This thesis explores the problem of how to present digital images of ancient artifacts in a manner that supports the task of visual analysis.
The real object presents the "truth”: exact scale, colour, and fine details. An original work of art provides the viewer with the opportunity to react directly with the object, is closest to the impact intended by the artist, and provides a tangible physical link with the past. Digital images limit and alter the experience of a work of art (1) with regard to the amount of data available (resolution), and (2) through the interpretation of the object by the producers the digital copy (mediation).
A new framework is developed to improve the understanding and presentation of virtual artifacts. This Fidelio-Mediation framework provides a continuum for considering the effects of design strategies on media used in teaching Classical archaeology. Two small-scale experiments and follow-up interviews were undertaken to assess the usefulness of the Fidelity-Mediation framework as a descriptive model. During the experiments, quantitative analysis could detect no statistical difference in the effectiveness of different types of presentation (real object, VR object, and still digital images).
This is a surprising result as it might be expected that there is nothing like seeing the real thing. Digital images provide less visual integrity. However, the digitised artifacts make up for the loss of excitement and authenticity by providing the advantage of mediated focus. Digitised artifacts thus turn out to be useful, effective study tools in the analysis of Classical art.
Findings from this research are expected to generalise only to learning situations which support task orientation-situations conducive to developing personal skills and mastery-in contrast to performance orientation where the goal is to display performance relative to others. The distinction between task orientation and performance orientation is discussed in Chapter Eight of this thesis.
