Digital Devices as Interpretation Tools in Museum Settings
Abstract
Digital techniques have evolved in such a way that it is not difficult to imagine that they are about to effectively replace analog technologies as a predominant method to produce not only moving images (Darley 2002), but also to be our eyes, ears and our voice. The technological developments used in the museum spaces focused on interaction and simulation become the means to vehicle the dialogue between the text (museum) and the reader (visitor of the museum), so the simulated experiences of the three-dimensional space, become vivid experiences, and therefore real for those who experience them. In this way, it is possible to land an aircraft on the deck of a moving aircraft carrier, observe how a nuclear particle hits a hypothetical wall, live with a dinosaur, and even place oneself in the place of a migrant crossing the border between Mexico and the United States (Davis 1973). This text will analyze, from Ricoeur's mimesis, how digital devices in exhibition spaces serve to enable visitors, based on the generation of a virtual experience through Mixed Realities, to have a better understanding of the topics addressed in exhibition spaces, or through empathy, wonder or aesthetic enjoyment.
Downloads
References
Amador, J. (2008). El significado de la obra de arte. Conceptos básicos para la interpretación de las artes visuales. México: Universidad Nacional Autónoma de México.
Amador, J. (2015). Comunicación y Cultura: Conceptos básicos para una Teoría Antropológica de la Comunicación (15-261). Ciudad de México: UNAM.
Cortés Meléndez, V. 2019. Evidence of Human Skin in Tenochtitlan. Mexican Archaeology, 156: 24–32.
Darley, A. (2002). Cultura visual digital. Espectáculo y nuevos géneros en los medios de comunicación. Paidós Comunicación.
Davis, D. (1973). Art and the Future: A History/Prophecy of the Col-laboration Between Science, Technology and Art. New York: Praeger.
Gadamer, H. (1999). Verdad y Método. Salamanca: Ediciones Sígueme.
Grondin, J. (2008). ¿Qué es la hermenéutica? Herder.
Hems, A. (2006). Thinking about interpretation. En Hems y Blockley (eds.). Heritage Interpretation. London: Routledge
Hernández, F. (2004). Didáctica e interpretación del patrimonio. En Masachs y Merillas (coords.). Comunicación educativa del patrimo-nio: referentes modelos y ejemplos. Trea: España, 35–50.
López, F. (2012) En busca del objeto perdido: la construcción del problema de la comunicación y el cruce entre hermenéutica y semiótica. En Lince Campillo, Rosa María y Julio Amador Bech (coords.). Horizontes de interpretación. La Hermenéutica y las Ciencias Humanas (Tomo I: Hermenéutica, Comunicación y Discurso Político). México: UNAM, 87–116.
Milgram, Kishino (1994). A taxonomy of Mixed Reality Visual Display. IEICE Transactions of Information Systems, E77-D (12).
Peirone, F. (2012). Mundo extenso. Buenos Aires: Fondo de Cultura Económica, 47–75.
Ricoeur, P. (1999). Historia y Narratividad. Barcelona: Paidós.
Ricoeur, P. (2004). Tiempo y Narración I. México: Siglo XXI.
Ricoeur, P. (1990). Time and Narrative III. Chicago: The University Chicago Press.
Tabraham, C. (2006). Interpreting Historic Scotland. En Alison Hems y Marion Blockley (eds.). Heritage Interpretation. London: Routledge.
Tilden, F. (2008). Interpreting our Heritage. Fourth edition and up-date. Carolina: The University of North Carolina Press.
Copyrights for articles published in Critical Hermeneutics are retained by the authors, with first publication rights granted to the journal.
Critical Hermeneutics is published under a Creative Commons Attribution Licence CC BY 3.0
. With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute and/or copy the contribution (edited version), on condition that credit is properly attributed to its author and that Critical Hermeneutics is mentioned as its first venue of publication.
