 500VTM).

Palabras clave: Patrimonio Arqueológico, Nuevas Tecnologías, láser escáner 3D, prototipado rápido, registro-conservación-divulgación.

With the constant development of digital means of entertainment – that are easily made available to people and, in most cases, can be used anywhere – nowadays, a visit to a museum have to surround publics with unexpected and interactive experiences, in order to capture their attention and make them want to go to these places, in addition to continue to communicate their collections and promote society education. In this regard, it was discussed in this chapter the actual panorama of interactive technologies used in museums exhibitions worldwide, and there are discussed how these institutions are designing digital installations and utilizing virtual media to enhance the visitors' experience, promoting positive relations between them and their publics. The main conclusion and reflection of the chapter is based on how this new era of technology is allowing increasing physical, cognitive and sensory accessibility, and transforms this kind of experience for disabled publics.

This comparison of methods for assessing the development of muscle insertion sites, or entheses, suggests that three-dimensional (3D) quantification of enthesis morphology can produce a picture of habitual muscle use patterns in a past population that is similar to one produced by ordinal scores for describing enthesis morphology. Upper limb skeletal elements (humeri, radii, and ulnae) from a sample of 24 middle-aged adult males from the Pottery Mound site in New Mexico were analyzed for both fibrous and fibrocartilaginous enthesis development with three different methods: ordinal scores, two-dimensional (2D) area measurements, and 3D surface areas. The methods were compared using tests for asymmetry and correlations among variables in each quantitative data set. 2D representations of enthesis area did not agree as closely as ordinal scores and 3D surface areas did regarding which entheses were significantly asymmetrical. There was significant correlation between 3D and 2D data, but correlation coefficients were not consistently high. Intraobserver error was also assessed for the 3D method. Cronbach's alpha values fell between 0.68 and 0.73, and error rates for all entheses fell between 10% and 15%. Marginally acceptable intraobserver error and the analytic versatility of 3D images encourage further investigation of using 3D scanning technology for quantifying enthesis development. Am J Phys Anthropol 152:417-424, 2013.

In this paper a laser scanner based on the operation principle of continuous-wave frequency-modulated (CWFM) radar is applied to the acquisition of a digital three-dimensional model of the well-known David by Donatello. The steps of the acquisition procedure and the related technical solutions are reported. The scientific focus was on the processing pipeline simplification due to the new acquisition methodology. Detailed results are presented, demonstrating how the use of this type of sensor allows digitization of works of art made of materials that cannot be sampled, and improvement in the overall level of modelling accuracy.

We examined the affect of tissue depth variation on the reconstruction of facial form, through the application of the American method, utilizing published tissue depth measurements for emaciated, normal, and obese faces. In this preliminary study, three reconstructions were created on reproductions of the same skull for each set of tissue depth measurements. The resulting morphological variation was measured quantitatively using the anthropometric craniofacial variability index (CVI). This method employs 16 standard craniofacial anthropometric measurements and the results reflect ‘‘pattern variation’’ or facial harmony. We report no appreciable variation in the quantitative measure of the pattern facial form obtained from the three different sets of tissue depths. Facial similarity was assessed qualitatively utilizing surveys of photographs of the three reconstructions. Surveys indicated that subjects frequently perceived the reconstructions as representing different individuals. This disagreement indicates that size of the face may blind observers to similarities in facial form. This research is significant because it illustrates the confounding effect that normal human variation contributes in the successful recognition of individuals from a representational three-dimensional facial reconstruction. Research results suggest that successful identification could be increased if multiple reconstructions were created which reflect a wide range of possible outcomes for facial form. The creation of multiple facial images, from a single skull, will be facilitated as computerized versions of facial reconstruction are further developed and refined.

In August 2010, an international group of zooarchaeologists gathered to share and discuss advances in collaboration, communication, and information management during a symposium at the 11th International Council for Archaeozoology (ICAZ) conference in Paris, France. The presentations and posters in the session, nine of which are presented in this special issue, detail current projects using digital technologies to document, assess, integrate, and communicate zooarchaeological research.

Obtaining a comprehensive model of large and complex ground typically is crucial for autonomous driving both in urban and countryside environments. This paper presents an improved ground segmentation method for 3D LIDAR point clouds. Our approach builds on a polar grid map, which is divided into some sectors, then 1D Gaussian process (GP) regression model and Incremental Sample Consensus (INSAC) algorithm is used to extract ground for every sector. Experiments are carried out at the autonomous vehicle in different outdoor scenes, and results are compared to those of the existing method. We show that our method can get more promising performance.

Il lavoro che si presenta riguarda una delle più importanti tra le ammirevoli opere dell’architetto Adolfo Coppedè esponente
dell’eclettismo italiano.
L’edificio in questione è la Cappella Tonietti a Cavo - Isola d’Elba. Si tratta di un monumento funebre dalle caratteristiche tipiche di un mausoleo gentilizio, tuttavia si contraddistingue
per dimensioni notevoli, soprattutto
in alzato, posizione naturalistica
privilegiata e un notevole simbolismo nei
particolari decorativi.
La cappella era stata commissionata
da Ugo Ubaldo Tonietti in onore del padre
Giuseppe; la posizione, la forma e l’apparato
decorativo erano dovuti a una precisa volontà
di ricordare il passato del padre come
armatore di successo; il luogo scelto era
quello in cui egli si recava a scrutare l’orizzonte
sullo stretto di Piombino. Le decorazioni
e i simbolismi della cappella molto dicono
dell’importanza della famiglia Tonietti
all’Elba: il padre di Ugo Ubaldo, Giuseppe
era stato primo affittuario delle miniere di
Rio Marina e consigliere comunale. Egli era
molto benvoluto da tutta la popolazione per
le sue notevoli azioni a tutela dei lavoratori
e del suo impegno per l’esportazione anche
all’estero delle materie prime elbane.
Il monumento funebre fu eretto all’inizio del
‘900 (benché la data non sia tuttora nota con
precisione), tuttavia non ottenne mai la concessione
per la sepoltura e fu abbandonato.
Oggi esso è in completa rovina per cause naturali,
dissesti del terreno, ma anche a causa
di atti vandalici.
Con questo lavoro di tesi si è cercato
di colmare uno dei molti vuoti degli studi sul
liberty e l’eclettismo italiano, cercando di
fornire innanzitutto un quadro bibliografico
e archivistico del materiale sulla cappella,
che risulta altamente frammentario ed in
parte disperso. Inoltre si è cercato di redigere
uno stato di fatto dell’edificio, con i suoi
degradi e le sue mancanze, nonché dei possibili
interventi di recupero da attuare.
Infine è stato studiato l’inquadramento
geografico-paesaggistico della Cappella,
la cornice naturale in cui si inserisce,
come elemento architettonico di sorpresa
all’interno di un paesaggio boschivo irregolare,
fornendo dei suggerimenti per una rivalutazione
ambientale e paesaggistica.

The external morphology of the Late Devonian placoderm fish Bothriolepis canadensis from the Escuminac Formation (Miguasha, Canada) is reanalyzed using cutting-edge technology in three-dimensional (3D) digital imagery such as 3D surface scanner and 3D modeling software. Nineteen well-preserved specimens of B. canadensis were used to reconstruct a 3D digital model of the dermal armor, whereas four specimens were used to reconstruct the fleshy posterior part of the body. Digital manipulation of the model allows us to investigate some biomechanical aspects and constraints of the morphology. Mobility of the cephalic armor, submarginal plates and pectoral fins has been previously hypothesized based on inaccurate reconstructions. In contrast to previous interpretations, there is no indication of mobility between the cephalic and thoracic armors. The submarginal plate is immobilized on the cephalic armor; a gill opening is located between the submarginal and anterior ventrolateral plates of the thoracic armor. The median dorsal ridge of the thoracic armor forms a hydrodynamic dorsal crest with its maximum height along the posterior median dorsal plate, which most likely has an important role in locomotion. The fully retracted and protracted (70°) position of the pectoral fins allows only for restricted movement excluding the possibility of stroking and using them as anchoring devises. Maximum of mobility is reached in a protracted angle of 16°, which allows a rotation of 32° around the brachial process and 15° in an up-and-down movement. The 3D model of B. canadensis brings out unexpected novelties on one of the supposedly best-known Devonian fish.

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The Society's artistic justification and value will grow and develop over time in synchrony with the scientific content, becoming an important illustration of the possibility of unifying science and art in the life of Man. This indeed may reveal itself to be the highest value generated by the study of the human visage in all its mysterious dimensions through the worldwide activities of the Society for Faces.

Readers are advised that this paper forms the foundation for three newer writings that should be read together with it for an integrated and particularized approach to the context, the form (or plan), the neurophysiological underpinnings, and the exhibition of the Trifurcated Face of Man (see 'Plan of Face Derived and Explained,' The Soul of Life and the Spirit of War,' and 'Desiderata for Primary Exhibition of the Face' on this page).

A fifth paper ('Convergences of Human Face in Life and Death') will, in due course, clarify and strengthen the contributions to the theory of the face by the present author and form the basis for substantial new research on the idealist theory of the Visage of Man by theorizing the integration of the individual facial conformation at first maturity with the totalized face in death (the Totenmask), all as envisioned by the 'Prospectus of the Society for Faces,' but now at last rooted in true psychology and demonstrable neurophysical reality.

Readers of this foundational paper originally dated 2000 will benefit from our recently uploaded analytical conspectus ('Analysis of Max Picard's "Human Face" With Implications for Portraiture and Its Exhibition') (which is essentially paper #6).

Coming soon in addition is a further paper ('Thematic Apperceptions of Max Picard's "Human Face" With Implications for Portraiture and Its Exhibition') (which will be #7) based on a close re-reading of Picard's masterwork in the astoundingly faithful poetical dress given to it by the late screenwriter S. Goldstein (1930), originally published in New York.

The translation of Picard is not mentioned in published accounts of Goldstein's career or in his 'New York Times' obituary (he died in 1970) but it undoubtedly constitutes Goldstein's most notable literary achievement. This is especially noteworthy since Goldstein, who studied languages at Columbia University, was by all accounts obstreperously leftist-materialist in outlook (actually a communist) but in Picard brilliantly and objectively handled the masterwork of an extraordinarily strong idealist at the height of his powers.