Ghosts of Solid Air

固体空气的幽灵

• 批准号: AH/W006146/1
• 负责人: Rodney Harrison
• 金额: $ 10.24万
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FW006146%2F1
• 关键词: Ghosts; Solid; Air

Ghosts of Solid Air is an innovative public engagement project that aims to provide a new Augmented Reality experience enabling diverse audiences to understand and participate in discussions around contested statues. As Gary Younge has recently argued, statues do not just give a 'misleading idea about particular people or particular historical events - they also skew how we understand history itself. For when you put up a statue to honour a historical moment, you reduce that moment to a single person' ('Why every single statue should come down', The Guardian 1 June 2021). Ghosts of Solid Air aims to address this distorted view of the past by digitally (re)populating the streets and squares that statues inhabit with the voices of those who are not remembered. While debates over public commemoration and memorialisation are nothing new, recent events in the UK and around the world have brought into sharp focus the need for more nuanced and pluralistic stories to be told in and through the historic built environment. This is not just a question of what histories are represented in public space, and how, but also who gets to play a role in telling these stories, and what agency they have to shape new narratives. As Nancy Fraser argued in her seminal paper 'Rethinking Recognition', 'culture ... is a legitimate, even necessary, terrain of struggle [and] a site of injustice in its own right'. For Fraser, confronting these injustices means 'changing the values that regulate interaction, entrenching new value patterns that will promote parity of participation in social life'. Participatory parity in this context seeks to avoid both authoritarianism and separatist identity politics, aiming instead for a form of democratised 'transcultural interaction'. Heritage and memory are key focal points for such interaction, but they are also terrains of struggle and - all-too-often - sites of ongoing injustice. How to foster participatory parity therefore remains an urgent question for the field: one that reaches far beyond academic discourse to impact on issues of access, inclusion and the politics of representation. Responding to this concern - and building on a process of co-creation developed by the project team over the past twelve months - the experience we aim to develop will be produced in close collaboration with a group of young people (18-25) from London who are not typically engaged with heritage practice or discourse. They will help to shape the research, design and curatorial strategy of the experience. Furthermore, audiences using the Ghosts of Solid Air AR app will encounter a multitude of historical 'ghosts' jostling for their attention: a stark reminder of the many stories overshadowed by one-dimensional statues and monuments. They will then be invited to contribute their own experiences and sentiments to this digital assembly, helping to build a record of contemporary public debate on the memorial landscape. Through this approach the project will emphasise the importance of 'participatory parity' at all stages of the product design. By the end of the award, audiences and participants alike will be introduced to the potential for contested heritage to become a terrain of 'transcultural interaction' rather than further social injustice.

固体空气的幽灵是一个创新的公众参与项目，旨在提供一种新的增强现实体验，使不同的观众能够理解和参与围绕有争议的雕像的讨论。正如加里·扬格（Gary Younge）最近所指出的那样，雕像不仅会误导人们对特定人物或特定历史事件的认识，还会扭曲我们对历史本身的理解。因为当你建立一座雕像来纪念一个历史时刻时，你就把那个时刻缩小到了一个人身上。”（《为什么每一座雕像都应该倒下》，《卫报》，2021年6月1日）“固体空气的幽灵”旨在通过数字（重新）填充雕像所在的街道和广场，用那些不被记住的人的声音来解决这种对过去的扭曲看法。虽然关于公共纪念和纪念的争论并不是什么新鲜事，但最近在英国和世界各地发生的事件使人们更加关注在历史建筑环境中讲述更微妙和多元化的故事的必要性。这不仅仅是一个历史在公共空间中呈现的问题，以及如何呈现的问题，而且是谁在讲述这些故事时发挥作用的问题，以及他们在塑造新的叙事方面有什么作用的问题。正如南希·弗雷泽（Nancy Fraser）在她的开创性论文《重新思考认知》（Rethinking Recognition）中所说，“文化……是一个合法的，甚至是必要的斗争领域，也是一个不公正的地方。”对弗雷泽来说，面对这些不公正意味着“改变规范互动的价值观，确立新的价值模式，促进社会生活中的平等参与”。在这种背景下，参与性平等寻求避免威权主义和分离主义的身份政治，而是寻求一种民主化的“跨文化互动”形式。遗产和记忆是这种互动的关键焦点，但它们也是斗争的领域，而且往往是持续不公正的场所。因此，如何促进参与性平等仍然是该领域的一个紧迫问题：这个问题远远超出了学术话语，对获取、包容和代表权政治等问题产生了影响。为了回应这一问题，并在过去12个月项目团队共同创造的过程中，我们的目标是与一群来自伦敦的年轻人（18-25岁）密切合作，这些年轻人通常不从事遗产实践或话语。他们将帮助塑造研究，设计和策展策略的经验。此外，使用Solid Air的幽灵AR应用程序的观众将会遇到大量的历史“幽灵”争夺他们的注意力：一个鲜明的提醒，许多故事被一维的雕像和纪念碑所掩盖。然后，他们将被邀请为这个数字会议贡献自己的经验和情感，帮助建立一个关于纪念景观的当代公众辩论的记录。通过这种方法，该项目将强调“参与均等”在产品设计的各个阶段的重要性。在奖项结束时，观众和参与者都将被介绍到有争议的遗产成为“跨文化互动”的潜在领域，而不是进一步的社会不公正。