Tsaknaki et al. (2023) discuss a work-in-progress project in which the presentation of Cultural Heritage is communicated using Serious Games techniques in a story-centric immersive narration instead of an exhibit-centered presentation with the use of Gamification, Augmented and Virtual Reality technologies. In the introduction the authors present the project called ECHOES, in which knowledge about the past of Thessaloniki, Greece is planned to be processed as an immersive and interactive experience. After presenting related work and the methodology, the authors describe the proposed design of the Serious Game and close the article with a discussion and conclusions.

The paper is interesting because it highlights an ongoing process in the realm of the visualization of Cultural Heritage (see for example Champion 2016). The process described by the authors on how to accomplish this by using Serious Games, Gamification, Augmented and Virtual Reality is promising, although still hypothetical as the project is ongoing. It remains to be seen if the proposed visuals and interactive elements will work in the way intended and offer users an immersive experience after all. A preliminary questionnaire already showed that most of the respondents were not familiar with these technologies (AR, VR) and in my experience these numbers only change slowly. One way to overcome the technological barrier however might be the gamification of the experience, which the authors are planning to implement.

I decided to recommend this article based on the remarks of the two reviewers, which the authors implemented perfectly, as well as my own evaluation of the paper. Although still in progress it seems worthwhile to have this article as a basis for discussion and comparison to similar projects. However, the article did not mention the possible longevity of data and in which ways the usability of the Serious Game will be secured for long-term storage. One eminent problem in these endeavors is, that we can read about these projects, but never find them anywhere to test them ourselves (see for example Gabellone et al. 2016). It is my intention with this review and the recommendation, that the ECHOES project will find a solution for this problem and that we are not only able to read this (and forthcoming) article(s) about the ECHOES project, but also play the Serious Game they are proposing in the near and distant future.

References

Champion, Erik Malcolm. 2016. „Entertaining the Similarities and Distinctions between Serious Games and Virtual Heritage Projects“. Entertainment Computing 14 (Mai): 67–74. https://doi.org/10.1016/j.entcom.2015.11.003

Gabellone, Francesco, Antonio Lanorte, Nicola Masini, und Rosa Lasaponara. 2016. „From Remote Sensing to a Serious Game: Digital Reconstruction of an Abandoned Medieval Village in Southern Italy“. Journal of Cultural Heritage. https://doi.org/10.1016/j.culher.2016.01.012

Tsaknaki, Electra, Anastasovitis, Eleftherios, Georgiou, Georgia, Alagialoglou, Kleopatra, Mavrokostidou, Maria, Kartsiakli, Vasiliki, Aidonis, Asterios, Protopsalti, Tania, Nikolopoulos, Spiros, and Kompatsiaris, Ioannis. (2023). Designing Stories from the Grave: Reviving the History of a City through Human Remains and Serious Games, Zenodo, 7981323, ver. 4 peer-reviewed and recommended by Peer Community in Archaeology. https://doi.org/10.5281/zenodo.7981323

​The paper “Percolation Package – From Script Sharing to Package Publication” by Sophie C. Schmidt and Simon Maddison (2023) describes the development of an R package designed to apply Percolation Analysis to archaeological spatial data. In an earlier publication, Maddison and Schmidt (2020) describe Percolation Analysis and provide case studies that demonstrate its usefulness at different spatial scales. In the current paper, the authors use their experience collaborating to develop the R package as part of a broader argument for the importance of code sharing to the research process. 

The paper begins by describing the development process of the R package, beginning with borrowing code from a geographer, refining it to fit archaeological case studies, and then collaborating to further refine and systematize the code into an R package that is more easily reusable by other researchers. As the review by Joe Roe noted, a strength of the paper is “presenting the development process as it actually happens rather than in an idealized form.” The authors also include a section about the lessons learned from their experience. 

Moving on from the anecdotal data of their own experience, the authors also explore code sharing practices in archaeology by briefly examining two datasets. One dataset comes from “open-archaeo” (https://open-archaeo.info/), an on-line list of open-source archaeological software maintained by Zack Batist. The other dataset includes articles published between 2018 and 2023 in the Journal of Computer Applications in Archaeology. Schmidt and Maddison find that these two datasets provide contrasting views of code sharing in archaeology: many of the resources in the open-archaeo list are housed on Github, lack persistent object identifiers, and many are not easily findable (other than through the open-archaeo list). Research software attached to the published articles, on the other hand, is more easily findable either as a supplement to the published article, or in a repository with a DOI.

The examination of code sharing in archaeology through these two datasets is preliminary and incomplete, but it does show that further research into archaeologists’ code-writing and code-sharing practices could be useful. Archaeologists often create software tools to facilitate their research, but how often?  How often is research software shared with published articles? How much attention is given to documentation or making the software usable for other researchers? What are best (or good) practices for sharing code to make it findable and usable? Schmidt and Maddison’s paper provides partial answers to these questions, but a more thorough study of code sharing in archaeology would be useful. Differences among journals in how often they publish articles with shared code, or the effects of age, gender, nationality, or context of employment on attitudes toward code sharing seem like obvious factors for a future study to consider.

Shared code that is easy to find and easy to use benefits the researchers who adopt code written by others, but code authors also have much to gain by sharing. Properly shared code becomes a citable research product, and the act of code sharing can lead to productive research collaborations, as Schmidt and Maddison describe from their own experience. The strength of this paper is the attention it brings to current code-sharing practices in archaeology. I hope the paper will also help improve code sharing in archaeology by inspiring more archaeologists to share their research code so other researchers can find and use (and cite) it. 

References

Maddison, M.S. and Schmidt, S.C. (2020). Percolation Analysis – Archaeological Applications at Widely Different Spatial Scales. Journal of Computer Applications in Archaeology, 3(1), p.269–287. https://doi.org/10.5334/jcaa.54 

Schmidt, S. C., and Maddison, M. S. (2023). Percolation Package - From script sharing to package publication, Zenodo, 7966497, ver. 3 peer-reviewed and recommended by Peer Community in Archaeology. https://doi.org/10.5281/zenodo.7966497

The pioneering work of Leroi-Gourhan introduced archaeologists to the concept of the chaîne opératoire[1], whereby, like his supervisor Mauss[2], Leroi-Gourhan proposed direct links between bodily actions and aspects of cultural identity. The chaîne opératoire offers a powerful conceptual tool with which to reconstruct and describe the technological practices undertaken by craftspeople, linking material objects to the cultural context in which crafts are learnt. Although initially applied to lithics, the concept today is well known in ceramic studies, as well as, other material crafts, in order to identify aspects of tradition and identity through ideas linked to technological style[3,4] and communities of practice[5].

Utilizing this approach, Denis et al.[6] use the chaîne opératoire to look at both lithics and ceramics together from a diachronic viewpoint, to examine technical systems present over the transition between Linearbandkeramic (LBK) and post LBK Blicquy/Villeneuve-Saint German (BQY/VSG) timeframes. This much needed comparative and diachronic perspective, focuses on material from the sites of Vaux-et-Borset and Verlaine in Belgium, and has enabled the authors to consider the impact of changing social dynamics on these two crafts simultaneously.

The authors examine the ceramic and lithic assemblages from a macroscopic and morphological perspective in order to identify techniques of production. The data gathered testifies to the dominance of one production technique for each craft within the LBK. There is particularly striking homogeneity noted for the lithics that suggests the transmission of a single tradition over the Hesbaye area, whilst the ceramics display greater regional diversity. The picture alters somewhat for the BQY/VSG material where it seems there is an increase in the diversity of production techniques, with both the introduction of new techniques, as well as a degree of hybridization of earlier techniques to form new BQY/VSG chaînes opératoires that have LBK roots. The BQY/VSG diversity noted for the lithics is especially interesting, with the introduction of techniques that attest to increased expertise which the authors attest to the migration of an external group.

The results of this work have allowed Denis et al. to discuss multiple influences on the technical systems they identify. Rather than trying to fit the data within a single model, the authors demonstrate the need for nuance, considering the social changes associated with Neolithic migration and interactions, as multifaced and dynamic. As such, they are able to show not only the influence of contact with other groups, but that the apparent migration of external groups does not simply lead to the replacement of the crafting heritage already established at the sites they have examined.

In concluding the authors acknowledge, that as scholars push the existing state of knowledge (in this respect analysis of raw materials would make an especially important contribution), the picture presented in the paper may alter. Future work will hopefully fill in current gaps, particularly in terms of how far the trends identified extend, and the extent to which the lithic and ceramic pictures diversify on a broader geographical scale. It is certain that based on such results, future work should adopt the comparative approach presented by the authors, who have demonstrated its explanatory potential for understanding the technical and cultural groups we all study.

 
[1] Leroi-Gourhan, A. 1971. Evolution et techniques I- L'Homme et la matière, 2nd Edition. Albin Michel: Paris, Leroi-Gourhan, A. 1973. Evolution et techniques II- Milieu et techniques 2nd Edition. Paris: Albin Michel.

[2] Mauss, M. 2009 [1934]. Techniques, Technology and Civilisation. Edited and introduced by N. Schlanger. New York/Oxford: Durkheim Press/Berghahn Books.

[3] Lechtman, H. 1977. Style in Technology: some early thoughts. In H. Lechtman and R.S. Merrill (eds.) Material Culture: styles, organization and dynamics of technology. Proceedings of the American Ethnological Society 1975, St. Paul, 3-20.

[4] Gosselain, O. 1992. Technology and Style: Potters and Pottery Among Bafia of Cameroon. Man 27(3) 559- 586. htpps://doi.org/10.2307/2803929.

[5] Wenger, E. 1998. Communities of practice: Learning, meaning, and identity. Cambridge: Cambridge University Press.

[6] Denis, S., Gomart, L., Burnez-Lanotte, L. and Allard, P. (2023). Transmission of lithic and ceramic technical know-how in the Early Neolithic of central-western Europe: Shedding Light on the Social Mechanisms underlying Cultural Transition. OSF Preprints, gqnht, ver. 5 peer-reviewed and recommended by Peer Community in Archaeology. https://doi.org/10.31219/osf.io/gqnht

The paper by Plutniak [1] presents a new method that uses refitting to help interpret stratigraphy using the topological distribution of conjoinable material culture. This new method opens up new avenues to the archaeological use of network analysis but also to assess the integrity of interpreted excavation layers. Beyond its evident applicability to standard excavation practice, the paper presents a series of characteristics that exemplify archaeological publication best practices and, as someone more versed in computational than in refitting studies I would like to comment upon.

It was no easy task to find adequate reviewers for this paper as it combines techniques and expertise that are not commonly found together in individual researchers. However, Plutniak, with help from three reviewers, particularly M. Peeples, a leading figure in archaeological applications of network science, makes a considerable effort to be accessible to non-specialist archaeologists. The core Topological Study of Archaeological Refitting (TSAR) method is freely accessible as the R package archeofrag, which is available at the Comprehensive R Archive Network (https://CRAN.R-project.org/package=archeofrag) that can be applied without the need to understand all its mathematical, graph theory and coding aspects. Beside these, an online interface including test data has been provided (https://analytics.huma-num.fr/Sebastien.Plutniak/archeofrag/), which aims to ease access to the method to those archaeologists inexperienced with R. Finally, supplementary material showing how to use the package and evaluating its potential through excellent examples is provided as both pdf and Rmw (Sweave) files. This is an important companion for the paper as it allows a better understanding of the methods presented in the paper and its practical application.

The author shows particular care in testing the potential and capabilities of the method. For example, a function is provided “frag.observer.failure” to test the robustness of the edge count method against the TSAR method, which is able to prove that TSAR can deal well with incomplete information. As a further step in this direction both simulated and real field-acquired data are used to test the method which further proves that archeofrag is not only able to quantitatively assess the mixture of excavated layers but to propose meaningful alternatives, which no doubt will add an increased methodological consistency and thoroughness to previous quantitative approaches to material refitting work, even when dealing with very complex stratigraphies.

All in all, this paper makes an important contribution to core archaeological practice through the use of innovative, reproducible and accessible computational methods. I fully endorse it for the conscious and solid methods it presents but also for its adherence to open publication practices. I hope that it can become of standard use in the reconstruction of excavated stratigraphical layers through conjoinable material culture.

[1] Plutniak, S. 2021. The Strength of Parthood Ties. Modelling Spatial Units and Fragmented Objects with the TSAR Method – Topological Study of Archaeological Refitting. OSF Preprints, q2e69, ver. 3 Peer-reviewed and recommended by PCI Archaeology. https://doi.org/10.31219/osf.io/q2e69.

This paper (2023) describes The Living Hill project dedicated to the archaeological park and fortress of Poggio Imperiale in Poggibonsi, Italy. The project is a collaboration between the Poggibonsi excavation and Entertainment Games App, Ltd. From the start, the project focused on the question of the intended audience rather than on the used technology. It was therefore planned to involve the audience in the creation of the game itself, which was not possible after all due to the covid pandemic. Nevertheless, the game aimed towards a visit experience as close as possible to reality to offer an educational tool through the video game, as it offers more periods than the medieval period showcased in the archaeological park itself.

The game mechanics differ from a walking simulator, or a virtual tour and the player is tasked with returning three lost objects in the virtual game. While the medieval level was based on a 3D scan of the archaeological park, the other two levels were reconstructed based on archaeological material. Currently, only a PC version is working, but the team works on a mobile version as well and teased the possibility that the source code will be made available open source. Lastly, the team also evaluated the game and its perception through surveys, interviews, and focus groups. Although the surveys were only based on 21 persons, the results came back positive overall.

The paper is well-written and follows a consistent structure. The authors clearly define the goals and setting of the project and how they developed and evaluated the game. Although it has be criticized that the game is not playable yet and the size of the questionnaire is too low, the authors clearly replied to the reviews and clarified the situation on both matters. They also attended to nearly all of the reviewers demands and answered them concisely in their response. In my personal opinion, I can fully recommend this paper for publication.

For future works, it is recommended that the authors enlarge their audience for the quesstionaire in order to get more representative results. It it also recommended to make the game available as soon as possible also outside of the archaeological park. I would also like to thank the reviewers for their concise and constructive criticism to this paper as well as for their time.

References

Mariotti, Samanta. (2023) Transforming the Archaeological Record Into a Digital Playground: a Methodological Analysis of The Living Hill Project, Zenodo, 8302563, ver. 5 peer-reviewed and recommended by Peer Community in Archaeology https://doi.org/10.5281/zenodo.8302563