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EduAkcja. Magazyn edukacji elektronicznejnr 1 (5)/2013, str. 32—42

New technologies in the process of educating about the archaeological heritage

Streszczenie: Multimedia with their continuously growing popularity and huge technological advances assist archaeology and archaeologists in this scope, providing ever new possibilities for popularizing the archaeological heritage. Despite reservations on the part of most archaeologists and museum workers accustomed to more tra-ditional forms of presenting their discoveries and interpretations of the results of their work to non-professionals, modern multimedia techniques have progressively forced their way into archaeology in the form of computer ani-mations, holograms, 3D-5D models, augmented reality, interactive webpages, QR codes and mobile applications, shockingly fast replacing traditional methods of communication and education, also in the archaeological heritage education

Słowa kluczowe: archaeological heritage, QR code, augmented reality, virtual archaeology

1. IntroductionPeople have always been interested in the Past. Before archaeology started being considered as a science, the knowledge of the Past came from written sources, oral tradition, even beliefs, legends and superstitions (cf. Bahn, 1996; Schnapp, 1996). Ways of passing on this knowledge evolved as well, beginning with collecting and displaying items at home and in the public marketplaces of ancient Greece and Rome, via royal, papal and wealthy family collections and the first exhibitions with museum curators to guide people around and also by the museum lessons and self-study worksheets up to the application in the educational process of multimedia forms using collections of antiquities (Chowaniec, 2010).

The desire to uncover the Past is not solely the domain of archaeologists and historians (Layton, 1989; Torowska, 2008)—it is universal, and the Past is close to many people. “We are interested in the past, because we are interested in our roots, or because we are interested in the way the world around us has been shaped, or because we are intrigued by the ‘otherness’ of different people who lived at different times” (Husbands, 1996, p. 1). Archaeology stirs a genuine admiration among laymen, who usually link it to fabulous journeys and brilliant discoveries. On the one hand, this view discredits a discipline that is involved in, after all, laborious archival queries, field surveys and excavations, studying artifacts. On the other hand, the huge interest among non-professionals opens the way to popularizing the topic like no other. Archaeology is like a giant jigsaw puzzle, attempting to put together a picture of life of our ancestors, a recon-struction of diverse aspects of everyday life in the past, which is of great interest to most people and which archaeologists supply through their research.

Multimedia with their continuously growing popularity and huge technological advances assist archaeology and archaeologists in this scope, providing ever new possibilities for popularizing the archaeological heritage (Economou, 2003; Parry, 2010; Williams, 2010). Despite reservations on the part of most archaeologists and museum workers accustomed to more traditional forms of presenting their discoveries and interpretations of the results of their work to non-professionals, modern multimedia techniques have progressively forced their way into archaeology in the form

Roksana ChowaniecUniwersytet Warszawski

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Roksana Chowaniec, New technologies in the process of educating about the archaeological...

EduAkcja. Magazyn edukacji elektronicznej, nr 1 (5)/2013 , str. 33

of computer animations, holograms, 3D-5D models, augmented reality, interactive webpages, QR codes and mobile applications, astonishingly fast replacing traditional methods of communi-cation and education, also in the archaeological heritage education (cf. White, Liarokapis, Darcy, Mourkoussis, Petridis & Lister, 2003; Johnston, 2009; Wheeler, 2011; Ciejka, 2012).

Methods of popularizing knowledge have progressed from static to hyper dynamic and almost ‘cosmic’ ones. Computer technologies have started to diversify traditional museum exhi-bitions too. Museums have introduced touch screens, holograms, virtual collections of artifacts (hands-on displays), e.g., Musée d’archéologie et d’histoire de Montréal in Canada, Museum of London in Great Britain, Museo Archeologico Virtuale, Herculano in Italy, Allard Pierson Museum, Amsterdam in Holland, The Getty Museum, Los Angeles in US, and many others. Children and young people, as well as already adults, are disposed well to multiple stimuli: mobile and interactive television, computer and mobile games, QRpedia, technologies behind the five dimensions (cf. Siemieniecki, 1997; Batorowska, 2001; Radomski & Karauda, 2005; Suchoński, 2007). The old way of looking at archaeological objects presented in showcases, behind glass without being able to touch, has become boring, as have long texts to be read on fading exhibi-tion plates. The expectations of the general public were met first with Power Point presentations shown on suspended screens, then with regular films and the first 3D models to explain to non-professionals, for example, how a dome could have been constructed or a tapestry woven on a vertical loom. The interest was huge and, hopefully—I say this as an archaeologist—people found it easier to absorb and internalize knowledge about the Past (Barceló, 2000; Barceló, Forte & Sanders, 2000).

2. The few examples of virtual animation used in the process of educating abo-ut the archaeological heritage.In latest decades, the dissemination of cultural heritage through Information and Communi-cation Technologies (ICT) has assumed great importance, involving different expertise and enhancing “preservation and scholarship, providing tools for large collections to be preserved, catalogued and searched effectively” (European Commission, 2007). Moreover, high-quality digital representations of cultural relics that can be accessed and investigated worldwide have been produced. This kind of cultural heritage dissemination has been focused on the involvement of young generation, offering “Edutainment,” the effect of the combination of “education” with “entertainment” (Chowaniec, 2010; Pantano & Tavernise, 2011; Bertacchini, Gabriele, Tavernise 2011; Chowaniec & Tavernise, 2012). Additionally, since many empirical studies confirm that young people tend to devote a lot of time to personal computers playing with software games and virtual worlds, advanced virtual environments have been invented and realized in order to constitute the principal way by which children and adolescents become acquainted with cultural heritage contents.

Different types of multimedia have been prepared for many archaeological sites owing to their attractiveness, interactivity and assistance in communicating knowledge of archaeological heritage (Guidi et al., 2005). This way of promoting archaeological heritage is rather new in European archaeological museums and first of all in archaeological open air museums. Most visitors to the archaeological sites in Europe have experienced the frustration of looking at ancient ruins lacking any signs, explanations or illustrations, as well as the imagination how they looked in the past. Often there is nothing but a heap of stones in place of the fabulous Greek temples and Roman villas ornately described in guidebooks or the museum exhibition advertised on the internet pages is no longer up-to-date. The modern technology allows visitors to download to their mobile phones (practically everybody has a mobile phone nowadays) descriptions, 3D pictures and photographs designed to support in visiting an archaeological site, as well as augmented reality applications.



In the case of protected or preserved archaeological sites downloading is accomplished through special transmitters/marks/points, located on site. For archaeological sites at the peripheries of modern human settlement or in secluded areas solutions can be modeled by the Italian project ‘Agamemnon’ (The ‘Agamemnon’–Pictures from the past: a wireless network of magic digital cameras and palmtops for archaeological travels through the time, was carried out within the 6th Framework Program; Pian, Traverso & Villa 2004; Ancona et al., 2006). ‘Agamemnon’ was prepared and tested in Paestum (southern Italy) and Mycenae (Greece). Visitors first choose a language, then a login and a password. Their mobiles are identified at the moment they reach a site. The advantage of mobile phone applications is that they do not impose the knowledge and the directions of sightseeing, and that they facilitate a tour of the site without forcing sightseeing. Users can also express interest in an artifact not available in the system and the program will ‘respond’ by updating its database (Pian et al., 2004).

But these mobile applications can also be used in the cities or around the memorial places. The perfect examples are the projects of the Museum of London, England, so called ‘StreetMuseum’ (see http://www.museumoflondon.org.uk/Resources/app/you-are-here-app/home.html) or ‘Chopin’ in Fryderyk Chopin Museum in Żelazowa Wola (see http://chopin.museum/pl/events/news/id/439).

The only weakness of mobile phone applications are technical requirements—one needs to have a newer phone model. For example the Verulamium Museum, in Great Britain has successfully implemented this form of visiting the site, giving visitors the opportunity to look at artifacts in the museum glass-cases even as they walk around the ruins of the Roman town. The program includes not only color photos and descriptions of archaeological artifacts, but also plans, photographs and reconstructions of the ancient town. The additional items are interactive archaeological games.

Virtual sightseeing and mobile phone applications undoubtedly broaden the educational offer in terms of the archaeological heritage, but it is important to make sure that the computer image is not oversimplified or even distorted due to misunderstanding by its authors or deficient cooperation with relevant scholars. Authors of computer visualizations require all available data, such as appropriate photographs, technical drawings, sketches, the objects themselves, biblio-graphy. Differences are apparent in the very expectations. There are three factors to consider: the documentation materials mentioned above, the equipment with its technical capacity, and the costs which are excessive for most scientists and museum workers. Archaeologists are often unaware of what computer designers actually need in order to create moving pictures that will satisfy equally customers meaning viewers, clients meaning archaeologists and themselves as the authors. Hence the need for sound cooperation between specialists on both sides in order to avoid serving banal entertainment or encyclopedic information instead of interactive education about the archaeological heritage.

3. Biskupin case studyThe ‘Biskupin without secrets. Interactive guide to ancient fortified settlements’, created within the framework of the NETConnect Connecting European Culture through New Technology project, which was part of the Culture 2000 program, is also the proper example of the applica-tion of computer technologies for the purpose of education and popularization in archaeology (Chowaniec, 2011; Chowaniec & Tavernise, 2012).

The DVD is prepared in two languages (Polish and English), and furnished with a choice of captions and voiceover for the hearing- and sight-impaired. It is designed for the pupils of primary and junior high schools. It contains two ways of a visit to the fortified settlement in Biskupin, one, so called educational—a 35 minute presentation, which could be shown during a school lesson, and another one – an interactive personal tour around the famous Polish archaeological site (Fig. 1).

http://www.museumoflondon.org.uk/Resources/app/you-are-here-app/home.html

http://chopin.museum/pl/events/news/id/439



Figure 1. ‘Virtual’ Biskupin, interface of interactive presentation.

The story begins around 600 BC when a Greek merchant named Ksander from ancient Greek colony Locri, in south Italy—the user impersonates in him—recalls his journey around 650 BC, through terra incognita to the southern costs of Baltic Sea to collect the amber, ‘gold of the North’; and by accident visits Biskupin. A young girl named Ina, who lives there (Fig. 2) shows him the settlement. Thanks to such a combination the user is able to compare two cultures: Greek and Lusatian. The program combines animations, 3D models of archaeological artifacts and remains, experimental archaeology films, archival material from the excavations in the Lusatian settlement at Biskupin and pictures of the current status of the archaeological site, the texts of the video, and additional contents1.

Figure 2. Ina, main figure of animation, who virtually guides users through fortified settlement in Biskupin

1 It is very important to underline that all materials were created on the grounds of data from excavations in Bi-skupin (drawing and photographic documentation, registers of artifacts, maps) and information from scientific publications. It gives the users the most accurate information, and the knowledge is created not only by computer.



The interactive version allows visiting the settlement in a very informal way and the user is also allowed to choose to operate any active element of the presentation (Fig. 3).

Figure 3. The examples of visualized interiors of the Lusation culture houses in Biskupin

At the beginning, when you choose the language, the DVD offers a short introduction about the history of excavation and the structure of this prehistoric settlement, which is a composi-tion of movies and pictures. Later, the user can be transferred into the interior of a site and visit the virtual worlds from a list of 22 points of interest, present in the menu on the left side of the screen, among them being the breakwaters; the defense rampart; the entrance-gate with plat-form-bridge; the circular and cross streets; the square; the house construction and the classic house; as well as the points of interest which could bring one closer to the prehistoric activities and craftsmen: the houses of weaver, potter, amber maker, bronze maker and jeweller, basket and rope maker, birch tar maker and wood distiller, salter, horn and bone maker (Fig. 4), fishing, hunting, preparing the food, animal husbandry and farming.

Figure 4. PrtSc of a multimedia presentation about experimental archaeology.



This choice causes the opening of a multimedia section on the selected topic, and a direct connection with the chosen point of the settlements—clicking on ‘Back’ (Chowaniec, 2012). Moreover, the user can also choose to explore the settlement as it is in real life, walking along the streets, using a map present on the right side of the screen, or following big arrows showing the location of the points of interest. Since the exploration of the environment follows an approach which is very similar to videogames, the user can use the mouse or keyboard as well as a joystick to move around (Pantano & Tavernise, 2011).

From the technical point of view care was taken to ensure a choice of resolution, so that the DVD can be played also on lower-class computers with weaker graphic cards. It is also possible to select particular applications freely from each user level. The same project provided the framework for a test guide allowing free walking around the site, viewing 3D reconstruc-tions on mobile phones (Fig. 5).

Figure 5. A mobile phone guide. An example from Biskupin

4. ConclusionComputer technology has proved useful in popularizing the archaeological heritage for a number of reasons2. First, it provides a clear and easily absorbed way of explaining complica-ted creative processes (Fig. 6) and research methods used by scholars (among others, transfor-mation of human settlements and changes of the natural environment).

2 Students (all together 264 persons) of various faculties (e.g., sociology, pedagogy, philology, psychology, Medi-terranean civilizations, archaeology) at the University of Warsaw, participating in an e-learning course on ‘Tradi-tional and interactive museums’, between 2010-2013, were asked about the significance of computer animations, 3D models, holograms, QR codes etc. for popularizing archaeological heritage or more broadly speaking, cultural heritage. They mentioned many advantages, while being practically unable to point out any weak sides of this form of education. Their attitude is hardly surprising considering that they belong to the so-called ‘internet’ or ‘google’ generation, unable to imagine learning using only traditional methods like static photos and printed text.



Figure 6. A virtual animation which explains the olive oil extrusion process

Secondly, they help to visualize archaeological interpretations (e.g., different ways of decora-ting ancient statuary, fortification-building techniques) (Fig. 7).

Figure 7. An archaeological interpretation of earth banks in Giecz

They can also help to demonstrate the link between artifacts and their original archaeologi-cal context, present architectural reconstructions as well as reconstructions of lost or damaged artifacts, show the evolution of artifacts over the ages and illustrate forgotten or disappearing crafts and technologies (Fig. 8).

Figure 8. The processes of flint extraction in the mine of Krzemionki Opatowskie



They can also encourage learning before or after visiting an archaeological site or museum. Finally, their use can make school lessons in history, art or knowledge about society more inte-resting, as well as diversifying classes for students of archaeology, history and art history, and supporting and enhancing self-education.

Moreover, they can be of use for the disabled people, replacing real visits to museums or specific exhibitions or encouraging such visits (Fig. 9). Of considerable importance is the possi-bility of combining computer animation with audio-description, which is a technique, dedicated to the blind or visually impaired people, providing a verbal description of visual art3.

Figure 9. The examples of different archaeological sites in several parts of the world

A visitor to a museum or a reader of a textbook does not have the opportunity to get to know either the site, the landscape or the climate in which artifacts were discovered. New technolo-gies fulfill this deficiency, providing the opportunity of revising, modifying and updating these reconstructions in the wake of new archaeological discoveries and studies. Archaeologists and museum workers find this invaluable. Computer techniques in education about the archaeolo-gical heritage are even more useful due to their mass distribution and accessibility at all hours of the day and night, availability in an unlimited number of language versions and easy spreading on television, tablets, laptops, and other mobile media. As a result, archaeological knowledge reaches an ever growing public without imposing any given method of education, because users choose their own education methods and time.

The virtual reality creates the proper environment for virtual museums with virtual artifacts, operating only over the Internet without having to think about sufficient storage and exhibi-tion space. Much more can be seen in this way than in a traditional museum. Intercultural exchange is easier because three-dimensional artifacts need no insurance, security and profes-sional moving to be exhibited in a museum on the other hemisphere.

3 Audio-description is increasingly more widespread, having been adopted also for the needs of theater and cinema, as well as museums, galleries, webpages and e-learning.



The most important feature of virtual reconstructions is, however, their interactive character4, connected with participation, involvement and communication. Confucius (551-479) was the first to say: “Tell me and I will forget, show me and I will remember. Involve me and I will under-stand.” People learn more quickly and effectively, if given the opportunity to participate actively in the education process through looking, modifying, shaping, touching. Interactive science engages all the senses for the purpose of increasing knowledge of the past. One example of this is given by archaeological puzzles to be arranged on screen. Potsherds will not tell a student much about the shape of a vessel, its decoration and even more so, its function. But if a user is allowed to reconstruct the vessel from fragments (similarly to the way it is done in computer games of the point and click type) and additionally use a quiz to decipher the vessel’s uses, the vessel will be remembered much better than if the student had read the caption under a drawing or on a museum label (Chowaniec, 2012)5.

Three-dimensional reality is also cheaper than building full-scale reconstructions in archa-eological open-air museums, not to mention frequent national and European funding for virtual exhibitions of all kinds. The public is equally interested in this aspect, being able to “use” visuali-zations of artifacts and archaeological sites repeatedly or to make their own “virtual souvenirs”. For example, visitors to the Science Center ‘Kopernik’ in Warsaw are able to write their name in hieroglyphs and send it to a personal e-mail address, and guests to the Smithsonian Natural History in Washington could participate in an activity called ‘MEanderthal’, and after scanning the barcode with a mobile, could transform their own face into the face of an early human, and later share it on numerous social media.

Personally I endorse learning through the virtual reality, but I am fully aware of the shortco-mings and pitfalls of the method. Virtual reconstructions and artifacts will not replace personal contact with the cultural heritage and the boundary between the real and virtual worlds is easily blurred leading to misrepresentation. It’s enough to quote Umberto Eco on the creation of hyper-real museums and replacing real things with an ideal phantom: “This is the reason for this journey into hyperreality, in search of instances where the American imagination demands the real thing and, to attain it, must fabricate the absolute fake; where the boundaries between game and illusion are blurred, the art museum is contaminated by the freak show, and falsehood is enjoyed in a situation of ‘fullness’ of horror vacui” (Eco, 1990, p. 8). The visitor always needs to be made aware of what is real and what a substitute for the real thing is. Ideal virtual recon-structions may give rise to false expectations regarding the artifacts compared to their actual condition and lead to disappointment due to their being too ideal and too new. After all, the archaeological artifacts are often damaged or destroyed, while archaeological sites preserved fragmentarily and hence unattractive. The restraint is therefore advocated in this, as in many other matters.

In fact, virtual worlds incorporate information about the culture of the historical period and provide an advanced learning opportunity through different paths of fruition (Pantano & Tavernise, 2009). The technology-enhanced exploration gives a great chance to carry on unique and personalized experiences through the placement of activities and tasks that can support learners’ own interests (de Freitas & Neumann 2009; Naccarato, Pantano & Tavernise, 2011).

4 Latin interactus and English interactivity literally means: mutual action and refers to the capacity for mutual im-pact of the parties communicating with one another. In information, television, electronic devices it refers to the capacity of receiving information with the simultaneous capacity of reacting to them, if desired.5 Please visit as well the following webpages: ‘Mysteries of Çatalhöyük’ (http://www.smm.org/catal/), ‘Archeokids’ (http://www.archeodzieciaki.pl/), ‘Archaeology for Kids’ (http://archaeology.mrdonn.org/).

http://www.smm.org/catal

http://www.archeodzieciaki.pl

http://archaeology.mrdonn.org



5. Bibliography1. Ancona, M., Cappello, M., Casamassima, M., Cazzola, W., Conte, D., Pittore, M., Quercini, G., Villa, M. (2006). Mobile

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8. Chowaniec, R. (2011). „Biskupin bez tajemnic. Interaktywny przewodnik po starożytnym grodzie”: czyli o animacjach komputerowych w edukacji i popularyzacji archeologii. In R. Zapłata (Ed.), Digitalizacja dziedzictwa archeologicznego – wybrane zagadnienia (pp. 76-90). Lublin: Wiedza i Edukacja. Retrieved from http://wiedzaiedukacja.eu/wp-content/uploads/2012/02/Digitalizacja%20dziedzictwa%20archeologicznego%20%5Bred%5D%20Rafal%20Zaplata.pdf

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11. Ciejka, K. (2012). Using social media and new technologies in the popularization and promotion of archaeology. In R. Chowaniec & W. Więckowski (Eds.), Archaeological Heritage: Methods of Education and Popularization (pp. 53–57). Oxford: Archaeopress.

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http://wiedzaiedukacja.eu/wp-content/uploads/2012/02/Digitalizacja

http://wiedzaiedukacja.eu/wp-content/uploads/2012/02/Digitalizacja

20Zaplata.pdf

10.1016/j.compedu

10.4018/jicthd



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Nowe technologie w kształceniu w zakresie dziedzictwa archeologicznego

StreszczenieSłowa kluczowe: Dziedzictwo archeologiczne, kody QR, poszerzona rzeczywistość, archeologia wirtualna

Edukacja w zakresie dziedzictwa archeologicznego może rozwijać się dzięki technikom multimedialnym, których ogromny progres oraz nieustający wzrost popularności stwarzają coraz to nowe możliwości upowszechniania dzie-dzictwa archeologicznego. Pomimo dużej nieufności archeologów oraz muzealników – przyzwyczajonych do bardziej tradycyjnych form utrwalania swoich odkryć oraz przedstawiania laikom interpretacji swoich badań – nowoczesne techniki multimedialne, w tym animacje komputerowe, hologramy, modele 3D-5D, poszerzona rzeczywistość, in-teraktywne strony internetowe, kody QR oraz aplikacje wykorzystywane w iPodach czy telefonach komórkowych, sukcesywnie wdarły się również do archeologii i zastąpiły tradycyjne sposoby komunikowania się i uczenia.

http://www.themobilists.com/2011/08/30/qr

http://www.themobilists.com/2011/08/30/qr

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