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.     

'[...] 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.