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Theorizing digital cultural heritage : a critical discourse

Author: Fiona Cameron; Sarah Kenderdine
Publisher: Cambridge, Mass. : MIT Press, ©2007.
Series: Media in transition.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
In Theorizing Digital Cultural Heritage, experts offer a critical and theoretical appraisal of the uses of digital media by cultural heritage institutions. Previous discussions of cultural heritage and digital technology have left the subject largely unmapped in terms of critical theory; the essays in this volume offer this long-missing perspective on the challenges of using digital media in the research,  Read more...
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Genre/Form: Aufsatzsammlung
Additional Physical Format: Online version:
Theorizing digital cultural heritage.
Cambridge, Mass. : MIT Press, c2007
(OCoLC)608144653
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Fiona Cameron; Sarah Kenderdine
ISBN: 0262033534 9780262033534
OCLC Number: 62888361
Description: x, 465 p. : ill. ; 24 cm.
Contents: Rise and fall of the post-photographic museum : technology and the transformation of art / Peter Walsh --
Materiality of virtual technologies : a new approach to thinking about the impact of multimedia in museums / Andrea Witcomb --
Beyond the cult of the replicant --
museums and historical digital objects : traditional concerns, new discourses / Fiona Cameron --
Te Ahu Hiko : cultural heritage and indigenous objects, people, and environments / Deidre Brown --
Redefining digital art : disrupting borders / Beryl Graham --
Online activity and offlline community : cultural institutions and new media art / Sarah Cook --
Crisis of authority : new lamps for old / Susan Hazan --
Digital cultural communication : audience and remediation / Angelina Russo and Jerry Watkins --
Digital knowledgescapes : cultural, theoretical, practical and usage issues facing museum collection databases in a digital epoch / Fiona Cameron and Helena Robinson --
Art is redeemed, mystery is gone : the documentation of contemporary art / Harald Kraemer --
Cultural information standards --
political territory and rich rewards / Ingrid Mason --
Finding a future for digital cultural heritage resources using contextual information frameworks / Gavan McCarthy --
Engaged dialogism in virtual space : an exploration of research strategies for virtual museums / Suhas Deshpande, Kati Geber, and Corey Timpson --
Localized, personalized, and constructivist : a space for online museum learning / Ross Parry and Nadia Arbach --
Speaking in Rama : panoramic vision in cultural heritage visualization / Sarah Kenderdine --
Dialing up the past / Erik Champion and Bharat Dave --
Morphology of space in virtual heritage / Bernadette Flynn --
Toward tangible virtualities : tangialities / Slavko Milekic --
Ecological cybernetics, virtual reality, and virtual heritage / Maurizio Forte --
Geo-storytelling : a living archive of spatial culture / Scot T. Refsland, Marc Tuters, and Jim Cooley --
Urban heritage representations in hyperdocuments / Rodrigo Paraizo and José Ripper Kós --
Automatic archaeology : bridging the gap between virtual reality, artificial intelligence, and archaeology / Juan Antonio Barceló.
Series Title: Media in transition.
Responsibility: edited by Fiona Cameron and Sarah Kenderdine.

Abstract:

Theoretical and practical perspectives from a range of disciplines on the challenges of using digital media in interpretation and representation of cultural heritage.  Read more...

Notes:

by Tjebbe (WorldCat user on 2007-06-19)

One of the most concise definitions of the word 'virtual' - that sticks in my mind - runs as follows: "in effect but not in fact"; hence 'virtual reality' is the experience of a certain kind of 'reality' without real 'materiality', though one immediately doubts such simple a conclusion. Can 'reality' and 'fact' be equated, or is it that 'facts' are circumstantial and 'reality' can only exist as a human social construct. Is it not so, that 'virtual effects' always have an impetus, be it a substance, a manipulation, some sort of machinery or combinations thereof? The series of twenty two essays by thirty (co)authors delivered by Fiona Cameron and Sarah Kenderdine under the title "Theorizing Cultural Heritage" clearly shows how 'material' the 'virtual' is. One of the first essays in the book by Andrea Witcomb states this in its title: "The Materiality of Virtual Technologies". Most of the essays have as their subject concrete and specific projects where digital media technology is used in the realm of museums, archives, libraries and other cultural heritage institutions. There are descriptions of equipment, techniques, protocols and dramatizations used in specific circumstances and each with a precise purpose. Most of these descriptions begin with some theoretical and historical observations, emphasizing the historical continuity of the use of media in which the (new) digital media can be placed. There are abundant references to other authors and sources, sometimes so frequent that the argument pursued is almost lost in its notes. Academia sometimes seem to fear the flow of a good narrative. The selection of fifteen longer quotations presented here, give ample opportunity to discover the content of the book, whereby mostly more theoretical parts of the texts have been chosen. Many case studies of specific projects can be found in the book itself: the "Koori Voices" installation that lets you listen to Australian Aboriginal voices in the Museum of Melbourne; New Zealand Maori treasures dispersed over different museum collections united by virtual reality; an interactive display in an exhibition "Exploring Picasso" in the Cleveland Museum of Art; the "September 11: Bearing Witness to History" virtual exhibition; projects for the high-resolution stereographic panorama display in the Melbourne Museum, like an interactive travelogue of the Cambodian Angkor Wat temple complex; a gesture based museum installation at the Phoenix Museum of Art in the USA; the re-creation of a pre-historic landscape at the University of Birmingham and use of mobile location-aware devices to roam a city and make comments. What remains is to mention what is felt as missing in such a book on the developing digital area: - the economic aspects of restructuring of cultural heritage institutions because of electronic media; - the issue of authorship, copyright and other commercial exploitation of replicated imagery, documents and objects. Maybe this last issue of copyright explains why a book on 'digital cultural heritage' that runs for over 400 pages has only 50 relatively small grayscale illustrations that demand a lot of imagination - on the part of the reader - to be understood. This lack is somehow compensated by the web addresses in the footnotes of the essays, but lazy as we are these days (and typing long URLs without a mistake takes time), one would have liked at least a permanent web-site with all the links provided by the publisher, or a CD-Rom with more visual examples as a companion to the book... Still, this is a most useful publication for all those developing new forms of cultural participation and those who are faced with the problems of redefining methods for preserving and communicating our cultural heritage in the 21st century. Tjebbe van Tijen 6/18/2007 - 6/19/2007

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"This is an indispensable work for students and professionals in cultural preservation and management." C. S. Peebles Choice

 
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