Details
Emerging Technologies and Museums
Mediating Difficult Heritage1. Aufl.
|
37,99 € |
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| Verlag: | Berghahn Books |
| Format: | |
| Veröffentl.: | 14.01.2022 |
| ISBN/EAN: | 9781800733756 |
| Sprache: | englisch |
| Anzahl Seiten: | 252 |
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Beschreibungen
<p> How can emerging technologies display, reveal and negotiate difficult, dissonant, negative or undesirable heritage? Emerging technologies in museums have the potential to reveal unheard or silenced stories, challenge preconceptions, encourage emotional responses, introduce the unexpected, and overall provide alternative experiences. By examining varied theoretical approaches and case studies, authors demonstrate how “awkward”, contested, and rarely discussed subjects and stories are treated – or can be potentially treated - in a museum setting with the use of the latest technology.</p>
<p> List of Illustrations</p>
<p> <a><strong>Introduction:</strong> Emerging Technologies, Museums and Difficult Heritage</a><br> <em>Theopisti Stylianou-Lambert, Alexandra Bounia and Antigone Heraclidou<br> <em>*This open access chapter is available thanks to the support of the CYENS Centre of Excellence.</em></em></p>
<p> <strong>Part I: Revealing Missing or Underrepresented Narratives</strong></p>
<p> <strong>Chapter 1.</strong> The Rosewood Heritage & VR Project: Engaging Difficult Histories with Digital Technologies<br> <em>Edward González-Tennant</em></p>
<p> <strong>Chapter 2.</strong> Preserving Queer Voices<br> <em>Sharon Webb</em></p>
<p> <strong>Chapter 3.</strong> Women’s Metadata, Semantic Web, Ontologies and AI: Potentials in Critically Enriching Carl Sahlin’s Industrial History Collection<br> <em>Anna Foka, Jenny Attemark and Fredrik Wahlberg</em></p>
<p> <strong>Part II: Eliciting Affective and Empathetic Responses</strong></p>
<p> <strong>Chapter 4.</strong>New Realities for New Museum Experiences: Virtual and Augmented Realities for Difficult Heritage in Iraq<br> <em>Rozhen Kamal Mohammed-Amin</em></p>
<p> <strong>Chapter 5.</strong> Dimensions in Testimony: Affect, Holograms and New Curatorial Challenges<br> <em>Elena Stylianou</em></p>
<p> <strong>Chapter 6.</strong> ‘We Can’t Fix the Future If They don’t Recognise Our Past’: The Uses of Immersive Technologies for a Child Sexual Abuse Museum in Australia<br> <em>Lily Hibberd</em></p>
<p> <strong>Chapter 7.</strong> Experiencing the Anthropocene: The Contested Heritage of Climate Breakdown<br> <em>Colin Sterling</em></p>
<p> <strong>Part III: Creating a Sense of Presence, Immersion and Embodiment</strong></p>
<p> <strong>Chapter 8.</strong> Designing Interactions: On the Use of Digital Technologies in the Musealisation of Difficult Built Heritage<br> <em>Francesca Lanz and Elena Montanari</em></p>
<p> <a><strong>Chapter 9.</strong> Dark Manoeuvres: Digitally Reincorporating the Marginalized Body in the Museum</a><br> <em>Lily Hibberd and Sarah Kenderdine<br> *This open access chapter is available thanks to the support of the Labratory for Experimental Museology (eM+).</em></p>
<p> <strong>Chapter 10.</strong> A Museum of Deepfakes? Potentials and Pitfalls for Deep Learning Technologies     <br> <em>Jenny Kidd and Arran J. Rees</em></p>
<p> <strong>Afterword</strong><br> <em>Alexandra Bounia, Theopisti Stylianou-Lambert and Antigone Heraclidou</em></p>
<p> Index</p>
<p> <a><strong>Introduction:</strong> Emerging Technologies, Museums and Difficult Heritage</a><br> <em>Theopisti Stylianou-Lambert, Alexandra Bounia and Antigone Heraclidou<br> <em>*This open access chapter is available thanks to the support of the CYENS Centre of Excellence.</em></em></p>
<p> <strong>Part I: Revealing Missing or Underrepresented Narratives</strong></p>
<p> <strong>Chapter 1.</strong> The Rosewood Heritage & VR Project: Engaging Difficult Histories with Digital Technologies<br> <em>Edward González-Tennant</em></p>
<p> <strong>Chapter 2.</strong> Preserving Queer Voices<br> <em>Sharon Webb</em></p>
<p> <strong>Chapter 3.</strong> Women’s Metadata, Semantic Web, Ontologies and AI: Potentials in Critically Enriching Carl Sahlin’s Industrial History Collection<br> <em>Anna Foka, Jenny Attemark and Fredrik Wahlberg</em></p>
<p> <strong>Part II: Eliciting Affective and Empathetic Responses</strong></p>
<p> <strong>Chapter 4.</strong>New Realities for New Museum Experiences: Virtual and Augmented Realities for Difficult Heritage in Iraq<br> <em>Rozhen Kamal Mohammed-Amin</em></p>
<p> <strong>Chapter 5.</strong> Dimensions in Testimony: Affect, Holograms and New Curatorial Challenges<br> <em>Elena Stylianou</em></p>
<p> <strong>Chapter 6.</strong> ‘We Can’t Fix the Future If They don’t Recognise Our Past’: The Uses of Immersive Technologies for a Child Sexual Abuse Museum in Australia<br> <em>Lily Hibberd</em></p>
<p> <strong>Chapter 7.</strong> Experiencing the Anthropocene: The Contested Heritage of Climate Breakdown<br> <em>Colin Sterling</em></p>
<p> <strong>Part III: Creating a Sense of Presence, Immersion and Embodiment</strong></p>
<p> <strong>Chapter 8.</strong> Designing Interactions: On the Use of Digital Technologies in the Musealisation of Difficult Built Heritage<br> <em>Francesca Lanz and Elena Montanari</em></p>
<p> <a><strong>Chapter 9.</strong> Dark Manoeuvres: Digitally Reincorporating the Marginalized Body in the Museum</a><br> <em>Lily Hibberd and Sarah Kenderdine<br> *This open access chapter is available thanks to the support of the Labratory for Experimental Museology (eM+).</em></p>
<p> <strong>Chapter 10.</strong> A Museum of Deepfakes? Potentials and Pitfalls for Deep Learning Technologies     <br> <em>Jenny Kidd and Arran J. Rees</em></p>
<p> <strong>Afterword</strong><br> <em>Alexandra Bounia, Theopisti Stylianou-Lambert and Antigone Heraclidou</em></p>
<p> Index</p>
<p> <strong>Theopisti Stylianou-Lambert</strong> is Associate Professor at the Department of Multimedia and Graphic Arts of the Cyprus University of Technology and the coordinator of its Visual Sociology and Museum Studies Lab. Since 2018, she is also the Museum Lab group leader at RISE (Research Centre on Interactive Media, Smart Systems and Emerging Technologies).</p>
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