Thursday, November 12, 2020

EXPLORING DIGITAL POSSIBILITIES TOWARDS SAFEGUARDING HERITAGE

 

 

EXPLORING DIGITAL POSSIBILITIES TOWARDS SAFEGUARDING HERITAGE


Digital possibilities towards heritage safeguarding has continued to develop in several ways making room for the art to deliver better and faster in the technological space. This trend of culture helps to promote national development and capacity building by constructing influences in technology organizations in a variety that easily helps to understand the cultural heritage.

Opoku Boateng et al argued that, digital transformation places value on the need for safeguarding the intangible cultural heritage. This also helps to embark on a digitization projects to digitalize almost all the materials available within the space that looks at the perishability and volatile nature of storage media of information as well as losing it completely if care is not taken properly. (Opoku Boateng et al 2020)

Digital technology has tremendous impact on the art of culture. The positive use of digital innovation and appliances helps solve problems in cultural spaces, museums, art exhibition and archaeological centers. This is because cultural heritage through the preservation of cultural artifacts relics on global movement of identity politics where people through technology can develop a new tool accessible for communication.

Francesco Piccialli and Angelo Chianese confirmed that, “technology has become a facilitator of interactions and connections between all involved actors and where interventions can be sustainable, where enjoyment can be enhanced and where people can learn more effectively on culture.” (Piccialli and Chianese, 2016)

The emergence of covid-19, has enforced many cultural institutions such as museums, operas and art festivals to explore another mode of operation of interaction among visitors and curators with the concept of virtual reality. The idea of virtual reality has brought the alternative use of digital space with the introduction of online exhibitions. Now cultural institutions are looking at the exclusive of streaming services, organizing events, concerts on Instagram, Facebook and other social media whiles some with the idea of setting up virtual concerts on apps.

 Charlotte Coates in her article, What Are the Best Examples of Virtual Reality in Museums adds that, “it is clear that emerging cultural technologies play a huge role in the modern museum experience. Where many cultural institutions having implemented these for a while looks like that is the new trend of heritage interpretation.” (Coates, 2020).  Virtual museums the new era of technological transformation and digital tour at the comfort of your place allows you to explore, experiment and immerse yourself in the art regardless of your geographical location.

Heritage institutions such as museum aims to bring collections to life and the involvement of VR is a great tool for learning where the visitor/ user inside an experience, can be in the form of interactive or 360-degree video.

The emergence of digital technology being used in cultural institutions create tours, make interactive exhibits and bring scenes to life. These help curators put objects in context as well as show their true scale.


To conclude, the act of experiencing the digital world of art gives cultural institutions, curators, visitors and stakeholders a model to better development.  This is because the digital age helps share and preserve our heritage. This as a very significant and crucial tool for the protection and renovation of cultural resources.

 

 

Reference

Coates, Charlotte. “What Are the Best Examples of Virtual Reality in Museums?” MuseumNext, July 29, 2020. https://www.museumnext.com/article/how-museums-are-using-virtual-reality/.

Francesco Piccialli and Angelo Chianese. Cultural Heritage and new Technologies Trend and challenges. Springer- Verlag London,2006.

Opoku-Boateng, J., Cann, E., Ntewusu, S. and Owusu, S., 2020. The J.H. Kwabena Nketia Archive at the University of Ghana- Legon. History in Africa, 47, pp.375-382.

 

 By:Nana Twumasi-Ntiamoah

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