| 1. |
- Almevik, Gunnar, 1969, et al.
(author)
-
A virtual diorama: Methodologising the digital artefact in cultural heritage research
- 2019
-
In: Current Discourses and Global Challenges, 7-8 November 2019, Critical Heritage Studies, University of Gothenburg.
-
Conference paper (other academic/artistic)abstract
- During a restoration of the Romanesque church in Hemse in 1896, the remains of a stave church were found as reused floor tiles. The discovery was important at the time, providing new information to a prestigious research field with few sources of knowledge. Today the church’s stave members are esoteric museum artefacts, “re-membered” in various forms of production of history. This poster sets out from an in-deep re-examination and virtual reconstruction of the remains from this stave church. The digital reconstruction functions as a virtual diorama to contextualize the diffused and decontextualized remains and contemporaneous religious artefacts. The aim is methodological, to explore the uses of the digital artefact in the research process. The reconstruction is less of a static representation of our knowledge than a historical laboratory through which archive material can be activated and hypotheses can be tested. We seek to methodologise the virtual diorama, using the technology for testing hypothesis and observe the effects when enacting the environment. The presented research is ongoing and we invite for discussion. How can we, through the digital artefact, elicit the sensuous aspects of a virtual place, and at the same time communicate the rigour of research and display the ambiguities of the reconstruction? How can we in an intelligible way map and reference the archive materials without interfering with the presence effect of the diorama? What are the challenges to present an interactive virtual reality file as a self-standing research output? How can we develop the digital artefact to better engage both researchers and the public in a dialogue on the premises of cultural heritage research?
|
|
| 2. |
- Almevik, Gunnar, 1969, et al.
(author)
-
Hemse Stave Church Revisited
- 2018
-
In: Lund Archaeological Review. - 1401-2189. ; 23, s. 1-20
-
Journal article (peer-reviewed)abstract
- During a restoration of the Romanesque church in Hemse in 1896, the remains of a stave church were found as reused floor tiles. The discovery was important at the time, providing new information to a prestigious research field with few sources of knowledge. Today, the remains of Hemse are esoteric and inaccessible for scholarship. The stave church material in the present museum context seems to have one function, to communicate an age value. The leading question in this article is, what more could we retrieve from this old archaeological material? We may agree that the museum’s archaeological collections and the stave church remains are valuable sources, but for what new kind of knowledge? This article presents the process and outcome of an in-depth examination of the material remains and archival records of Hemse stave church. The aim is to develop or revise how this wooden church may have been constructed and appeared both outside and inside when it functioned as a building. The research method uses three perspectives that give access to different paths of knowledge: a discursive perspective, a forensic perspective, and a dwelling perspective. The research results are contextualized in an interactive model of Hemse that provides a visual experience that gives a sense of the stave church as a real place and not just a theoretical space. The results are grounded on empirical evidence but also on the intellectual discourse of which it is a product. The reconstruction is less of a static representation of our knowledge than a simulation or a research laboratory through which hypotheses can be tried and both researchers and the public can be engaged in a dialogue.
|
|
| 3. |
- Amakawa, J., et al.
(author)
-
New Philadelphia: using augmented reality to interpret slavery and reconstruction era historical sites
- 2018
-
In: International Journal of Heritage Studies. - : Informa UK Limited. - 1352-7258 .- 1470-3610. ; 24:3, s. 315-331
-
Journal article (peer-reviewed)abstract
- Does a historical site lose its significance or become less worthy of interpretation if there are no surviving buildings? Can technology help present the stories of disadvantaged and disenfranchised groups whose heritage lacks well-preserved architecture or material culture? The emerging technology of augmented reality (AR) offers new ways of designing and shaping the public's experience when visiting landmarks by enabling an unprecedented means to combine 3D historical visualization with historical landmarks. This especially applies to underrepresented groups whose heritages have not been well served by traditional modes of preservation and interpretation due to a variety of factors. These range from disadvantages relating to material culture to a greater emphasis on intangible heritage which have placed them outside the bounds of what archaeologist Laurajane Smith calls authorised heritage discourse. A project at the New Philadelphia National Historic Landmark, located in Pike County Illinois, seeks to address these issues through AR. The technology, while offering opportunities for historical interpretation, poses challenges in terms of designing AR systems that coordinate content presentation with specific locations as well as developing virtual historical content with varying levels of source materials.
|
|
| 4. |
|
|
| 5. |
-
Challenge the past / diversify the future - proceedings
- 2015
-
Editorial collection (other academic/artistic)abstract
- Challenge the Past / Diversify the Future is a multidisciplinary conference for scholars and practitioners who study the implementation and potential of visual and multi-sensory representations to challenge and diversify our understanding of history and culture. This volume contains an overview of all the presentations.
|
|
| 6. |
- Chapman, Adam, et al.
(author)
-
What is historical game studies?
- 2017
-
In: Rethinking history. - : Taylor & Francis. - 1364-2529 .- 1470-1154. ; 21:3, s. 358-371
-
Journal article (peer-reviewed)
|
|
| 7. |
- Foka, Anna, 1981-, et al.
(author)
-
Introduction to the DHQ Special Issue : Digital Technology in the Study of the Past
- 2018
-
In: Digital Humanities Quarterly. - Boston : Alliance for Digital Humanities Organisations. - 1938-4122. ; 12:3
-
Journal article (peer-reviewed)abstract
- Digital technology is transforming the assemblage and dissemination of historical information. Museums, libraries, archives, and universities increasingly modify their digital research infrastructures in order to make data open and available (see [Crane, Seales, and Terras 2009]; [Smithies 2014]; [Terras, Nyhan, and Vanhoutte 2013]; cf [Foka et al. 2017]). The imminent assessment and representation of historical data has admittedly challenged the boundaries of historical knowledge and generated new research questions [Drucker 2013] [Nygren, Foka, and Buckland 2014] #nygren2016 [Westin 2014] #westin2015[Chapman, Foka, and Westin 2016] [Foka and Arvidsson 2016]. The process of reconstructing, visualizing and rendering historical data has equally developed together with technology [Westin, Foka, and Chapman 2018]. This is the case in both academic and heritage contexts and in less immediately obvious popular uses, such as the increasingly significant presence and use of history within video games [Chapman 2016]. Regardless of specific context, as this collection of articles shows, the process of digitally capturing and representing historical data is often analogous to and determined by the digital platform used.
|
|
| 8. |
|
|
| 9. |
- Foka, Anna, et al.
(author)
-
Introduction to the DHQ Special Issue: Digital Technology in the Study of the Past
- 2018
-
In: Digital Humanities Quarterly. - 1938-4122. ; 12:3
-
Journal article (peer-reviewed)abstract
- Digital technology is transforming the assemblage and dissemination of historical information. Museums, libraries, archives, and universities increasingly modify their digital research infrastructures in order to make data open and available. The imminent assessment and representation of historical data has admittedly challenged the boundaries of historical knowledge and generated new research questions. The process of reconstructing, visualizing and rendering historical data has equally developed together with technology. This is the case in both academic and heritage contexts and in less immediatedly obvious popular uses, such as the increasingly significant presence and use of history within videogames. Regardless of specific context, as this collection of articles shows, the process of digitally capturing and representing historical data is often analogous to and determined by the digital platform used.
|
|
| 10. |
- Herlitz, Alexandra, 1978, et al.
(author)
-
Assembling Arosenius : staging a digital archive
- 2018
-
In: Museum Management and Curatorship. - : Informa UK Limited. - 0964-7775 .- 1872-9185. ; 33:5, s. 447-466
-
Journal article (peer-reviewed)abstract
- Starting from the theoretical literature on narratives in archives and exhibitions this article investigates pedagogical approaches to letting museum visitors establish meaningful narratives through digitised archive material. The aspect of activating the audience in a museum exhibition is tightly linked to the curatorial approach and aims with an exhibition, but also to the possibilities that arise from the archival material and its digital form. As a case study, the project has focused on a painting by the Swedish artist Ivar Arosenius (1878–1909), exhibited in the Gothenburg Museum of Art. It has been associated with four different sets of digitised material from the Arosenius Archive, each made available through a distinct Augmented Reality interface. The different types of archival items contribute in different ways to the purposes of contextualisation and activation and have various affect values. An employment of archival material may contribute to creating affect by taking away the intermediary. The audience can naturally connect with the archive, thus providing it with a perceived direct contact to the artist. As the archival material, that is the original voices, is left uncommented, the audience can form its own conceptions of the treated aspect.
|
|
