Preserving Black Heritage in London, Ontario: The Fugitive Slave Chapel (1847-1869)
by Matthew Beaudoin, Holly Martelle, Nicole Brandon (Timmins Martelle Heritage Consultants Inc.), and Darryl Dann…
For over a year now I have been working in the Virtual Curation Laboratory at Virginia Commonwealth University (VCU), and for over a year I have been consistently amazed by the rapidly growing interest in and use of three-dimensional technology in the field of archaeology. The Virtual Curation Laboratory (VCL), founded in 2011 and led by Dr. Bernard K. Means, began as a partner of the Department of Defense’s Legacy Program, with the goal of creating a virtual database of archaeological materials by recording them with a 3D scanner. The project has since grown, and we now have a large and diverse collection of digital models that have been created by Dr. Means and the many undergraduate student interns and volunteers who have participated and contributed to the project.
I began my involvement as an intern last summer, and very quickly began to appreciate the significance of the technology I was becoming familiar with. VCL employs a NextEngine 3D Desktop Scanner, which uses laser technology to create three-dimensional models of objects. The user can then process the model and finalize it in STL or OBJ formats, which can be shared via the internet or on a number of electronic devices such as smart phones and tablets. We also have a MakerBot Replicator 3D Printer, which can print plastic copies of the models we have created. There are countless ways that this technology could benefit archaeology, but as a student who was still fairly new to the field, I saw its greatest potential in education and public outreach.
My research last fall consisted of creating lesson plans that employed digital models and plastic replicas of artifacts to supplement the material that was being taught. We then took those lessons to a local high school and presented them to a group of history students there, taking note of how well or poorly they responded to our use of the models. We also presented a few different lessons to Dr. Means’ archaeological methods class at VCU, including one on basic lithic analysis using plastic replicas of projectile points that we have scanned. What we found was that the high school students responded especially well to the plastic replicas, as they offered a visible and tangible connection to the topic they were learning about. On the other hand, the VCU students unanimously agreed that they preferred the accuracy of the digital models. Those who participated in the lithic analysis lesson, however, were able to correctly identify the types of each point they were given based on the plastic replicas they studied, lending some credibility to the printed models as research tools. In March of this year I presented this research at my first conference, and it will soon be published in the upcoming issue of the Journal of Middle Atlantic Archaeology!
In addition to being a great tool for students who long for an interactive and readily available form of research material, we have found that 3D scanning and printing of archaeological materials is an incredibly effective tool in public archaeology. Not only do three-dimensional models and plastic replicas of artifacts help us to promote a better appreciation for archaeology and the materials we recover, but they offer the public a unique and tangible connection with the past that they may otherwise never experience. VCL does a great deal of public outreach through events and lectures, but my best examples of the value of these models are from this summer, when I was working as a field intern at Ferry Farm, George Washington’s Boyhood Home in Fredericksburg, Virginia.
Public Archaeology is a top priority at Ferry Farm, and as such we spend a lot of time discussing the site and its history with the many visitors who travel there. VCL has scanned and printed a great deal of artifacts from Ferry Farm’s collections, and a series of plastic replicas have been given to the archaeology staff to use for public program in the field. As I spoke to visitors during my time there, I found it incredibly helpful to use those replicas as examples of the types of artifacts we find at the site, and the visitors (especially the young ones) appreciated the fact that they could touch, feel, hold, and examine the replicas, as they would not have that opportunity with the real object.
The great diversity of artifacts that VCL has in its digital collection makes our efforts in public outreach and education even more effective. The Virtual Curation Laboratory staff has scanned lithic materials ranging from a one million year old Acheulean Handaxe from South Africa, to projectile points and other stone tools that have been loaned to us from collections across Virginia and Pennsylvania. We have scanned small finds from the homes of our nation’s greatest historical figures, including George Washington’s Mount Vernon, Thomas Jefferson’s Poplar Forest, and James Madison’s Montpelier. We have also been working on creating a database of faunal remains to help students, archaeologists, and other researchers identify and understand the skeletal framework of various animals.
More and more students have gotten involved with the Virtual Curation Laboratory over the past couple of years, and as a result we have created a student organization at VCU that focuses on the use of 3D technology in archaeology, and allows a greater number of students to pursue research relating to our project. The Virtual Archaeology Scanning Team (VAST) is now entering its second year as a student organization, and interest and participation have more than doubled since we began last August.
When I first became an intern in the lab last summer, few students – including myself – had any experience or knowledge about 3D technology, nor did we know if it would be an applicable skill in the future. Now, students from all backgrounds are entering our organization with specific research goals in mind, excited to have the opportunity to learn about and utilize our 3D scanner and printer. What has led to this sudden boom in interest, and how will this affect the next generation of archaeologists? Is virtual curation the future of the past?