Description
The experience of engaging with art and history has been utterly transformed by information and communications technology in recent decades. We now have virtual, mediated access to countless heritage collections and assemblages of artworks, which we intuitively browse and navigate in a way that wasn’t possible until very recently. This collection of essays takes up the question of the cultural meaning of the information and communications technology that makes these new engagements possible, asking questions like: How should we theorize the sensory experience of art and heritage? What does information technology mean for the authority and ownership of heritage?
Chapter
2. Visual Touch: Ekphrasis and Interactive Art Installations / Cecilia Lindhé
3. Breathing Art: Art as an Encompassing and Participatory Experience / Christina Grammatikopoulou
4. Curiosity and the Fate of Chronicles and Narratives / Chiel van den Akker
5. Networked Knowledge and Epistemic Authority in the Development of Virtual Museums / Anne Beaulieu and Sarah de Rijcke
6. Between History and Commemoration: The Digital Monument to the Jewish Community in the Netherlands / Serge ter Braake
7. From the Smithsonian’s MacFarlane Collection to Inuvialuit Living History / Kate Hennessy
Conclusion / Chiel van den Akker
Figure 1 – Philip James De Loutherbourg. The Vision of the White Horse 1798
Figure 2 – Char Davies. Breathing and balance interface used in the performance of immersive virtual reality environments Osmose (1995) and Ephémère (1998)
Figure 3 – Char Davies. Forest Grid, Osmose (1995). Digital still captured in real-time through HMD (head-mounted display) during live performance of the immersive virtual environment Osmose
Figure 4 – George Khut. Cardiomorphologies v.2 (2005). Interactive installation
Figure 5 – Christa Sommerer and Laurent Mignonneau. Mobile Feelings II (2003). Interface devices
Figure 6 – Anton Raphael Mengs (1772/73). The Triumph of History over Time: Allegory of the Museum Clementinum. Ceiling fresco in the Camera dei Papiri, Vatican Libarary
Figure 7 – Screenshot from the Digital Monument to the Jewish Community
Figure 8 – Albert Elias and team members discussing an Inuvialuit hunting bow in the Smithsonian’s MacFarlane Collection at the National Museum of Natural History 2009
Figure 9 – Handwritten label in the MacFarlane Collection 2009
Figure 10 Screenshot from Inuvialuit Living History
Museums in a Digital Culture
：How Art and Heritage Became Meaningful
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