New Technologies in The Process of Educating About The Archaeological Heritage 1, 2013

EduAkcja.
Magazyn edukacji elektronicznej

nr 1 (5)/2013, str. 3242
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
Sowa kluczowe: archaeological heritage, QR code, augmented reality, virtual archaeology
1. Introduction
People 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 frst 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).
Te 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
diferent people who lived at diferent 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, afer all, laborious archival
queries, feld 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 Chowaniec
Uniwersytet Warszawski
roksana.chowaniec@uw.edu.pl
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., Muse darchologie et dhistoire de Montral in Canada, Museum
of London in Great Britain, Museo Archeologico Virtuale, Herculano in Italy, Allard Pierson
Museum, Amsterdam in Holland, Te 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 fve
dimensions (cf. Siemieniecki, 1997; Batorowska, 2001; Radomski & Karauda, 2005; Suchoski,
2007). Te 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. Te expectations of the general public were met frst with Power Point presentations
shown on suspended screens, then with regular flms and the frst 3D models to explain to
non-professionals, for example, how a dome could have been constructed or a tapestry woven
on a vertical loom. Te interest was huge and, hopefullyI say this as an archaeologistpeople
found it easier to absorb and internalize knowledge about the Past (Barcel, 2000; Barcel, Forte
& Sanders, 2000).
2. Te 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 diferent expertise and
enhancing preservation and scholarship, providing tools for large collections to be preserved,
catalogued and searched efectively (European Commission, 2007). Moreover, high-quality
digital representations of cultural relics that can be accessed and investigated worldwide have
been produced. Tis kind of cultural heritage dissemination has been focused on the involvement
of young generation, ofering Edutainment, the efect of the combination of education with
entertainment (Chowaniec, 2010; Pantano & Tavernise, 2011; Bertacchini, Gabriele, Tavernise
2011; Chowaniec & Tavernise, 2012). Additionally, since many empirical studies confrm that
young people tend to devote a lot of time to personal computers playing with sofware 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.
Diferent 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). Tis way of promoting archaeological heritage is rather new in European
archaeological museums and frst 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.
Ofen 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. Te 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 (Te AgamemnonPictures 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 frst choose
a language, then a login and a password. Teir mobiles are identifed at the moment they reach
a site. Te 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. Te
perfect examples are the projects of the Museum of London, England, so called StreetMuseum (see
http://www.museumofondon.org.uk/Resources/app/you-are-here-app/home.html) or Chopin in
Fryderyk Chopin Museum in elazowa Wola (see http://chopin.museum/pl/events/news/id/439).
Te only weakness of mobile phone applications are technical requirementsone 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. Te
program includes not only color photos and descriptions of archaeological artifacts, but also
plans, photographs and reconstructions of the ancient town. Te additional items are interactive
archaeological games.
Virtual sightseeing and mobile phone applications undoubtedly broaden the educational
ofer in terms of the archaeological heritage, but it is important to make sure that the computer
image is not oversimplifed or even distorted due to misunderstanding by its authors or defcient
cooperation with relevant scholars. Authors of computer visualizations require all available data,
such as appropriate photographs, technical drawings, sketches, the objects themselves, biblio-
graphy. Diferences are apparent in the very expectations. Tere 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 ofen
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 study
Te Biskupin without secrets. Interactive guide to ancient fortifed 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).
Te 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 fortifed settlement in
Biskupin, one, so called educationala 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).
Figure 1. Virtual Biskupin, interface of interactive presentation.
Te story begins around 600 BC when a Greek merchant named Ksander from ancient Greek
colony Locri, in south Italythe user impersonates in himrecalls 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. Tanks to such a combination the user is able to compare two cultures:
Greek and Lusatian. Te program combines animations, 3D models of archaeological artifacts
and remains, experimental archaeology flms, 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 contents
1
.

Figure 2. Ina, main fgure of animation, who virtually guides users through fortifed 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 scientifc
publications. It gives the users the most accurate information, and the knowledge is created not only by computer.
Te 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. Te examples of visualized interiors of the Lusation culture houses in Biskupin
At the beginning, when you choose the language, the DVD ofers 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 lef 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 crafsmen: 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), fshing,
hunting, preparing the food, animal husbandry and farming.
Figure 4. PrtSc of a multimedia presentation about experimental archaeology.
Tis choice causes the opening of a multimedia section on the selected topic, and a direct
connection with the chosen point of the settlementsclicking 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. Te 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. Conclusion
Computer technology has proved useful in popularizing the archaeological heritage for
a number of reasons
2
. 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 signifcance of computer animations,
3D models, holograms, QR codes etc. for popularizing archaeological heritage or more broadly speaking, cultural
heritage. Tey mentioned many advantages, while being practically unable to point out any weak sides of this form
of education. Teir 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., diferent ways of decora-
ting ancient statuary, fortifcation-building techniques) (Fig. 7).
Figure 7. An archaeological interpretation of earth banks in Giecz
Tey 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
crafs and technologies (Fig. 8).
Figure 8. Te processes of fint extraction in the mine of Krzemionki Opatowskie
Tey can also encourage learning before or afer 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
specifc 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 art
3
.
Figure 9. Te examples of diferent 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 fulfll this defciency, providing the opportunity of revising, modifying and updating these
reconstructions in the wake of new archaeological discoveries and studies. Archaeologists and
museum workers fnd 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.
Te virtual reality creates the proper environment for virtual museums with virtual artifacts,
operating only over the Internet without having to think about sufcient 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.
Te most important feature of virtual reconstructions is, however, their interactive character
4
,
connected with participation, involvement and communication. Confucius (551-479) was the
frst 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 efectively, 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 vessels 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
.
Tree-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. Te 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 afer 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. Its enough to quote Umberto Eco on the creation
of hyper-real museums and replacing real things with an ideal phantom: Tis 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). Te 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. Afer all, the
archaeological artifacts are ofen damaged or destroyed, while archaeological sites preserved
fragmentarily and hence unattractive. Te 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 diferent paths of fruition (Pantano &
Tavernise, 2009). Te 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 atalhyk (http://www.smm.org/catal/), Archeokids
(http://www.archeodzieciaki.pl/), Archaeology for Kids (http://archaeology.mrdonn.org/).
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Nowe technologie w ksztaceniu w zakresie
dziedzictwa archeologicznego
Streszczenie
Sowa kluczowe: Dziedzictwo archeologiczne, kody QR, poszerzona rzeczywisto, archeologia wirtualna
Edukacja w zakresie dziedzictwa archeologicznego moe rozwija si dziki technikom multimedialnym, ktrych
ogromny progres oraz nieustajcy wzrost popularnoci stwarzaj coraz to nowe moliwoci upowszechniania dzie-
dzictwa archeologicznego. Pomimo duej nieufnoci archeologw oraz muzealnikw przyzwyczajonych do bardziej
tradycyjnych form utrwalania swoich odkry oraz przedstawiania laikom interpretacji swoich bada nowoczesne
techniki multimedialne, w tym animacje komputerowe, hologramy, modele 3D-5D, poszerzona rzeczywisto, in-
teraktywne strony internetowe, kody QR oraz aplikacje wykorzystywane w iPodach czy telefonach komrkowych,
sukcesywnie wdary si rwnie do archeologii i zastpiy tradycyjne sposoby komunikowania si i uczenia.

New Technologies in The Process of Educating About The Archaeological Heritage 1, 2013

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New Technologies in The Process of Educating About The Archaeological Heritage 1, 2013

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