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Marinarkeologiska föremål är en icke desto mera undersökt underkategori i museisamlingar. De skiljer sig frånandra typer av föremål i samlingar då de genom sin fyndplats är mera krävande. Det är också värt att etableravad föremålet har för värden efter utgrävningen. Som en del av värde och förmedling tas föremålenskonservering och utgrävning också upp.Genom att undersöka bärgade tre kanoner från tre vrak från perioden 1480 till 1580 ef. kr försöker uppsatsenatt belysa den typen av föremål ur flera perspektiv som går att sammanfatta ur bevarande och förmedlande.Kanonerna som undersöks är "Brisundskanonen" på Gotlands museum, en kanon från örlogsfartyget Mars ochlavetter bärgade från Gribshunden på Blekinge museum. Undersökningen är gjord genom platsbesök,intervjuer, och litteraturstudier. Målet med undersökningen är att skapa kunskap om marinarkeologiskaföremål, dess egenskaper, värden och processer. Marine archaeological objects are an under-researched subcategory in museum collections. They differ fromother types of objects in collections as they are more demanding due to their former location. It is also worthestablishing what the object's value is after excavation. As part of value and mediation, the conservation andexcavation of the objects is also addressed.By examining three guns recovered from three wrecks from the period 1480 to 1580 AD. The essay tries to shedlight on the type of object from several perspectives that can be summarized from preservation and mediation.The cannons being examined are the "Brisund cannon" at Gotland's museum, a cannon from Mars, and lavettessalvaged from Gribshunden at Blekinge museum. The investigation is done through site visits, interviews, andliterature studies. The goal of the survey is to create knowledge of how museums best manage this type ofobject.

This thesis investigates the User eXperience (UX) and risks associated with Virtual Reality (VR) technology in museum exhibitions. The study builds upon the Hybrid Museum Experiences: Theory and Design by Løvlie, Sundnes et al. (2022) and adopts the User eXperience in Immersive Virtual Environment (UXIVE) Model developed by Tcha-Tokey et al. (2018). The aim is to analyse the interplay between Flow, Presence, and Experience Consequence in VR experiences and assess the impact of computational skills on user engagement. Additionally, the study evaluates the effectiveness of VR exhibits in addressing common risks. Findings indicate a positive correlation between experience consequence and flow, as well as suggest a potential influence of computational skills on flow, and highlight the significance of presence in fostering engagement and immersion. The VR exhibits effectively mitigated the common risks, as reflected in positive participant feedback. This research contributes to enhancing UX in VR museum experiences and provides insights for designing immersive exhibits while managing associated risks. Further research is recommended to validate the study's inferences and delve deeper into the influence of computational skills on flow.

AbstractTaking into consideration that archaeologists and historians are today more frequently encouraged to think in terms of digital transduction of historical materials, this chapter focuses on the potentials and pitfalls of ‘visualizing’ ‘recreating’ and ‘re-enacting/experiencing the senses’ in Virtual Reality (thereon VR) environments. More precisely, we focus on the very idea of sensory immersion for archaeological enquiry, research, study and dissemination. This chapter draws upon four VR projects at Humlab, Umeå University. The first is an example of using archaeological data for supporting the interpretation process in a Mesolithic site, environment from GIS to an immersive platform. The second is a result of collaborative work with the project ancient dance modern dancers (Slaney et al. 2018) in capturing the intangible art of Roman Pantomime in the theatre of Pompeii on Virtual Reality. The third is the implementation of interactive tools for an immersive study of photogrammetric models of medieval rock-cut settlements while the fourth is an assessment of the implementation of VR Google Earth in teaching ancient topography for undergraduate archaeology students. We show how important and interesting research is made in the process of tool experimentation and tool development.

This paper presents the vision of aggregating, harmonizing, and publishing letter catalog metadata (information e.g. of senders, receivers and datings of letters) from cultural heritage (CH) institutions in Finland as a single reconciled Linked Open Data (LOD) service and a semantic portal providing data analytical tools for researchers. The research is conducted as part of the consortium research project Constellations of Correspondence (CoCo). The target of the project is to study – for the first time – scattered, heterogeneous epistolary metadata regarding the period of the Grand Duchy of Finland (1809–1917) as one, integrated dataset and make it interoperable and available. This will enable scholars to ask ambitious research questions in the field of computer science and to conduct empirical, bottom-up case studies e.g. on epistolary culture, communicative networks, and heritagization processes. This paper discusses one of the first datasets acquired by the project, the letter collection of the Board of the Finnish Art Society (1846–1901), provided by the Finnish National Gallery, which contains details of c. 1150 letters sent or received by c. 400 actors.

The microbiome plays key roles in human health, but little is known about its evolution. We investigate the evolutionary history of the African hominid oral microbiome by analyzing dental biofilms of humans and Neanderthals spanning the past 100,000 years and comparing them with those of chimpanzees, gorillas, and howler monkeys. We identify 10 core bacterial genera that have been maintained within the human lineage and play key biofilm structural roles. However, many remain understudied and unnamed. We find major taxonomic and functional differences between the oral microbiomes of Homo and chimpanzees but a high degree of similarity between Neanderthals and modern humans, including an apparent Homo-specific acquisition of starch digestion capability in oral streptococci, suggesting microbial coadaptation with host diet.The oral microbiome plays key roles in human biology, health, and disease, but little is known about the global diversity, variation, or evolution of this microbial community. To better understand the evolution and changing ecology of the human oral microbiome, we analyzed 124 dental biofilm metagenomes from humans, including Neanderthals and Late Pleistocene to present-day modern humans, chimpanzees, and gorillas, as well as New World howler monkeys for comparison. We find that a core microbiome of primarily biofilm structural taxa has been maintained throughout African hominid evolution, and these microbial groups are also shared with howler monkeys, suggesting that they have been important oral members since before the catarrhine–platyrrhine split ca. 40 Mya. However, community structure and individual microbial phylogenies do not closely reflect host relationships, and the dental biofilms of Homo and chimpanzees are distinguished by major taxonomic and functional differences. Reconstructing oral metagenomes from up to 100 thousand years ago, we show that the microbial profiles of both Neanderthals and modern humans are highly similar, sharing functional adaptations in nutrient metabolism. These include an apparent Homo-specific acquisition of salivary amylase-binding capability by oral streptococci, suggesting microbial coadaptation with host diet. We additionally find evidence of shared genetic diversity in the oral bacteria of Neanderthal and Upper Paleolithic modern humans that is not observed in later modern human populations. Differences in the oral microbiomes of African hominids provide insights into human evolution, the ancestral state of the human microbiome, and a temporal framework for understanding microbial health and disease.All newly generated sequencing data have been deposited in the ENA repository (https://www.ebi.ac.uk/ena/browser/home) under project accession ID PRJEB34569. R notebooks, bioinformatic scripts, additional supporting figures, and intermediate analysis files are provided in an external data repository hosted on GitHub (http://github.com/jfy133/Hominid_Calculus_Microbiome_Evolution) and archived with Zenodo under DOI: 10.5281/zenodo.3740493.May 12, 2021: The author line has been updated. Results - Preservation of Oral Microbiota in Dental Calculus. - The Core African Hominid Oral Microbiome. - African Hominid Oral Microbiome Structure Shows a Weak Relationship with Host Phylogeny. - Evolutionary Histories of Oral Microbial Species Reflect Homo Interactions. - Homo-Specific Shifts in Oral Biofilm Are Linked to Dietary Starch - Availability. Discussion Materials and Methods - Materials. - Laboratory Methods. - Data Processing and Quality Filtering. - Taxonomic Binning and Preservation Assessment. - Microbial Compositional Analysis. - Core Microbiome Analysis. - Genomic Analysis. - Microbial Phylogenetics. - Functional and Metabolic Pathway Analysis.

In this master thesis I examinate the experience of space, place and genius loci in the application Acute Art X and the virtual reality art works at the platform, using a phenomenological method. Six artworks were on display while the thesis was authored. All the displayed artworks were analysed because of their variation of theme, topic, and experience. The applied method uses the body and the perception as tools to reach the phenomenon of the space, place and genius loci in the virtual reality artworks presented in the application. The applied theories are theory of space, theory of place and genius loci – the spirit of place. Space being the surrounding area where life takes place, it is produces by man or by nature. Space is there for more of an architectural character, while place is defined by particularity of its inherent meaning. The production of space in the virtual reality art works be a representation of physical space, produced to mediate an artistic content. The virtual reality spaces of art are based on the model of all-encompassing frescoes dated 2000 years back, where entire spaces and rooms were covered by illusional art works. The immersive experience of being inside of the artwork has reached its next development with the technique of virtual reality. The enclosed experience of being inside of an artwork is examined in this thesis, along with the outcomes of the artworks forming of an artistic virtual reality world. Main questions: What is the experience of the application Acute Art X, as a space and place for art, as an exhibition space? What is the experience of space, place, and the function of the place in the virtual reality artworks displayed in the application? What is the experience of the physical body´s functions in the virtual reality worlds of the art works? How are the conditions between the intentions of the virtual reality artworks and the genius loci of the virtual place? The conclusions are made from the discussion about the phenomenology method, which puts the position of the physical body in a new experience based on the perception’s location inside the virtual reality artworks, and of the experience of space, place, and the spirit of the places – genius loci – in the virtual reality artworks. The artworks are the places, not made at an already existing place, and the artworks inherited meaning are the same as the genius loci of the virtual reality worlds of art.

The entanglement of social information technologies and their users unfolds as a problem if “wrong” users enmesh with “wrong” technologies. A long-standing debate on the merits of photorealism versus non-photorealism in archaeological visualization provides an educating example of such a “problematic” or in Haraway's words, monstrous social information technology. This article shows how a closer look at the perceived monstrosities of social information technologies can help us understand how people conceptualize information, technologies, and other people and their role in information interactions as they unfold as part of information work. It shows how a lifelike photorealistic visualization together with its spectator forms a cyborg, which is a monstrous runaway “object” when it drives with its own cultural force a programme that contradicts with other programmes considered important. The parallels in the critiques of archaeological visualizations and other informational cyborgs in information research – including search engines, information systems and services – suggest usefulness of a monstrous perspective in the analysis of social information technologies in general.

The Colossi of Memnon are a prominent feature of the constructed landscape at ancient Thebes (modern day Luxor, Egypt). They were built on the West Bank during the later years of Amenhotep III reign and they stood in front of his royal cult temple, Mansion of Millions of Years, known today colloquially as Kôm el-Hetan. There is no consensus on the purpose of the statues and it is plausible that they were meant to represent multiple things. However, what all the theories surrounding their purpose have in common is that they are all reliant on the visibility of the statues. The Theban Harbours and Waterscapes Survey led by Angus Graham (Uppsala University) discovered that the royal cult temple and colossi statues was built on top of an elevated area of what is believed to be have been a pre-existing wadi fan (Toonen et al.2018; 2019). To the east of the temple, a minor channel of the Nile river was also discovered. The aim of this thesis was to analyse the visibility and visual experience of the Colossi of Memnon during the 18thDynasty. By analysing the boreholes from the Theban Harbours and Waterscapes Survey, I have (re)constructed the geological features of the surrounding landscape in a game engine (Unity). The visual analysis was done by a combined GIS spatial analysis and a VR based phenomenological approach. I concluded that the levees of the minor channel of the Nile were not elevated high enough to create any substantial blocking of the view from the floodplain or from inside of the channel during the low season. It was only when you got up close to the levees and kneeled on the ground that you would lose sight of parts of the colossi. As the surface level of the Nile rose during its annual cyclethe, it would be easier to observe the statues from any part of the minor channel. As for the visual experience of observing the Colossi of Memnon from different parts of the model, the experience only changed slightly from viewing the statues from the view of the floodplain or the channel. What changed the experience drastically was if you approached the statues from the front of from the side. As you approached the statues from the front you had the statues standing symmetrically in front of the temple and they are in turn facing you. Being in front of the Colossi statues creates a feeling of being part of the statues’ experience. Not only where the humans meant to see the statues, I believe that the statues were meant to see us. This as the most ideal location to observe and visually experience the statues, is where we are in the view of both the Colossi of Memnon. The experience of the statues fades as you approach them from their side where you become the observer rather than the observed. The visual experience from the side also results in that you do not get to fully take part in the experience that both statues provide. This is because one of them becomes slightly blocked by the other. På grund av pandemi utfördes opponering på distans över Zoom