Call for Papers! How do we ensure archaeological data are usable and reusable?

Join us in Amsterdam in April 2023 to explore why, how and for whom we’re creating archaeological data…

Screenshot from the CAA 2023 conference website. Join us via submitting an abstract through https://2023.caaconference.org/submissions/call-for-papers/

Last week, I posted about our new European project, Transforming Data Reuse in Archaeology (TETRARCHs), and this week I wanted to flag that we are hosting a session at the forthcoming Computer Applications in Archaeology (CAA) conference from 3-6 April 2023 in Amsterdam. We are running Session #29, seeking standard papers (15 minute presentations) to be followed by questions and discussion.

If you have an interest in the use and reuse of archaeological data, including critiques, concerns, case studies, examples of challenges and good practices, provocations, and blue-sky thinking for the future of archaeology and heritage data, this conference session is for you! You may wish to engage with the themes of TETRARCHs or stretch beyond them.

The abstract for our session is presented below, and you can submit your proposals via registering on the CAA conference platform. The CAA recommends that you are guided by these instructions in preparing your abstract for a ‘standard paper’, although please note we are open to different styles of presenting your ideas that do not necessarily require strict adherence to the ‘extended abstract’ format – get in touch if you have questions. If you have troubles navigating the online conference platform, read these guidelines or please just email myself or Holly Wright.

The deadline for submissions is rapidly approaching – 17 October 2022 – so please apply & spread the word!


CAA Session #29

S29. How do we ensure archaeological data are usable and Reusable, and for whom? Putting the R in FAIR for archaeological data

The last decade has seen extensive efforts to make digital assets more accessible and dynamic through experimentation with interoperability in cultural heritage aggregation infrastructures (e.g., the Europeana or ARIADNE portals). Such infrastructures allow static resources to be updated and cross-searched, but to do so, the metadata for these assets must be mapped in a centralised and controlled way. This can take the shape of mapping to a controlled vocabulary, thesaurus or ontology, which invariably reflects the types of terminology and relationships defined by those who are charged with curating the data (domain specialists), not those who might use the data in new and innovative ways.

Digital data curation for cultural heritage has therefore reached a critical impasse. A central tension exists between the need to preserve cultural resources, and the dynamic potential for their use and reuse in democratic, just and compelling ways. At the same time, the introduction of the tetrarchy of FAIR Guiding Principles (Findable, Accessible, Interoperable, Reusable) for scientific data management and stewardship (Wilkinson et al. 2016) has set an important challenge: that each of the four principles is of equivalent importance and must therefore be engaged with equally. Within archaeology, much work has been done over the last 20 years to make data Findable, Accessible and Interoperable, but very little is understood about whether data are Reusable–and by whom (Wright and Richards 2018). The impact of this gap in knowledge is profound, as cultural heritage data are increasingly drawn into divisive debates, dangerous speech, cross-border misinformation-sharing and xenophobia, therein compromising human solidarity and social cohesion (e.g., Bonacchi and Krzyzanska 2021).

Newly-funded through the Transformations: Social and cultural dynamics in the digital age programme of the Collaboration of Humanities and Social Sciences in Europe (CHANSE) Consortium, Transforming Data Re-use in Archaeology (TETRARCHs) argues that the future of digital curation depends upon reconciling this divide between collection and reuse. It aims to demonstrate that data optimised for ethical and emotive storytelling will provide the bridge between those who find or preserve heritage assets, and the diverse cross-European audiences for whom they might generate meaning.

TETRARCHs builds upon international initiatives which seek to improve the accessibility of digital cultural heritage data via interfacing with those data: browsing them, searching them, and retrieving them in more ‘generous’ ways (e.g., (Whitelaw 2015). However, even as such experimentation grows, the assets themselves continue to be bound by relatively narrow classifications imposed by experts. Herein structure and reliability are maintained, but relevance and accessibility to the wider world remain limited (Manzo et al. 2015). The stories that can be told through the data are often narrow and pre-determined, with the vast

majority devoid of affect, sensuality and agency (Krmpotich and Somerville 2016). The urgency of the predicament is heightened by growing interdisciplinary acknowledgement that this rift is directly linked to systemic bias, social inequity and racial injustice in data repositories (Sanderson and Clemens 2020). Efforts to rectify these biases include archival redescription (Pringle 2020), revised ethical metadata standards (Farnel 2018), felt-experience conceptual model extensions (Canning 2018), and alternative ‘fluid ontologies’ (Srinivasan 2018). The imperative for change to data infrastructures is overt.

Yet recognition that such change must begin from the moment the data are conceived (as opposed to the moment they are deposited into a repository) has been slow in coming.

Furthering our argument is the rapid pace of innovation with data acquisition technologies (Morgan et al. 2021), whose workflows still fail to capture important descriptive detail, emotion, human values and multiple viewpoints. Even as community-driven practices grow in popularity, fundamental redesign of our workflows and data to embed communities and justice at their core is still lacking (Dolcetti et al. 2021). Design Justice frameworks enabling such value-led, co-created redesign of digital structures are blossoming (Costanza-Chock 2020), but their systematic use in fields like archaeology is effectively nonexistent.

Through an interdisciplinary team of archaeological specialists, data scientists, and museum practitioners, collaborating with three key user groups – domain experts, creative practitioners, and memory institutions – TETRARCHs will offer those who gather, curate and apply cultural heritage data with critically-aware workflows to prepare their data for enhanced re-use at every point in the data lifecycle (e.g., capture, mapping, lab-based analysis), then scenario-test such re-use through the dissemination of new narrative outputs authored by cross-European creative practitioners. The project embraces three scales of data collection in archaeology – landscape, site and artefact – exploring them via four increasingly ubiquitous technologies for data capture: airborne LiDAR, 3D scanning, digital field drawing and photography. Alongside novel workflows for field, post-excavation and archival practice, TETRARCHs will produce a controlled vocabulary for cultural heritage storytelling, assessments of data reuse effectiveness following ISO Standard 25022: Measurement of Quality in Use, and best practice recommendations for trusted digital repositories to optimise archaeological data for re-use.

This session invites papers on the use and reuse of archaeological data, including case studies, examples of challenges and good practices, provocations and blue-sky thinking for the future of data re/use. Contributors may wish to engage with the themes of TETRARCHs or stretch beyond them. By hosting this session early in the life of TETRARCHs, we hope to foster discussion and collaboration with others who have comparable interests, and ensure that our outcomes are both well-considered and meaningful to the CAA community at large.

Bonacchi, Chiara, and Marta Krzyzanska. 2021. “Heritage-Based Tribalism in Big Data Ecologies: Deploying Origin Myths for Antagonistic Othering.” Big Data & Society 8 (1).

Canning, Erin. 2018. “Documenting Object Experiences in the Art Museum with CIDOC CRM.”

Costanza-Chock, Sasha. 2020. Design Justice: Community-Led Practices to Build the Worlds We Need. The MIT Press.

Dolcetti, Francesca, Claire Boardman, Rachel Opitz, and Sara Perry. 2021. “Values-Led Design Cards: Building Ethically Engaged Archaeology and Heritage Experiences.” Sustainability: Science Practice and Policy 13 (7): 3659.

Farnel, Sharon. 2018. “Metadata as Data: Exploring Ethical Metadata Sharing and Access for Indigenous Resources Through OCAP Principles.” Proceedings of the Annual Conference of CAIS / Actes Du Congrès Annuel de l’ACSI, July.

Krmpotich, Cara, and Alexander Somerville. 2016. “Affective Presence: The Metonymical Catalogue.” Museum Anthropology 39(2): 178-191.

Manzo, Christina, Geoff Kaufman, Sukdith Punjasthitkul, and Mary Flanagan. 2015. “‘By the People, For the People’: Assessing the Value of Crowdsourced, User-Generated Metadata.” DHQ: Digital Humanities Quarterly 9 (1).

Morgan, Colleen, Helen Petrie, Holly Wright, and James Stuart Taylor. 2021. “Drawing and Knowledge Construction in Archaeology: The Aide Mémoire Project.” Journal of Field Archaeology 46(8): 614-628.

Pringle, E. 2020. “Provisional Semantics. AHRC: Towards a National Collection, Interim Report.” AHRC.

Sanderson, R., and A. Clemens. 2020. “Libraries, Archives and Museums Are Not Neutral: Working Toward Eliminating Systemic Bias and Racism in Cultural Heritage Information Systems.”

Srinivasan, Ramesh. 2018. Whose Global Village?: Rethinking How Technology Shapes Our World. NYU Press.

Whitelaw, Mitchell. 2015. “Generous Interfaces for Digital Cultural Collections.”

Wilkinson, Mark D., Michel Dumontier, I. Jsbrand Jan Aalbersberg, Gabrielle Appleton, Myles Axton, Arie Baak, Niklas Blomberg, et al. 2016. “The FAIR Guiding Principles for Scientific Data Management and Stewardship.” Scientific Data 3 (March): 160018.

Wright, Holly, and Julian D. Richards. 2018. “Reflections on Collaborative Archaeology and Large-Scale Online Research Infrastructures.” Journal of Field Archaeology 43 (sup1): S60–67.

TETRARCHs is supported by the UK Arts and Humanities Research Council, and the Belgian, Swedish, Slovenian and Lithuanian funding councils under CHANSE ERA-NET Co-fund programme, which has received funding from the European Union’s Horizon 2020 Research and Innovation Programme, under Grant Agreement no 101004509.

iN Deep – Reprised!

Join us in August for our session on ‘Cultural Presence in Immersive Educational Experiences’ at the Computing Applications in Archaeology conference…

Testing the multi-user Çatalhöyük VR experience developed as part of the EMOTIVE project (Autumn 2019).

After two years of postponement, Elaine Sullivan (University of California Santa Cruz), Paola Derudas (Lund University) and I are looking forward to hosting a long-planned session at the next CAA (Computer Applications & Quantitative Methods in Archaeology) conference in Oxford, UK from 9-11 August 2022. Please join us for S01: iN Deep: Cultural Presence in Immersive Educational Experiences!

The session description is below, and you can register via this link. Deadline for submissions has been extended to 6 April. Please don’t hesitate to get in touch if you want to talk through ideas or ask any questions.

iN Deep: Cultural Presence in Immersive Educational Experiences (Session 01)

Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (XR) technologies are increasingly incorporated into university classrooms and public education in the GLAM sector (galleries, libraries, archives, and museums). The potential to use these technologies to engage students and the public with archaeological knowledge (such as site reconstructions, artefacts, or re-imagining the activities of past peoples) is exciting, but these forms of representation, including the use of individual headsets, tablets, and personal mobile phones, come with particular challenges.

In his book Critical Gaming (2015), Eric Champion argued that virtual realities should express ‘cultural presence,’ the meaning and significance of a time, place, or object to people of the past. Hyper-reality, photogrammetry, and ever-increasing levels of ‘accuracy’ in 3D models do not inherently convey aspects of cultural significance and meaning, and many VR/AR/XR experiences fall dramatically short of the goal of expressing the importance of past places and things to their original communities. Emphasis on technological and (especially) hardware innovation often deflects attention from critically engaging with questions of meaning-making. This panel asks those creating or intensely using Archaeology VR/AR/XR to focus NOT on software, hardware, or the latest technical innovations, but on how we as archaeologists can better design, create, or curate experiences that inspire and educate students and the public on the cultural importance of archaeological spaces, objects or themes.

What are successful techniques to aid a visitor to better understand the original context of an object now placed in a (often far off) museum or gallery? How can university instructors incorporate the (problematically individual) headset or mobile experiences into pedagogy to provide meaningful and active student learning? How can complex data be usefully layered or curated so that multiple types of museum visitors or classes could find it informative and emotionally resonant? How can we turn these increasingly popular technologies into serious spaces of cultural learning and curiosity, moving beyond the initial ‘wow’ factor?

Format
Instead of traditional 20 minute talks, we request that participants present 8-10 minutes in depth on one VR/AR/XR experience they have designed and/or utilized in a university or GLAM setting (not a general review of multiple types of work). We ask participants to present and explain aspects of design and interaction and their intent in that experience; or, if the content was not designed by the presenter, how content was incorporated, curated, or enhanced for the classroom or GLAM experience. Specifically, we ask presenters to think thoughtfully and critically about how we might collectively learn to use these technologies in more informed ways, including: What types of interactions with students or the public have shown promise, and how might we build on those successes? What practices have not worked, and how might we learn from our failures? What particular aspects of archaeological and cultural heritage knowledge are best emphasized in the VR/AR/XR experience? What is key to re-using content created by others, including content created by non-archaeologists?

The session will be divided into four sections:

  • 1st group of presentations, ~five presenters (10 minutes per presentation)
  • a ~30 minute ‘hands-on’ period** where participants and the audience will be able to engage/interact directly with the presented content from both presentation groups
  • 2nd group of presentations, ~five presenters (10 minutes per presentation)
  • concluded by a ~30-minute Q&A session for the full group of presenters and audience

We hope this format will allow the audience to engage directly with the content before opening up the session for questions and comments. The goal is to turn this session into a workshop that helps all present work more critically with VR/AR/XR content and improve how we communicate scholarly information at the university and GLAM setting.

**We therefore ask participants to commit to bringing their discussed content uploaded or downloadable in some format that can be shared directly with others: including (but not limited to) VR headsets, Google cardboard, AR apps pre-installed on tablets or smart phones, etc.

References
Champion, E. (2015). Critical Gaming: Interactive History and Virtual Heritage. Ashgate Publishing.

A Contemporary Context? Recording Sheets for the Sublime and Ungrateful

Join Colleen Morgan and me for this exploratory workshop on archaeological recording at CHATmethod, 1 November

Advert for @clmorgan and @archaeologistsp workshop on contemporary recording practices, including name and details of the event, and image of Colleen in a generic excavation unit recording indiscernible features of the unit.
We are hosting a creative workshop on context sheets, 1 November 2019 at 14:00, Mortimer Wheeler House, London. Join us!

What does it look like to rethink your archaeological records for contemporary sites, audiences, needs?

The amazing Colleen Morgan and I have finally found time to coordinate an event that we’ve been discussing for a while now – namely a mischievous group effort to critically reflect on and (re)design archaeological and heritage recording sheets. These primary data records are fundamental to our professional practices, but they may actually be problematic – even dangerous – for what we wish to achieve as contemporary practitioners, as carers for the past, and as citizens of the world.

Come join us to experiment with context sheets next month at the CHATmethod conference, hosted by my soon-to-be new employer, Museum of London Archaeology! Register for the conference via its Eventbrite page, and please make sure to then book onto our workshop.

Details of our session are pasted below and are available via an accessible Google Doc. Please don’t hesitate to contact Colleen or myself with questions.

A Contemporary Context? Recording Sheets for the Sublime and Ungrateful

Colleen Morgan, University of York, @clmorgan
Sara Perry, MOLA, @archaeologistsp

Join us for this playful workshop on 1 November 2019 from 14:00-16:30 at Mortimer Wheeler House, London

The archaeological context sheet has been fashioned and refashioned extensively since its adoption. These context sheets are embedded within disciplinary lineages and reflect the questions and assumptions of archaeological knowledge making, both on the intimate and global scale. In this workshop we use the context sheet as a platform for reflection and play, with a particular intention to query its utility in recording contemporary archaeological contexts.

For this workshop we envision a hands-on, creative, trouble-making session, including constructive critique and display of our various takes on the contemporary context sheet. Join us to experiment with ruining and re/designing one of archaeologists’ most ubiquitous inscription devices.