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1.
Vince Dziekan 《Curator: The Museum Journal》2016,59(2):177-193
Drawing inspiration from New Materialist philosopher Karen Barad's challenge to read “diffractively” by experimenting with different patterns of relationality, this article sets out a course of speculative inquiry inspired by the contemporary fascination with digital light‐based installations. Taking the UN's designation of 2015 as the “International Year of Light and Light‐based Technologies” as its point of departure, a subset of mediated environments are identified that transcend the distinction between physical and digital; materiality and immateriality; invisibility and presence. Employing new technologies to create deeply sensorial and highly participatory forms of aesthetic engagement, the selected examples offer a compelling indication of the post‐digital aesthetics that arise from the interrelationship of art, design and computation. Its investigation is structured as a montage of two parts: following an introduction that surveys an illustrative sub‐set of contemporary digital light‐based art works drawn from the 2014 INST‐INT conference, the second half of this text will speculate upon the “dynamic‐constructive” relationship between digital media and the form‐making processes associated with “practices of light” (Cubitt 2014 ). The implications of “post‐screen media” for curatorial practice is explored in relation to the mediating function played by modes of exhibition and other program architectures. 相似文献
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Michele Rosenthal 《The Communication Review》2013,16(3):347-371
Throughout American history that form of Protestantism that designates itself and is publicly conceived as “old‐time religion” has regularly been the innovator in the area of media. In stark contrast, its more staid establishment counterpart has tended to be antagonistic to these new media, dismissing them with harsh theological and aesthetic judgments. In this process, the self‐proclaimed theological conservatives actually behaved in remarkably adaptive and imaginative ways, while the self‐proclaimed liberal establishment often acted as the cultural conservator, pressing for the preservation of the status quo. This article seeks to understand why those Protestants who define themselves as “modernist” and “adaptive” have been far less successful in using the media than their conservative “anti‐modernist” counterparts. The focus is upon a case study—the reception of television by the Broadcast and Film Commission of the National Council of Churches. The conclusion is ironic: those Protestants who depended upon “modern,” “social scientific” criterion to guide their television policies fundamentally misunderstood the power of television and its impact upon society. 相似文献
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[目的 /意义]面对数字资源的智能化、可感知、沉浸式和可互动的未来趋势,三维实体、全景视频等新型资源形态成为记载和传播知识的重要形式。以往用户界面模型难以较好地支撑图博档等公共机构的互动情境式数字文化服务,公众需求和交互情境更迭呼唤沉浸体验、自然流畅的新型交互界面。[方法 /过程]通过对数字馆藏资源与服务、多模交互界面与体验的相关问题进行探讨,提出面向馆藏数字资源的多模交互界面模型;多模交互的信息交换过程须以人的信息加工能力为约束,通过给出多模交互的信息加工模型,剖析虚拟现实情境下馆藏资源的用户交互认知过程。立足面向馆藏资源的多模交互模型,基于“界面-认知-情境”递进逻辑,分析影响用户交互体验的关键因素。[结果 /结论 ]面向馆藏数字资源的多模交互界面模型应由交互模态、交互原语、交互任务三个关联递进的层级构成,以人为核心的多模交互可在多模感知、思维决策和交互执行等阶段增强人类的认知能力。沉浸流畅的用户交互体验取决于界面感知交互模态、心智模型匹配程度、交互情境沉浸维度等关键因素,可为多模交互设计、数字文化服务开展等提供参考。 相似文献
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Chaim Noy 《Critical Studies in Media Communication》2016,33(4):308-323
The move from “old” to “new” media centrally involves a shift in participatory possibilities, through which individuals and communities differentially access and populate the public sphere, assume voice, and partake in open discussion and debate. This paper offers a rich ethnographic case study of new participatory media in the shape of commenting systems in museums. By portraying the similarities and the differences in communicative affordances between two museum media—traditional visitor books, on the one hand, and a digital and immersive interface, on the other hand—light is shed on how media invite and intervene in possibilities for public participation. Furthermore, with their emphasis on visual design and display, studying participatory public media in museums helps highlight the semiotic construction of the public sphere as such, and how the notion of the public and laypersons’ contributions are materially displayed. Analysis of communicative affordances reveals the politics of remediation, and supports recent hesitations with regard to the promise of newer and “smarter” media: digital media affords more interaction than their analogue predecessors, but participatory content-production via analogue media is found to be discursively richer on a number of grounds. 相似文献
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Hayes Mawindi Mabweazara 《Journalism Practice》2015,9(1):106-122
This essay provides a metatheoretical framework for understanding the complexities surrounding African journalism in the era of interactive digital technologies. It argues for the continued relevance of traditional theoretical paradigms, and submits that radical calls to develop new theories as well as to de-Westernise contemporary journalism studies through exclusively deploying “home-grown” concepts such as ubuntuism are not necessarily always viable. Rather, there is more to gain from appropriating traditional theories and identifying possible synergies between the “old”, predominantly Western approaches, and the “new digital phenomena”, and weaving out of that dialogue, approaches that are not radically different but are in tune with the uniqueness of African experiences. This approach, as the study argues, is particularly important given that journalism (including its appropriation of new technologies) always takes on the form and colouring of the social structure in which it operates. The study thus draws on social constructivist approaches to technology and the sociology of journalism, as well as an array of theoretical concerns from African journalism scholarship to offer a possible direction for a conceptual framework that can help us to capture the complex imbrications between new digital technologies and journalism practice in Africa. 相似文献
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Kimberly Anderson 《Archival Science》2013,13(4):349-371
This paper provides an analysis of the archival concepts of “record” and “evidence” as socio-cultural constructs arising out of a particular view of time. Archival records are usually characterized as having certain relationships to evidence in its temporal aspects—specifically, the requirement for a temporal disconnect between creation and use. This disconnect also necessitates a break between knowledge and the knower in which the record must be externalized and set aside from its creator in order to have “recordness”. This paper explores how Western concepts of time impact concepts of records and archival evidences and proposes an alternative framing. Since records have such power in our lives and societies, practitioners must begin to work with an expanded concept of record and sensitivity to differing time frames and worldviews. The paper proposes a new definition of “record” as an intentional, stable, semantic structure, which is used to identify three broad categories of record types, based on event-orientation or object-orientation, that are flexible enough to account for differing cultural and spiritual understandings of time. 相似文献
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P. Fanning 《International Information and Library Review》2013,45(2):205-208
Work has been going forward on the development of a frame of reference for locating and invoking digital information services and objects over communication systems and pathways having computational capabilities. An important concept in this context is the notion of a “digital object” as a set of sequences of bits, including a unique identifier for the object called a “handle”. A digital object may incorporate digital works and other digital information in which copyright, patent, trade secret and other rights or interests are claimed, although this need not always be the case. To take full advantage of the global information infrastructure, it is helpful for a commercial enterprise to develop a flexible terminology for thinking about digital information from a copyright perspective; in this regard, the concept of “digital work” is suggested. Clearance of rights and interests in connection with the “contents” of digital objects may be treated separately from compliance with procedures for accessing digital objects viewed as entities that incorporate and identify contents. A suggested legal framework is discussed. 相似文献
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《International Information and Library Review》1997,29(2):205-213
Work has been going forward on the development of a frame of reference for locating and invoking digital information services and objects over communication systems and pathways having computational capabilities. An important concept in this context is the notion of a “digital object” as a set of sequences of bits, including a unique identifier for the object called a “handle”. A digital object may incorporate digital works and other digital information in which copyright, patent, trade secret and other rights or interests are claimed, although this need not always be the case. To take full advantage of the global information infrastructure, it is helpful for a commercial enterprise to develop a flexible terminology for thinking about digital information from a copyright perspective; in this regard, the concept of “digital work” is suggested. Clearance of rights and interests in connection with the “contents” of digital objects may be treated separately from compliance with procedures for accessing digital objects viewed as entities that incorporate and identify contents. A suggested legal framework is discussed. 相似文献
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The authors explore how fictional narratives (stories) can be used as a learning tool in the context of informal science environments and specifically science centers. They base their argument on an analysis of the theoretical, structural and epistemological properties of stories and how those can serve to establish a story as a cognitive tool. They offer an example of an application of these properties to a story‐based learning design called “The Emperor who only Believed his own Eyes” in the context of a large, public science center, and specifically an exhibition about “senses”. This paper focuses on the idea of a “hack,” a museum sanctioned strategy for exploring the potential and implications of narrative‐based design as a way to reinterpret science exhibits in a way that can engage young users in content exploration and offer recommendations for future research. 相似文献
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数字时代“,参与”已成为档案实践领域的重要特征和档案理论研究领域的核心概念。本文在提出参与式数字档案资源建设概念模型的基础上,对数字档案资源建设中的各类参与式实践进行识别、归类和特征描述,并将其分为“内部授权个体参与”模式、“内部授权组织参与”模式和“服务用户参与”三类模式。本文所阐述的全面系统的参与式数字档案资源建设模式既为档案实践提供了多种创新路径,又为档案学术研究提供了若干值得深入研究的课题。 相似文献
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以传统文化为核心、以“自然”“自治”“自适”为基本特征的乡村传统文化治理体系曾经在传承与发展乡村文化、维护乡村社会秩序方面发挥积极作用。在现代化进程中,乡村传统文化治理体系的社会基础、客观条件、价值取向发生了根本性改变,亟待完成现代性构建。文章结合“安康新民风建设引领乡村公共文化服务创新发展”制度设计,从现代乡村文化场域构建、乡村文化“内生性重构”和乡村文化价值体系重塑3个维度探讨乡村传统文化治理体系的现代性构建问题,认为要在充分尊重乡村文化底色和“自然”“自治”“自适”传统的基础上,融入面向未来、持续发展的时代意识,推动乡村文化治理体系和治理能力现代化。 相似文献
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Klaus Müller 《Curator: The Museum Journal》2002,45(1):21-33
Abstract This paper investigates issues of museums and virtuality. In considering the diverse ways that museums are approaching virtuality, the focus here is on the common ground and shared objectives, rather than the differences between museums and their virtual re‐creations. Put simply, on‐site museums and their online counterparts are merely two ways of exhibiting cultures. In this sense, “virtuality” is a fundamental exhibition practice. The World Wide Web has become increasingly relevant to such core museum tasks as collecting, preserving, and exhibiting. Digitization of objects in digital heritage programs has led to new forms of collection management and unparalleled access to virtual replicas of museum artifacts. This transformation is inspiring new forms of preserving and displaying cultures both on‐ and off‐line. A successful digital expansion will largely influence whether museums can sustain their cultural authority and position in the 21st century. 相似文献
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为解决当前公共文化云服务模式中面临的群众主体性地位彰显不足、“群众点单”服务执行力度不够、公共数字文化资源建设乏力、线上线下服务脱节等困境,提高公共文化云服务模式效能,本研究依托协同治理理论对其运行逻辑和治理要素进行分析,并以此为据提出以满足群众文化需求为目的、完善协同治理规则,以平等协商为前提、构建多元主体协同治理格局,加大公共数字文化资源投入、增强资源整合力度,增强线上线下服务融合度、实现“群众点单”等优化路径。 相似文献
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《Communication monographs》2012,79(2):135-161
This study attempts to summarize selected concepts from the theory of Kenneth Burke and test their applicability in a formal organization. Semantic differential scales and the paired‐comparison technique were used to gather data on “order,” “mystery,” and “identification” as perceived by members of all levels of the hierarchy within a university. 相似文献
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Nete Nørgaard Kristensen 《Journalism Practice》2015,9(6):760-772
This special issue addresses a topic of journalism studies that has previously been somewhat neglected but which has gained increasing scholarly attention since the mid-2000s: the coverage and evaluation of art and culture, or what we term “cultural journalism and cultural critique.” In this introduction, we highlight three issues that serve to frame the study of cultural journalism and cultural critique more generally and the eight articles of this special issue more specifically: (1) the constant challenge of demarcating cultural journalism and cultural critique, including the interrelations of “journalism” and “critique”; (2) the dialectic of globalisation’s cultural homogenisation, on the one hand, and the specificity of local/national cultures, on the other; and (3) the digital media landscape seen in terms of the need to rethink, perhaps even redefine cultural journalism and cultural critique. 相似文献
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本文通过对不同领域中“安全岛”概念的抽象,提出“安全岛”理论是一套技术、管理、机制的防护策略理论。并从数字档案馆信息流的角度,分别从横向、纵向、网格的维度论述“安全岛”理论运用到数字档案馆信息风险管理中的策略模式。 相似文献
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Sarah Kenderdine 《Curator: The Museum Journal》2013,56(2):199-218
This article examines two exhibition installations that integrate high‐resolution digital archeological datasets (photography and 3D architectural models) with immersive, interactive display systems. These analogous installations, Pure Land: Inside the Mogao Grottoes at Dunhuang and Pure Land: Augmented Reality Edition, allow visitors to engage in different ways with a full‐scale augmented digital facsimile of Cave 220 from the UNESCO World Heritage site, the Mogao Grottoes, Gansu Province, northwestern China. The peerless treasuries of paintings and sculptures at Dunhuang are extremely vulnerable. Comprehensive digitization has become a primary method of preservation at the site. The digital facsimiles of this cultural paragon can be transformed, providing formative personal experiences for museum visitors. The Pure Land projects contribute to new strategies for rendering cultural content and heritage landscapes. Interpreting these installations through the lens of phenomenology and panoramic immersion helps situate them at the forefront of virtual heritage today. 相似文献
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Rafael Capurro 《International Information and Library Review》2013,45(3-4):257-276
The paper deals with theoretical and practical challenges of the information society in the 21st century. In the first part an overview of past and current activities in the field of information ethics at UNESCO is provided (Virtual Forum, Second International Congress on Information Ethics, Observatory on the information Society). The second part presents a historical interpretation of the development of modern information society with the emerging networked world society with its characteristics of interactivity and decentralization. The diversity of moral norms and traditions within this global medium gives rise to the question concerning an Internet-morality as a challenge to ethical thinking. The third part deals with the question of our identity within the framework of a digital ontology. The concepts of “net” and “information” are analysed. A future information ethics is based on a digital ontology. Living in the information age is considered from the point of view of both an ethical imperative and the art of living. 相似文献
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《Curator: The Museum Journal》2017,60(3):273-290
Museum institutions are rarely recognised for their gastronomic potential, particularly in their efforts to draw culturally diverse audiences. This article unpacks the possibility of exploring foodways through a sociomuseological practice, with the aim to facilitate cross‐cultural interaction and tolerance. Following an action research methodology, this study explored the possibility of transforming a township restaurant in a marginalised community in South Africa, into an “edible museum” – a restaurant with sociomuseological aims. The results, however, indicated that the formalisation of the restaurant space in this context further exaggerated cultural difference rather than attempting its engagement towards tolerance through museological means. It is proposed that the “edible museum” concept lends itself to be envisioned as a process, rather than a physical space, through which museum professionals and educators may network with existing food communities and sites towards a sensory interpretation of cross‐cultural tolerance both inside their galleries and within broader communities. 相似文献