By Yehuda Kalay: T
Using new media within the carrier of cultural background is a quick growing to be box, identified variously as digital or electronic background. New history, less than this denomination, broadens the definition of the sphere to deal with the complexity of cultural historical past similar to the similar social, political and monetary matters. This ebook is a suite of 20 key essays, of authors from eleven nations, representing quite a lot of professions together with structure, philosophy, heritage, cultural history administration, new media, museology and machine technological know-how, which research the applying of recent media to cultural history from a unique issues of view. concerns surrounding historical past interpretation to the general public and the makes an attempt to seize the essence of either tangible (buildings, monuments) and intangible (customs, rituals) cultural history are investigated in a chain of leading edge case experiences.
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Extra resources for New Heritage: New Media and Cultural Heritage
Sample text
1977. Interpreting Our Heritage. Chapel Hill: University of North Carolina. ) UNESCO. 2003. Convention for the Safeguarding of the Intangible Cultural Heritage, Paris. Wenders, W. 2003. In Defense of Places. DGA Magazine 28 (3). Internet. php3 accessed December 2005. 26 2 T H E V AN I S H I N G V I R T U A L Safeguarding heritage’s endangered digital record Alonzo C. Addison Abstract With the rapid advance of digital technologies, the documentation, analysis and presentation of heritage has had a renaissance.
Heritage and materiality Let me begin with some comments about the nature of cultural heritage as such, particularly since Benjamin’s comments, focusing as they do on the uniquely existing artwork and its reproduction, may seem to be at odds 14 AGE OF NEW MEDIA with the emphasis in contemporary cultural heritage practice, not only or even primarily on material culture, but on the non-material, and on issues not so much of reproduction as of interpretation, and, more pointedly, of the multiplicity of interpretations.
But to what extent does what Benjamin have to say about the techniques of mechanical reproduction, the techniques of ‘old media’, and the way they transform the being of the artwork, also apply to the techniques of the ‘new media’ of today? Benjamin’s discussion focuses primarily on photography and film, both of which operate by means of their capacity for the reproduction of visual images, and so can be used simply to visually re-present already existing objects and events, but which can also be productive, in that they have a capacity to create new images in their own right.