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The Rock Art Network Paul Taçon
The Rock Art Network Paul Taçon
The Rock Art Network Paul Taçon
Paul Taçon
Experts rush to map fire-hit rock art
15 May 2020

by Andrew Bock
This article was originally published in The Sydney Morning Herald, 12 May 2020

New digital technology could be used to reconstruct 3D images of important Indigenous rock art sites destroyed by bushfires that ripped through eastern Australia last year and early this year.

While coronavirus restrictions have forced surveys to be postponed until September, experts still fear thousands of rock art sites, some dating back 4,000 years, have been destroyed.

Paul Taçon Rock Art Network Photogrammetry Cape York Queensland Australia Bradshaw Foundation
Part of an image of the Magnificent Gallery rock art site in Cape York, Queensland, created using photogrammetry.
© Andrea Jalandoni
Where rock art has been damaged or destroyed, technology including laser scans and software that merges existing photographs could help create 3D images and even replicas of important sites.

Professor Paul Tacon, head of the Place, Evolution and Rock Art Heritage Unit (PERAHU) at Griffith University, said some accessible rock art sites, such as Baiame cave near Mount Yengo in the Hunter region, had been visited and found to be undamaged. But he is concerned about important sites such as Gallery Rock and Eagle’s Reach in the Wollemi National Park, 200km north-west of Sydney, which is part of the Greater Blue Mountains World Heritage area ravaged by fire.

Rediscovered by bushwalkers in 1995, the remote Eagle’s Reach shelter features more than 200 depictions of ancestral beings, totemic animals, animal-human creatures, hand stencils and abstract designs. It is also a key Eagle Ancestor site, ancient initiation place and meeting point for local Indigenous communities.

Together with members of local Indigenous communities, Tacon and rock art heritage unit members have surveyed Eagle’s Reach and more than 200 sites in the Wollemi National Park over the past 15 years, taking high-resolution photographs and recordings.

“One of the key activities of PERAHU is using technology to record and analyse rock art in new ways. We've been doing lots of 3D recording, photogrammetry, portable X-ray fluorescence and analysis of pigments and using drone footage to help record sites,” Tacon said.

Paul Taçon Rock Art Network Photogrammetry Andrea Jalandoni Australia Philippines Bradshaw Foundation
Andrea Jalandoni taking high-resolution photographs for use in photogrammetry at a rock art site in Sarawak, Malaysia.
© Andrea Jalandoni
Photogrammetry uses software to merge overlapping photographs and create “cloud points” that help create an exact three-dimensional image of a given site. Laser scanning is also used to create 3D images of sites.

“If we have the time and money and we find important sites that have been damaged, we can reconstruct them virtually using existing photographs and we can make 3D models of those sites, and with a 3D printer even produce a hard copy version and put that in a cultural centre or museum,” Tacon said.

Dr Andrea Jalandoni, research fellow with PERAHU who specialises in digital techniques for recording rock art, said software advances had improved photogrammetry radically in the past 10 years. Dr Jalandoni also merges photogrammetry with laser scans of sites to create better 3D images. She is also pioneering digital techniques that dramatically reveal rock art barely visible to the human eye.

The same processes could be used for rock art sites damaged by the fires, Tacon said.

Bidjara woman and film and VR producer Ljudan Michaelis-Thorpe is discussing with her community ways to use photogrammetry to create a 3D digital restoration of the Baloon Cave in central Queensland after the rock art was destroyed in a fire in late 2018.

Michaelis-Thorpe said it was important to include and even train community members in photogrammetry and recording so the process was self-determined by traditional custodians. Digital representations “also offer farm owners who have previously kept sites hidden, the opportunity to share the [rock art] while still maintaining autonomy,” she added.

“Baloon Cave is, for the diverse peoples of Carnarvon Ranges, like the holy sites of Jerusalem are for Christians, Muslims and Jews,” she said.

Paul Taçon Rock Art Network Wayne Brennan Archaeologist Gamilaraay Blue Mountains Bradshaw Foundation
Wayne Brennan: "This fire culturally is a big wake-up call for everybody."
© The Sydney Morning Herald
Senior archaeologist and Gamilaraay and Blue Mountains community member, Wayne Brennan, helped record many of the sites in the Wollemi National Park with the Griffith University rock art heritage unit.

“The songlines and the stories that go through that country still remain but those animals and the law associated with them have taken a hit. This fire culturally is a big wake-up call for everybody," Brennan said.

“It’s not just about the art - it's about looking after the country that the art is in. There’s no separation for Aboriginal people between nature and culture. A lot of those sites are strongly connected to those totems in those particular areas. And the people are going to be hurting at a spiritual level. The recordings, the photographic records we have made, the details, are just so important now.”

Brennan called on the government to fund localised rock art maintenance teams, with Indigenous community members trained by specialists, to better record and conserve rock art. Those teams might then become self-funded by conducting cultural tourism, he added.

“This fire damage could be the order of the next 50 years, and so we could lose a lot of this type of heritage if it's not recorded. We have only recorded less than 20 per cent of the sites in the Wollemi National Park," he said.

“There's not going to be another opportunity like this to survey the Wollemi National Park, because it's never burnt this much or this hard. It's unbelievable how quickly you can walk through the country after a burn. Fire also cleanses the land. There's no doubt we will discover new sites.”

The NPWS spokesperson said a rock-art assessment program would begin when access issues were resolved. NPWS cited seven sites, as yet uninspected, located in the active and burnt areas of national parks. These are the Biamanga, Burrel Bulai, Devils Chimney, Mount Yengo, Saltwater, Sugarloaf (Gwydir) and Waratah Trig Aboriginal places.

This article was originally published in The Sydney Morning Herald, 12 May 2020
Rock Art Network Films: Paul Taçon - Griffith University's Laureate

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by Aron Mazel
7 October 2020
→ Reflecting Back: 40 Years Since ‘A Survey of the Rock Art in the Natal Drakensberg’ Project (1978-1981)
by Aron Mazel
29 September 2020
→ Art on the Rocks in the Age of COVID-19
by Neville Agnew & Tom McClintock
15 September 2020
→ Explore Cederberg rock art from your home
by Janette Deacon
9 September 2020
→ The Continuum of Art: The relationship between Ice Age art and contemporary art and how an understanding of the former can help engage a modern audience
by Peter Robinson
16 August 2020
→ Illuminating the Realm of the Dead: The Rock Art within the Dolmen de Soto, Andalucía, Southern Spain
by George Nash
29 July 2020
→ Rock Art Adventurous Field Work during COVID-19 in the Southernmost of South America
by María Isabel Hernández Llosas
9 June 2020
→ The Final Passage - FAQ
by Jean-Michel Geneste
1 June 2020
→ Experts rush to map fire-hit rock art
by Andrew Bock
15 May 2020
→ Sacred Indigenous rock art sites under threat
by Amy van den Berg
12 May 2020
→ Virtual Meeting
by Ben Dickins
22 April 2020
→ The Bradshaw Foundation Launches the Rock Art Network Website
by Wendy All
23 March 2020
→ The aftermath of fire damage to important rock art at the Baloon Cave tourist destination, Carnarvon Gorge, Queensland, Australia
by Paul Taçon
24 November 2019
→ The removal and camouflage of graffiti: The art of creating chaos out of order and order out of chaos
by Johannes H. N. Loubser
11 November 2019
→ The Histories of Australian Rock Art Research symposium, 8-9 December 2019, Griffith University, Gold Coast, Queensland, Australia
by Paul Tacon
5 November 2019
→ San rock art exhibition at the National Museum & Research Center of Altamira
by Aron Mazel
17 September 2019
→ The 2018 Art on the Rocks Colloquium
by Wendy All
2 December 2018
→ Preserving Our Ancient Art Galleries: Volunteerism, Collaboration, and the Rock Art Archive
by Wendy All
1 December 2017
→ Altamira and the New Technology for Public Access
by Pilar Fatás Monforte
30 April 2017
→ From the Chauvet Cave to the Caverne du Pont d’Arc: Methods and Strategies for a Replica to Preserve the Heritage of a Decorated Cave That Cannot Be Made Accessible to the Public
by Jean-Michel Geneste
29 April 2017
→ Emerging Consciousness and New Media: The Management of Rock Art in Southeast Asia and New Opportunities for Communicating Its Significance
by Noel Hidalgo Tan
28 April 2017
→ Step by Step: The Power of Participatory Planning with Local Communities for Rock Art Management and Tourism
by Nicholas Hall
27 April 2017
→ Fundraising for Rock Art by Promoting Its Values
by Terry Little
26 April 2017
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