Presentation examines archival practices and their processes of digital creation, reproduction and transmission in museological contexts. It emerges from an applied research practice, in my case, a convergence of archeological sensibilities,
该演讲考察了档案实践及其在博物馆学背景下的数字创作、复制和传输过程。它来自一种应用研究实践，就我而言，是考古学情感的融合，

curatorial and cultural heritage,
策展和文化遗产，

imaging practices, immersive system design, esthetic practice, visual analytics and emergent narrative, drawing on diverse examples from Hong Kong martial arts traditions, we combinatorial poetics of a Singaporean scribe and through to the reenactment of Chinese Confucian rituals, which haven't been performed for hundreds of years. I'll explore the codification of intangible culture as a safeguarding practice that can support embodied knowledge and give us frameworks for a new repertoire. The discussion will then broaden to reframing performance and palmitting cultural landscapes and issues surrounding the replication of objects and sites central to a post digital, post colonial and new material discourse. I'll explore cultural data sculpting, investigating trans narrative experiences of object databases and film archives. And the presentation will draw to conclusion by peering into the deep map challenging Cartesian frameworks and allowing us to reinvent the Atlas propelled by the liquidity of digital data. Museums, libraries and archives have all begun to see themselves as information providers in a network world. Media theorists have described this world order as database logic, whereby users transform the physical assets of cultural organizations into digital assets to be uploaded, downloaded, visualized, shared users who treat institutions and other storehouses of physical objects, but rather as data sets to be manipulated
影像实践、沉浸式系统设计、美学实践、视觉分析和紧急叙事，借鉴香港武术传统的各种例子，我们将新加坡文士的诗学相结合，并重演数百年未曾进行的中国儒家仪式。我将探索将非物质文化编纂为一种保护实践，它可以支持具身知识，并为我们提供新曲目的框架。然后，讨论将扩大到重构表演和描绘文化景观，以及围绕后数字、后殖民和新材料话语核心的物体和地点复制的问题。我将探索文化数据雕刻，研究对象数据库和电影档案的跨叙事体验。本演讲将通过深入研究挑战笛卡尔框架的深度地图来得出结论，并允许我们在数字数据流动性的推动下重塑 Atlas。博物馆、图书馆和档案馆都开始将自己视为网络世界中的信息提供者。媒体理论家将这种世界秩序描述为数据库逻辑，用户将文化组织的实物资产转化为数字资产，以便上传、下载、可视化、共享，这些用户将机构和其他实物仓库视为要操纵的数据集

through this archival variants,
通过这些档案变体，

I hope to show how such a mechanistic description can be replaced by ways in which computation can become experiential, spatial and materialized, embedded and embodied, indeed, how digital archives become part of the contested fabric of life at the birth of The information age in the 1950s the prominent designer Georgy Kepes of MIT said information abundance should be a landscape of the senses that organizes both perception and practice. This felt order, he said, should be a source of beauty. Data transformed from its measured quantities and recreated as sensed forms, exhibiting the properties of harmony, rhythm and proportion. Combine this with the theoretical terms of new materialism and its accounts of material being its dynamic, non linear and non deterministic. Collecting organizations are reworking long held assumptions about the nature of things of the universe and necessarily the things around with archive 3.0 building up around us. Post processual archeologist Michael shank calls for new presented architectures with the production and sharing of archival resources, animated archives that emphasize personal, effective engagement with focal memory. Such a discourse, of course, is strikingly familiar to readers of new media and those of participatory and social media practices. The properties of this new archive and archival practices are recollection, regeneration, reworking, remixing, developing rich modes of engagement, novel architectures and interfaces with visualization, interaction and presence effects. It is through collaborative co creation that digital archives can become dynamic. A shift from classification and organization to search and remix archive 3.0 involves this Paralympic paradigmatic shift in principles of curation and manage access to archives that are well known to us through orthodox models of stewardship, archival, variance, challenge, notions of cultural, property, access, ownership, authority, authenticity and trust. Now it was the ex CEO of Intel who declared, in 2014 we're in the midst of a transformation from a world of screens and devices to a world of immersive experiences. We know, of course, from media art history, that what he was really observing was hundreds of years of development of these prosthetic architectures of the senses, from the Kaiser panorama to the sensorama, the emergence of immersive environments coincided with the sublimation of Curatorial Practice inside machines and represented the greatest challenge to the face of viewer since the impression of the roller coaster. For the past 20 years, we've been designing and building these frameworks for public engagement with cultural heritage. Initially, this work was located at Museum Victoria in Northern Australia, then at the eye cinema Research Center in Sydney, at the applied laboratory for interactive visualization and ornament alive located at the Hong Kong Science Park as part of City University in Hong Kong. Here are 1000 square meters of large scale nursery systems. The most recent laboratory I built was the expanded perception and interaction center Epicenter at the University of New South Wales, where I created the highest resolution Turing full Dome system in the world. You can see that on the left hand side of the image and on the right hand side, what is turned out to be a visualization system that's at the edge of human visual acuity, three times higher resolution than anything else in the world right now on Lyd is 56 projectors and a 29 curb your cluster. It was designed to solve visualization problems for complexity and big data for the humanities
我希望展示这种机械性的描述如何被计算成为经验、空间和物化、嵌入和体现的方式所取代，事实上，数字档案如何成为有争议的生活结构的一部分。1950 年代的信息时代诞生时，麻省理工学院的著名设计师 Georgy Kepes 表示，信息丰富应该是组织感知和实践的感官景观。他说，这种感觉秩序应该是美的源泉。数据从其测量的数量转换而来，并被重新创建为感知的形式，展示了和声、节奏和比例的特性。将此与新唯物主义的理论术语及其对材料的解释相结合，即材料是其动态的、非线性的和非确定性的。收藏组织正在重塑长期以来关于宇宙事物本质的假设，以及随着档案 3.0 在我们周围建立的必然事物。后过程考古学家迈克尔·香克 （Michael shank） 呼吁通过生产和共享档案资源来呈现新的建筑，动画档案强调个人、有效地参与焦点记忆。当然，这样的话语对于新媒体的读者以及参与式和社交媒体实践的读者来说非常熟悉。这种新的档案和档案实践的属性是回忆、再生、返工、重新混合、开发丰富的参与模式、新颖的建筑以及具有可视化、交互和临场效果的界面。正是通过协作共创，数字档案才能变得充满活力。从分类和组织转向搜索和重新混合档案 3.0 涉及管理和管理档案访问原则的这种残奥会范式转变，这些原则通过管理、档案、差异、挑战、文化、财产、访问、所有权、权威、真实性和信任等概念为我们所熟知。2014 年，英特尔前首席执行官宣布，我们正处于从屏幕和设备世界向沉浸式体验世界的转变之中。当然，从媒体艺术史中我们知道，他真正观察到的是这些感官假体建筑数百年的发展，从凯撒全景到感官，沉浸式环境的出现与策展实践在机器内的升华相吻合，代表了自过山车印象以来对观众面部的最大挑战。在过去的 20 年里，我们一直在设计和构建这些框架，让公众参与文化遗产。最初，这项工作位于澳大利亚北部的维多利亚博物馆，然后位于悉尼的眼睛影院研究中心，作为香港城市大学的一部分，位于香港科学园的交互式可视化和装饰应用实验室。这里有 1000 平方米的大型苗圃系统。我最近建造的实验室是新南威尔士大学的扩展感知和交互中心 Epicenter，在那里我创建了世界上最高分辨率的图灵全圆顶系统。 你可以看到，在图像的左侧和右侧，一个可视化系统处于人类视觉敏锐度的边缘，比现在世界上任何其他设备都高出三倍的分辨率是 Lyd 上的 56 台投影仪和 29 台显示器。它旨在解决人文学科的复杂性和大数据的可视化问题

and the sciences. 和科学。

This is just to give you an idea of what such a system might look like.
这只是为了让您了解这样的系统可能是什么样子。

Now under construction at EPFL laboratory for experimental
目前正在 EPFL 实验室建设中，用于实验

in these network Well, apps and exhibition spaces. Our research is focused on the standing part ready words of scene and not different instruments. These systems offer us strategies for multi sensory engagement, emphasizing human to human as well as human to machine interaction, giving us powerful ways to reformulate narrative in the digital context.
在这些网络 嗯，应用程序和展览空间。我们的研究集中在现场的站立部分，而不是不同的乐器。这些系统为我们提供了多感官参与策略，强调人与人以及人与机器的互动，为我们提供了在数字环境中重新构建叙事的有力方法。

I

Transcribed by https://otter.ai
由 https://otter.ai 转录