Digital Transformations: The History and Future of Gallery Education in the Context of Participatory Media

数字化转型：参与式媒体背景下画廊教育的历史和未来

• 批准号: 2109813
• 金额: --
• 依托单位: University of the West of England
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2109813
• 关键词: Digital; Transformations; History; Future; Gallery

Aims1. Critically assess the changing role of digital practices within the expanded fields of gallery education & cultural co-production.2. Generate new understandings of the ways digital practices can augment, extend & inter-relate with physical encounters.3. Examine how re-enactment within digital platforms might challenge conventions of the past & present in archives.Objectives1. Undertake detailed item research & map; key people networks, events, sites & locations2. Co-produce new acts of gallery education that activate the archive & digital technologies3. Diversify the archive through involving a range of participants4. Engage potential users, & subjects (or people in the archive itself), to co-design the archive5. Test the functionality & potential application of collaborative digital platforms (e.g. Graph Commons, Zooniverse) & location based appsResearch QuestionsNew Models of Co-productionIn what ways can co-produced digital cultures evolve & map new modes of communication, exchange & socially constructed knowledge? What are the risks & opportunities for public arts institutions when co-producing & co-designing with networked communities? What adjustments do arts institutions need to make as they toward co-production? Physical & Digital How can the physical augment the digital? How can offline participatory experiences effect online experience (& vice versa)? How can site-specific oral history recordings, re-enactments & digital culture work together to, collapse time & bring the past into play with the present? What happens when re-enactment is moved from one media into another? Access & Diversity Who is the digital archive for & who should be involved in co-producing it? Whose voices are missing? What facilitation & support are necessary offline to ensure a diverse public can contribute to the digital participatory archive?Research MethodologiesMy approach is informed by my background as a gallery educator & wider discourses around digital culture, co-production, archival science, oral history, re-enactment & live art. As with Live Art, Gallery education encompasses diverse practices that create experiences which tend to be temporal, embodied & site specific. These qualities can make it challenging to research past events. E.g. when I visited the archive, I found papers that were mainly, produced & edited internally. On closer inspection I began to find details that could be debated, re-enacted & traced including; hastily hand-written notes alluding to disagreements, evocative photographs of radical actions & lists of project participants I could readily track down. I am concerned with disrupting what Sara Torres Vega refers to as the 'institutional memory' of gallery education archives, by enabling a range of other voices to permeate & augment the contents, including those whose perspectives & experiences are currently; absent, forgotten, hidden, ephemeral or lost. Rebecca Schneider writes extensively about performing remains from the past, both in the context of live art and historical re-enactment. Professor Gabriella Giannachi suggests that whilst developing a 'digital heritage' project, it is essential to 'broker information gathering' and 'ensure participation' through participatory facilitation that is not online. I propose identifying; artists, educators, audiences, participants, staff and other stakeholders from the archive, & collaborating with them to animate what remains in Arnolfini's education archive. Together we will test what happens when re-enactments, oral histories & co-production are brought into play with location-based apps & collaborative platforms, & co-design a prototype archive. Relevant projects include Urban Archive & the Cartography Research Project.

目标1.批判性地评估数字实践在画廊教育和文化合作的扩展领域中不断变化的作用。2。对数字实践如何增强、扩展和与物理接触相互关联产生新的理解。3。检查数字平台内的重演如何挑战档案中过去和现在的惯例。目标1。进行详细的项目研究和地图；关键人物网络、活动、场所和地点2。共同制作新的画廊教育活动，激活档案和数字技术3。通过让一系列参与者参与来使档案多样化4。吸引潜在用户和主题（或档案本身中的人员）共同设计档案5。测试协作数字平台（例如 Graph Commons、Zooniverse）和基于位置的应用程序的功能和潜在应用研究问题共同生产的新模式共同生产的数字文化可以通过哪些方式发展并绘制新的通信、交换和社会构建知识模式？公共艺术机构与网络社区共同制作和共同设计时面临哪些风险和机遇？艺术机构走向合拍需要做出哪些调整？物理与数字 物理如何增强数字？线下参与体验如何影响线上体验（反之亦然）？特定地点的口述历史记录、重演和数字文化如何共同作用，瓦解时间并将过去与现在结合起来？当重演从一种媒体转移到另一种媒体时会发生什么？访问与多样性 谁是数字档案馆以及谁应该参与联合制作？失踪了谁的声音？线下需要哪些便利和支持才能确保多元化的公众能够为数字参与式档案做出贡献？研究方法我的方法是基于我作为画廊教育者的背景以及围绕数字文化、联合制作、档案科学、口述历史、重演和现场艺术的更广泛的讨论。与现场艺术一样，画廊教育包含多种实践，这些实践创造的体验往往是暂时的、具体的和特定地点的。这些品质使得研究过去的事件变得具有挑战性。例如。当我访问档案馆时，我发现论文主要是内部制作和编辑的。经过仔细检查，我开始发现可以争论、重新制定和追踪的细节，包括：匆忙手写的笔记暗示了分歧，激进行动的令人回味的照片以及我可以轻松找到的项目参与者名单。我关心的是通过让一系列其他声音渗透和增强内容来破坏萨拉·托雷斯·维加所说的画廊教育档案的“机构记忆”，包括那些目前的观点和经验的人；缺席、遗忘、隐藏、短暂或丢失。丽贝卡·施奈德在现场艺术和历史重演的背景下撰写了大量关于过去表演遗迹的文章。 Gabriella Giannachi 教授建议，在开发“数字遗产”项目时，必须通过非在线的参与式便利来“收集经纪人信息”和“确保参与”。我建议确定；档案中的艺术家、教育工作者、观众、参与者、工作人员和其他利益相关者，并与他们合作，为阿诺菲尼教育档案中的剩余内容注入活力。我们将一起测试当重演、口述历史和联合制作与基于位置的应用程序和协作平台一起发挥作用时会发生什么，并共同设计原型档案。相关项目包括城市档案馆和制图研究项目。