Impact case study database

This research has led to new good practice guidelines and standards for the heritage and forensic sectors. The Archaeology Data Service (ADS) is the UK’s accredited open-source digital repository for heritage data supporting research, learning and teaching and promoting good practice in the use of digital data while providing technical advice to the heritage community and deployment of digital technologies. The standards for ADS are the benchmarks routinely used by academic and field archaeologists, as well as those from commercial archaeology companies and units, across the globe. In 2015, the ADS incorporated a best practice case study and guideline written by Errickson and Thompson and based on their research: Reduction of Noise using a Surface Scanner for Digitising Human Osteological Remains [5.1]. The case study and guideline have been accessed 206 separate times between 2015 and 2020 [5.2]. Figure 4.1, provided by ADS, shows the countries that have accessed these standards:

Figure 4.1: Global use of our heritage standards.

In addition, the research [3.1, 3.2] was used in 2019 to underpin the BABAO (British Association for Biological Anthropology and Osteoarchaeology) recommendations on the ethical issues surrounding 2D and 3D digital imaging of human remains (listed on the BABAO website as Guidance Document on Digital Imaging, 2019) [5.3]. This is the first guidance document that solely focusses on 3D technologies and addresses rising ethical concerns in these areas. These documents (written with input from Errickson) provide guidelines on how to obtain the best results from 3D scanning for academics, museums, and professionals working with archaeological human remains. The President of BABAO confirmed the pivotal contribution of our research to the development of the guidance: The research of Prof Thompson and his group at Teesside University formed a crucial part of the foundations of this document. His work to develop technical standards combined with his discussion of the ethical and legal impacts of 3D imaging served as core for our professional Guidelines… foster[ing] discussion and provide guidance for conducting work in an ethical and professional manner [5.4].

The research team have also worked directly with heritage partners, applying best practice techniques to create 3D models and 3D printed replicas that have enabled museums to enhance public engagement and interactivity and deepen understanding of archaeological objects. Through a Museums and Universities Partnership Initiative grant (MUPI) with the Museum of Archaeology (Durham), the research team created 3D models of valuable (and fragile) Roman sculptures which were then 3D printed at Teesside University and hand-painted by an archaeologist. These models were put on display in a special student curated exhibition called Decay which ran from June to October 2017. The research enabled visitors to handle the printed objects in a way in which the originals could not. This allowed for a greater appreciation and understanding of the Roman period. For the curator at Durham Castle and Museum of Archaeology, ‘the model made the link between the tangible heritage and intangible visible to those visiting the exhibition. It enabled them to clearly imagine what the object might have looked like in the past and helped to address some of the stereotypes around clean and clinical sculpture’ [5.5]. One of 3D model prints is now permanently installed in the museum and is used to explain that Roman stone artefacts were once coloured [5.5].

Our research on structured light scanning has also supported ongoing collaborative work with York Archaeological Trust on the interpretation of human remains from Roman gladiators that were discovered in York [5.6]. Unusual traumatic injuries to one victim were difficult to interpret, and so we used our non-contact structured light scanning technique to create models to support interpretation. These models confirmed previous suggestions that the deceased had been attacked by a large animal. By modelling the injuries and a variety of animal skulls, we could identify the animal as a large carnivore, such as a lion. This new technique revealed how marks on the bones were left by animal attacks, confirming the use of animals in gladiatorial combat. The findings went on to inform a Channel 5 documentary Ancient Mysteries: The Headless Gladiators of York, which featured an interview with Thompson that explored how our scanning technique allowed us to make this interpretation when other approaches could not [5.7]. This was also broadcast on the Smithsonian Channel as Secrets: Headless Gladiators of York [5.7].

An exhibition with Vindolanda Trust at their world-renowned site in Northumberland explored how Roman soldiers trained for combat. The Digitising Vindolanda exhibition was led by the team at Teesside University and was based on structured light scanning approach outlined in the underpinning research [3.1-3.6]. The exhibition was on display from 24th to 26th August 2019 and included interactive sessions by the research team. During the August bank holiday weekend, 635 visitors engaged with our sessions and completed one of our surveys. Of those, 80% felt that the digitised and printed artefacts were more useful and interesting than the original objects displayed in the museum. One hundred percent of visitors felt that they had learned something new from our interactive exhibition, and 95% felt that they had specifically understood better the work and life of Roman soldiers. For the curator at Vindolanda Trust: ‘the 3D printed skulls have been very useful for the Vindolanda Trust. We have been able to use them for our handling sessions especially an event that we hold every October during the school half term call[ed] ‘Bare Bones’ in which we use our zooarchaeology collection as well as our human printed skulls. We have also had additional benefits from the skulls. The human remains are very fragile but we received a number of requests from documentary film companies to film the skulls as there is a lot of interest due to the dating and find spot. The companies want to handle and talk about the skulls which was proving difficult due to their fragility. We can now offer the companies the 3D printed skulls. This has fulfilled their needs as well as to preserve the archaeological artefact’ [5.9].

Teaching and learning in skeletal anatomy has also benefitted from the research. Working with Prof Gowland (Durham University) and the International Committee of the Red Cross (ICRC), a unique online resource for forensic practitioners in the field was developed. With a workforce dispersed across the globe and often in remote locations, training can be challenging. Thus, we collaboratively developed a 6-week online course which is delivered via Future Learn and relies heavily on 3D models generated with the methods we developed. Our research provided the validated methods necessary for the creation of these anatomically accurate models, and also fed into the academic content of the course in the lessons on visualization of forensic evidence [5.10]. As stated by the Regional Forensic Manager for Eurasia in the foreword for the course: ‘both Durham and Teesside Universities have excellent reputations in the fields of forensic archaeology and forensic anthropology and their training is internationally recognised. We believe this new online course will make a valuable contribution to the training resources available to us. It provides an excellent overview of the disciplines and innovative technologies to assist learning for a wide range of practitioners of various backgrounds. The ICRC is pleased to be able to offer this course to the forensic practitioners that we work with’ [5.10].

The course was launched in 2019. The first cohort had 6,269 students from 148 countries. The second cohort in 2020 had 8,084 learners from 141 countries. The course continues to run throughout the year and now has had over 20,000 learners. Comments from the learners demonstrate how 3D models enhance anatomical and archaeological understanding. Participants remarked that: ‘I particularly loved being able to interact with the 3D models online; these allowed me to visualise the things being discussed in a way that is almost as effective as having the specimens in front of me’ and ‘the very nature of this design of course is genius. I can sit on the other side of the Atlantic, at 3 am, and hold a 3d model of a skull and manipulate as though actually holding it. Genius Technology, but genius online learning design’ [5.11].