Somatic solidarity, Magical Realism and Animating Popular Gods: Place-Hampi "where intensities are felt"

Kenderdine, Sarah

doi:10.1109/iv.2007.103

Cited by 15 publications

(11 citation statements)

References 2 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The Performing Presence Project (Kaye et al 2010) examined this relationship in virtual and mixed reality environments such as Collaborative Virtual Environments (CVEs) where the viewers might interact with each other, with virtual humans, and in virtual space. In the project narrative devices, the performance of real and simulated agents and the mixed reality merging of actual and virtual components provoked a deep sense of engagement in a world that offered little visual stimulation (Kenderdine 2007b). The virtual environment experienced was simple with no attempt at photorealism, and at times was deliberately seen to "break down" -to expose its artifice.…”

Section: Case Study Two -Model As Thinking Spacementioning

confidence: 99%

Modeling in Archaeology: Computer Graphic and other Digital Pasts

Earl

2013

Perspectives on Science

View full text Add to dashboard Cite

Section: Case Study Two -Model As Thinking Spacementioning

confidence: 99%

Modeling in Archaeology: Computer Graphic and other Digital Pasts

Earl

2013

Perspectives on Science

View full text Add to dashboard Cite

“…Hampi-LIVE (2011) builds upon the content of the interactive installation PLACE-Hampi (2006) designed for the PLACE platform (Kenderdine et al 2007, Kenderdine 2007a, 2007bFig. 6).…”

Section: Hampi-livementioning

confidence: 99%

“…Modalities of interaction can be described as forms of prosthetic vision, acoustic immersion, kinaesthetic activation, inhabitation and dwelling, travelling, driving and walking, and dynamic contemplation. In the cultural imaginary activated by immersive architectures, the sensory world of participants is tuned for encounter and thus emergent narratives become possible (see Kenderdine 2007aKenderdine , 2007bKenderdine , 2009Kenderdine , 2011.…”

Section: Introductionmentioning

confidence: 99%

“…Visual interfaces that amplify a somatic or corporeal response are found throughout many cultures (see Pinney 2004Pinney , 2006Kenderdine 2007aKenderdine , 2007bKenderdine , 2011. The opportunity of the fully interactive and embodied virtual environment is to provide a setting to activate latent and embedded meanings found within the representation is what is being explored here.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Event-based Archaeological Registration Principles

Jensen¹

2012

Revive the Past

View full text Add to dashboard Cite

The present volume consists of the peer-reviewed papers presented at the CAA2011 conference held in Beijing, China between April 12 and 16, 2011. The theme of this conference was "Revive the Past", which means retrieving our history and using it to help create a new civilization. It was a great honour to organize the conference where over 130 researchers made presentations; ten keynote speeches were given; and sixteen sessions covered a wide variety of topics: data acquisition and recording, conceptual modelling, data analysis, data management, digging with words, 3D models, visualizing heritage sites, digital spaces for archaeology, geophysics, GIS, graphics in archaeology, visualisation in archaeology, semantic technologies, spatial prediction, visualization and exhibition, and 3D object reconstruction. In addition, student papers and posters were presented. We held two successful seminars: "The CIDOC Conceptual Reference Model as a Tool for Integrating Cultural Information" and "Creating Conceptual Models in Archaeology". Two round table discussions were equally stimulating: "The Virtual Silk Road: Reuniting and Recording Scattered Collections and Sites along the Chinese Silk Road" and "Towards an Integrated Geospatial Approach to Archaeological Prospection Data".As organizers, we want to thank the CAA Steering Committee for their great support and help. We would like to express our special thanks to Prof. Bernard Frischer for his consistent support and kind help. We express our deep gratitude to all participants and delegates for their contributions. We appreciate the generous support given by local institutions in Beijing, and we single out for special praise all of our volunteers for their hard work on behalf of the conference.

show abstract

“…As Gillings notes visualisation methods by themselves are not enough to provide the user with an embedded experience of the past [2]. Efforts have been made to represent more experience based accounts of the past through such strategies as corpothetics [3]; peripatetic videowalks [4] and the representation of lived knowledge systems associated with the landscape and movement through the landscape [5].…”

Section: Social and Cultural Significance Of Digital Cultural Heritagementioning

confidence: 99%

Augmented Visualisation: Designing Experience for an Interpretative Cultural Heritage

Flynn

2008

2008 12th International Conference Information Visualisation

View full text Add to dashboard Cite

The use of visualisation technologies is well established in digital cultural heritage. The earlier IT challenge of presenting material culture has largely been addressed with the production of high quality digital artefacts. A number of projects have drawn on the potential for augmented visualisation offered by mobile technologies, game engines and responsive environments. Alongside these advances is a recognition that a relevant digital cultural heritage needs to reflect contemporary interpretative practices rather than relying on outmoded systems of material science. While leading research in interpretative heritage has incorporated the hermeneutic aspects of previously lived cultures there have been less recognition of the importance of the users' role in the formation of cultural knowledge. The paper proposes that we take a step back to investigate the processes of knowledge formation. It provokes a series of new research questions on visualizing cultural heritage knowledge in light of theoretical readings on perception and knowledge formation. It points to the need to devise alternative methods for the design and production of an interpretative digital cultural heritage. Such methods detail the generative potential of a complex process rather than the replication of a complex structure.

show abstract

Somatic solidarity, Magical Realism and Animating Popular Gods: Place-Hampi "where intensities are felt"

Cited by 15 publications

References 2 publications

Modeling in Archaeology: Computer Graphic and other Digital Pasts

Modeling in Archaeology: Computer Graphic and other Digital Pasts

Event-based Archaeological Registration Principles

Augmented Visualisation: Designing Experience for an Interpretative Cultural Heritage

Contact Info

Product

Resources

About