Now in its seventh year, this year’s event was hosted in the awe-inspiring Guildhall, Swansea, and DV were invited down to deliver a keynote lecture (more on that here). Ducking in and out of conference sessions, it was almost impossible to take everything in on our two-day trip to sunny Swansea – but that didn’t stop us trying. Here are 10 things we’ll be thinking about until… well, Digital Past 2016!
Unlike mountaineering, scaling-up digital innovation in the heritage sector has to begin with a more compelling reason than ‘because it’s there.’ Both Kate Clarke’s opening address (Cadw) and Nick Poole’s keynote (The Collections Trust) described how dialing it back to ‘why’ should always be our first step. Only by understanding our values – where exactly we want to go – can we fully appreciate how these new technologies will get us there (and what ‘there’ might actually look like!).
Us included. ‘Nuff Said.
Not a day goes by without some graduate student or other chiming into a digital heritage twitter stream with a well-aimed reminder that not everyone can afford a smartphone. #Checkyourprivilege may play well with re-tweets from the choir, but here in Wales digital inclusion is being seen as a challenge rather than a settled score. Rather than reinforcing our privilege, Minister Ken Skates described how digital heritage is tied to a wider agenda of skills acquisition and training. Improving digital literacy is about better access to jobs, better access to lower-priced goods and better access to public services. And here’s the clincher: acquiring these skills through heritage-based initiatives may well be the ‘Trojan Horse’ that gets people there.
With superb presentations on Reflectance Transformation Imaging (RTI), Gigapixel photography and some truly jaw-dropping quadcopter footage (for Digital Terrain Modelling), it’s woefully clear that permatrace’s days are numbered. Cara Jones (Accord) and Tom Dawson (Scape – Wemyss Caves) knocked it out of the park again, showing how this relatively cheap technology can be picked up by community groups and used with ease.
No exhibitors’ stand was complete without at least one 3D printer, beavering away merrily in bland white or garish yellow. Nikolaos Maniatis (Museofabber) put this all into context by describing our archives as repositories of information rather than stores of things. By changing our focus on to bits rather than atoms, 3D printing becomes another tool in our collection – a borderless method of distributing archaeological information, opening new opportunities for education, engagement and dissemination.
Literally. Is it back to ‘A’ again? A1 perhaps? It’s a riddle wrapped in a mystery inside an enigma. Slightly better understood is the always–on digitally connected environment that these second generation digital natives (born in the 2000’s) inhabit. The cultural traits that will come to define this generation have yet to fully emerge, however, for a sneaky peek at the future you could do a lot worse than check out…
If there’s a quiet revolution taking place in heritage interpretation, it’s taking place here. Consider the differences between a typical trip to a National Trust property (a view, a brew and a loo) and the type of experiences Adam Clarke has been designing for young people as part of the Tate Worlds exhibition. Minecraft’s multiplayer environment enables young users to create and explore, to learn through play by choosing their own adventure. A low-res taste of things to come…?
From augmented reality apps (such as ‘A Gift for Athena’) to embedding historical stories in physical places to be activated by mobile phones (or experiments with iBeacons) the online and offline world continue to inter-bleed in playful and unexpected ways. We’re yet to see a Zombie Run for archaeology, but it’s surely in the post…
Sustainability continues to be a problem for a sector largely dependent on the HLF. Of course, tangible digital assets are designed to be ‘usable’ for several years after projects close, but what happens to the communities formed around these initiatives when the money to pay the staff finally runs out? Crowdfunding anyone…
Natasa Milic-Frayling, from Microsoft Research, Cambridge, worried us all senseless by reminding us that although digital was great for engagement, it also happened to be the most ephemeral of media, and a ticking time-bomb for archives. This all comes down to the idea of ‘bit rot’ – the process by which the mechanisms for accessing a digital files are lost, rending that file useless junk.
For more on Digital Pasts, check out the DV Keynote on ‘The Future of Archaeology in the Digital and Collaborative Economy’
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