Cambridge research team decode ancient collaboration with Artec Space Spider

Walking through a museum, whether physically or digitally, often prompts us to ponder the people who made and used ancient archaeological artifacts we see. A lot of work by dedicated professionals from scientists to curators and conservators goes into deciphering these objects, and while this process used to take years and years of painstaking work, modern technology now takes this journey to a completely new level.

The REVERSEACTION project team is on a similar journey: investigating how complex technological systems were sustained in ancient societies without strong political leadership. By integrating archaeological evidence with environmental studies, anthropology, sociology, management studies, and crafts, they aim to get fresh insights into collective action. Archeological findings such as goldwork, textiles, and ceramics illustrate that people worked together on ambitious projects willingly. Which leads us to think, how were societies organized and governed in the past?

Top research experts at work

Based at the University of Cambridge and funded by the European Research Council (ERC), the project brings together a stellar team of researchers from diverse backgrounds, all deeply committed to the project’s mission. While their research activities span a wide range, digitizing the artifacts is a crucial aspect at various stages. With a focus on a wide array of objects originating from Colombia, the team extensively worked in the field, tasked with creating accurate digital twins of the findings, including archeological excavations, collections undergoing processing from sites, and museum holdings, especially those at the project’s primary partner, the renowned Museum of Gold (Museo del Oro) in Bogota.

Catherine Klesner (left) and Agnese Benzonelli (right) examining the extracted profiles from a 3D model of a ceramic vessel. Photo courtesy of Rosie Crawford

Being at the forefront of global research, the University of Cambridge supports its teams with the latest available technologies. Patrick Thorn & Co., an Artec 3D Gold-certified Partner with vast experience in 3D technology, has been the university’s consultant for years, introducing next-gen solutions and offering advice on leveraging them to enhance research results across various academic areas.

Artec Space Spider was the expert’s first recommendation, recognizing the need for a device capable of rendering the finest geometry in a non-invasive way.

The right tool for capturing artifacts with precision

To understand the shapes and functions of historical objects such as specifically bowls with small or large pedestals, stone spindle whorls used in textile spinning, and stone matrices with three-dimensional carvings researchers needed to document every edge and rim. Space Spider was ideal with its high accuracy of up to 0.05 mm and ability to capture intricate details and complex geometries with soaring precision.

Why does such precision matter here? The answers are all in the details: By creating ultra-detailed 3D models of the ceramic vessels, subtle variations in wall thickness, curvature, and overall form were revealed – this serves as evidence of sophisticated techniques in stateless societies, and enables us to reveal subtle traits of how the vessels were made.

Using an Artec Space Spider structured-light 3D scanner to study objects from the collection of the Museo del Oro, Bogota. Photo courtesy of Rosie Crawford

“We maximized our field time by scanning many objects and processing later,” explained Kate Klesner, postdoctoral research associate at the University of Cambridge. “As a result, we documented over 100 ceramic objects, numerous spindle whorls, and eight stone matrices.”

The tools used in the field – a portable XRF and a handheld 3D scanner – were crucial as they allowed for non-destructive analysis of whole objects, providing data that would otherwise be unavailable from fragmentary or destructively sampled material. Additionally, digital portable microscopes and cameras supported documentation and analysis.

“It was my first experience with 3D scanning, I was learning to scan these types of objects, which I found to be quite tricky in some regards. For instance, when scanning these open bowls and mugs, our biggest difficulty was capturing the rim,” added Klesner.

Confidence through the challenge

Capturing archeological objects comes with many challenges, especially when dealing with precious artifacts fresh off the dig site or in a fragile museum environment.

But as the project unfolded, the team grew more confident with the technology, and increasingly impressed with its speed, too. “For the ceramic vessels, we were scanning at a rate of about 20 minutes per object towards the end,” Klesner remembered. “This meant that within a day, we could easily document around 20 objects thoroughly enough to be confident in stitching them together later.”

Catherine Klesner scanning a ceramic vessel from the collection of the Museo del Oro, Bogota using an Artec Space Spider structured light 3D scanner. Photo courtesy of Rosie Crawford

Next step: processing simplified

Data processing, done at later stages of the projects, mostly at the University of Cambridge, turned out to be an enjoyable process as well. The team found that Artec Studio was user-friendly for processing the scans, creating, and exporting the models. In addition, researchers used specialized software such as Pottery 3D and GigaMesh for assessing vessel shape with the help of geometric morphometrics on 3D models.

Rosie Crawford, research assistant at the University of Cambridge, recalled learning how to use the software from a technician in the university’s paleo lab, where similar approaches are taken to paleoanthropological remains. This was enough to then teach her team members. “It’s easy to learn and you pick up what works best and what doesn’t as you go,” said Crawford.

Rosie Crawford capturing a stone matrix from the collection of the Museo del Oro, Bogota using an Artec Space Spider structured-light 3D scanner. Photo courtesy of Catherine Klesner

3D data to shed light on cooperation in stateless societies

While most archeological studies on cooperation focus on social dynamics within hierarchical structures or state formation where coercive power was present, the REVERSEACTION team explores voluntary cooperation and collaborations in societies without the modern governmental structures we see today.

What makes this research truly unique is the development of comparisons between materials and investigation of skill acquisition and knowledge transfer to test hypotheses about craft interaction and resilient production methods over time.

Although explanations are still lacking, the resulting models help gather information on the manufacturing techniques (from molding to firing to surface decoration) and lifespans of various objects, providing insights into both the technological advancements and daily practices of the people who created and used the artifacts. These advancements include creating uniform shapes and intricate designs, while the daily practices, such as the functional and ritual uses of the vessels, hint at the collaborative efforts and shared knowledge among artisans, revealing the social and economic structures that supported innovation and resilience in these ancient communities.

As the team continues to investigate ceramic technologies and cross-craft interactions, they aim to deepen their understanding of technical traditions, craft organization, mechanisms of knowledge transmission, and the extent of collaborative interaction in stateless societies.

Revealing layers: 3D scanning for accessible learning

Having 3D scans of the artifacts has allowed the team to keep revisiting them, which is helping them explore different possibilities. And for ceramics, this is just the first step in a longer process.

“We’re using 3D scans and the scan data to conduct geometric morphometric analysis, which involves computer modeling to assess shape,” Crawford said. “We’re examining variation within individual vessels and across different ones, which could indicate different skill levels or the involvement of multiple artisans, especially since these ceramics are found in burials in the region. This process is essential for our ongoing research.”

“The 3D scanning technology is crucial in understanding how these objects were made and used throughout their lifespans,” added Klesner. “In ceramics, for example, it has unexpectedly allowed us to study different decorative layers, adding a valuable dimension to our project. Meanwhile, our study of stone matrices and spindle whorls examines their life histories – how they were made, used, and deposited – to find commonalities across different craft practices.”

Angela Maria Lucero Bernal (left) and Ana Milena Melo (right) studying ceramic vessels from the Union del Sur Rumichaca-Pasto Road Project using an Artec Space Spider structured-light 3D scanner and a portable digital microscope. Photo courtesy of Catherine Klesner

In addition to contributing much to the research results, capturing accurate data off the artifacts serves yet another great purpose: making historical objects widely accessible.

“Many of these objects are not on display in museums; they are part of archeological collections that are not readily accessible to the wider society. By making these scans open and accessible, people will be able to see these intricate and amazing objects firsthand,” concluded Klessner.

With its efforts to shift the old paradigm by exploring voluntary collective action rather than hierarchies, the REVERSACTION project is truly revolutionary. What if the light shed on those ancient artifacts and how they were made also illuminates the idea that the willingness to cooperate is – as it always has been – key to tackling most of the world’s concerns? Then it’s amazing to realize that some of this light is projected, literally, from Artec Space Spider.