Special Issue on VR for Culture and Heritage: The Experience of Cultural Heritage with Virtual Reality: Guest Editors’ Introduction
Special Issue on VR for Culture and Heritage: The Experience of Cultural Heritage with Virtual Reality: Guest Editors’ Introduction
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VR文化与遗产特刊：虚拟现实体验文化遗产：客座编辑介绍
DOI：
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发表时间：
2017
期刊：
影响因子：
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通讯作者：
H. Thwaites
中科院分区：
文献类型：
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作者：
Eugene Ch’ng;Yiyu Cai;H. Thwaites
人类文化是深刻的，总是在变化和发展。另一方面，遗产在时间中永远冻结，在物质文化中塑造或雕刻，作为过去的证明。然而，一些非物质遗产仍然存在，融入了当今文化的混合结构，不断发展，受到数字技术带来的高度联系的现代社会的影响并符合这些社会。其他人则面临着减少的风险，因为新一代人受到不同的现代文化的诱惑，避开了传给他们的传统。文化遗产对我们当今社会的贡献在于，它验证了我们的记忆，并为我们提供了一种将我们与过去文化联系起来的物质手段。时间的遗产可能看起来是不变的，也许是因为我们存在的时间箭头内的一小部分，然而熵发生了，任何材料的物理性都将不可避免地下降，随着时间的推移和任何不幸的灾难，包括故意破坏纪念碑的威胁（CuriousTravellers，2016）。这就是为什么数字保存很重要（Webb，2003年）。任何文化遗产的虚拟记录都被认为是很好的贡献，因为从长远来看，数字化信息可能会比物理对应物保存和产生更多的价值（Ch'ng，2013）。然而，简单的信息记录不会比现有的信息记录更能增加文化和遗产的价值。我们需要的是可访问性和一种手段，以一种可以使过去的文化栩栩如生的方式来背景化和交流数字信息，并加强对它的学习（Ch'ng，2012）。我们相信虚拟现实的存在是出于这个原因和更多。模拟完整的交互式虚拟环境的能力可以为过去文化的体验提供更具体的手段。虚拟现实和增强现实在让参与者真正体验过去文化方面做得如何仍然是一个问题。在这里，我们关注的不是博物馆的实验（Bowen等人，2008）一般来说，但对过去的文化的经验，现象学（蒂利，1994）它，我们相信虚拟现实可以提供。因此，这期特刊旨在汇集研究文化和遗产各个方面的研究人员，这些研究人员使用虚拟环境或混合现实连续体的各个方面来保护，分析和交流过去和现在的内容。因此，它涵盖了GLAM（画廊，图书馆，档案馆和博物馆）中面向公众的当代工作，以及深入调查的背景，通过虚拟环境揭示文化和遗产的内容和背景。在这两部分的问题中提出的系列文章是上一个关于“虚拟遗产：文化代理人，环境和对象”的特刊的延续（存在：Teleoperators and Virtual Environments 24-3），它强调了需要更仔细地检查我们的工作方法，将来自多个学科的往往不同的焦点合并起来（Ch'ng，2015）。在2015年期刊的客座编辑介绍中，我们讨论了技术在支持文化遗产的研究、保护和传播中的作用，以及如何在文化遗产保护重要性的提高、资助机构和与文化机构的合作所提供的许多机会中，技术不应成为虚拟遗产的焦点。上一期的导言还讨论了可持续性问题，以及虚拟遗产如何成为一种利用文化遗产价值的手段，同时在这一过程中保护遗产。与任何快速发展的行业一样，遗产和数字技术的使用对社会甚至经济增长都很重要。流动和收集的存在，第26卷，第3号，2017年夏季，iii-vi doi：10.1162/PRES_e_00302 a 2017由马萨诸塞州理工学院
Human culture is profound and is always changing and evolving. Heritage, on the other hand, remains perpetually frozen in time, molded or engraved in material culture as a testament to the past. Yet some intangible heritage lives on, sewn into the intermingled fabric of present cultures, evolving, being influenced by and conforming to a highly connected modern society brought about by digital technologies. Others are at risk of diminishing as newer generations, enticed by disparate modern cultures, shun the traditions that were handed down to them. What cultural heritage contributes to our present society is that it validates our memories and provides us a physical means to connect us to past cultures. Tangible heritage may appear to be unchanging, perhaps because of the fraction of our existence within the arrow of time, yet entropy occurs and the physicality of any material will inevitably decline, eroded by the passage of time and any unfortunate disasters, including threats from deliberate destruction of monuments (CuriousTravellers, 2016). This is why digital preservation is important (Webb, 2003). Any virtual records of cultural heritage are considered good contributions, for digitized information can potentially preserve and generate more value than its physical counterpart in the longer term (Ch’ng, 2013). However, the simple record of information will not add any more value to culture and heritage than what the present existence of it already does. What are needed are accessibility and a means to contextualize and communicate digital information in a way which can bring to life past cultures, and enhance the learning of it (Ch’ng, 2012). We believe that virtual reality exists for this reason and more. The ability to simulate complete interactive virtual environments can provide a more concrete means to the experience of past cultures. How well virtual reality and Augmented Reality are doing in terms of allowing participants to truly experience past cultures remains a question. Here, we are focused not on the museum experiments (Bowen et al., 2008) in general, but on the experience of past cultures, the phenomenology (Tilley, 1994) of it, which we believe virtual reality can provide. As such, this special issue aims to gather researchers working on all aspects of culture and heritage that use virtual environments or aspects of the mixed-reality continuum to conserve, analyze and communicate contents from the past and the present. It therefore encompasses contemporary public-facing work in GLAMs (Galleries, Libraries, Archives, and Museums) and the backdrop of in-depth investigations to bring to light the contents and contexts of culture and heritage via virtual environments. The series of articles presented within this two-part issue is a continuation of the previous special issue on ‘‘Virtual Heritage: Cultural Agents, Environments, and Objects’’ (Presence: Teleoperators and Virtual Environments 24-3), which highlighted the need for a closer inspection of our method of work in merging often disparate focuses from multiple disciplines (Ch’ng, 2015). In the guest editor’s introduction to the 2015 issue, we discussed the role of technology in support of research, conservation, and communication of cultural heritage, and how technology must not become the focus of virtual heritage within the many opportunities provided by heightened awareness of the importance of cultural heritage conservation, funding bodies, and cooperation with cultural institutions. The introduction to the previous issue also discusses the issue of sustainability and how virtual heritage can be a means to exploit the value of cultural heritage and, at the same time, conserve heritage in the process. As with any fast-developing sector, both heritage and the use of digital technologies are important to society and even to economic growth. The Flow and Collections Presence, Vol. 26, No. 3, Summer 2017, iii–vi doi:10.1162/PRES_e_00302 a 2017 by the Massachusetts Institute of Technology