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Archaeology, museums and virtual reality

Profile image of LAIA PUJOL TOSTLAIA PUJOL TOST

2004, Digithum

Abstract

This article looks at the idea that the virtual archaeological reconstructions seen in museums cannot be considered Virtual Reality (VR) as they are based on an artistic conception of the discipline. The cause is to be found in the origins of Archaeology, which began in the 18 th century and was closely linked to the History of Art. In the era of New Technologies, this concept has become both the cause and the consequence: determining the characteristics of VR from within the discipline, whilst simultaneously reinforcing the virtual reconstructions. To assess the relationship between VR and Archaeology, we must first establish a definition of Virtual Reality. Subsequently, we can take a brief look at the history so as to be able to understand the evolution of Archaeology and museums. This leads us to the analysis of some examples of VR in museums, from which we can gain conclusions on the current use of VR. Finally, we look at the possibilities for VR in terms of publicising Archaeology.

Figures (15)
Image 2. Window on a World-type (WoW) virtual reality In IVR, the reference for visualisation is the head, which con- stitutes a natural interface for navigating through the space. This is shown on a human scale and has objects that can be interact- ed with realistically, given that the virtual world can be manipu- lated. Other resources for augmenting the feeling of reality include stereoscopic vision and tactile and audio technologies (Beier, 2001). For this reason, according to some experts (Brooks, 1999, stereoscopic vision and tactile and audio technologies (Beier,
Image 2. Window on a World-type (WoW) virtual reality In IVR, the reference for visualisation is the head, which con- stitutes a natural interface for navigating through the space. This is shown on a human scale and has objects that can be interact- ed with realistically, given that the virtual world can be manipu- lated. Other resources for augmenting the feeling of reality include stereoscopic vision and tactile and audio technologies (Beier, 2001). For this reason, according to some experts (Brooks, 1999, stereoscopic vision and tactile and audio technologies (Beier,
Image 1. The Lawnmowerman. One of the first appearances of virtual reality in cinemas
Image 1. The Lawnmowerman. One of the first appearances of virtual reality in cinemas
Image 3. Head Mounted Display device
Image 3. Head Mounted Display device
Figure 1. Definition of virtual reality ire 1 orders all the possible meanings of the concept on two axes. The description of the type of interface is a neutral approxi- mation and can be applied to any example. Despite this, the complexity of the «uses» of VR are not taken into account. Fig- ure | orders all the possible meanings of the concept on two axes.
Figure 1. Definition of virtual reality ire 1 orders all the possible meanings of the concept on two axes. The description of the type of interface is a neutral approxi- mation and can be applied to any example. Despite this, the complexity of the «uses» of VR are not taken into account. Fig- ure | orders all the possible meanings of the concept on two axes.
Image 6. Dunhuang caves, CAVE system The CAVEsystem is better than a screen as it can hold groups (muse- um experiences are always collective) and reproduces the actual atmosphere at given sites with a greater level of realism, for example the Dunhuang caves (Weidenhausen and Stricker, 2000) (image 6).
Image 6. Dunhuang caves, CAVE system The CAVEsystem is better than a screen as it can hold groups (muse- um experiences are always collective) and reproduces the actual atmosphere at given sites with a greater level of realism, for example the Dunhuang caves (Weidenhausen and Stricker, 2000) (image 6).
Image 5. Dudley Castle Image 7. Virtual Theatre
Image 5. Dudley Castle Image 7. Virtual Theatre
Image 8. ARCHEOGUIDE AR proposes a new type of visit as it can combine a physical visit with navigation through space and time, which is perfect for archaeology. Despite this, in actual applications it is still focusing
Image 8. ARCHEOGUIDE AR proposes a new type of visit as it can combine a physical visit with navigation through space and time, which is perfect for archaeology. Despite this, in actual applications it is still focusing
Image 9. ENAME974
Image 9. ENAME974
tion (the museum, the Internet and visit in situ), to which the char- acteristics of VR are adapted. Navigation from the natural surroundings to the inside of the houses allows for the visualisation and greate1 understanding of the archaeological remains. At the Virtual Mut Castle (Sancho, 2001) (image 11), however, the reconstruction has been designed to support university education as a metaphor for navigation through the knowledge on the daily life in the late Middle Ages. The Baths of Baetulo (Gurri Costa and Gurri Costa, 2000) (image 12) also offer information on the daily life of the Romans using the archaeological remains, but the level is not as Image 11. Virtual Mur Castle The reconstruction of the Iberian site at Hs Vilars Junyent and Lorés, 2000) Gamage 10) is seen as an extension of the archaeo- logical record. The model uses different media for communica- Romans using the archaeological remains, but the level is not as
tion (the museum, the Internet and visit in situ), to which the char- acteristics of VR are adapted. Navigation from the natural surroundings to the inside of the houses allows for the visualisation and greate1 understanding of the archaeological remains. At the Virtual Mut Castle (Sancho, 2001) (image 11), however, the reconstruction has been designed to support university education as a metaphor for navigation through the knowledge on the daily life in the late Middle Ages. The Baths of Baetulo (Gurri Costa and Gurri Costa, 2000) (image 12) also offer information on the daily life of the Romans using the archaeological remains, but the level is not as Image 11. Virtual Mur Castle The reconstruction of the Iberian site at Hs Vilars Junyent and Lorés, 2000) Gamage 10) is seen as an extension of the archaeo- logical record. The model uses different media for communica- Romans using the archaeological remains, but the level is not as
Image 10. Iberian site at Els Vilars
Image 10. Iberian site at Els Vilars
Image 12. Baths of Baetulo
Image 12. Baths of Baetulo
Image 13. Low cost VR it seems that the technological evolution of Vk. depends on the interrelation between realism and interactivity, which leads to their stimulating or limiting each other. Despite this, in the case of archae- ology, resources have been systematically destined to illustrative hyper- realism, without taking into account the scientific and didactic pos- sibilities offered by interactivity. As a result, only very recently has low cost VR started to be developed (Anderson, 2003; Meister and Boss, 2003) (image 13). It represents the opposite of virtual her- itage, as it demonstrates that to understand most archaeological phe- nomena a high level of realism is not required, with dynamic mod- els to simulate spatial data proving more effective. Low cost VR is a possibility for the future for the following reasons:
Image 13. Low cost VR it seems that the technological evolution of Vk. depends on the interrelation between realism and interactivity, which leads to their stimulating or limiting each other. Despite this, in the case of archae- ology, resources have been systematically destined to illustrative hyper- realism, without taking into account the scientific and didactic pos- sibilities offered by interactivity. As a result, only very recently has low cost VR started to be developed (Anderson, 2003; Meister and Boss, 2003) (image 13). It represents the opposite of virtual her- itage, as it demonstrates that to understand most archaeological phe- nomena a high level of realism is not required, with dynamic mod- els to simulate spatial data proving more effective. Low cost VR is a possibility for the future for the following reasons:
possible, as it meets all these conditions: it is a realistic visualisa- tion, a data management tooland contains a geometric database that can be analysed spatially. It is also a language for communi- cation that shows the public archaeological methodologies and conclusions, adapting them to their characteristics and to the elements reconstructed.
possible, as it meets all these conditions: it is a realistic visualisa- tion, a data management tooland contains a geometric database that can be analysed spatially. It is also a language for communi- cation that shows the public archaeological methodologies and conclusions, adapting them to their characteristics and to the elements reconstructed.

Related papers

Pujol, L. (2006), "Archaeology, museums and computers: semiotic approach to the use of VR for the dissemination of Archaeology in museums". Department of Prehistory, Autonomous University of Barcelona, 8/11/2006.
Laia Pujol-Tost

Given the spread of the use of virtual reconstructions in archaeological museums, apparently without a true theoretical consideration (museological and epistemological) to support them, the aim of this thesis is to find out whether and how Virtual Reality is useful for the presentation of Archaeology in museums and at the same time to propose a theoretical bases for this use, through the establishment of a semiotica theoretical and methodological framework. The thesis is structured in three volumes. The first one presents a general overview of the project (goals, methodology, contribution to the state of the art, future perspectives) and also the basic concepts about Archaeology (epistemological situation and social function), museums (role of objects, museums’ social function, communicational and educational role of the exhibition, first words about the use of ICT in museums) and Virtual Reality (using six vectors of approximation to the complexity of the concept) that guided the research process. The second volume is devoted to the starting question and tries to find out (through a bibliographical search about each element, its application to VR and its verification through published empirical evaluations) if VR is useful as a communication tool from all the perspectives involved (perception, cognition, semiotics of images/language, archaeological epistemology, museology, museography and learning), distributed in three analytical levels: syntax, semantics and pragmatics. The third volume contains a summary of the thesis and the conclusions of the research project, which correspond to the theoretical foundations of the use of VR in archaeological museums from the research and the museological perspective. The present research project is not unique and can be considered a continuation of early research into the usefulness of VR for learning performed outside the military field. However, it does introduce new elements, amongst which we should highlight the construction of a theoretical and methodological framework, semiotics, which encompasses the following advantages: to apply and adapt the powerful analytical methodology coming from semiotics as well as other fields; to integrate in a coherent discourse research into the advantages and disadvantages of VR from the different fields involved; to obtain an evaluative tool for future verification of these theoretical foundations; and finally, as the practical consequence of the theoretical framework, it provides a rational and explicit basis for the scientific and disseminative use of VR in Archaeology.

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Acta Terrae Septemcastrensis 9, “Lucian Blaga” University - IPCTE, Sibiu, 2010

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