Session 9 数字化与虚拟化.ppt

Museums and New Media The insertion of the exhibits into the walls organizes the visitor’s movement through the space; though you may move around the space in any way you like, the display encourages visitors to walk in a loop around the room. (Henning 2011) Museums and New Media Virtual galleries do stress movement, encouraging visitors to transgress the physical barriers of traditional museums. Internet users can jump from one corner of the building to the other, or between floors at will; they are not obliged to take a standard path through the museum. (McTavich 2006) View of QuickTime Virtual Gallery www.rijksmuseum.nl Virtual museums do not offer visitors increased freedom of movement or thought; they reinforce rather than transform conventional relationships between museums and their public. Virtual Museums Visitors can nevertheless be empowered by virtual museums. Standing in the center of it, exhibition spaces move at the visitor’s command. He or she appears to occupy a position of seeing without being seen. Virtual museums equip the visitor with a powerful gaze. Of course, virtual visitors may only imagine they are unobserved, as their entrance to museum websites is often registered and added to the databanks of other computers. (McTavich 2006) Virtual Museums Virtual museums are contradictory entities. Confusing distinctions between real and virtual, original and copy, these galleries simultaneously reaffirm traditional definitions of museums and suggest critical challenges to them. They imply that “real” museums are imbricated in definitions of art, and yet remain the appropriate locations in which to view it. At the same time, virtual tours both demonstrate and attempt to overcome the museum’s mediation of art works. (McTavich 2006) Virtual Collection Digital collections display objects that are co-present and discontinuous – not made to conform to an historical narrative. When digitized, the museum is revealed as a non-discu