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Abstract

This book features theoretical and practical perspectives from a range of disciplines on the challenges of using digital media in interpretation and representation of cultural heritage. In "Theorizing Digital Cultural Heritage", experts offer a critical and theoretical appraisal of the uses of digital media by cultural heritage institutions. Previous discussions of cultural heritage and digital technology have left the subject largely unmapped in terms of critical theory. The essays in this volume offer this long-missing perspective on the challenges of using digital media in the research, preservation, management, interpretation, and representation of cultural heritage. The contributors - scholars and practitioners from a range of relevant disciplines - ground theory in practice, considering how digital technology might be used to transform institutional cultures, methods, and relationships with audiences. The contributors examine the relationship between material and digital objects in collections of art and indigenous artefacts; the implications of digital technology for knowledge creation, documentation, and the concept of authority; and the possibilities for "virtual cultural heritage" - the preservation and interpretation of cultural and natural heritage through real-time, immersive, and interactive techniques. The essays in "Theorizing Digital Cultural Heritage" will serve as a resource for professionals, academics, and students in all fields of cultural heritage, including museums, libraries, galleries, archives, and archaeology, as well as those in education and information technology. The range of issues considered and the diverse disciplines and viewpoints represented point to new directions for an emerging field.

Footnote

Rez. in: JASIST 59(2008) no.8, S.1360-1361 (A. Japzon): "This is the first book since The Wired Museum to address the theoretical discourse on cultural heritage and digital media (Jones-Garmil, 1997). The editors, Fiona Cameron, a Research Fellow in Museum and Cultural Heritage Studies at the Centre for Cultural Research at the University of Western Sydney, and Sarah Kenderdine, the Director of Special Projects for the Museum Victoria, bring together 30 authors from the international cultural heritage community to provide a foundation from which to explore and to understand the evolving significance of digital media to cultural heritage. The editors offer the collection of essays as a reference work to be used by professionals, academics, and students working and researching in all fields of cultural heritage including museums, libraries, galleries, archives, and archeology. Further, they recommend the work as a primary or a secondary text for undergraduate and graduate education for these fields. The work succeeds on these counts owing to the range of cultural heritage topics covered and the depth of description on these topics. Additionally, this work would be of value to those individuals working and researching in the fields of human computer interaction and educational technology. The book is divided into three sections: Replicants/Object Morphologies; Knowledge Systems and Management: Shifting Paradigms and Models; and Cultural Heritage and Virtual Systems. Many of the themes in the first section resonate throughout the book providing consistency of language and conceptual understandings, which ultimately offers a shared knowledge base from which to engage in the theoretical discussion on cultural heritage. This review will briefly summarize selected themes and concepts from each of the sections as the work is vast in thought and rich in detail. ...
The major strength of Theorizing Digital Cultural Heritage: A Critical Discourse is the balance of theory and practice achieved by its authors through the inclusion of discussion on digital culture exhibits and programs. By describing the work being done at diverse cultural institutions life is given to theoretical discussions. By relating theory to practice, the work becomes accessible to a broader range of readers. Further, these essays provide many examples of how libraries and museums could partner with each other in the realm of digital culture. The field of museum studies is dealing with the same issues as information and library science with regards to data organization, user behavior, object classification, and documentation schemas. Also, the emphasis on the users of digital cultural heritage and how individuals make meaningful connections with art, history, and geography is another asset of the book. Each chapter is well researched resulting in helpful and extensive bibliographies on various aspects of digital culture. Overall, the work is rich in discussion, description and illustrative examples that cover the subject of digital cultural heritage in terms of depth and breadth. The primary weakness of the title is on the focus on museum studies in the discourse on digital cultural heritage. There is much to be shared and discovered across other cultural institutions such as libraries and local historical societies and a more interdisciplinary approach to the essays included would have captured this. The overwhelming emphasis on museums, unfortunately, may cause some researching and studying digital cultural heritage from another perspective to overlook this work; thereby further dividing the efforts and communication of knowledge in this area. This work is highly recommended for collections on museum studies, cultural heritage, art history and documentation, library and information science, and archival science. This work would be most useful to educators and researchers interested in a theoretical understanding of cultural institutions and user interactions in view of the social and political impact of the evolving digital state of cultural heritage rather than in the specific technologies and specific user studies on the digital cultural heritage. Theorizing Digital Cultural Heritage is an insightful work that will encourage further discourse and research."