In the 2020 video game Animal Crossing: New Horizons, the player builds the collection of the impressive Animal Crossing Museum (ACM). Exploring the visitor experience of this video game museum’s art wing from the perspective of museum professionals allows for the discovery of inventive ways to deepen connection with museum patrons in the virtual space. The ACM is more successful at engaging visitors than traditional virtual museums. It meets visitor needs by offering an immersive, interactive experience, and depends on direct action from the visitor to expand and grow its collection and space. By taking lessons from the player interaction design of the ACM, virtual museums can be designed to meet the psychological needs of visitors and build long-lasting relationships between the visitor and the institution. From the text, this essay proposes seven lessons for designing virtual museums: start with visitor experience at the center of virtual museum design, allow the visitor to collaborate on the creation of the virtual museum, make the virtual museum a habit with intermittent rewards and increased access over time, build social interaction into the virtual museum, add an avatar, show off curator personality, and address colonial roots of museums.

There is little scholarship on museums and heritage sites that memorialize courts, judges, and law. Engaging with literatures on penal history and law and culture, we explore representations of law and power in court museums across Canada. Based on observations and interviews, we examine the meanings of the artifacts curated at court museum sites. In a post-Truth and Reconciliation Commission context, where heritage sites have been called upon to account for the atrocities experienced by Indigenous peoples in colonial institutions, we show how court museums in Canada continue to be curated in ways that naturalize the Canadian state and law, deny colonialism, and reproduce myths regarding the Canadian penal system. In our discussion, we reflect on the implications of our findings for literatures on representations of penality and law. We contend penal history museums must learn from critical, decolonizing trends in museological studies.

The production of three-dimensional (3D) digital meshes of surface and computed tomographic (CT) data has become widespread in morphometric analyses of anthropological and archaeological data. Given that processing methods are not standardized, this leaves questions regarding the comparability of processed and digitally curated 3D datasets. The goal of this study was to identify those processing parameters that result in the most consistent fit between CT-derived meshes and a 3D surface model of the same human mandible. Eight meshes, each using unique thresholding and smoothing parameters, were compared to assess whole-object deviations, deviations along curves, and deviations between specific anatomical features on the surface model when compared with the CT scans using a suite of comparison points. Based on calculated gap distances, the mesh that thresholded at “0” with an applied smoothing technique was found to deviate least from the surface model, although it is not the most biologically accurate. Results have implications for aggregated studies that employ multimodal 3D datasets, and caution is recommended for studies that enlist 3D data from websites and digital repositories, particularly if processing parameters are unknown or derived for studies with different research foci.

In small developing countries like Belize, lack of funding for archaeological research and post excavation curation remains one of our greatest challenges to preserving our tangible cultural heritage. The state of curation of human remains and artefact collections at St. John's College in Belize City is a perfect example of what can go wrong in the absence of a properly funded and managed curation program both at the national and the institutional level. This article highlights the rediscovery of a historically significant group of over 70 human remains in the biological collection of Friar Deickman, which had been forgotten in an attic after his death in 2003. We outline the process of, and accomplishments in improving the curation conditions of these individuals while uncovering their importance to Belizean history in the eighteenth through twentieth centuries. Preliminary analysis reveals life histories of slavery and indentured servitude of individuals of African, Maya, European, and possible mixed African and European descent. We emphasize the importance of ethical responsibility in properly curating excavated human remains, and the challenges researchers face when poor curation results in lost provenience. We offer suggestions for scientific analysis in recovering information lost as a result of poor excavation or curation methods.

Recent methodological advances have increased the pace and scale of African ancient DNA (aDNA) research, inciting a rush to sample broadly from museum collections, and raising ethical concerns over the destruction of human remains. In the absence of discipline-wide protocols, teams are often left to navigate aDNA sampling on an individual basis, contributing to widely varying practices that do not always protect the long-term integrity of collections. As those on the frontline, archaeologists and curators must create and adhere to best practices. We review ethical issues particular to African aDNA contexts and suggest protocols with the aim of initiating public discussion.

The present study describes a meta-analytic review of museum visitors’ behavior. Although there is a large number of visitor studies available, their cumulative importance has not been determined due to the lack of rigorous methods to determine common causes of visitors’ behaviors. We analyzed Serrell’s (1998) database of 110 studies, defining a number of variables that measure visitors’ behaviors in exhibition spaces which exceeded the most typical and obvious ones. We defined four indexes of effect size and obtained their combined estimates: average time per feature [ATF● = 0.43 (0.49; 0.37)], percentage of diligent visitors [dv● = 30% (0.39; 0.23)], inverse of velocity [Iv● = 4.07 min/100m2 (4.55; 3.59)], and stops per feature [SF● = 0.35 (0.38; 0.33)], and we analyzed the role of relevant moderating variables. Key findings indicate, for example, that the visiting time for each display element relates to the size of the exhibition and its newness, and visitor walking speed is higher in large exhibit areas. The indexes obtained in this study can be understood as references to be used for comparison with new evaluations. They may help to predict people’s behavior and appreciation of new exhibitions, identifying important problems in museum designs, and providing new research tools for this field.