2000-year-old Egyptian graffiti unlocked, thanks to high-tech

Precision is necessary because there are hundreds or maybe thousands of graffiti on the temple's columns, walls, and roof, some of which are etched less than a millimeter deep.

Therefore, Hedley oversees the team's creative visualization efforts, using cutting-edge techniques like photogrammetry, raking light, and laser scanning to capture the graffiti, its architectural context, and the environments they are located in.

“The techniques we are applying to the project will completely change how the graffiti, and the temple, can be studied,” says Sabrina Higgins, an SFU archaeologist and project co-investigator. She underlines that photographs and two-dimensional plans do not allow the field site to be viewed as a dynamic, multi-layered, and evolving space.

3D recording of the whole surface

Hedley is creating a state-of-the-art three-dimensional recording of the whole surface of the temple, going beyond conventional two-dimensional imaging. This will make it feasible to observe and study the graffiti, as well as the interior and outside of the temple, from nearly anywhere, without sacrificing accuracy.

Researchers will be able to examine the connection between a figural graffito, any surrounding graffiti, and its location in relation to the temple building design thanks to this three-dimensional depiction.

Hedley emphasizes the broad potential of using spatial reality capture technology to further the study of archaeology and other fields, even though this is revolutionary for viewing and analyzing the temple and its inscriptions.

“Though my primary role in this project is to help build the definitive set of digital wall plans for the Mammisi at Philae, I’m also demonstrating how emerging spatial reality capture methods can fundamentally change how we gather and produce data and transform our ability to interpret and analyze these spaces. This is a space to watch!” said Hedley.