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In recent decades, digital technology has come to play an increasingly central role in most areas of society. In the field of museums, new technologies have, among other things, provided new possible ways of working with communication and representation, both in the physical and the virtual exhibition space. In this edited volume, the consequences of digitalisation on visitors' ability to experience 'presence' are discussed and examined by academics from disciplines such as museum studies, digital museology, computer science psychology, architecture, and visual anthropology as well as by curators and artists. According to the editors, presence includes aspects such as immersion, embodiment, empathy, emotion, engagement, and affect. Technology has often been considered to hinder our sense of presence when visiting museums, in that screens are seen as barriers between visitors and their experience of the objects. Museums and Technologies of Presence aims to reverse this argument and explores how new technologies can facilitate and enhance the sense of presence in museums.This book contributes to the field of museum studies and museum digital technologies, as it explores how different technologies, such as VR, AI, and 3D scans, may facilitate presence and visitor experiences. The book contains 14 chapters divided into three parts. The first part is about presence as immersion, embodiment, and multisensory experiences. The second part deals with affective presence and absence, and the third part focuses on spatio-temporal presence. Several case studies, covering an international range as well as a variation in museum types (cultural history and art museums), are discussed. Different technologies are explored and discussed, in relation to how they are used and function in exhibitions (virtual and physical) as well as artistic installations. Technologies, such as VR, AR, and 3D printing, are discussed individually, but not in comparison to each other. It would have been interesting to get a more systematic and comprehensive overview of existing technologies and their affordances. It could perhaps be a continuation and a challenge for scholars interested in the use of technology in museums, to produce such an overview of what technologies have been used in exhibitions and how they can create presence.A central reference in several of the chapters is Hans Ulrich Gumbrecht (2004), a literary theorist who criticises the humanities' excessive focus on intellectualising interpretation or meaning. Gumbrecht argues that the interpretive activity of hermeneutics today must be 'complexified' by an understanding of the importance of the body and space. According to him, meaning is primarily an intellectual act: 'As we attribute a
In recent decades, digital technology has come to play an increasingly central role in most areas of society. In the field of museums, new technologies have, among other things, provided new possible ways of working with communication and representation, both in the physical and the virtual exhibition space. In this edited volume, the consequences of digitalisation on visitors' ability to experience 'presence' are discussed and examined by academics from disciplines such as museum studies, digital museology, computer science psychology, architecture, and visual anthropology as well as by curators and artists. According to the editors, presence includes aspects such as immersion, embodiment, empathy, emotion, engagement, and affect. Technology has often been considered to hinder our sense of presence when visiting museums, in that screens are seen as barriers between visitors and their experience of the objects. Museums and Technologies of Presence aims to reverse this argument and explores how new technologies can facilitate and enhance the sense of presence in museums.This book contributes to the field of museum studies and museum digital technologies, as it explores how different technologies, such as VR, AI, and 3D scans, may facilitate presence and visitor experiences. The book contains 14 chapters divided into three parts. The first part is about presence as immersion, embodiment, and multisensory experiences. The second part deals with affective presence and absence, and the third part focuses on spatio-temporal presence. Several case studies, covering an international range as well as a variation in museum types (cultural history and art museums), are discussed. Different technologies are explored and discussed, in relation to how they are used and function in exhibitions (virtual and physical) as well as artistic installations. Technologies, such as VR, AR, and 3D printing, are discussed individually, but not in comparison to each other. It would have been interesting to get a more systematic and comprehensive overview of existing technologies and their affordances. It could perhaps be a continuation and a challenge for scholars interested in the use of technology in museums, to produce such an overview of what technologies have been used in exhibitions and how they can create presence.A central reference in several of the chapters is Hans Ulrich Gumbrecht (2004), a literary theorist who criticises the humanities' excessive focus on intellectualising interpretation or meaning. Gumbrecht argues that the interpretive activity of hermeneutics today must be 'complexified' by an understanding of the importance of the body and space. According to him, meaning is primarily an intellectual act: 'As we attribute a
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