1: Digital Heritage. 2: Theorizing Digital Cultural Heritage – A Critical Discourse. 3: New Heritage. New Media and Cultural Heritage
DOI:
https://doi.org/10.5617/nm.3225Abstract
1: M. Ioannides, A. Addison, A. Georgopoulos, 155 L. Kalisperis (Eds.): Digital Heritage. Proceedings of the 14th International Conference on Virtual Systems and Multimedia.
2: Fiona Cameron & Sarah Kenderdine (Eds.): Theorizing Digital Cultural Heritage – A Critical Discourse.
3: Yehuda E. Kalay, Thomas Kvan & Janice Af- fleck (Eds.): New Heritage. New Media and Cultural Heritage.
På en konference om Digital Heritage i Cypern i efteråret 2008 kunne man under en kulturel udflugt til den udgravede oldtidsby Pafos (World Cultural Heritage Site) besigtige nogle af Middelhavsområdets fineste gulvmosaikker i rester af rigmandsvillaer fra det 2.-5. århundrede f.Kr.; mosaikkerne af marmor og sten gengav scener og motiver fra den græske mytologi, ord og fantasi omsat til faste billeder, en formidling til levende brug og agtelse af noget både identitetsmæssigt og æstetisk betydningsfuldt for mennesker. Den (tyskfødte) græske guide fortalte (på engelsk) turdeltagerne ikke blot om de mageløse mosaikkers materiale og bevaring, men genfortalte også de afbildede mytologiske historier; entusiastisk, stolt og beretteglad formidlede han de gamle billeder tilbage til nutidige levende ord. Nogle deltagere fotograferede imens på livet løs med deres digitalkameraer til senere fremkaldelse og zoomende gensyn på skærme og power-point og i papirprint, medens andre købte turistbøger med tegnede gengivelser og farvefotos. Historiske klenodier har gennemløbet og rummer mange formidlingsformer. Og så er det jo – med støvvarmen og den lette brise fra havet, som dengang - først det visuelle iindtryk af de rigtige mosaikker der sætter sig fast, dernæst er det begejstringen i guidens levende ord man husker, og så til sidst de digitale fotos - selv nok så fokuserede og styringsmulige. Er det sådan oplevelses-, erindrings- og forståelsesrækkefølgen er?
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