This thesis focuses on the visualisation of the stories behind objects in the ethnological and archaeological museum. Objects form a fundamental part of our daily life, but we do not always know...Show moreThis thesis focuses on the visualisation of the stories behind objects in the ethnological and archaeological museum. Objects form a fundamental part of our daily life, but we do not always know the full stories behind them. Some objects possess an intriguing story about their use in indigenous communities or their impact on an historic civilization, but the stories that are sometimes of even more interest are the object biographies. These biographies consist of the people, places and events the objects encountered on its way to a (museum) collection. The research done for his thesis will provide new insights into the visualisations of stories behind object in the 20th and 21st century. Furthermore it will discuss some case studies that show how stories, and what kind of stories, are being visualised in the modern day ethnological and archaeological museum. The research reflects the combination of a literature study and case studies. These case studies have been exercised within the National Museum of Ethnology and the National Museum of Antiquities. The selected objects within the case studies have been extensively researched in terms of their history, method of collecting, biographies and presence within the exhibition. These objects are: the Lombok Treasure, the Singosari statues, the golden helmet of de Peel and the Cypriot head. The results of the research showed that the visualisation of the stories behind objects has never been the same and is still shifting, which provide a diverse array of objects and stories. Object biographies were sporadically present in museum exhibitions, but they were never fully embraced. Nowadays this becomes more and more present in museums and new exhibition techniques, such as multi-media and interactive platforms that are implemented to tell and show those hidden stories.Show less
The relationship between archaeological heritage and the general public has been a recurrent theme in the archaeological discipline, were an increasing reliance on revenue streams in heritage...Show moreThe relationship between archaeological heritage and the general public has been a recurrent theme in the archaeological discipline, were an increasing reliance on revenue streams in heritage settings leaves archaeologists to wonder how to present archaeology in an accessible, visual, and imaginative manner to the public. The complexities of several visualisation media are discussed in a heritage setting: illustrations, scale models, theme parks and museums and digital media (3D models, serious gaming and Virtual Reality). It is found that the authenticity and interactivity are recurrent themes in archaeological visualisation. The first proves to be rather negotiable, and the latter has proven itself to be a powerful way to capture the attention of the audience. Finally, it is concluded that archaeology has a lot to gain from visualisation for the public, and although archaeologists and other heritage professionals focus mostly on 3D models and Virtual Reality, it would seem this is also true for the more traditional types of visualisation. This reminds us that all forms of visualisation are merely tools available to the archaeologist and heritage experts to select as needed and solve a particular heritage visualisation problem.Show less
