archaeology

Numismatics

Digital Collections in Presentation of Cultural Heritage

reflecting on and discussing different possibilities of presenting collections of cultural heritage and enlivening exhibitions, fostering collaboration between researchers, curators, educators and information technology specialists for their visitors’ learning / experience

(Museum) Collections and Objects

different levels: items on their own and in context - one object can belong to several different contexts too much focus on some (famous) objects excludes others – some objects are never exhibited nor published how can we adequately represent a collection?
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25

coins

50

working hours

45

activity minuts

1

audiences

conceptualization and gamification

Two approaches in presentation of Cultural Heritage

  • experiences motivate visitors to learn in a museum – but experiences should not be their own purpose; they should not be disconnected from the pedagogical aspect but enhancing it and aiding in the learning process
  • in-between modular systems combining the two (pedagogical approach and experiences) seem to work best
Mor
Barbara
david
shani

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Antique Short Stories

Every Object has a Story to Tell

Salve! Do you want to explore with us the Antiquities Collection of the Kunsthistorisches Museum Vienna? YES! Then jump on board of our time machine and off we go! Together with Aphrodite and the Young Man of Magdalensberg we will find out the stories of objects within the antiquities collection.

Christina Kral-Börner

What is the aim of “Antique Short Stories”? Originally based on a paper guide “Durch die Antikensammlung mit Aphrodite und dem Jüngling von Magdalensberg” this run is intended as an interactive guide around the collection that aims to encourage users to be curious and get interactive with the museum objects. In each room an object or object group was chosen under a certain theme, such as sports or daily life. 

The work process: At the beginning stood the question: “Is it possible to adapt a paper guide with activities into an app with interactive tasks?” Indeed, it worked very well! The main linear structure in essence stayed the same: each room was represented within the app as one scene with a certain theme. A scene includes one or more stations that are build up: an arrival (either introductory words or hints on the object), an interactive mission (question, statement, photo etc.), and lastly, additional information on the object itself or the topic. Some of the ‘paper activities’ like drawing or colouring could not be fully imagined digitally, however, a new feature was introduced which is not possible in an analogue medium: taking photos. This provided users with their own visual map of their explorations. We took into account that the historical rooms of the Antiquities Collection are not arranged in a strictly chronological order. The thumbnails of Aphrodite for the Greek, and the Young Man of Magdalensberg for the Roman, therefore acted as guiding figures for each station. The app itself is modular which mean it is very easy to enhance scenes or even create new ones. The target group is also very broad, ranging from school children to adults, catering for whoever is interested in exploring the Antiquities Collection in a different, playful way.

Mobile look and feel

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87
number of stations
60
number of scenes
70
Editing time
45
Playing time (minutes)

Try it our

Password: christina

Cheat sheet (answers)

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Archaeologist & Architect Restorative Perspective

Our biggest challage is to enhance the imagination using visual tools not to replace it 

Roy Albag

The 360 degree restoration of The Church of the Glorious Martyr is part of a conceptual frame work enhancing archaeological disciplinary thinking by using 360 & 3D reconstruction. The Excavation director on behalf of the Israel Antiquities Authority , Benjamin Storchan, initiated and promoted this novices approach to archaeological research. 

The visitors, either distanced learners or situated learners are able to experience comparative perspectives. Excavated artefacts are re-contextualised either through current 360 imagery taken from the site, or in the form of a reconstructed model of the original church. Once the visitor has completed a layer, a new  one is revealed.

The concepts within the technology are inspired by the perspective of archaeologist and architect Roy Albag. The idea was to not just to provide objectively beautiful results, but to provoke the asking of questions.  


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87
stations to edit
60
User type
70
Editing time
67
sites

 


Experience the place

 


 

https://youtu.be/lPXFuUg85UY


 

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