In the last decades the method of reproduction of a piece of art has radically changed as a consequence of its digital remediation. From a simple visual aid that narrows the observer’s look within the limited scope of the analogical medium, the image of a painting, a sculpture, or, as in contemporary art, of a video art performance or presence, expands in a purely virtual space. Such a remediation, however, does not strip of its meaning the heritage experience. On the contrary it offers new keys of analysis and interpretation. Starting from a brief survey of the most recent techonogical innovations that remediate heritage, all attention is focused in particular on those museums that have to reconsider themselves and think of a new approach to a meaningful interaction between heritage and the extraordinary public of digital natives.
Negli ultimi decenni, è mutato radicalmente lo statuto della riproduzione dell’opera d’arte, in conseguenza della sua rimediazione digitale. Da semplice supporto mnemonico che confina lo sguardo osservatore entro i margini ristretti del medium analogico, l’immagine di un dipinto, di una scultura, così come nell'arte contemporanea, di una performance o di un intervento di video art, si estende in uno spazio altro, puramente virtuale. Questa rimediazione non determina un impoverimento dell’esperienza del patrimonio ma al contrario, si fa portatrice di nuove possibilità di lettura e di analisi. A partire da una breve ricognizione delle più recenti innovazioni tecnologiche che rimediano il patrimonio, l’attenzione si concentra in particolare sui musei costretti a ripensarsi e a ripensare le modalità per costruire un dialogo significativo tra il bene culturale e un pubblico d’eccezione come quello dei nativi digitali.
Anita Macauda (2015). Sotto la lente dell’obiettivo: le immagini del Patrimonio. Verona-Bolzano : QuiEdit.
Sotto la lente dell’obiettivo: le immagini del Patrimonio
MACAUDA, ANITA
2015
Abstract
In the last decades the method of reproduction of a piece of art has radically changed as a consequence of its digital remediation. From a simple visual aid that narrows the observer’s look within the limited scope of the analogical medium, the image of a painting, a sculpture, or, as in contemporary art, of a video art performance or presence, expands in a purely virtual space. Such a remediation, however, does not strip of its meaning the heritage experience. On the contrary it offers new keys of analysis and interpretation. Starting from a brief survey of the most recent techonogical innovations that remediate heritage, all attention is focused in particular on those museums that have to reconsider themselves and think of a new approach to a meaningful interaction between heritage and the extraordinary public of digital natives.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.