Heritage knowledge, social media and the sustainability of the intangible. In Giaccardi, E. (ed) Heritage and Social Media. Understanding and Experiencing Heritage in a Participatory Culture. Routledge, pp. 107-126 (original) (raw)
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2015
This practice-based PhD research project chronicles an attempt to build a participatory digital culture around local heritage, in order to promote tourism to one of the UK’s poorest counties. Funded by a public/private EU scheme, the researcher designed a 25,000 word “virtual museum”, in partnership with local agencies and the local authority. Based on a theoretical framework drawing insights from narrative studies, participatory media theory, current heritage installations, and Critical Heritage Studies, the researcher built a hybrid website: it augments expert-vetted interpretation with “warm,” person-centred narrative and images, incorporating diverse perspectives and participatory social features like photo- sharing, user comments, and social media campaigns -- to be monitored and updated by a dedicated team of volunteers in a model of “distributed co-curation,”to insure ustainability without draining paid staff time. However due to legal concerns over user-generated content, on...
CULTURAL HERITAGE AND SOCIAL MEDIA
New technologies have revolutionized the world: nowadays we can communicate instantly to almost everywhere in the world with just a click from our cell phones or laptops. These technologies have also stormed the cultural heritage fi eld, causing major changes in how institutions, stakeholders and communities approach their heritage. From taking part directly on the restoration process to social tagging, in this paper I will analyze how social media and cultural institutions have become deeply interconnected.
Visitor, contributor and conversationalist: Multiple digital identities of the heritage citizen
The Historic Environment, 2016
In this paper we analyse modes of connecting to and interacting with heritage through a range of selected digital applications and social media that all relate to the history of places. With their emphasis on connectivity and online participation, these apps and sites seek to create both repositories and digital communities through which images, information, memories and experiences can be shared. Through comparison to the rise of 'citizen science', we propose a new way of categorising these recent mobile and web-based sites that scrutinises, in a more fine-grained way, the mode of citizen engagement that was inscribed into their designs and purpose. The simple typology of curated sites, content-hosting sites, and social network sites, provides a way to examine the possibilities and the limits for a kind of digitally-enabled 'heritage citizen'. We ask questions around how digital and social media open up new forms of consumption and production of heritage related int...
In the past, museums have been object-based institutions. These days, in a media-based world, museums are going to become landscapes of cross-media memories. Previously, we looked at objects in a showcase – now, immersive technology allows us to stand inside the scene. Digital Society – Virtual Reality – Big Data – Compatibility – Spatial Turn – Immersive Arts – Human Computer Interaction (HCI) – Media Interface – Augmented Reality – Mental Representation – Shared Economy – Swarm Intelligence – Outsourcing – Sense of Place: these are some of the new buzzwords. And UNESCO is working to define the difference between Digital Heritage, Virtual Heritage and Intangible Cultural Heritage (ICH). We are living in an era in which objects are disappearing from our everyday lives more and more. At the same time, we are embedded in a new public space: the World Wide Web. As I see it, the Web has still not been comprehensively considered when it comes to museum practice. At most, it’s being used as an additional form of media for museum communication. It is important that this new public space is recognised as a future field of work, a new field of research, a new source, a new stage and a new tool – Let’s say: an unknown landscape that needs to be explored. To remain relevant in the future, museums need to develop entirely new methods of documenting these sources; they need to curate and present the digital landscape as an new entity of public space.