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  • Digital Humanities and Cultural Heritage
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Iversen, Rune; Grane, Thomas; Rose, Helene Agerskov; Croix, Sarah; +2 Authors
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Danish Journal of Ar...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Danish Journal of Archaeology
    Article . 2023 . Peer-reviewed
    License: CC BY NC SA
    Data sources: Crossref
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Danish Journal of Archaeology
    Article . 2023
    Data sources: DOAJ
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Danish Journal of Ar...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Danish Journal of Archaeology
      Article . 2023 . Peer-reviewed
      License: CC BY NC SA
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Danish Journal of Archaeology
      Article . 2023
      Data sources: DOAJ
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lucquin, Alexandre; Robson, Harry K.; Oras, Ester; Lundy, Jasmine; +26 Authors

    To investigate changes in culinary practices associated with the arrival of farming, we analysed the organic residues of over 1,000 pottery vessels from hunter-gatherer-fisher and early agricultural sites across Northern Europe from the Lower Rhine Basin to the Northeastern Baltic. Here, pottery was widely used by hunter-gatherer-fishers prior to the introduction of domesticated animals and plants. Overall, there was surprising continuity in the way that hunter-gatherer-fishers and farmers used pottery. Both aquatic products and wild plants remained prevalent, a pattern repeated consistently across the study area. We argue that the rapid adaptation of farming communities to exploit coastal and lagoonal resources facilitated their northerly expansion, and in some cases, hunting, gathering, and fishing became the most dominant subsistence strategy. Nevertheless, dairy products frequently appear in pottery associated with the earliest farming groups often mixed with wild plants and fish. Interestingly, we also find compelling evidence of dairy products in hunter-gatherer-fisher Ertebølle pottery, which predates the arrival of domesticated animals. We propose that Ertebølle hunter-gatherer-fishers frequently acquired dairy products through exchange with adjacent farming communities prior to the transition. The continuity observed in pottery use across the transition to farming contrasts with the analysis of human remains which shows substantial demographic change through ancient DNA and, in some cases, a reduction in marine consumption through stable isotope analysis. We postulate that farmers acquired the knowledge and skills they needed to succeed from local hunter-gatherer-fishers but without substantial admixture.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Proceedings of the N...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    NTNU Open
    Article . 2023
    Data sources: NTNU Open
    https://doi.org/10.17169/refub...
    Other literature type . 2023
    License: CC BY
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Proceedings of the N...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      NTNU Open
      Article . 2023
      Data sources: NTNU Open
      https://doi.org/10.17169/refub...
      Other literature type . 2023
      License: CC BY
      Data sources: Datacite
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Shumon T. Hussain; Felix Riede; David N. Matzig; Miguel Biard; +14 Authors

    Comparative macro-archaeological investigations of the human deep past rely on the availability of unified, quality-checked datasets integrating different layers of observation. Information on the durable and ubiquitous record of Paleolithic stone artefacts and technological choices are especially pertinent to this endeavour. We here present a large expert-sourced collaborative dataset for the study of stone tool technology and artefact shape evolution across Europe between ~15.000 and 11.000 years before present. The dataset contains a compendium of key sites from the study period, and data on lithic technology and toolkit composition at the level of the cultural taxa represented by those sites. The dataset further encompasses 2D shapes of selected lithic artefact groups (armatures, endscrapers, and borers/perforators) shared between cultural taxa. These data offer novel possibilities to explore between-regional patterns of material culture change to reveal scale-dependent processes of long-term technological evolution in mobile hunter-gatherer societies at the end of the Pleistocene. Our dataset facilitates state-of-the-art quantitative analyses and showcases the benefits of collaborative data collation and synthesis. International audience

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ HAL Descartes; HAL P...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Scientific Data
    Article . 2023 . Peer-reviewed
    License: CC BY
    Data sources: Crossref
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Scientific Data
    Article . 2023
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2023
    Data sources: DOAJ
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ HAL Descartes; HAL P...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Scientific Data
      Article . 2023 . Peer-reviewed
      License: CC BY
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2023
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2023
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Arbøll, TP; Rasmussen, SL; de Jonge, N; Hansen, AH; +2 Authors

    AbstractThe recent development of techniques to sequence ancient DNA has provided valuable insights into the civilisations that came before us. However, the full potential of these methods has yet to be realised. We extracted ancient DNA from a recently exposed fracture surface of a clay brick deriving from the palace of king Ashurnasirpal II (883–859 BCE) in Nimrud, Iraq. We detected 34 unique taxonomic groups of plants. With this research we have made the pioneering discovery that ancient DNA, effectively protected from contamination inside a mass of clay, can successfully be extracted from a 2900-year-old clay brick. We encourage future research into this subject, as the scientific prospects for this approach are substantial, potentially leading to a deeper understanding of ancient and lost civilisations.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ VBN; Aalborg Univers...arrow_drop_down
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    Authors: Fabiana Di Gianvincenzo; Cecil Krarup Andersen; Troels Filtenborg; Meaghan Mackie; +5 Authors

    The application of mass spectrometry–based proteomics to artworks provides accurate and detailed characterization of protein-based materials used in their production. This is highly valuable to plan conservation strategies and reconstruct the artwork’s history. In this work, the proteomic analysis of canvas paintings from the Danish Golden Age led to the confident identification of cereal and yeast proteins in the ground layer. This proteomic profile points to a (by-)product of beer brewing, in agreement with local artists’ manuals. The use of this unconventional binder can be connected to the workshops within the Royal Danish Academy of Fine Arts. The mass spectrometric dataset generated from proteomics was also processed with a metabolomics workflow. The spectral matches observed supported the proteomic conclusions, and, in at least one sample, suggested the use of drying oils. These results highlight the value of untargeted proteomics in heritage science, correlating unconventional artistic materials with local culture and practices.

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    Science Advances
    Article . 2023
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    Science Advances
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      Science Advances
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    Authors: Abed Haddad; Gianluca Pastorelli; Annette S. Ortiz Miranda; Loa Ludvigsen; +6 Authors

    AbstractThe exhibition Matisse: The Red Studio allowed for an in-depth study of The Red Studio (1911) and six of the works featured in the painting by Henri Matisse (1869–1954) of his studio in Issy-les-Moulineaux near Paris. The grouping includes three paintings from the collection of the Statens Museum for Kunst (Le Luxe II, 1907, Nude with White Scarf, c. 1909, and Bathers, c. 1909), one painting from the collection of The Metropolitan Museum of Art (Young Sailor II, 1906), a painting from a private collection (Cyclamen, c. 1911), and a glazed and hand-painted earthenware plate from the collection of the Museum of Modern Art (Untitled (Female Nude), 1907). The six paintings were investigated using technical (X-radiography, ultraviolet-induced fluorescence, infrared reflectography) and chemical imaging (MA-XRF) and, in some cases, spectroscopic techniques (FORS, SEM–EDS, Raman, SERS, and μ-FTIR), to better elucidate Matisse’s materials and working techniques for this selection of paintings; the plate was also analyzed using MA-XRF. New findings revealed the full extent to which Matisse had completed The Red Studio before applying its hallmark color, referred to as Venetian red in his correspondence, over the original palette of blue, pink, and ochre that dominated the composition. Particular attention was given to identifying the wide range of pigment choices made by Matisse in the execution of the works from 1906 and 1911 that are depicted in The Red Studio. These pigments include lead white, zinc white, bone black, earth reds, madder lake, carmine lake, vermilion, cadmium yellow, yellow ochre, aureolin (cobalt) yellow, orpiment, viridian green, chromium-oxide green, cobalt blue, ultramarine blue, Prussian blue, cobalt violet (deep and light), and other cobalt violets, as well as possibly manganese violet and eosin red lake. The results of these analyses allowed for a direct comparison between the original works and their depictions and revealed that Matisse, unsurprisingly given his strong association with color, often translated the pigment choices faithfully between the actual works and their depictions in The Red Studio.

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    Heritage Science
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    Authors: Christian Boesgaard; Birgit Vinther Hansen; Ulla Bøgvad Kejser; Søren Højlund Mollerup; +2 Authors

    Abstract Control of temperature and relative humidity in storage areas and exhibitions is crucial for long-term preservation of cultural heritage objects. This paper explores the possibilities for developing a proactive system, based on a machine-learning model (XGBoost), for predicting the occurrence of unwanted indoor environmental conditions: either a too high or a too low relative humidity, within the forthcoming 24 hours. The features used in the model was hourly indoor and outdoor climate recordings, and it was applied to two indoor heritage environments; a storage and a church building. The test accuracy (f1-score) of the model was good (0.92 for high RH; 0.93 for low RH) when applied to the storage building, but only 0.78; 0.62 (high RH; low RH) for the church building test. Challenges encountered include difficulties in obtaining good historical climate data sets for training and testing the model, and the dependency of external IT systems, which, if they fail, inactivates the model without a warning. Several issues call for more research: A desirable improvement of the model would be predictions for periods longer than 24 hours ahead, still maintaining a high test accuracy. Further perspectives of using machine learning for indoor environmental forecasting could be for indoor air pollution, or energy consumption due to climate control. This requires, however, more data to be collected, in order to get the basis for building valid machine-learning models of sufficient test accuracy.

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    https://doi.org/10.21203/rs.3....
    Preprint . 2022
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    Heritage Science
    Article . 2022 . Peer-reviewed
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      https://doi.org/10.21203/rs.3....
      Preprint . 2022
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    Authors: Handberg, Kristian; Kjærboe, Rasmus;
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    Periskop
    Article . 2022
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      Periskop
      Article . 2022
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Rasmussen Kaare Lund; Milner George R.; Delbey Thomas; Ivalu Jensen Lisa Kathrine; +4 Authors

    AbstractLead-glazed potsherds from archaeological excavations at six Renaissance (1536–1660 CE) sites in southern Denmark and northern Germany have been subjected to etching experiments using 4 wt% acetic acid. The extracts of 45 sherds were analysed by Inductively Coupled Plasma Mass Spectrometry. At one site, the ducal hunting castle of Grøngaard, Pb levels in acid extracts from glazed dishes were so high (up to 29,000 µg Pb cm−2 day−1) that acute toxic effects likely occurred if the dishes were used for serving food containing vinegar. More moderate acid-etching Pb levels were found in dishes from other sites, but they still exceed the WHO critical level if used daily. Acetic acid etching experiments performed on pipkins (three-legged cooking pots with a handle) yielded somewhat lower Pb extract values, averaging ca. 25 µg Pb cm−2 day−1. Taking into account the widespread use of pipkins for cooking, they might easily have led to a higher weekly Pb intake than the use of the moderate-level dishes. The question remains whether such high levels of Pb exposure during meals led to injurious Pb intake. Prior skeletal analyses have shown that medieval to early modern individuals from the area, especially in towns, were exposed to Pb. While exposure could have come from various sources other than lead-glazed ceramics, such as cosmetics, paint, antibacterial ointments, and lead water pipes, widely distributed lead-glazed ceramics had the potential of being a main source of Pb. How the pottery was actually used is uncertain, and it certainly was not evenly distributed across all segments of society, but the etching experiment results suggest that severe poisonous effects could have resulted from the use of lead-glazed Renaissance ceramics.

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    Heritage Science
    Article . 2022
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    Cranfield CERES
    Article . 2020
    License: CC BY
    Data sources: Cranfield CERES
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      Heritage Science
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      Cranfield CERES
      Article . 2020
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    This article reevaluates the lifelong artistic patronage and collecting practices of Polish-Lithuanian Count Michał Jan Borch (1753–1810/11) against the historical background of Enlightenment Europe more broadly and specifically the Age of Partition (c. 1750–1810). This article examines how despite persistent financial shortcomings and political difficulties, Borch staked for himself a strategic position as patron and collector, staging a renovation of the present by engaging with late baroque, rococo, and neoclassical Italianate forms that inflected Italy and the antique not as fixed entities but as a malleable or notional fragments that could be arbitrated, reassembled and transformed through the intermediating agency of persons and objects, and related to the past in form, style and language, thematizing the temporal passage between venerable and modern in a way that reanimated the grandeur of the past in honor of Borch’s re-envisioning of his restored homeland. As a case study in period self-fashioning, the article is structured around four portraits of Borch and his family executed at crucial inflection points in his life and career.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Iversen, Rune; Grane, Thomas; Rose, Helene Agerskov; Croix, Sarah; +2 Authors
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    Danish Journal of Archaeology
    Article . 2023 . Peer-reviewed
    License: CC BY NC SA
    Data sources: Crossref
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    Danish Journal of Archaeology
    Article . 2023
    Data sources: DOAJ
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      Danish Journal of Archaeology
      Article . 2023 . Peer-reviewed
      License: CC BY NC SA
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      Danish Journal of Archaeology
      Article . 2023
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    Authors: Lucquin, Alexandre; Robson, Harry K.; Oras, Ester; Lundy, Jasmine; +26 Authors

    To investigate changes in culinary practices associated with the arrival of farming, we analysed the organic residues of over 1,000 pottery vessels from hunter-gatherer-fisher and early agricultural sites across Northern Europe from the Lower Rhine Basin to the Northeastern Baltic. Here, pottery was widely used by hunter-gatherer-fishers prior to the introduction of domesticated animals and plants. Overall, there was surprising continuity in the way that hunter-gatherer-fishers and farmers used pottery. Both aquatic products and wild plants remained prevalent, a pattern repeated consistently across the study area. We argue that the rapid adaptation of farming communities to exploit coastal and lagoonal resources facilitated their northerly expansion, and in some cases, hunting, gathering, and fishing became the most dominant subsistence strategy. Nevertheless, dairy products frequently appear in pottery associated with the earliest farming groups often mixed with wild plants and fish. Interestingly, we also find compelling evidence of dairy products in hunter-gatherer-fisher Ertebølle pottery, which predates the arrival of domesticated animals. We propose that Ertebølle hunter-gatherer-fishers frequently acquired dairy products through exchange with adjacent farming communities prior to the transition. The continuity observed in pottery use across the transition to farming contrasts with the analysis of human remains which shows substantial demographic change through ancient DNA and, in some cases, a reduction in marine consumption through stable isotope analysis. We postulate that farmers acquired the knowledge and skills they needed to succeed from local hunter-gatherer-fishers but without substantial admixture.

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    NTNU Open
    Article . 2023
    Data sources: NTNU Open
    https://doi.org/10.17169/refub...
    Other literature type . 2023
    License: CC BY
    Data sources: Datacite
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      NTNU Open
      Article . 2023
      Data sources: NTNU Open
      https://doi.org/10.17169/refub...
      Other literature type . 2023
      License: CC BY
      Data sources: Datacite
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    Authors: Shumon T. Hussain; Felix Riede; David N. Matzig; Miguel Biard; +14 Authors

    Comparative macro-archaeological investigations of the human deep past rely on the availability of unified, quality-checked datasets integrating different layers of observation. Information on the durable and ubiquitous record of Paleolithic stone artefacts and technological choices are especially pertinent to this endeavour. We here present a large expert-sourced collaborative dataset for the study of stone tool technology and artefact shape evolution across Europe between ~15.000 and 11.000 years before present. The dataset contains a compendium of key sites from the study period, and data on lithic technology and toolkit composition at the level of the cultural taxa represented by those sites. The dataset further encompasses 2D shapes of selected lithic artefact groups (armatures, endscrapers, and borers/perforators) shared between cultural taxa. These data offer novel possibilities to explore between-regional patterns of material culture change to reveal scale-dependent processes of long-term technological evolution in mobile hunter-gatherer societies at the end of the Pleistocene. Our dataset facilitates state-of-the-art quantitative analyses and showcases the benefits of collaborative data collation and synthesis. International audience

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    Scientific Data
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    Scientific Data
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      Article . 2023
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      Article . 2023
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    Authors: Arbøll, TP; Rasmussen, SL; de Jonge, N; Hansen, AH; +2 Authors

    AbstractThe recent development of techniques to sequence ancient DNA has provided valuable insights into the civilisations that came before us. However, the full potential of these methods has yet to be realised. We extracted ancient DNA from a recently exposed fracture surface of a clay brick deriving from the palace of king Ashurnasirpal II (883–859 BCE) in Nimrud, Iraq. We detected 34 unique taxonomic groups of plants. With this research we have made the pioneering discovery that ancient DNA, effectively protected from contamination inside a mass of clay, can successfully be extracted from a 2900-year-old clay brick. We encourage future research into this subject, as the scientific prospects for this approach are substantial, potentially leading to a deeper understanding of ancient and lost civilisations.

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    Scientific Reports
    Article . 2023
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    Article . 2023
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    Scientific Reports
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    Authors: Fabiana Di Gianvincenzo; Cecil Krarup Andersen; Troels Filtenborg; Meaghan Mackie; +5 Authors

    The application of mass spectrometry–based proteomics to artworks provides accurate and detailed characterization of protein-based materials used in their production. This is highly valuable to plan conservation strategies and reconstruct the artwork’s history. In this work, the proteomic analysis of canvas paintings from the Danish Golden Age led to the confident identification of cereal and yeast proteins in the ground layer. This proteomic profile points to a (by-)product of beer brewing, in agreement with local artists’ manuals. The use of this unconventional binder can be connected to the workshops within the Royal Danish Academy of Fine Arts. The mass spectrometric dataset generated from proteomics was also processed with a metabolomics workflow. The spectral matches observed supported the proteomic conclusions, and, in at least one sample, suggested the use of drying oils. These results highlight the value of untargeted proteomics in heritage science, correlating unconventional artistic materials with local culture and practices.

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    Science Advances
    Article . 2023
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      Science Advances
      Article . 2023
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    Authors: Abed Haddad; Gianluca Pastorelli; Annette S. Ortiz Miranda; Loa Ludvigsen; +6 Authors

    AbstractThe exhibition Matisse: The Red Studio allowed for an in-depth study of The Red Studio (1911) and six of the works featured in the painting by Henri Matisse (1869–1954) of his studio in Issy-les-Moulineaux near Paris. The grouping includes three paintings from the collection of the Statens Museum for Kunst (Le Luxe II, 1907, Nude with White Scarf, c. 1909, and Bathers, c. 1909), one painting from the collection of The Metropolitan Museum of Art (Young Sailor II, 1906), a painting from a private collection (Cyclamen, c. 1911), and a glazed and hand-painted earthenware plate from the collection of the Museum of Modern Art (Untitled (Female Nude), 1907). The six paintings were investigated using technical (X-radiography, ultraviolet-induced fluorescence, infrared reflectography) and chemical imaging (MA-XRF) and, in some cases, spectroscopic techniques (FORS, SEM–EDS, Raman, SERS, and μ-FTIR), to better elucidate Matisse’s materials and working techniques for this selection of paintings; the plate was also analyzed using MA-XRF. New findings revealed the full extent to which Matisse had completed The Red Studio before applying its hallmark color, referred to as Venetian red in his correspondence, over the original palette of blue, pink, and ochre that dominated the composition. Particular attention was given to identifying the wide range of pigment choices made by Matisse in the execution of the works from 1906 and 1911 that are depicted in The Red Studio. These pigments include lead white, zinc white, bone black, earth reds, madder lake, carmine lake, vermilion, cadmium yellow, yellow ochre, aureolin (cobalt) yellow, orpiment, viridian green, chromium-oxide green, cobalt blue, ultramarine blue, Prussian blue, cobalt violet (deep and light), and other cobalt violets, as well as possibly manganese violet and eosin red lake. The results of these analyses allowed for a direct comparison between the original works and their depictions and revealed that Matisse, unsurprisingly given his strong association with color, often translated the pigment choices faithfully between the actual works and their depictions in The Red Studio.

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    Heritage Science
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    Heritage Science
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    Authors: Christian Boesgaard; Birgit Vinther Hansen; Ulla Bøgvad Kejser; Søren Højlund Mollerup; +2 Authors

    Abstract Control of temperature and relative humidity in storage areas and exhibitions is crucial for long-term preservation of cultural heritage objects. This paper explores the possibilities for developing a proactive system, based on a machine-learning model (XGBoost), for predicting the occurrence of unwanted indoor environmental conditions: either a too high or a too low relative humidity, within the forthcoming 24 hours. The features used in the model was hourly indoor and outdoor climate recordings, and it was applied to two indoor heritage environments; a storage and a church building. The test accuracy (f1-score) of the model was good (0.92 for high RH; 0.93 for low RH) when applied to the storage building, but only 0.78; 0.62 (high RH; low RH) for the church building test. Challenges encountered include difficulties in obtaining good historical climate data sets for training and testing the model, and the dependency of external IT systems, which, if they fail, inactivates the model without a warning. Several issues call for more research: A desirable improvement of the model would be predictions for periods longer than 24 hours ahead, still maintaining a high test accuracy. Further perspectives of using machine learning for indoor environmental forecasting could be for indoor air pollution, or energy consumption due to climate control. This requires, however, more data to be collected, in order to get the basis for building valid machine-learning models of sufficient test accuracy.

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    https://doi.org/10.21203/rs.3....
    Preprint . 2022
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    Heritage Science
    Article . 2022 . Peer-reviewed
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      https://doi.org/10.21203/rs.3....
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    Authors: Handberg, Kristian; Kjærboe, Rasmus;
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    Authors: Rasmussen Kaare Lund; Milner George R.; Delbey Thomas; Ivalu Jensen Lisa Kathrine; +4 Authors

    AbstractLead-glazed potsherds from archaeological excavations at six Renaissance (1536–1660 CE) sites in southern Denmark and northern Germany have been subjected to etching experiments using 4 wt% acetic acid. The extracts of 45 sherds were analysed by Inductively Coupled Plasma Mass Spectrometry. At one site, the ducal hunting castle of Grøngaard, Pb levels in acid extracts from glazed dishes were so high (up to 29,000 µg Pb cm−2 day−1) that acute toxic effects likely occurred if the dishes were used for serving food containing vinegar. More moderate acid-etching Pb levels were found in dishes from other sites, but they still exceed the WHO critical level if used daily. Acetic acid etching experiments performed on pipkins (three-legged cooking pots with a handle) yielded somewhat lower Pb extract values, averaging ca. 25 µg Pb cm−2 day−1. Taking into account the widespread use of pipkins for cooking, they might easily have led to a higher weekly Pb intake than the use of the moderate-level dishes. The question remains whether such high levels of Pb exposure during meals led to injurious Pb intake. Prior skeletal analyses have shown that medieval to early modern individuals from the area, especially in towns, were exposed to Pb. While exposure could have come from various sources other than lead-glazed ceramics, such as cosmetics, paint, antibacterial ointments, and lead water pipes, widely distributed lead-glazed ceramics had the potential of being a main source of Pb. How the pottery was actually used is uncertain, and it certainly was not evenly distributed across all segments of society, but the etching experiment results suggest that severe poisonous effects could have resulted from the use of lead-glazed Renaissance ceramics.

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    Cranfield CERES
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    This article reevaluates the lifelong artistic patronage and collecting practices of Polish-Lithuanian Count Michał Jan Borch (1753–1810/11) against the historical background of Enlightenment Europe more broadly and specifically the Age of Partition (c. 1750–1810). This article examines how despite persistent financial shortcomings and political difficulties, Borch staked for himself a strategic position as patron and collector, staging a renovation of the present by engaging with late baroque, rococo, and neoclassical Italianate forms that inflected Italy and the antique not as fixed entities but as a malleable or notional fragments that could be arbitrated, reassembled and transformed through the intermediating agency of persons and objects, and related to the past in form, style and language, thematizing the temporal passage between venerable and modern in a way that reanimated the grandeur of the past in honor of Borch’s re-envisioning of his restored homeland. As a case study in period self-fashioning, the article is structured around four portraits of Borch and his family executed at crucial inflection points in his life and career.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Baltic Journal of Ar...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Baltic Journal of Ar...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      This Research product is the result of merged Research products in OpenAIRE.

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