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from ancient Rome, or other antique objects of arts. They would
like to touch artefacts of material culture in reality.
“The question of authenticity is central to everything we do in museums.
It is what draws our quest for provenance and conservation,
informing the selections we make for exhibition... These objects resonate
deeply into our collective consciousness. Their physical presence
lends their adjacent space significant cultural meaning. That
connection to reality, that promise of authenticity, endows the museum
with great authority, and it is an authority that we can borrow
when we produce electronic media programs. This conceptual link
to real collections lends to the electronic program both substance and
authority. This connection clearly serves the museum’s traditional
goals to conserve and interpret real collections” (Thomas, 1998).
Archaeological exhibitions and museums invite visitors to appreciate
objects of the cultural and material nature. A presentation of the
exhibit accompanied by Information Communication Technology
could be in two ways. First, we can look at ICT as a tool to
contextualizing the object. Each object has its own communicative
potential and context. However, this context is often ignored
in archaeological expositions, and objects are frequently exhibited
without a certain plot, outside the global context. The supportive
information is given in descriptions or is explained by the guide.
Still there are examples of exhibitions where objects are incorporated
into the context available and intelligible for visitors. Thus, ancient
Roman Villa Getty (California, US) was reconstructed (Villa dei
Papiri, Pompeii, Italy) to present the archaeological objects within
the historical context.
Information Communication Technology, in its turn, can balance
this situation to some extent. On the one side, they can visually /
virtually impart necessary information to the visitor. Conventional
approach to exposition arrangement in archaeological displays presupposes
still-frame exposition. For example, if it is necessary to
display the archaeological valuables, then the exposition is often a
presentation of archaeological finds. However the application of
contextual approach can make the exhibition more informative for
visitors and provide to them “back ground information” about the
objects.
The project of the artistic-teaching-informative installation for the
archaeological site of Pani Loriga, Santadi, Sardinia, produced by
ATI (Temporary Enterprise Grouping of “Space”) and Studio
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