Architecture of the Twice-Performed: Traces of Serious Play in Intangible Space

“自拍工厂”已经开始演变成一种新的建筑类型。这些空间被官方称为“博物馆”，但实际上是展览空间和自我剧院的混合体。博物馆自己也在努力理解这些受Instagram启发的游乐场，这些游乐场似乎鼓励游客扮演策展人、艺术家和表演者的角色，在模仿以前经历过这些场景的人的同时，捕捉自己的图像。从物理上讲，这些空间是暂时的，但即使物理空间被重新配置或拆除，数字空间仍然与位置保持地理标记，形成不可磨灭但无形的物理-虚拟混合体。这些有形和无形的结合经常被批评为肤浅和放纵的症状，有人认为试图捕捉我们自己体验的图像实际上威胁了我们体验的质量。本研究的目的是确定这些新的、自我策划和自我构建的物理数字空间如何有助于当代对“出售感”的理解，以及博物馆如何最好地应对这些新的机会，通过“严肃的游戏”行为来集体思考、反思和居住在公共领域。

'Selfie factories' have begun to evolve as a new architectural typology. They are spaces which are officially branded as 'museums' but are in reality a hybrid of exhibition spaces and theatres-of-the-self. Museums themselves are struggling to make sense of these Instagram inspired playgrounds which seem to encourage the visitor to take on the role of curator, artist and performer, capturing their own images while mimicking those who have experienced them before. Physically, these spaces are temporary, but even as physical space is reconfigured or dismantled, digital place remains geo-tagged to the location, forming an indelible yet intangible physical-virtual hybrid. These combinations of the tangible and the intangible are often criticised as symptomatic of superficiality and indulgence, with suggestions that the attempt to capture images of our own experience actually threatens the quality of our experience as such.The purpose of this study is to establish how these new, self-curated and self-constructed physical-digital spaces might contribute to the contemporary understanding of the sense of seld and how museums might best respond to these new opportunities to think, reflect and inhabit the public realm collectively through acts of 'serious play'