ARCHAEOMETRY AND MUSEUMS: FIFTY YEARS OF CURIOSITY AND WONDER*

Artefacts and works of art kept in museum collections originated in many cases from ancient private collections. In such cases, a partial or total absence of historical information may create additional problems concerning their authenticity. The study of museum collections and their preservation requires the use of analytical techniques but also combined examination techniques not commonly necessary for the study of archaeological objects. This paper gives an overview of the importance of museum items for the understanding of the past, the difficulties relating to their authentication and the significant advances brought about by science‐based techniques, in particular those cases discussed in Archaeometry during the past 50 years.     

Cultivating Personalized Museum Tours Online and On-Site

Abstract

Web 2.0 — the perceived second generation of the World Wide Web that aims to improve collaboration, sharing of information and interoperability — enables increasing access to digital collections of museums. The expectation is that more and more people will spend time preparing their visit before actually visiting the museum and look for related information reflecting on what they have seen or missed after visiting the museum. It can also be expected that museum curators want to enhance visitors' museum experiences in the more personalized, intensive and engaging way promised by an improved Web. In other words, to keep their visitors, they should adopt an immersive museum environment that combines the museum Web site (online) with the physical museum space (on-site). In this context, the CHIP (Cultural Heritage Information Presentation) project offers tools to the users to be their own curators, e.g. browsing the online collections, planning a personalized museum tour suiting their art interests, getting some recommendations about interesting artworks to see, and quickly finding their ways in the museum. In this paper, we present the new additions to the CHIP tools, which target such functionality: a Web-based museum Tour Wizard based on the user's interests and the Mobile Guide that converts the tours to a mobile device (PDA) used in the physical museum space. To connect the user's various interactions with these tools online and on-site, we built a dynamic user model. Online, the user model stores the user's personal background, ratings of artworks and art concepts, recommended or created museum tours. On-site, it is a conversion of the online user model stored in RDF into XML format which the mobile guide can parse. When the user rates artworks inside the physical museum, the on-site user model is updated and when the tour is finished, it is synchronized with the online user model. In such a way, we support a 'virtuous circle' of the museum visit, which links the personalized museum experiences both online and on-site.     

Information Retrieval in Cultural Heritage

Abstract

This article discusses the opportunities and challenges of applying modern information retrieval techniques to the cultural heritage domain. Although the field of information retrieval is closely associated with computer science, it originally emerged from library science — also one of the main disciplines concerned with access to cultural heritage material. Hence we are, in a sense, exploring what happens if we bring these strands of research back together again. The article consists of three parts. In the first part, we explain the field of information retrieval and its multidisciplinary nature. In the second part, we discuss how and why the problem of providing access to cultural heritage can be cast naturally as an information retrieval problem. In the third and main part, we present a detailed case study of applying the modern information retrieval approach in practice within a museum.     

Public Archaeology as Renewer of the Historical Museum

Abstract

Working towards greater public interaction in the museum, and with archaeology reflecting on its contemporary context, traditional collection practices will inevitably be challenged. Archaeologies of the contemporary bring new kinds of artefacts to collections and raises ethical and political questions, since it must interact with the world of the living. Public archaeology, on the other hand, strives to involve people in the making of history, with an aim towards more inclusive, and even democratic, pasts and collections. Three recent research projects at the Swedish Museum of National Antiquities have dealt with these issues. The case studies future memories, archaeologist for a day and public contract archaeology question artefact categorizations, policies for storage and display, as well as database organization, design, and availability. It clearly turned out that the way museums work with collections structure and limit the ways in which audiences can engage with them. To deal more intensively with the public relations of archaeology, and to get more engaged in the contemporary, has definite consequences for the collections and collection practices of archaeological museums. A public-need focus will inevitably give opportunities for archaeologists and institutions to renew their perspectives and practices.     

Constructing National Identity: The Image of the Medieval Grand Duchy of Lithuania in Lithuanian Art from the 1920s to the 1990s

Abstract

This article provides an overview of the ways in which the image of the medieval Grand Duchy of Lithuania, intended to awaken the national pride and contribute to the building of the national identity, was constructed by artistic means in the Republic of Lithuania during the 1920s and 1930s. It contains a brief discussion on the genesis of the image of the Grand Duchy, including the selection of appropriate historical heroes and events, and the main aspects of their interpretation. The article analyses some of the most striking and influential examples of the image of medieval Lithuania, such as the celebrations of the 500th anniversary of the death of Grand Duke Vytautas the Great in 1930 and art works created for that purpose, the decoration of public buildings (for example, the Museum of War and the Officers’ Club in Kaunas, and Lithuania’s pavilion in the New York World Fair of 1939). It also looks briefly at the dissemination of the image of the Grand Duchy of Lithuania in popular culture. The article also touches on isolated efforts by a number of intellectuals to warn of the dangers inherent in the extreme glorification of the past. The image of the medieval Grand Duchy of Lithuania, created in interwar Lithuania, was preserved during the period of Soviet occupation. After the restoration of Lithuanian independence in 1990, this image had a significant influence on the mentality and culture of Lithuanian society at the turn of the millennium. In this respect the situation in Lithuania could be treated as a case study, for a similar relation to the past can be encountered in other European post-Communist countries faced with the problem of creating a new identity.     

关于姚永朴《史学研究法》的认识

《史学研究法》是桐城派晚期学者姚永朴系统阐述其治史理论与方法的专著。从姚永朴所论史学的意义与功能、史著的体例、史文的古今奇偶繁简曲直之分,以及使用比较浅显的文言文形式等方面来看,其《史学研究法》不仅是对中国传统史学的总结,也是对当时西方史学在中国传播所做出的回应。     

ANALYSIS OF TILTING AT GOURNIA (CRETE) BY THE REPRESENTATIVE BLOCK METHOD: A GEOLOGICAL—ARCHAEOLOGICAL TECHNIQUE TO ANALYSE HISTORICAL TILTING*

The walls and floors of the Minoan settlement of Gournia (Crete) have retained a perpendicular relationship since their construction between 3650 and 2025 BC. Their present orientation indicates that they were tilted in unison in an east-south-east direction. This was established by the reconstruction of a representative block, of which the side planes and the base plane were defined by the present orientation of the wall and floor remnants respectively. Stereographic projection methods, derived from geological practice, were used to determine the geometric elements and the orientation of the representative block.     

Reconnaissance of the Hannibalic Route in the Upper Po Valley,Italy: Correlation with Biostratigraphic Historical Archaeological Evidence in the Upper Guil Valley,France

Controversy over the alpine route taken by the Hannibalic Army from the Rhône Basin into Italia in 218 bc (2168 cal bp ) has raged amongst classicists for over two millennia. Because Hannibal crossed the Alps, the significance for identifying the route taken by the Punic Army lies more in its potential for identifying sites of historical archaeological significance than a resolution of one of history's most enduring questions. While compelling stratigraphic, geochemical and microbiological evidence has been recovered from an alluvial floodplain mire in the upper Guil Valley, located below the Col de la Traversette (about 3000 masl) on the French–Italian border, it potentially identifies the invasion route as the one originally proposed by Sir Gavin de Beer in 1974. The dated layers in several sections, termed the MAD (mass animal deposition) beds based on disrupted/churned bedding and key/specialized biological components strongly supports de Beer's thesis that Hannibal chose the highest transit col into Italia. In addition to other physical evidence, we present here new physical, geomorphological and stratigraphic evidence, all calibrated by radiocarbon dating, that suggests Hannibal's imprint on the landscape exists in coalescing alluvial fans in the upper Po catchment of northern Italy.     

'[...] But it's Not Like I Know Anything About Them!': Immigrants in the Museum in Finland

Abstract

Museum education has undergone a profound transformation from the ideals of the Enlightenment through modernism to those of postmodernism. Museum visitors are no longer perceived as passive receivers of information provided by experts but as active learners who freely construct their own meanings, driven by their personal motivation. Museum education is no longer about educating the masses but facilitating learners in their individual learning processes. Learning outcomes are no longer to be measured by the amount of new information absorbed in an exhibition but by more abstract things: improved quality of life, increased awareness of one's own identity, and better self-esteem or increased ability to cope in society. The question is: how can museums provide their visitors with such learning possibilities? This article presents three projects that have been carried out at the Aboa Vetus & Ars Nova Museum in Turku, Finland, to test methods and models for increased personal experience and involvement, especially in facilitating interaction and understanding between cultures. As a result of this it is proposed that exhibitions and their related activities should be planned in such a way that they facilitate the self-on — the individual's projection and associations through involvement of emotions — thus facilitating connections between the exhibition and contemporary life.