digitizing cultural heritage - UIAHmmaenpaa/lectures/culturalheritage.pdf · Virtual and material...

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10/29/09 1

Ma Luontotalo Arkki Mitä on museo? Mitä on museomedia? Työryhmät jakaantuminen – ideointi, Arkin kokoelmien äärellä

Ti Heureka Museon kokoelman, strategia, näyttelyn luominen, yleisö. Mo-Fun pelin tuotanto Työryhmille tehtävä kotimatkalla: mitä yleisö tekee, miten osallistuu?

Ke Nakkila, Villilän studio Animaatiotuotanto osana mediatuotantoa Case: Täällä pohjan tähden alla –elokuva- Tuotanto Työryhmille tehtävä: mikä on sisältö, millä medialla se esitetään?

To Taik – Ateljee Yo-keskus Käsikirjoittaminen, mediatuotannon käsikirjoittaminen Työryhmille tehtävä: museoiden www-sivut bechmarkkaus

Pe Taik, Ateljee Yo-keskus mediatuotanto – tuottajan työt, muut roolit Kuka pelaa ja mitä Suomessa Työryhmät – keskinäinen työnjako ja työsuunnitelma

Marjo Mäenpää, [email protected]

Digitizing Cultural and Natural Heritage

Marjo Mäenpää University of Art and Design, Helsinki School of Art and Media, Pori

Cross media Production Course 25.10.2009

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producing mixed reality space

digital archives

museums and education

new applications, multimodality

re-presenting the history and cultural heritage

telling new stories from old material

producing digital replicas

means of participation


1.  Digitizing of cultural heritage

Tangible heritage Intangible heritage

Case Multimedia for National Museum of Finland at 2000

2. 3D models – modeling

3. Digital Devices in Museums from PDA’s to virtual space, sound and digital touch

4. Museums and social media

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Virtual and material world – Tangible vs. Intangible Heritage

Discussions on the impact of the multimedia technologies in the museums tend to assume differences between material world and virtual world.

Digitizing cultural artifacts – archeological context, historic monuments, buildings or ruins – reconstructing the disappeared heritage or presenting the object that could not be seen in the museum


Digital representations: •  Always a representation of certain relevant characteristics of an artifact •  It is not the complete artifact •  The relevance depends upon the purposes creating the artifact •  There could be as many digital representation of the same artifact than there is purposes for their creation

Some reasons to make digital representations: •  Documentation and analysis for use by cultural heritage professionals •  Applications for dissemination to the general public

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Tangible objects:

Material world carries meanings like aura, history, social and cultural meaning, religious and nationalistic context

http://www.museosuomi.fi/item


Intangible heritage: Material objects may produce valid culturally based interpretations like in use, history, ownership, education, cultural interpretations.

The cultural components of the material object is an example intangible heritage –

In addition stories, music, performance, dance are all examples of intangible cultural heritage.

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Multimedia: A tool for interpreting or expression in it’s own sake (Witcomb, 2007, 36)

Multimedia presentations have been understood serving specific educational interests

Through multimedia presentation – however – museums were presenting interpretations about the history, culture, etc

Experimental multimedia in museum might act as releaser of memory in much the same way as objects can make unconscious memories conscious (Witcomb, 2007, 37)


A concept for interactive multimedia

How to trigger experience based on knowledge? What is the expertise of museum behind the exhibitions,

how to make connections between the information, research and exhibition?

How to use added value of multimedia, does interactivity bring something more?

Design is intelligence made visible.

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Cases to see during the lecture

http://www.brooklynmuseum.org/exhibitions/dinner_party/



Community around cultural heritage, museums:

Art Babble http://www.artbabble.org/ online video platform

Brooklyn museum

Ever wish you could remix the gallery experience?

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3-D models and modeling: Technologies are cultural concepts (Cameron, 2007, 50) Critical distinctions between: - material and immaterial - original-material and copy-material

Valter Benjamin, Jean Baudrillard about simulations and mechanical reproduction and art “losing their auratic, iconic, and ritualistic qualities” (Benjamin 1970) -  Authenticity – the historical fact or interpretation about the presence in space and time -  Heritage institutions move from the collection of physical artifacts to photographic and filmic forms of reproduction and recently digital creation and delivery “As the significance of digital images has grown, the form of factual has become virtualized.” (Flynn, 2007, 349)


Re-production of cultural heritage?

http://sketchup.google.com/3dwarehouse/details?mid=d704ada96917eee0137d9ca24aa269c

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The space of virtual heritage is not neutral ground

Spatial representation has various standards according to culture and history – in Europe the photorealism or it’s simulated geometric 3D equivalent is taken as standard 3D Studio Max was initially designed for the viewer looking art painting form a fixed position – model form Renaissance (Flynn, 2007, 352)

Virtual environments lack the richness of association and the levels of user engagement that we find in computer games – interaction has often been used to mean a form of interpassivity, where the user has limited options within a preprogrammed menu. (Flynn 354)


"The Matrix: Rewritten" by ScytheBoB

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Or creating new spaces visitors to touch and participate?

Ichim / Paris 2003


Digital Devices in Museums from PDA’s to virtual space, sound and digital touch

Digital multimedia in museums: Web sites Interactive kiosks, computer interfaces Holograms Digitized films Sound – pod casts

SF MOMA podcast

http://www.sfmoma.org/education/edu_podcasts_archive.html

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Co-presenting museum information

Anthropological Museum in Vancouver, Canada 2005

Users are reading facts about the museum objects form PDA...

...what are they really watching?


New interfaces? New devices? Usability?

Ichim / Paris 2003

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http://www.zgdv.de/zgdv/ Zentrum für Graphische Datenverarbeitung w. V. Darmastad

Multimodality in museums: information for all senses

Avatars - der geist - a chost telling stories form 30year war in actual historical plases in Heidelberg castle

A telebuddy, an avatar hiden in a doll - guiding visitoris in museum - for children.

http://www.telebuddy.de/index_en.htm

Marjo Mäenpää, [email protected] The wall of evolution in the American Museum of Narural History in New York

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http://www.youtube.com/watch?v=OUVe6VAa1cQ

Tactile Virtual Media... The City Wall in Helsinki: http://citywall.org/ and http://www.youtube.com/watch?v=IldDrCcZkZY

and Mobile Media installation

http://www.youtube.com/watch?v=bN6kRlyA3_A ShowMe tools and Smart Board in use:

Exapmples from Japan: The reconstruction of old city of Osaka to virtual mobile



Best of Web nominees 2009 – a list for benchmarking: http://conference.archimuse.com/best_web/nominees-2009

eLearning:

http://www.yksityinenkielitoimisto.net/eoppiminen/fi1.html

Art education

http://www.pbs.org/independentlens/offthemap/

Intangible cultural heritage

http://www.lib.helsinki.fi/julkaisut/kiehtovakirja/

Semantic web – tagging

http://www.digitalvaults.org http://conference.archimuse.com/forum/mw2008_announcing_best_web_2008

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Arnold, D., Digital Artefacts Possibilities and Purpose in Niccolucci Franco (ed.) (2007). Digital Applications for Tangible Cultural Heritage. Report on the State of the Union Policies, Practices and Developments in Europe. Volume 2. Archaeolingua, Budapest 2007.

Benjamin, Walter (1970) The Work of Art in The Age of Mechanical Reproduction” translated to English

Cameron, Fiona (2007) Beyond the Cult of Replicant: Museums and Historical Digital Objects – Traditional Concerns, New Discourses in Fiona Cameron and Sarah Kenderline (eds.) Theorizing Digital Cultural Heritage. A Critical Discourse. MIT Press 2007.

Flynn Bernadette (2007) The Morphology of Space in Virtual Heritage in Discourses in Fiona Cameron and Sarah Kenderline (eds.) Theorizing Digital Cultural Heritage. A Critical Discourse. MIT Press 2007.

Milekic Slavko, (2002). Towards Tangible Virtualities: Tangialities. Proceedings of Museum & Web 2002.

Witcomb, Andrea (2007) The Materiality of Virtual Technologies: A New Approach to Thinking about the Impact of Multimedia in Museums, in Fiona Cameron and Sarah Kenderline (eds.) Theorizing Digital Cultural Heritage. A Critical Discourse. MIT Press 2007.

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