Embodiment, Entanglement, and Immersion in Digital Cultural Heritage

Kenderdine, Sarah

doi:10.1002/9781118680605.ch2

Cited by 28 publications

(27 citation statements)

References 30 publications

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“…As part of the 'dialogue' we were setting up in WNEIS, the physical context was key, and we were keen that participants should be able to fully experience the 'sense-scape' of the park after dark (Young 2007in Kenderdine 2016. This park was an important link to the past, and a more fitting context than the internal of the museum, especially given that the museum itself was still being built in 1915 when our storytelling was (notionally at least) set.…”

Section: Digital Cultural Heritage Researchmentioning

confidence: 99%

With New Eyes I See: embodiment, empathy and silence in digital heritage interpretation

Kidd

2017

International Journal of Heritage Studies

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With New Eyes I See (WNEIS) was an immersive and itinerant digital heritage encounter exploring the exploitation of empathy made possible in such emergent formats. Located 'in the wild' , and timed to coincide with the 2014 Centenary of the First World War, WNEIS transformed Cardiff's civic centre as previously inaccessible stories and archival materials were projected onto, and playfully manipulated by, buildings and the natural environment. The research that underpinned the project unearthed a hitherto untold story about the experiences and fates of those who left their posts at Amgueddfa Cymru-National Museum Wales to go and fight in WW1. Focusing on the story of Botanist Cyril Mortimer Green, and moving between past and present, known and unknown, presence and absence, participants encountered a re-scripting and multiple layering of the cityscape, and an uneasy archaeology of the museological endeavour. WNEIS foregrounded opportunities for touching, listening and feeling; as such it was a multimodal form of investigation for participants. This article uses focus group materials to explore the intersecting themes of 'embodiment' , 'empathy' and 'silence' that emerged in reflections. It reveals an audience ready for digital cultural heritage that embraces ambiguity in the examination and negotiation of meaning.

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Section: Digital Cultural Heritage Researchmentioning

confidence: 99%

With New Eyes I See: embodiment, empathy and silence in digital heritage interpretation

Kidd

2017

International Journal of Heritage Studies

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“…We wanted to make room for the varied potenials and limitaions of these digital heritage encounters to emerge in peoples' responses in ways that felt authenic, that were unpredictable to us, and that revealed the ways our resources did (or did not) come together to consitute a 'mulimodal whole' [36] with a 'mulimodal grammar' [36] that was ulimately producive for our paricipants. Following other scholars within the field of digital cultural heritage [5,6,9,8,13] we have found mulimodality a useful theoreical framework for exploring these cases, recognising as it does the importance of 'fine-grained detail of form and meaning' [36] and offering methodological prompts. This framework reminds us to pay atenion not only to textual and linguisic resources, but also to spaial, visual, aural and embodied aspects of interacion and environments [37].…”

Section: Talking About 'Experience'mentioning

confidence: 93%

“…The arguments for reflexive museological and exhibiion design pracice are not new: Catherine Styles [2] and Shelley Ruth Butler [3] specifically reviewed a number of self-reflexive museum exhibiion displays to conclude that 'transparent or self-reflexive' exhibiions 'enable visitors to see the quesions and tensions arising from the material, rather than the answers alone' [2] and that the best reflexive intervenions 'are highly site-specific' [3]. Scholars in the field of digital cultural heritage have also begun to creaively explore the dynamic and fluid nature of 'experience' within digital heritage programmes (see for example [4,5,6,7,8,9,10,11,12,13]). As Robert Stein notes, 'the quality of debate and discourse in the field has matured substanially' so that museum technologists and researchers are 'tack [ling] challenging quesions about the idenity of museums, their role in society, their responsibiliies to serve a global public, and the nature of collecing, preservaion, educaion, scholarship, primary research, and ethics in the digital age' [14].…”

Section: Introductionmentioning

confidence: 99%

Evaluating Digital Cultural Heritage ‘In the Wild’

Galani

Kidd

2019

J. Comput. Cult. Herit.

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Digital heritage interpretaion is oten untethered from tradiional museological techniques and environments. As museums and heritage sites explore the potenials of locaive technologies and ever more sophisicated content-triggering mechanisms for use outdoors, the kinds of quesions digital heritage researchers are able to explore have complexified. Researchers now find themselves in the realm of the immersive, the experienial, and the performaive. Working closely with their research paricipants, they navigate ambiguous terrain including the oten unpredictable affecive resonances that are the direct consequences of interacion.This aricle creates a dialogue between two case studies which, taken together, help to unpack some key methodological and ethical quesions emerging from these developments. Firstly, we introduce With New Eyes I See, an iinerant and immersive digital heritage encounter which collapsed boundaries between physical/digital, fact/ficion and past/present. Secondly, we detail Rock Art on Mobile Phones, a set of dialogic web apps that aimed to explore the potenial of mobile devices in delivering heritage interpretaion in the rural outdoors.Looking outward from these case studies, we reflect on how tradiional evaluaion frameworks are being stretched and strained given the kinds of quesions digital heritage researchers are now exploring. Drawing on vignetes from experience-oriented qualitaive studies with paricipants, we ariculate specific common evaluaive challenges related to the embodied, mulimodal and transmedial nature of the digital heritage experiences under invesigaion. In doing so, we make the case for reflexivity as a centraland more collaboraive feature of research design within this field going forward; paying atenion to, and advocaing, the reciprocal relaionship between researchers and the heritage experiences we study CCS CONCEPTS:• Human-centered compuing~Ubiquitous and mobile compuing design and evaluaion methods • Human-centered compuing~Empirical studies in ubiquitous and mobile compuing • Human-centered compuing~Field studies • Human-centered compuing~HCI design and evaluaion methods • Applied compuing~Arts and humaniies KEYWORDSOn-site and remotely sensed data collecion; storytelling and other forms of communicaion; mulimedia systems; Web-based and mobile technologies for CH, ICT technologies in support of creaing new cultural experiences or digital artefacts

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“…Within our design, we therefore exploited the concept of embodiment, which is considered one of the main attributes of TUIs because it supports learning unconsciously [47]. According to [48], embodiment plays a constitutive role in communicating heritage information when it is entangled through context and environment, which enables visitors to get more involved in historical stories [49]. We considered several forms of embodiment when designing the Tang-Phys condition.…”

Section: Role Of Materials Characteristicsmentioning

confidence: 99%

The Role of Tangible Interaction to Communicate Tacit Knowledge of Built Heritage

et al. 2018

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Meanings and values of built heritage vary from factual and explicit meanings which are relatively easy to present, to more tacit knowledge, which is typically more challenging to communicate due to its implicit and often abstract character. In this paper, we investigate how tangible interaction influences the communication of this tacit knowledge of built heritage, and howit affects the experience of visitors. Through a between-group comparative study in a real-world museum context, we examined howthe tangible characteristics of an interactive prototypemuseuminstallation influence how visitors perceive a particular story containing tacit heritage knowledge. The communicated story relates a historical journey in ancient Egypt to the physical and architectural characteristics of the entrance colonnade at the Djoser Complex in Saqqara. Our experimental conditions consisted of an interactive navigation (input) and a passive representation (output) components, ranging from traditional digital displays to fully tangible means of interaction. We report on our findings, which showed various differences and commonalities between our three experimental conditions. We conclude with a number of discussion points and design recommendations: (a) to strive for balance between navigation and representation modalities in terms of affordance and the required cognitive effort; (b) to take advantage of physical representation and grasping, such as conveying particular physical details and characteristics; and (c) to consider design aspects of embodiment, physical abstraction and materiality for future research or potential further development of communicating the meanings and values of heritage.

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Embodiment, Entanglement, and Immersion in Digital Cultural Heritage

Cited by 28 publications

References 30 publications

With New Eyes I See: embodiment, empathy and silence in digital heritage interpretation

With New Eyes I See: embodiment, empathy and silence in digital heritage interpretation

Evaluating Digital Cultural Heritage ‘In the Wild’

The Role of Tangible Interaction to Communicate Tacit Knowledge of Built Heritage

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