Preserving intangible heritage: Defining a research agenda

Bonn, Maria; Kendall, Lori; McDonough, Jerome

doi:10.1002/pra2.2016.14505301009

Cited by 20 publications

(11 citation statements)

References 5 publications

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“…As stated by Bonn et al [28]: One of the fundamental truths recognized by the living history centers is that much of what we regard as intangible cultural heritage takes the form of embodied practice, and that preservation of heritage requires sustained and repeated enactment of that practice as part of the means by which it is preserved over time. Preserving ICH means maintaining cultural diversity, promoting the understanding of differences and facilitating intercultural dialogue.…”

Section: What It Means To Preserve Ichmentioning

confidence: 99%

Capturing the City’s Heritage On-the-Go: Design Requirements for Mobile Crowdsourced Cultural Heritage

et al. 2020

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Intangible Cultural Heritage is at a continuous risk of extinction. Where historical artefacts engine the machinery of intercontinental mass-tourism, socio-technical changes are reshaping the anthropomorphic landscapes everywhere on the globe, at an unprecedented rate. There is an increasing urge to tap into the hidden semantics and the anecdotes surrounding people, memories and places. The vast cultural knowledge made of testimony, oral history and traditions constitutes a rich cultural ontology tying together human beings, times, and situations. Altogether, these complex, multidimensional features make the task of data-mapping of intangible cultural heritage a problem of sustainability and preservation. This paper addresses a suggested route for conceiving, designing and appraising a digital framework intended to support the conservation of the intangible experience, from a user and a collective-centred perspective. The framework is designed to help capture the intangible cultural value of all places exhibiting cultural-historical significance, supported by an extensive analysis of the literature. We present a set of design recommendations for designing mobile apps that are intended to converge crowdsourcing to Intangible Cultural Heritage.

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Section: What It Means To Preserve Ichmentioning

confidence: 99%

Capturing the City’s Heritage On-the-Go: Design Requirements for Mobile Crowdsourced Cultural Heritage

et al. 2020

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“…In addition, high priority was placed on the importance of exploring and safeguarding narratives of intangible cultural heritage. This priority acknowledged the importance of distinct cultural practices and identity expression that have travelled with people as they made Cheltenham their new home, practices and expressions that are among those most vulnerable to change in the context of migration (Bonn, Kendall & McDonough 2016, Lenzerini 2011. Equally, while subject to natural and forced adaptation, intangible forms of heritage are frequently the most viable forms of heritage for individuals and communities to travel with in episodes or periods of migration.…”

Section: The Diaspora Projectmentioning

confidence: 99%

Expanding Heritage Horizons through the Cheltenham: A Diaspora Project

Howell

2020

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This article considers the Cheltenham: Diaspora project, an exploration and promotion of migration heritage narratives in Cheltenham (UK). Cheltenham has a diverse history, but heritage provision in the locality has been consistently concentrated on 18th and 19th century Regency architecture. This has led to a marginalisation of non-elite heritage narratives, with no permanent platform for culturally diverse heritage themes in the region. In addition, informal, online history themed social media groups have, rather than expand heritage narratives, ultimately further narrowed heritage discussions. The Diaspora project looked to challenge the lack of diversity in the authorised heritage discourse, and informal online discourses of Cheltenham’s heritage, while enhancing the democratic nature of research projects coming out of the University of Gloucestershire. This paper considers the difficulties encountered in attempting to democratise heritage research, in a cultural climate that is rigid in its perception of what counts as ‘heritage’ and what is deemed as relevant by more ‘vocal’ local stakeholder groups. Ultimately the project reveals that while social media provides a useful avenue through which diverse heritage narratives can be pursued and promoted, ingrained attitudes regarding authorised forms of heritage are robust and resistant to the introduction of the unfamiliar.

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“…Digital technology offers novel ways to safeguard, disseminate, and provide access to cultural patrimony; it also allows for the inclusion of historically marginalised voices (Liu and Huang 2005;Affleck and Kvan 2008;Kenny 2009;Stevens, Flinn, and Shepherd 2010;Giaccardi 2012;Nitzky 2013). Its rise has led to the creation of a new interdisciplinary domain known as: the "digital heritage sector" (Petrelli et al 2013), which addresses the interactions with, and visualisation, safeguarding, and documentation of, cultural heritage (Bonn, Kendall, and Mcdonough 2016). Human computer interaction (HCI) scholars have applied the development of this field to countless issues, specifically enhancing the visitor experience (Fraser et al 2003).…”

Section: Introductionmentioning

confidence: 99%

“…Human computer interaction (HCI) scholars have applied the development of this field to countless issues, specifically enhancing the visitor experience (Fraser et al 2003). Researchers argue that aspects of ICH require a specific approach and technology to facilitate audience appreciation and the public's experience (Bonn, Kendall, and Mcdonough 2016). Yet despite this, few studies have investigated how digital technology supports audiences' understanding and appreciation of heritage through contextual, in-depth activities and analyses.…”

Section: Introductionmentioning

confidence: 99%

An Analysis of Interactive Technology’s Effect on the Appreciation of Traditional Chinese Painting: A Review of Case Studies

Zhao¹

2019

The International Journal of New Media, Technology and the Arts

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From a perspective of safeguarding Intangible Cultural Heritage, this paper discusses how to enhance the appreciation of traditional Chinese painting through the support of interactive technology. The author analyses extensive yet current case studies based on the findings from the interactive appreciation of and engagement with paintings. The author then summarises four aspects of how to design interactive technology in order to support the appreciation of and engagement with traditional Chinese paintings: (1) deepening the aesthetic understanding of traditional Chinese paintings should not be a neglected aspect during the design process; (2) current case studies have not considered distinguishing the user experience between professional artists and amateurs (who are unskilled at painting); (3) it is vital to exploit interactive technology to improve the originality and subtlety of traditional Chinese painting; and (4) employing interactive systems to engage users in participatory appreciation (through encouraging them to talk about art or discussing their understanding of it) could provide potential design insights for future studies.

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Preserving intangible heritage: Defining a research agenda

Cited by 20 publications

References 5 publications

Capturing the City’s Heritage On-the-Go: Design Requirements for Mobile Crowdsourced Cultural Heritage

Capturing the City’s Heritage On-the-Go: Design Requirements for Mobile Crowdsourced Cultural Heritage

Expanding Heritage Horizons through the Cheltenham: A Diaspora Project

An Analysis of Interactive Technology’s Effect on the Appreciation of Traditional Chinese Painting: A Review of Case Studies

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