E-Learning for Arts and Cultural Heritage Education in Archives and Museums Marion R. GRUBERa,1 and Christian GLAHNb a Leopold-Franzens-University of Innsbruck, Institute of Educational Sciences, Austria. bOTEC, Open University of The Netherlands Abstract. Archives and museums hold great potential for encouraging greater participation in learning, and hence for raising not only educational levels in the active population but also for enhancing the quality of citizens’ lives. In this chapter we analyse how archives and museums approach the challenges of the rising information society in their education and mediation activities. Our answer is far from being comprehensive; it is rather an introduction to the utilisation of information and communication technologies (ICT) in arts and cultural heritage education. We outline the domain of arts and cultural heritage education and the domain of e-learning from a theoretical perspective. With this knowledge we then investigate the current use of digital media in education, in the exhibition room and on the Internet. Before we conclude this chapter, we analyse our observations in order to identify threads and patterns in the field of today’s arts and cultural heritage education in archives and museums. Keywords. Arts and cultural heritage education, e-learning, archive, museum Introduction Archives and museums hold great potential for encouraging greater participation in learning, and hence for raising not only educational levels in the active population but also for enhancing the quality of citizens’ lives. The kinds of critically reflective and action-oriented competences that learning for active citizenship develops, assume central importance with respect to social and cultural participation and integration into the civil society. These competences are also increasingly relevant for the ability to achieve and maintain satisfying and productive lives, both in the family and in employment. Arts and cultural heritage education is a medium for this kind of learning. Museums and archives are a prime context in which access to diverse and vibrant cultural heritage is provided and can be used both for communication and learning purposes. Formal education and training institutions do make good conventional use of museums and archives (for example, in school-based arts education, or as part of history, geography and science syllabi). Museums and archives provide educational activities similar to formalised learning, because students and schools are the primary 1 Corresponding Author: Leopold-Franzens-University of Innsbruck, Institute of Educational Sciences, Liebeneggstr. 8, 6020 Innsbruck, Austria, marion.r.gruber@uibk.ac.at target groups of these institutions [1-4]. Artwork and cultural artefacts are not just collected, stored and exhibited by these institutions. Through targeted educational activities, archives and museums bridge between the past and the present. This creates opportunities for transitions of “old” knowledge to our “modern times”. Modern times imply today’s ubiquitous information processing. Mobile telephones, iPods and MP3 players, computers with broadband Internet connections, DVD players and digital entertainment environments for video games have become present in our daily life and are the most visible artefacts of a far greater development towards a networked information society [5]. This development affects all levels of society – including government, economy and cultural life. With respect to these global changes several activities to initiate and strengthen the use of information and knowledge have been initiated within the European Union [6-8], which also imply the need for development of cultural institutions [9]. Traditionally, museums and archives are not only exhibition halls, but also act as facilitators and producers of a rich set of media products. Digitalising and creating content is only one aspect in this context. However, the shift to the information society also raises questions about the role, the organisation and the quality of cultural institutions in the surrounding society at the levels of the arrangement and delivery of contents and services. The overall question behind our following remarks is: how do archives and museums approach the changes within the society in their education and mediation activities? Our answer is far from being comprehensive; it is rather an introduction to the utilisation of information and communication technologies (ICT) in arts and cultural heritage education. In the following two sections we outline the domain of arts and cultural heritage education and the domain of e-learning from a theoretical perspective. With this knowledge we then investigate the current use of digital media in education in the exhibition room and on the Internet. Before concluding this chapter, we analyse our observations in order to identify threads and patterns in the field of today’s arts and cultural heritage education in archives and museums. 1 Arts and cultural heritage education Arts and cultural heritage education is a communication process, which is based on the joyful and intense engagement with artwork or cultural artefacts, but also with cultural values and symbolic systems. Arts and cultural heritage education is an approach to stimulate the visitors’ awareness of foreign ideas and to support accessibility to not so well known domains. In doing so, arts and culture becomes accessible in a way that allows visitors to relate themselves to the artistic or cultural object and to develop their opinion about it. Therefore, providing access to these objects as well as explaining them are key priorities of arts and cultural heritage education. The educational process of arts and cultural heritage education includes the following three components: (1) The artwork or the cultural artefact to which we refer as the object. (2) The person who esteems this object. In our context, this person is a visitor of an archive or a museum. Within the communication process we call this person the recipient. In daily life the interaction between objects and recipients is always contextualised and embedded in a social practice. In archives and museums the objects are first de-contextualised from their original environments and then re-contextualised with regard to the objectives of the given cultural institution. This is a complex process in which many experts are involved. For the recipient, this process is either invisible or difficult to track. Without context, however, the object remains meaningless to the recipient. (3) The third component of the arts and cultural heritage education process is, therefore, the facilitator or mediator who communicates additional context information to the recipient. By making use of these three components we are able to define arts and cultural heritage education in archives and museums: Arts and cultural heritage education refers to all activities within the context of a mediating institution that communicate artistic and cultural heritage objects to recipients and stimulate their participation in the dialogue about arts and culture through a mediator. With regard to the use of ICT in arts and cultural heritage education, we concentrate on the mediator and the mediation process. The mediation process refers to organisational processes that have educational activities or products as a result. Within archives and museums these processes are not always visible, conscious or communicated, but they become crucial if ICT is used. The mediator refers to social or technical systems that facilitate the communication to the recipient in terms of direct interaction. These theoretical considerations are easier to exploit by investigating the methods of educational activities in archives and museums. We distinguish between two methodological approaches: personal arts and cultural heritage education and (technologically) mediated arts and cultural heritage education. Mediated arts and cultural heritage education refers to all facilities that do not involve a human presenter in the communication processes between an object and a recipient. This includes exhibitions and presentations of arts or cultural artefacts, information texts in exhibition halls, exhibition and collection catalogues, scientific publications, visitor oriented journals published by museums or archives, educational material (e.g. for teachers), audio guides, multi-media terminals and websites of archives or museums. We speak of personal arts and cultural heritage education whenever direct interaction between arts or cultural heritage educators and the audience is possible. Examples of personal approaches are museum talks, discussion round tables, guided tours, events and workshops, teacher trainings and presentations. Across these approaches we identify a pattern in the life cycle of arts and cultural heritage education. This pattern is important for understanding all aspects of arts and cultural heritage education at different stages of development. With regard to the application of ICT in archives and museums, this pattern provides a better understanding of organisational demands in this process and it helps unveiling hidden tasks and costs. The arts and cultural heritage education pattern divides the educational process into six phases. These phases can be best described by the following activities: 1. collect contextual information about the object and the target group; 2. organise the information with an educational perspective in mind; 3. plan the educational approach with respect to the target group; 4. prepare the educational activities;  5. initiate and explain the approach to the recipients; and 6. facilitate the communication with the recipients. It is important to understand that these activities rely on one another and can neither be isolated nor removed. In practice, however, it is often only the last three phases that are recognised as relevant for arts and cultural heritage education. 2 ICT and e-learning The term ICT refers to complex systems of recording and playback machines, data storages and distribution forms. ICT systems combine the operations of calculating, recording, storing, distributing and displaying information by using computers and computer networks. In these systems, texts, images, audio and video recordings exist in the form of digital data. The computer as the core of ICT systems is the interface for different input and output devices as well as for the users. The term digital refers to the representation of information by means of binary numbers. As opposed to analogue information, digital information recognises only well defined words which contain just the digits of zero and one. Digitalisation describes the process of transforming analogue into digital data. For example, negative images are scanned, or transcriptions of texts are created with the aid of text processing programmes, and consequently stored on a computer. Digital products – the data – are of immaterial nature and can be easily copied and distributed. We speak of digital media if computers are used in at least one phase during the process of production, editing and presentation of data. The main difference between analogue and digital data lies in the extended processing opportunities of the latter through programmes and processors [10]. Today, ICT offer great interactivity and networking opportunities. These technical opportunities of networking also create greater social connectivity by facilitating synchronous and asynchronous communication via communication networks [11], for example, through e-mail and instant messaging on the Internet, telephone conferences and SMS via mobile phones. Such communication facilities also provide new forms of presentation and public relation activities. E-learning refers to those learning processes that are supported or facilitated at least for some part by ICT. The term defines a super-set for all approaches that utilise ICT for instruction, training and education. Because of this loose definition, there is a range of names in the relevant literature that try to distinguish between different approaches. Blended learning, web-based learning, computer supported collaborative learning, intelligent tutoring and mobile learning may serve as examples of this variety. Different e-learning approaches can be clustered into local and remote approaches. Local e-learning combines approaches in which technology is used to support learning processes in the physical learning environment of a classroom or an exhibition hall. Examples of local e-learning are PCs in classrooms and “ubiquitous learning” using mobile devices [12, 13]. Remote e-learning refers to educational forms where the learners are not present in the physical learning environment. Virtual classrooms, discussion forums and web-based learning environments are typically used as learner support on the distance. In his review, Roy Hawkey [14] locates uses of ICT in arts and cultural heritage education along the two dimensions: “synchronous – asynchronous” and “local – remote”. We will refer to these dimensions when we analyse the state-of-the-art in arts and cultural heritage education. Opposite to synchronous learning is asynchronous learning. Whenever immediate interaction between visitors and experts is possible, we speak of synchronous learning. An example of ICT tools for synchronous learning is chat, in which all participants are active at the same time. In asynchronous learning, the participants act independent from one another, for example when communicating via e-mail. 3 The relevance of ICT in the museum Arts and cultural heritage education in museums is limited by the constraints of a particular institution. This includes restrictions regarding opening times, duration of exhibitions and location. For example, a museum is only open on certain days during certain hours. A guided tour or a workshop last usually between one and two hours. Many visitors of a museum do not live near the institution. Therefore, reaching the institution is relatively difficult and causes additional costs. Also, only some objects from a collection are exhibited at a time. The rest of the collection is stored in a depot and is not accessible to the public. Successful mediation requires common grounds on which knowledge and communication on which learning processes build upon. Arts and cultural heritage education is conducted in an environment that is set up by the cultural artefact, the institution and the visitor. The contexts of the persons or institutions define the common ground of arts and cultural heritage education. The various relations among objects, participants and contributors call for special attention in order to facilitate arts and cultural heritage education with ICT. In our opinion, museum visits alone can hardly develop such common sense. Therefore, it is desirable to widen arts and cultural heritage education beyond the boundaries of the architecture of the museum. ICT offer opportunities to achieve this goal. Material that has been prepared by the museum can be watched and consumed with the aid of the Internet. This helps to prepare for a museum visit or to follow it up. This way, impressions of a museum visit are intensified and refreshed, respectively. Instead of replacing museum visits, such materials extend the joyful and rich engagement with arts and culture and strengthen the relations between artists, artefacts, museum and visitors. 4 Archives and the use of ICT Archives have their origins in administration processes. They provide orientation about contexts and relations between historical artefacts by making them accessible to the public. Although they are traditionally located in administration, which is at the end of information’s life cycle, archives have also been recognised as an important learning facilitator. Thus, historical education and archive education are considered as an important aspect of the work in archives. ICT have become important in the daily functioning of archives, in terms of collecting, protecting and accessing the given objects and documents. A significant percentage of archive contents has already been digitally recorded and further digitalisation is being continuously done. However, with the advent of the information society, the value of archives is implicitly questioned by content management and business administration software, that embed the information’s life cycle management including archiving seamlessly into administrative processes. The role of archives in the future society relies on the acceptance of their services. From the perspective of archives, effectiveness and cost efficiency are key requirements from such services. Additionally, these services have to be aligned with the needs and demands of the information and knowledge society, if they should be recognised as useful and get actively used. We consider e-learning as a service that is capable for providing added values to the public. 5 The use of ICT in arts and cultural heritage education It appears that ICT is well established in archives and museums. Application of ICT within arts and cultural heritage education is to be expected, because of the relevance of educational activities in these institutions [1, 2, 14]. In this section we discuss three general groups of utilising ICT for arts and cultural heritage education. These groups reflect e-learning solutions which are used by archives and museums. The first group of e-learning solutions are acoustic guiding systems, the second group computer based visitor information systems, and the third group Internet presentations. 5.1 Acoustic guiding systems Guided tours are the most popular education services in museums and archives. Scientific personnel, specially trained guides or museum educators are usually responsible for guiding visitors through the institution. In addition to this personal mediation, especially museums have access to acoustic guiding systems. There is a wide range of offers and usages of such systems. The predecessor of these systems is the Walkman 2, which is still used by some smaller institutions [4]. In most institutions, however, it has been replaced in the meantime at least by its immediate successor, the portable CD player. Compared to compact cassettes, CD devices have greater capacity, quality, reliability and flexibility in information access, which gives visitors more freedom to explore the exhibition hall. A further step in development is the digital audio guide. This device can be integrated with other services and provides new opportunities for museum visitors. Examples of such extended uses are integrated merchandising facilities [15] or audio- visual environments [12, 16, 17]. Integrated merchandising facilities utilise the users’ visiting behaviour in order to provide special and personalised offers in the museum’s shop, like personalised catalogues or posters that can be printed on demand. In audio- visual environment the audio guide provides contextualised information. Currently, Apple’s iPod is used in some institutions [18-24]. In this case, visitors can download the audio information for the guided tour from the Internet to their personal device instead of using devices that are provided by the museum. Even audio files for mobile phones can be found on the Internet [25-27]. 2 Portable cassette player.  5.2 Computer based visitor information systems Visitor information systems extend information offers which are already present in the exhibition hall. Digital systems are used in a similar way as printed information material or information texts displayed at the exhibition hall's walls. Unlike acoustic guiding systems, these systems give access to multi-media content but commonly do not offer any personalisation of the available information. We distinguish between four different types of systems: • Multi-media terminals • Virtual spaces • Contextualised information using personal digital assistants (PDA) • CD-ROMs and DVDs 5.2.1 Multi-media terminals In many museums, various interactive systems can be found in the exhibition hall [28]. These systems extend the visitors’ experience by making it more active. The systems are collated as multi-media terminals, although the specific hardware and software of these systems varies. What all these systems have in common is that they provide additional information to visitors within the context of the exhibition. Such information can be as simple as hypertext but it can also entail quizzes for children and adults, 2D and 3D visualisations of buildings and environments, or even simulations. 5.2.2 Virtual spaces A special case of multi-media terminals are virtual spaces. Visitors can explore these spaces in three dimensions from within a CAVE. A CAVE is a special stereo-scope presentation room of 3 x 3 x 3 meters. In such an environment, visitors can explore virtual 3D spaces as if they were real. This application is used for presenting not yet existing or irrecoverable rooms, buildings and places [29, 30], but also to explore abstract and very complex information [31]. 5.2.3 Contextualised information using PDA Providing contextualised information on a PDA combines the embedded contents of multi-media terminals with the personalisation of audio-guides [32, 33]. These systems use the multi-media and communication capabilities of small portable computer devices in the size of a palm of a human hand. These devices can present multi-media content related to objects on display in the exhibition hall and provide visitors with instant access to additional information via a wireless connection to a larger content repository or the institution’s website. 5.2.4 CD-ROM and DVD The content presented on fixed or portable multi-media devices can be stored on a CD-ROM or DVD which can then be used by visitors on their personal computer at home to explore information provided by a museum or archive. CD-ROMs and later DVDs have been produced and distributed by museums and archives since the 1990s. This indicates that such institutions are well aware of the values of digital media in widening their educational activities. However, recent assessment of this technology has shown that the overall costs of CD-ROMs and DVDs are higher when compared to services provided via the Internet [4]. 5.3 Internet presentation Museums and archives use the Internet for representing themselves and their activities. The majority of cultural institutions have websites, although the possibilities of the Internet are not always fully used. With respect to arts and cultural heritage education, four main tendencies can be identified on the Internet: • Virtual museum • Virtual archive • E-learning environment • Games and quizzes 5.3.1 Virtual museum Virtual museums are often extensions of real museums. In their simplest form, virtual museums just present information and pictures of objects displayed in the exhibition. More complex solutions provide tours through graphical models of museums [34, 35]. In some cases, even virtual exhibitions are available online [36-42]. The different approaches of virtual museums have in common is that they are closely related to the exhibition activities of the hosting institution. Additionally, there are also entirely virtual museums that have no real-space counter parts [37, 43]. 5.3.2 Virtual archive In most cases, virtual archives provide online access to digitised data. These virtual archives are facilitated by different institutions. It is worth mentioning that most of the facilitating institutions are museums and not archives. It appears that many archives are still busy digitalising their material and are not yet ready to provide public online access to it. Virtual archives are usually implemented as information repositories that can get queried by visitors through online search forms. Some archives encourage user contributions on the archive’s topic and allow their users to participate in the virtual archive [44, 45]. 5.3.3 E-learning environment Some institutions offer special learning solutions to their online visitors [46-48]. These e-learning environments provide curricular learning opportunities for different topics and target groups. Visitors are guided through didactically prepared multi-media content – commonly with an emphasis on text information. Such content offers prepared learning paths which have to be followed by the visitor. E-learning environments often require user registration and are aimed at ongoing learning processes and repeated online visits in order to create a better understanding of arts and cultural heritage.  5.3.4 Games and simulations In addition to e-learning environments, a range of learning games and quizzes can be found on some museum websites. This approach integrates arts and cultural heritage education into a game like structure through which visitors explore the information. We have found that most of the solutions are suited to children as the primary target group [49-51]. Different to learning spaces, games and quizzes usually do not require multiple visits to the institution’s website. The storytelling approach of these games is almost always linear and provides little freedom in changing pathways. As far as simulations are concerned, they are embedded as part of a game. 6 Analysing the status quo Like traditional arts and cultural heritage education, its digital forms are limited by the constraints of the exhibition and the surrounding facilities. Digitalisation allows cultural institutions to provide more flexible approaches to arts and cultural heritage education within and beyond the institution’s physical boundaries. In line with the results of Hawkey [14], we have found that e-learning in arts and cultural heritage education is used to support visitor’s learning processes, both locally in the exhibition hall, and remotely on the Internet through asynchronous communication. Synchronous e-learning approaches in arts and cultural heritage education seem to be of little relevance for most institutions. This is partly due to the fact that the staff of most institutions cannot facilitate synchronous e-learning. It can be assumed that for the same reason only large museums with educational departments offer complex e- learning spaces. Beyond these two dimensions we can identify some other tendencies. Personalisation of learning is an important aspect of ICT in arts and cultural heritage education [14]. The random access of acoustic guiding systems makes personalised pathways through an exhibition hall possible, while registration to e-learning environments allows personalised learning experiences on the Internet. Giving visitors the freedom of choice through creation of personalised selections, makes it easier for them to explore objects, information and knowledge that are provided by the institution. Several attempts of supporting explorative learning can be found. According to Hawkey [14], both aspects – personalisation and exploring – are key factors for the development and use of ICT in arts and cultural heritage education. These two aspects can also be found in game-like learning. Further, games and quizzes also refer to the non-formal nature of arts and cultural heritage education. The number of computer games and quizzes shows that the institutions are aware of the need for different educational approaches in communicating arts and cultural heritage in an entertaining way. The fourth trend is the integration of existing services by using ICT. Guiding devices, multi-media terminals, merchandising, databases and homepages become part of an integrated system. This may provide richer experiences to the visitor, but it also adds a good amount of complexity to the systems. Not only technical problems may arise, as the tighter integration of different parts of the system also requires more attention to the educational agenda of the institution. Finally, our review of the state-of-the-art in arts and cultural heritage education shows that museums and archives are more likely to adopt technologies that are efficient with regard to the institution’s financial and personnel situation. Low threshold technologies like the iPod have been rapidly adopted, while other approaches remain niche solutions utilised only by large institutions. 7 Conclusions Existing ICT solutions in arts and cultural heritage education are mainly supportive to the needs and demands of museums. Archives and collections are less often taken into consideration. The above analysed examples provide an overview of the possible ways of ICT support in arts and cultural heritage education. However, the cost-benefit equation is not always considered or is difficult to reproduce. This extends the perception of archives and museums in the information society. These institutions are well aware of the shifting expectations regarding their services. Simply applying ICT in arts and cultural heritage education appears not to be sufficient enough to meet the existing demands. ICT is highly dependent on their final application, which in this case implies the users, and the social practice of the cultural institutions in which the technologies are used. Today’s e-learning applications in museums and archives indicate that it is desirable to utilise ICT whenever synchronous communication between experts and visitors is difficult or impossible. If ICT should support arts and cultural heritage education within and beyond the institutional boundaries, their use has to be aligned at all levels of the media production process with the different stakeholder perspectives as well as the institutional context. 8 References [1] Gruber, M.R., Walter, K. and Zeindl, G., (2006). KUKUK - Kunst, Kultur, Kommunikation. Auswertung der Online-Umfrage. Innsbruck: Leopold-Franzens-University of Innsbruck. [2] Keene, S., Royan, B. and Anderson, D., (Eds.), (1999). A netful of jewels; new museums in the learning age. London: National Museum Directors' Conference. 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