Promoting a More Interactive Public Archaeology

Means, Bernard K.

doi:10.7183/2326-3768.3.3.235

Cited by 24 publications

(5 citation statements)

References 5 publications

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“…These examples resonate with advances in public archaeology that promote a more cocreative approach in archaeology and demonstrate how a nuanced understanding of the locality can be achieved through dialogue and collaboration (Bollwerk, Connolly, & McDavid, 2015;Means, 2015). Archaeological tourism providers could look into these advances and apply a similar logic in order to offer bespoke experiences that incorporate tourists' knowledge and encourage critical/creative thinking.…”

Section: A Framework For Co-creative Archaeological Tourismmentioning

confidence: 81%

Archaeological tourism: A creative approach

Ross

Saxena

Correia

et al. 2017

Annals of Tourism Research

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This theoretical paper conceptualises the role of tourism providers in facilitating creative tourism experiences by focusing on their ingenious enterprise, which we argue can help capture the tourism potential of intangible archaeological heritage. Intangible archaeological heritage can be understood as knowledge emanating from actors' own interpretation of archaeological sites that have either become physically inaccessible or been destroyed since initial exploration. Archaeological heritage is often equated with tangibility, which results in an omission of experiences that intangible archaeological heritage can offer. By proposing a rethinking of the archaeological tourism framework, we argue that the touristic value of both tangible and intangible archaeological heritage is better realised and can be further utilised to study the easily overlooked aspect of providers' ingenuity. HIGHLIGHTS  Archaeological tourism fails to capture the intangibility of archaeological heritage  Creative tourism is proposed as a more suitable framework for archaeological tourism  Co-creation between tourists and providers is central to achieving creative tourism  A proposed framework underlines providers' creativity in delivering memorable experiences

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Section: A Framework For Co-creative Archaeological Tourismmentioning

confidence: 81%

Archaeological tourism: A creative approach

Ross

Saxena

Correia

et al. 2017

Annals of Tourism Research

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“…In 2017, citizen design science (a combination of citizen science and citizen design) was proposed by Mueller et al as a strategy for co-creative urban design focusing on their neighbourhood [73]. In cultural heritage, co-creation provides value through multitechnology such as VR/AR and 3D printing [74,75]. Archaeology could show the core of co-creation by letting go of control and by being guided by the masses in the digital preservation of archaeological objects [76].…”

Section: Three-dimensional Co-creation and E-participationmentioning

confidence: 99%

An “Animated Spatial Time Machine” in Co-Creation: Reconstructing History Using Gamification Integrated into 3D City Modelling, 4D Web and Transmedia Storytelling

Matthys

Cock

Vermaut³

et al. 2021

IJGI

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More and more digital 3D city models might evolve into spatiotemporal instruments with time as the 4th dimension. For digitizing the current situation, 3D scanning and photography are suitable tools. The spatial future could be integrated using 3D drawings by public space designers and architects. The digital spatial reconstruction of lost historical environments is more complex, expensive and rarely done. Three-dimensional co-creative digital drawing with citizens’ collaboration could be a solution. In 2016, the City of Ghent (Belgium) launched the “3D city game Ghent” project with time as one of the topics, focusing on the reconstruction of disappeared environments. Ghent inhabitants modelled in open-source 3D software and added animated 3D gamification and Transmedia Storytelling, resulting in a 4D web environment and VR/AR/XR applications. This study analyses this low-cost interdisciplinary 3D co-creative process and offers a framework to enable other cities and municipalities to realise a parallel virtual universe (an animated digital twin bringing the past to life). The result of this co-creation is the start of an “Animated Spatial Time Machine” (AniSTMa), a term that was, to the best of our knowledge, never used before. This research ultimately introduces a conceptual 4D space–time diagram with a relation between the current physical situation and a growing number of 3D animated models over time.

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“…In excavation contexts this has taken the form of photogrammetry and LiDAR scanning to record objects, deposits, and features, or arbitrary points during the excavation (Roosevelt et al 2015;Porter, Roussel & Soressi 2016). Museum collections are digitized and models of objects made available to researchers and the public either through self-hosted platforms, in conjunction with commercial online platforms such as Sketchfab, or through 'Virtual Museums' (Means 2015;Pescarin 2014;Biedermann 2017). It must be recognized that the digitization process is a creative process and the relationship between a digital object and the physical object it was derived from is by no means clear cut, and neither are issues of ownership, interpretation, and usage which vary depending on national copyright laws (Meehan 2020).…”

Section: D Datamentioning

confidence: 99%

Digital Modelling in Museum and Private Collections: A Case Study on Early Italic Armour

Emmitt

Mackrell

Armstrong

2021

Journal of Computer Applications in Archaeology

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Public, and particularly museum-based, collections provide invaluable opportunities for analysis. The objects in these collections typically offer relatively complete examples which often become reference points for newly excavated material or analyses. However, aside from issues of provenance and occasionally authenticity, one of the biggest challenges with the analysis of objects in museum collections is, perhaps ironically, their public and collection-based context. Objects on display are often only directly analysed immediately following their initial discovery and are then increasingly restricted for direct analysis (e.g. placed behind glass, displayed in such a way that their removal is difficult, etc.). Although visible to millions, once in a collection the level of analysis possible is often limited and superficial. In this paper we discuss the analysis of three collections of ancient Italian armour now housed in collections, both public and private. We examine some of the ethical considerations when looking at such collections. We also discuss the issues faced when analysing and making digital models of objects, which are used to explore the nature and importance of military equipment in Italy during the first millennium BCE. In addition, we argue that, although famous, many of the pieces held in collections are currently being underutilized in studies of the ancient world. We suggest digitization, even when conducted quickly, can help to unlock more information from previously excavated and analysed items and we highlight the pros and cons of various techniques when working in museum-based contexts.

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Promoting a More Interactive Public Archaeology

Cited by 24 publications

References 5 publications

Archaeological tourism: A creative approach

Archaeological tourism: A creative approach

An “Animated Spatial Time Machine” in Co-Creation: Reconstructing History Using Gamification Integrated into 3D City Modelling, 4D Web and Transmedia Storytelling

Digital Modelling in Museum and Private Collections: A Case Study on Early Italic Armour

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