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Back to the future
multiple perspectives on historical exhibits

By Lisa Neal, Lynne Spichiger / March 2008

TYPE: OPINION, NONFORMAL/INFORMAL LEARNING
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It seems like the more time we spend online, the more we value real experiences, be it dinner with a friend, watching a movie, or going to a concert, sporting event, or museum. However, there are some things, such as history, that can only be replicated—not experienced. Fortunately, the digital medium is ideally suited to illuminating the endless complexities of the past.

Historical museum exhibits are carefully designed to provide maximum impact-the placements of objects, the path through an exhibit, even the wording on signs. Many historical museums are "living history" museums where a visitor can walk through a replication of an event and talk to "interpreters" who are essentially actors. Everyone going through a historical museum exhibit has a different experience, but they see the exhibit from their own perspective, as shaped by an exhibit design that tries to give visitors a sense of what it was like to live in the past.

As more historical museums provide educational sites, their staffs struggle with how to make the online experience even richer than the actual physical experience. One way to do this is by using media to shape a visitor's understanding of multiple perspectives, a common device in films and books.

In a physical exhibit it is difficult to convey the diverse roots of an event and its ensuing legacies in a way that is easily understandable to a visitor. To present diverse perspectives on a single event in a thorough way, it is necessary to include history leading up to the event as well as the legacies of the event. Creating a balanced presentation among these different groups' histories is a challenge; the medium of a physical museum exhibit often limits the degree to which diverse perspectives can be presented and easily compared by the viewer. The Raid on Deerfield: Telling an Old Story in a New Way and Plimoth Plantation's Online Learning Center were both designed to educate people about and depict multiple perspectives of historical events.

In the case of Deerfield, five cultural groups worked together to present each group's viewpoint on the 1704 raid on Deerfield, the events leading up to the raid, and its aftermath. Using a tab approach, visitors are able to switch among the various points of view for each historic scene, comparing and contrasting perspectives. Using a "magic lens," visitors can inspect the actual handwriting of important historical figures.

Plimoth Plantation's site was focused on helping children to understand the event that has come to be known as the "First Thanksgiving." It was designed to help them learn about the perspectives of the early colonists and the Wampanoags, both living in Plymouth for different reasons and with very different backgrounds, and viewing the other group's activities based on their own world view. Furthermore, the site is designed to help children gain an understanding of what historians are and what they do, and how history itself is not static but is open to interpretation and reinterpretation.

Although online experiences, no matter how well-designed, will never match the experiential aspects of historical museums, the greater reach of online sites to people who would never be able to visit the museum extends the boundaries of the physical edifices. Through scrutiny of primary source documents, a visitor can develop his or her own perspective on events of the past. But the magic that can be worked by technology facilitates an understanding of the multiple perspectives on the events of history in a way that would not otherwise be possible.

In a new feature for eLearn Magazine, Lynne Spichiger explores the issues associated with determining whether a site of this type is reaching audiences in the desired manner. After all, museum sites have to prove their worthiness just as well as purely commercial sites.



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ADDITIONAL READING

    Lisa Neal
  1. The basics of e-learning
  2. Is it live or is it Memorex?
  3. The Value of Voice
  4. Predictions for 2006
  5. Five Questions...for Christopher Dede
  6. Five Questions... for John Seely Brown
  7. Five questions...for Shigeru Miyagawi
  8. "Deep" thoughts
  9. 5 questions... for Richard E. Mayer
  10. Designing usable, self-paced e-learning courses
  11. Want better courses?
  12. Just "DO IT"
  13. Five questions...
  14. Formative evaluation
  15. Senior service
  16. Blogging to learn and learning to blog
  17. My life as a Wikipedian
  18. Five questions...for Elliott Masie
  19. The stripper and the bogus online degree
  20. Five questions...for Lynn Johnston
  21. Five questions...for Tom Carey
  22. Not all the world's a stage
  23. Five questions...for Karl M. Kapp
  24. Five questions...for Larry Prusack
  25. Five questions...for Seb Schmoller
  26. Do distance and location matter in e-learning?
  27. Why do our K-12 schools remain technology-free?
  28. Music lessons
  29. Learn to apologize for fun and profit
  30. Of web hits and Britney Spears
  31. Advertising or education?
  32. Five questions…for Matt DuPlessie
  33. Serious games for serious topics
  34. Five (or six) questions...for Irene McAra-McWilliam
  35. Learner on the Orient Express
  36. "Spot Learning"
  37. Q&A with Saul Carliner
  38. When will e-learning reach a tipping point?
  39. Online learning and fun
  40. In search of simplicity
  41. eLearning and fun
  42. Everything in moderation
  43. How to get students to show up and learn
  44. Q&A
  45. Blended conferences
  46. Predictions for 2002
  47. Learning from e-learning
  48. Storytelling at a distance
  49. Q&A with Don Norman
  50. Talk to me
  51. Q&A with Diana Laurillard
  52. Do it yourself
  53. Degrees by mail
  54. Predictions for 2004
  55. Predictions For 2003
  56. Lynne Spichiger
  57. Measuring success
  58. Telling an old story in a new way