Tag: public archaeology

TFTH Digital Archaeology with Florence Felsheim

In the latest episode of Two Friends Talk History, I invited the brilliant Florence Felsheim, a PhD candidate in Classics at the University of St Andrews, for a fascinating deep dive into the intersection of virtual reality (VR) and cultural heritage. Together, they explore how technology is transforming the ways we visualise and interpret the past—and why that matters for both academics and the general public.

The episode kicks off with Florence introducing her work and academic journey. As a scholar specializing in ancient history and human trafficking in ancient Greece and Rome, Florence brings a nuanced perspective to the conversation. But her passion for technological innovation in cultural heritage projects is what makes this discussion particularly captivating.

Florence and Zofia delve into the evolution of virtual archaeology—the application of VR and augmented reality (AR) to reconstruct and visualize historical sites, artifacts, and environments. They discuss how initiatives like the Seville Principles emerged to create ethical and methodological guidelines for these digital reconstructions. These principles emphasize historical accuracy, interdisciplinary collaboration, and transparency, aiming to balance scientific integrity with the creative liberties of visual interpretation.

Why Do Digital Reconstructions Matter?

Throughout the conversation, Florence and I reflect on the “so what?” of VR in archaeology—why does it matter beyond the digital novelty? Florence makes a compelling case for the power of immersive reconstructions to democratize access to heritage. Through VR, people who might never visit physical archaeological sites can explore ancient cities, temples, or objects from the comfort of their homes or local museums. 

The conversation also highlights how VR can provide new layers of interpretation. For example, by digitally reconstructing a ruined temple, researchers can experiment with lighting, architectural features, and hypothetical decorations, offering new insights into how these spaces might have appeared and been experienced by ancient people.

One of the most thought-provoking parts of the discussion is the tension between historical accuracy and artistic license. Florence discusses how art and accuracy can vary through different approaches, questioning where the line should be drawn between creative interpretation and factual representation. The episode explores whether reconstructions should prioritise strict accuracy or allow for some imaginative flair to engage wider audiences.

In our discussion , we touch on a few projects that are really interesting, that you should definitely check out:

(Photo: Smithsonian Online Magazine, September 11, 2017)

To read the Smithsonian article and find out more about the Tlingit Dakl’aweidi clan’s Killer Whale clan crest hat, or Kéet S’aaxw (photo below from isplayed together at the 2012 clan conference in Sitka, Alaska), click here.

For more information about the virtual environment analysis of the fantastically cool submerged Late Pleistocene cave site in Quintana Roo we discussed, click here.

(Photo https://hoyonegro.ucsd.edu )

Challenges and Opportunities in Virtual Heritage

Despite its immense potential, VR in cultural heritage is not without challenges. Florence and Zofia discuss several hurdles:

  • Resource Intensity: High-quality VR reconstructions require significant technical expertise, funding, and computing power, which can limit accessibility for smaller institutions.
  • Authenticity vs. Engagement: The challenge of making VR experiences both educational and entertaining without distorting historical facts.
  • Interdisciplinary Collaboration: Effective virtual archaeology demands teamwork between archaeologists, historians, engineers, and computer scientists—fields that don’t always speak the same language.

However, the conversation also highlights the exciting opportunities:

  • Public Engagement: Museums and educational institutions are increasingly using VR to create interactive exhibits, sparking new interest in ancient history.
  • Research Innovation: Scholars can use VR models to test theories about ancient structures, city planning, or daily life.

If you’re fascinated by history, technology, or the future of cultural heritage, this episode is a must-listen. Florence’s insights into the ethical and methodological complexities of virtual archaeology will leave you with a deeper appreciation for the ways technology is reshaping our connection to the past.

Tune in to Two Friends Talk History to explore how VR is breathing new life into ancient worlds—and what that means for historians, artists, and the curious minds who love to explore them.

(Photo: The fabulous Florence, meeting our Augustus and his amazing technicolour dream cuirass)!

Sources

Bendicho, V.M.LM., ‘International Guidelines for Virtual Archaeology: The Seville Principles’, in Corsi, C., Slapšak, B., Vermeulen, F. (eds), Good Practice in Archaeological Diagnostics. Natural Science in Archaeology, 2013, 269-283. https://doi.org/10.1007/978-3-319-01784-6_16

Barcelo, J., ‘Visualizing what might be. An introduction to virtual reality in archaeology’, in Barcelo, Fonte and Sanders(eds), Virtual Reality and Archaeology, 2000, 9-36. https://www.researchgate.net/publication/200018330_Visualizing_What_Might_Be_An_Introduction_to_Virtual_Reality_in_Archaeology

Watterson, A., ‘Beyond Digital Dwelling: Re-thinking Interpretive Visualisation in Archaeology’, in Open Archaeology 1 (1), 2015, 119-130. https://doi.org/10.1515/opar-2015-0006

23. Breaking New Ground: 2018 Aeclanum Excavation Season part.1

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Change in life, travel and work are always inspiring to me. With this excavation season, there were several developments in the programme which have already opened many doors. Pushing ourselves towards new skills and challenges, the team that came back together this year is working harder than ever to support the students and in our research. The 2018 dig season at Passo di Mirabella kicked off several weeks ago and for returning students and staff, and after an intense first year in my PhD, it was a pretty great feeling to get back to the site. With a few of us in different positions this year and including a new field project manager (Allison Kidd), and myself moving into project managing off-site alongside the Public Archaeology coordinating. The organizational flow appears to be working well already! The ethos of this excavation is generally oriented away from hierarchies but having people in place to provide additional support in a few key areas has made a big difference!

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These wonderful rogues, Luke and Rory, working hard in Block one removing topsoil.
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Getting back to work

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The expansion of the programme offers a broad array of activities, and this year we have even more students coming for specialist training in pottery, osteology, epigraphy and, of course, longer-term excavation training. Public Archaeology appears to still be a bit of a mystery to students, but maybe one day I’ll have my own little troop to work with, but until then, I am always grateful for the occasional drop-in helping with drawing, activity planning and brainstorming.  My youngest volunteer was arguably the most focused and enthusiastic public archaeologist yet! New teams of students and supervisors are working hard, but also trying to share their experiences via social media. Posting about their experiences on Facebook, Instagram and through personal blogs, students are engaging with the work from a digital perspective while keeping it interesting for their audiences!

Research and Public Archaeology

This year marks my third season with the project, and second in a Public Archaeology role. It is another ambitious year. I have been working on new activities which aim to bring the participants closer to the daily life of Ancient Romans. This year we have been able to jump ahead towards more sophisticated engagement materials, since we are able to build on the work from last year.Through regular social media updates, my work has been in part illustrating, but the overarching plan for the Open Day and further research is focused on asking questions relating to pedagogical approaches that will be answered via through educational posters and games during the Open Day. The data collected will be assessed in a follow-up project I am working on in the last fortnight of the excavation season. The games and learning materials bridge modern audiences (specifically children but also to encourage adults as well) wtih themes like international trade and community within the urban spaces of Aeclanum. Through a close collaboration between myself (project development and art direction) and the brilliant GIS and digital graphics team (Josef Soucek and Lucia Michillen), and our field directors, Dr. Ferdinando di Simone and Dr. Ben Russell, we are producing materials at a rapid pace entirely in-house, which is unique in my experience and really allows the Aeclanum project to break new ground in terms of outreach. By linking our outreach materials to new research we are undertaking on the site annually and adapting our creative materials to reflect the developments in these research questions, we can integrate students with related research and skills into the work we are doing.

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The Open Day is a few weeks away still, but at the rate the students are excavating, we are certain to have an even clearer image of the stratigraphic processes in the trenches, and what this seasons’ research will be able to elucidate before the end of the season.