 In my work and practice, I keep my enthusiasm and like to be inspired by following the technological trends in the gaming industry and digital art and challenge myself to adapt the captivating ideas from the inspiration of digital display methods. To investigate the opportunities that digital tools offer for alternative exhibition contexts, here I will present one collaborative model for digital interpretation methods in an archaeological exhibition, rare in its exclusive focus on audience engagement by employing virtual reality and machine learning together in one exhibition. So you have been talking, we have been talking in the first part of the session, what is an archaeological exhibition? Archaeological exhibitions are one of the most common examples of displaying ancient artifacts, masterpiece objects of human life to tell the stories of past societies. They are not only providing the visitors with the opportunity to come and see the original objects dated back thousands of years, but also contain information about their creators and their community and make a relation of the human nature for wider audiences. However, having an original object on display by itself is not enough for the common visitor to engage, to imagine what life was back then and what this piece of object tells and how it fills an information gap in the history of the human life. Even if it can be considered a privilege to see a thousand years old original artifact with their eyes, the visitors often feel the need to benefit from the information it actually provides. To overcome this need, an enormous quantity of important digital data is now routinely created and collected by archaeological units and museums. The visualization of digital data is of key importance in archaeological exhibits too. So you see one of the objects from a female figure in front of the lake in this image and in our exhibition that I'm going to tell you, we didn't have the original objects in the exhibition because we are not allowed to, I'm going to explain this later, but we had a 3D model printed version of this female figure in that the visitors can handle and see the details and they would never be able to touch them actually in this museum, but in an exhibition if it is 3D printed it is possible. I'm not going to go in detail to this coming back to my presentation actually. In recent years, thanks to the immersive and interactive capabilities of digital media, artificial intelligence and machine learning, mapping and geographic information systems, 3D modeling and virtual reality in museums, provide new opportunities emerge for a more direct understanding of the lives of early cultures. In an age that digital tools are widely used for research purposes, I would like to examine the interconnection between information, I mean data and transformation of knowledge by investigating digital display methods in exhibitions that use these two notions within their creation and reinterpretation processes. The idea is to provide a more dynamic archaeological exhibition to improve knowledge sharing in a way that catches up current developments in digital humanities. Last year, together with one of the Chatteluyuk Research Project archaeologists, Durg Tarkan, she is with us here, we opened the exhibition entitled The Curious Case of Chatteluyuk at the Anamed Gallery in Istanbul. Its combination of digital features, detailed narrative and hands-on approach renders it unique, and it contributes not only to the public understanding and appreciation of the Neolithic site of Chatteluyuk, but also the science of archaeology. Chatteluyuk is a UNESCO World Heritage List site located in Konya, Central Turkey. It's a unique example of a well-preserved Neolithic settlement and has been considered one of the key sites for understanding human prehistory for decades. It has been excavated under the directorship of Ian Hodder since 1993 and has resulted in universally significant research. The interdisciplinary approach of the excavation project was reflected in our exhibition space with 3D printed leprechauns, as I told you, of selected finds, laser scanned overviews of the mound, as well as a data sculpture developed by employing machine learning algorithms and a re-creation of Chatteluyuk's settlement in virtual reality. While preparing the exhibition, we trust that there have been 3 VR projects developed on Chatteluyuk already for research purposes, not for displaying within a museum. We selected one of them to include in the exhibition aiming to create the feeling of being then and there. Learning archaeology through presence, LEAP, is one of the projects that applied VR to Chatteluyuk. LEAP, developed by Laya Puholtos, aims to reach research, implement and evaluate a new interdisciplinary, theoretical and methodological framework for archaeology. The idea behind the project was to re-create the site by employing relevant archaeological research to evaluate experiences that would enhance understanding of how people live at Chatteluyuk. We adapted the project with the aim of exhibiting it, adding more interactivity. The gamification process was realized in the Unity 3D game engine on a PC, equipped with HTC Vive VR hardware. Interaction with small objects, movements inside one of the Chatteluyuk buildings, as well as out in the settlement to see the architecture were implemented. Another digital feature of the exhibition was digital sculpture created by applying artificial intelligence on Chatteluyuk research database. As part of the exhibition, we invited the media artists, Refika Nadol, to develop a digital installation by using Chatteluyuk Research Project's archive of almost 3 million individual data entries of 250,000 finds. By employing machine learning algorithms to sort relations among these records, Nadol transformed this knowledge into an immersive media installation that transcends research, archaeology, art and technology. In an archaeological context, this can be counted as the first instance that a data source of such volume is being used in an artistic and aesthetic framework. This art piece can be considered as proof that precious artifacts are not the only objects' virtue of being exhibited. The database of such an important excavation site that is compiled by archaeologists for 25 years should also be considered to be displayed in an attractive way within an exhibition. To measure the public's interest in digital display techniques in our exhibition, we conducted an onsite survey. The objective of this survey was to evaluate the impact that developing forms of digital technology such as virtual reality and artificial intelligence have on the visitors' experience. I would like to share some of the comparative results of the survey today. In this survey, visitors are asked to rate all the sections in the gallery. Almost all the participants agreed that the virtual reality was the best experience of the exhibition. 9 out of 10 responded that they actually felt at Chatteluyuk 9,000 years ago during the VR experience. One of the visitors wrote about their perception from the perspective of being non-professional in the field of archaeology. In terms of giving a perception of space at a certain scale, it's the format that attracts and informs even people who do not have professional knowledge in archaeology. Comparing the learning opportunities that VR and AI provide within an exhibition, the majority of the visitors responded that they found the VR application a great experience to evoke curiosity. On the contrary, the answers for AI was different. The majority of the visitors who experienced the Fikanados media installation, they responded that it's an exciting way to learn. This was a very interesting result for me. I would like to examine this more in detail and have more surveys on the field. Here I have to underline it. In the VR exhibition, we have included descriptive text boxes in selected objects and some parts of the buildings where the users could read and learn how those items were being used back in Chatteluyuk. On the other hand, we had given no explanation about what the visuals they see in the immersive digital sculpture of Fikanado. We wanted it to be a pure art experience for the audience. In order to learn more about how the database was used to create this digital artwork and its relationship with our archaeology exhibition, the visitors needed to do their own research and we provided information in our blog. What do these responses mean for our exhibition displays? Since the first actual VR head-mounted display was created in 1968 by computer scientist Ivan Sutherland, VR is ever-growing and still a fascinating tool for engaging the audience in an exciting way. The machine intelligence itself provides a major advantage in displaying big data in a form that can be absorbed by the audience. In the future, it could also enable researchers to use complex and base data collections such as Republic Data Archive for greater benefits for their scientific research as well as knowledge transfer of their findings for general public. The exhibition demonstrated how the field of archaeology is evolving alongside advances in technology with new tools, tools and techniques being employed to aid not only research but also the analysis and interpretation of data. Archaeology is rooted in a human curiosity. It is a field ensuing from people's endless need of knowing more about humanity, about the world, their self and existence by studying the ancient and recent human past. In our survey, to the question to describe the overall exhibition experience, the majority of the visitors answered that. They described the whole exhibition concept as they felt even more curious. Playfully in concepts and details in representation, the curious case of Czech Republic was a challenging exhibition to surpass for us in terms of interpretation and exhibition design. However, digital experimental tools and visual reconstruction methods played an outstanding role in expanding the audience demographics of the Anomert Gallery. Considering the positive effects of the digital displays provides, it can be said that there is a greater need for cooperation and communication between all sectors in technology, archaeology, cultural heritage, museums and beyond. This will help to ensure that all those in the discipline move forward together. There are many digital applications developed by museums and institutions as an interpretation tool but there is still a lack of connection to use of machine intelligence, virtual reality, data visualization by artists. I mean, not only for research purposes, for artistic interventions, using the data and information collected within the areas of cultural heritage. Yet, these digital applications are presented, provided limbs at opportunities they could offer in the future to researchers and experts in the field of archaeology and museum displays. These attempts are bringing archaeology from Indiana Jones movies to the futuristic world of Isaac and Symbol novels. Digital interpretive practices that seek to challenge conventional modes of exhibition methodologies will have a significant impact on the user experience and display approaches of future archaeological museums. I would like to finish my presentation by inviting you to our VR experience. You can experience this VR project that I presented here in the room UB4FS at the end of the corridor. You can discuss more about the project. On 12th October, we are going to open the exhibition in the Burner Gallery. You can visit the exhibition in London and see how we get together all the archaeological methodologies of totalic research projects in one exhibition. So, thank you for listening.