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- Convenors:
-
Giulia Battaglia
(IRMECCEN, Sorbonne Nouvelle)
Arnaud Dubois (Conservatoire National des Arts et Metiers)
- Location:
- Studio
- Start time:
- 30 May, 2014 at
Time zone: Europe/London
- Session slots:
- 2
Short Abstract:
In what way is photography integral part of anthropology and museum practices? This panel brings together anthropologists, curators, object-analysts and museum experts to question the transparency of imaging technology. It reflects on the environment in which images are produced and consumed.
Long Abstract:
Inspired by Louis Marin's (1989) concept of « opacité » and Cristina Grasseni's (2007) idea of « skilled vision », in this panel we question the transparency of imaging technology and reflect on their materiality. We are interested in discussing images in relation to the environment in which they are produced and consumed and to the practice of looking that the same images embed. Accordingly, we ask: to what extent is photography becoming integral part of the discipline anthropology and museum practices at large? What is (not) representable and how is it (re)presented?
In this panel, we seek to explore these questions through a dialogue between anthropologists, curators, analysts of artefacts and various museum experts coming from different departments. We aim to bring images and objects in context and reflect on the relationship between technology and environment, images and objects/subjects in both anthropology and museum practice. In particular, we would like to draw attention to the potential and limitations of novel imaging technologies advanced in new museums, such as for instance the Musée du quai Branly, and the way in which these technologies intersect with anthropological research.
Cited References:
Grasseni, Cristina. (ed.). 2007. Skilled Visions: Between Apprenticeship and Standards. Vol. 6. Berghahn Books.
Marin, Louis. 1989. Opacité de la Peinture. Editions de l'EHESS, Paris, 2006.
Accepted papers:
Session 1Paper short abstract:
In what way is photography integral part of anthropology and museum practices? This paper will reflect on the transparency of imaging technology and the environment in which images are produced and consumed.
Paper long abstract:
Inspired by Louis Marin's (1989) concept of « opacité » and Cristina Grasseni's (2007) idea of « skilled vision », in this paper we question the transparency of imaging technology and reflect on their materiality. We will discuss images in relation to the environment in which they are produced and consumed and to the practice of looking that the same images embed. Accordingly, we ask: to what extent is photography becoming integral part of the discipline anthropology and museum practices at large? What is (not) representable and how is it (re)presented?
Paper short abstract:
To bring the latest technological innovations in the service of knowledge and conservation works, the Musée du Quai Branly has a new 3D visualization platform.
Paper long abstract:
To bring the latest technological innovations in the service of knowledge and conservation works, the Musée du Quai Branly has a new 3D visualization platform. This simple, easy-to-use viewer provides, accurate and powerful 2D/3D examinations of data acquire by CT scans.
This new technology was acquired primarily with the objective of better understanding of the works and spoke to a scientific audience. But it also has some interest in museography and mediation and then address a wider audience.
One tension in Museum Studies is between preservation of artifacts and research, which may require intrusive methods. With this platform, artifacts can be scanned and investigated without altering the original material and detailed information about internal structure can be gathered, analyzed, and shared quickly.
We can then autonomously operate data generated by CT scans.
The platform give us the opportunity to study the hitherto unsuspected collections of heritage:
- In the field of conservation: digital archiving with ability to view and analyze remote parts.
- In the field of museum: presentation of collections using revolutionary 3D imaging technologies.
- In the field of restoration: accurate knowledge of the volume (interior and exterior) of a scanned piece to better understand and anticipate its restoration.
- Reconciliation of skills: curators, conservators, anthropologists but also radiologists, anatomists and pathologists will be able to work with a common tool without recourse to the original piece.
- Provision of objects in digital form.
Paper short abstract:
As one of the persons in charge for the development of new technology at the public department of the Musée du quai Branly, I propose to discuss a new project on smart phone applications, called « Le musée en musique », launched in February 2014.
Paper long abstract:
For this panel I propose to discuss a project called « Le musée en musique » created at the Musée du quai Branly. This project has been designed for a general public and it is about V2NFC smart phone applications. I will discuss what kinds of opportunities this platform creates for visitors through the use of digital zooms, do-it-yourself picture albums, and enigma-games in social networks. Specifically, I will analyse a device called « gestographe » which allows visitors to create ideogrammes of their body movement as if they were playing the musical instrument. The final aim is to demonstrate how visitors can experience an unusual participatory journey inside the museum and reflect around the problematic of gesture and photography at large.