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Articles

An Era in Jinling: Game Interactive Heritage Digital Art Exhibition

Pages 1-22 | Published online: 26 Dec 2023
 

Summary

The ‘An Era in Jinling’ Heritage Digital Art Exhibition, which focuses on the interactive virtual reality game environment created by the audience's experience, is an immersive digital art exhibition composed of the audience, the hardware system of the digital exhibition environment and the virtual digital environment presented. As a game-interactive immersive digital art exhibition in a heritage exhibition, it invites the audience to take a personal digital role in the exhibition and use the game-interactive method to enjoy an immersive digital exhibition. This paper aims to engage audiences through the ‘audience-centric’ exhibition of digital art, allowing them to use their senses to enjoy immersive exhibitions of digital art. This paper also demonstrates how digital art exhibitions of history can provide new insights to the general public in the preservation and exploration of cultural heritage.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 Tula Giannini, Jonathan P. Bowen, “Rethinking Museum Exhibitions: Merging Physical and Digital Culture – Past to Present”, Museums and Digital Culture: New Perspectives and Research, 2019, pp. 163–193. https://link.springer.com/chapter/10.1007/978-3-319-97457-6_8.

2 Tula Giannini, Jonathan P. Bowen, “Curating Digital Life and Culture: Art and Information”, Electronic Visualisation and the Arts, 2016, pp. 237–244. https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2016.46.

3 Lizzie Muller, Ernest Edmonds, Matthew Connell, “Living Laboratories for Interactive Art”, CoDesign, No 4, 2006, pp. 195–207. https://www.tandfonline.com/doi/abs/10.1080/15710880601008109; Qi Wang, Yanhui Lei, “Minds on for the Wise: Rethinking the Contemporary Interactive Exhibition”, Museum Management and Curatorship, No. 4, 2016, pp. 331–348. https://www.tandfonline.com/doi/abs/10.1080/09647775.2016.1173575.

4 F. Irace, G. L. Ciagà, Design & Cultural Heritage, Milano, 2013.

5 Giannini and Bowen, 2019, pp. 163–193.

6 Josephine Machon, ed. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance, Bloomsbury Publishing, 2017.

7 Yuebo Yu, “Big Data Technology in Museum Exhibition Digitization”, Journal of Physics: Conference Series, No. 4, 2020. https://iopscience.iop.org/article/10.1088/1742-6596/1648/4/042044/meta.

8 Edwina Bartlem, “Reshaping Spectatorship: Immersive and Distributed Aesthetics”, Fibreculture, 7, 2005. http://www.immersence.com/publications/2005/2005-EBartlem.html; Marianne Foss Mortensen, “Designing Immersion Exhibits as Border-Crossing Environments”, Museum Management and Curatorship, No 3, 2010, pp. 323–336. https://www.tandfonline.com/doi/abs/10.1080/09647775.2010.498990.

9 Maria Manuela Guerreiro Ana Cláudia Campos, Meghan C. Beevor, “Storytelling in Heritage Tourism: An Exploration of Co-Creative Experiences from a Tourist Perspective”, Museum Management and Curatorship, 2023. https://www.tandfonline.com/doi/full/10.1080/09647775.2023.2230194.

10  Lizzie Muller, Ernest Edmonds, Matthew Connell, 2006, pp. 195–207; Qi Wang, Yanhui Lei, 2016, pp. 331–348.

11 Marcello Carrozzino, Massimo Bergamasco, “Beyond Virtual Museums: Experiencing Immersive Virtual Reality in Real Museums”, Journal of Cultural Heritage, accessed 4 November 2010. https://www.sciencedirect.com/science/article/abs/pii/S1296207410000543.

12 Alberto Garlandini, “Museums and Heritage in the Digital Age. The Challenge of Cultural Change and Technological Innovation”, SCIRES-IT-SCIentific RESearch and Information Technology, No 1, 2021, pp. 11–18. http://www.sciresit.it/article/view/13568.

13 Federica Dal Falco, Stavros Vassos, “Museum Experience Design: A Modern Storytelling Methodology”, The Design Journal, 6 September 2017. https://www.tandfonline.com/doi/abs/10.1080/14606925.2017.1352900.

14 Qi Wang, Yanhui Lei, 2016, pp. 331–348.

15 F. Irace, G. L. Ciagà, 2013.

16 Lizzie Muller, Ernest Edmonds, and Matthew Connell, 2006, pp. 195–207; Pamela Barnes, Gayle McPherson, “Co-creating, Co-producing and Connecting: Museum Practice Today”, Curator: The Museum Journal, No 2, 2019, pp. 257–267.

17 J. Dewey, Art as Experience, New York, 1934; M. Merleau-Ponty, Phenomenology of Perception, New York, 1962.

18 Tula Giannini, Jonathan P. Bowen, 2019, pp. 163–193.

19 Sue M. Davies, “The Co-production of Temporary Museum Exhibitions”, Museum Management and Curatorship, No 3 (2010), pp. 305–321. https://www.tandfonline.com/doi/abs/10.1080/09647775.2010.498988; Lærke Mygind, Anne Kahr Hällman, Peter Bentsen, “Bridging Gaps between Intentions and Realities: A Review of Participatory Exhibition Development in Museums”, Museum Management and Curatorship, No 2 (2015), pp. 117–137. https://www.tandfonline.com/doi/abs/10.1080/09647775.2015.1022903; Anne Rørbæk Olesen, Nanna Holdgaard, Ditte Laursen, “Challenges of Practicing Digital Imaginaires in Collaborative Museum Design”, CoDesign, No 3, 2020, pp. 189–201. https://www.tandfonline.com/doi/abs/10.1080/15710882.2018.1539109.

20 Zoi Popoli, Izabela Derda, “Developing Experiences: Creative Process Behind the Design and Production of Immersive Exhibitions”, Museum Management and Curatorship, No 4, 2021, pp. 384–402. https://www.tandfonline.com/doi/full/10.1080/09647775.2021.1909491.

21 Zoi Popoli, Izabela Derda, 2021, pp. 384–402.

22 Zoi Popoli, Izabela Derda, 2021, pp. 384–402.

23 Indria Handoko, Adi Nugroho, “The Adoption of Virtual Technology in Museums: The Case of a Modern and Contemporary Museum in Indonesia”, Museum Management and Curatorship, 2023. https://www.tandfonline.com/doi/full/10.1080/09647775.2023.2225167.

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