Intangible Cultural Heritage in the Digitalization Process

2022 ◽  
pp. 161-182
Author(s):  
İsmail Çalık

This chapter will initially introduce the concept of intangible cultural heritage. After establishing the relationship between intangible cultural heritage and tourism, changes in intangible cultural heritage components will be expressed through the digitization and COVID-19 processes. “Digital intangible cultural heritage,” “digital cultural heritage,” “digital safeguarding” concepts will be described because they attracted great attention during this time. Additionally, the other aspect of the research is the use of digital applications to safeguard the intangible cultural heritage. In the final part, the pilot projects concerning the safeguarding and promoting the intangible cultural heritage implemented by the Ministry of Culture and Tourism of Turkey will be discussed.

Pravovedenie ◽  
2020 ◽  
Vol 64 (1) ◽  
pp. 80-92
Author(s):  
Chiara Bortolotto ◽  

This article considers the relationship between Intangible Cultural Heritage (ICH) and the market in the backdrop of the reorientation of UNESCO’s priorities regarding sustainable development. Based on ethnographic observations of the meetings of the governing bodies of the Convention for the safeguarding of intangible cultural heritage, this work analyses the controversies generated by “risks of over-commercialization” of ICH among actors with normative agency for designing “good” heritage governance. While the need to reconcile market and heritage is officially acknowledged, the inclusion of a particular commercial practice on the UNESCO ICH lists is qualified by many actors as “traumatic”. The debate spurred within the governing bodies of the Convention by the drafting of these documents sheds light on the controversial perception of the relationship between the market and ICH. In considering the idea of “commercialization without over-commercialization” suggested by actors to resolve the tension between heritage and market, this work highlights a constitutive ambiguity of the Convention. Based on the ideas of “misappropriation” and “decontextualization”, this concept is part of the logic of intellectual property. The Convention, however, was explicitly designed within an alternative paradigm emphasizing cultural dynamisms and shared belonging. While heritage entrepreneurs on the ground shift from one regime to the other making a pragmatic and strategic use of legal frameworks based on fundamentally different logics, this inconsistency generates normative conundrums among the actors involved with the official bodies of the Convention, torn between a proprietary and a heritage regime and their different moral economies. In the framework of the Convention, the principle of “commercialization without over-commercialization” embodies therefore a fragile compromise reflecting the tension between different regimes regulating traditional culture.


Author(s):  
Daniel Martin Feige

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.


2020 ◽  
Vol 3 (1) ◽  
pp. 681-693
Author(s):  
Ariel Furstenberg

AbstractThis article proposes to narrow the gap between the space of reasons and the space of causes. By articulating the standard phenomenology of reasons and causes, we investigate the cases in which the clear-cut divide between reasons and causes starts to break down. Thus, substituting the simple picture of the relationship between the space of reasons and the space of causes with an inverted and complex one, in which reasons can have a causal-like phenomenology and causes can have a reason-like phenomenology. This is attained by focusing on “swift reasoned actions” on the one hand, and on “causal noisy brain mechanisms” on the other hand. In the final part of the article, I show how an analogous move, that of narrowing the gap between one’s normative framework and the space of reasons, can be seen as an extension of narrowing the gap between the space of causes and the space of reasons.


Author(s):  
P. Maiezza

<p><strong>Abstract.</strong> The As-Built Model cannot be considered as a simple three-dimensional mould of the studied reality but as a process of analysis, synthesis and communication of architectural complexity including, in addition to geometric-dimensional aspects, also the historical, aesthetic and architectural features of the building. Consequently, the transparency and reliability issues of the digital visualization constitutes, as well as for the field of archaeology, a matter of primary importance in the modelling of cultural heritage. The increasing interest of scholars in the application of Building Information Modelling (BIM) to historical buildings has renewed the problems related to the reliability of the As-built, related not only to the relationship between the model and the measure, but also to the other information, for example the constructive technologies. Based on the survey and modelling of some case studies, the paper's aim is to define a reference standard for the reliability declaration of the As-Built HBIM models, which considers both the geometric and information aspects.</p>


2020 ◽  
Vol 12 (10) ◽  
pp. 4229
Author(s):  
Dan Yao ◽  
Ke Zhang ◽  
Lin Wang ◽  
Rob Law ◽  
Mu Zhang

Mazu belief was recognized by United Nations Educational, Scientific and Cultural Organization (UNESCO) as the Intangible cultural heritage of Humanity in 2009, which is China’s first world-class folklore intangible cultural heritage. More than 5000 Mazu temples and 200 million tourists who believe in Mazu can be found worldwide. The aim of the study was to take Meizhou Island as a case study to understand the relationships among tourists’ perceived value, place attachment, and revisit intention. In total, 424 tourists in Meizhou Island were surveyed and structural equation modeling was performed to test such relationships. Results show that tourists’ perceived value has a significant positive impact on place attachment (p < 0.05), which in turn has a significant positive impact on revisit intention (p < 0.05). The results of bootstrap test show that the confidence intervals are (0.001, 0.328), (0.147, 0.425), (0.058, 0.396), (0.092, 0.408), respectively, which do not contain 0. Therefore, place attachment acts as a complete intermediary in the relationship between tourism resources and service value, social value, cost value, and revisit intention. The confidence interval of the direct effect of cultural value and revisit intention is (0.193, 0.501), which does not contain 0, indicating that place attachment acts as a partial mediator in the relationship between cultural value and revisit intention. Findings of this study would be of use to readers of cultural tourism.


Author(s):  
Kurmo Konsa

Heritage in its very diverse forms has become a significant force in contemporary society. This is manifested by the importance of heritage in shaping identities, the use of heritage by political forces, and the increasing interconnectedness of heritage, the entertainment business and tourism. Heritage is a part of tangible reality while at the same time being an intangible phenomenon. Heritage connects people to each other and to the environment, both its material and natural aspects, therefore forming part of our world. By relying on heritage, recreating it and attributing important meanings to it, people shape the way societies function. The aim of this article is to create a conceptual framework for treating the preservation of intangible cultural heritage. In order to do that, I will use the concept of heritage on the one hand and the information ecological approach on the other hand. The article proposes to create a clearer conceptual framework for treating intangible cultural heritage, with the main emphasis on the preservation aspect. Heritage can be considered from very different aspects, from its philosophical meaning to highly technical conservation proceedings. In this article, I proceed from the idea that heritage is a phenomenon currently being created by people, i.e. from the principle of socio-cultural construction. Of course, this is just one possible way to interpret and utilise the past. It is clear that the treatment of heritage in this way poses a serious challenge to preservation – how should the heritage process be preserved? In my discussion of the heritage process, I use the information ecology framework, mainly drawing on ideas of Bonnie Nardi and Vicky O’Day. Information ecology is a system of people, activities, and technologies in a specific local environment. The information ecologic system is an intertwined network of a specific group of people and their tools and activities. The information ecological approach is characterised by systematicity, diversity, co-evolution and locality. All these aspects are also very important when it comes to intangible heritage. It is evident from the information ecological perspective that preservation of heritage is not a neutral technical activity but rather a social process, in the course of which values and meanings are created, changed and preserved. In preserving heritage, it is important to consider both the heritage itself and the level of society in the framework of which the management takes place. With intangible heritage, it is important to differentiate between individuals and families, groups and communities who practice it. At the national and international levels, specific heritage practices can be recognised and supported, but determining these practices and their actual preservation takes place at the community and individual levels. In order to preserve intangible heritage, we need to support the people, groups and communities who use and develop the given tradition. This means supporting a social and cultural process, in the event that such support is needed in the first place. Communities use intangible heritage to fix their current problems. These aims might not overlap with the national and international goals of preservation. To sum up information ecological principles from the aspect of preserving intangible heritage, what has to be emphasised is the importance of systemic treatment. People practicing heritage skills, their clients, researchers, preservers of heritage and community activists, to name just a few stakeholders, should form an integral system. Different parties are bound to see the system from different perspectives; on the one hand, this cannot be avoided, on the other hand, it is a barrier that needs to be overcome. What is extremely important is the reflection of the so-called grass-roots level perspective, expressed in the subjective view of the person with heritage skills, when determining and preserving heritage. When treating the functions of heritage skills, in addition to their economic significance, which often prevails, what needs to be observed is also the role of these skills in shaping community identities and in creating and preserving social cohesion, but also as parts of education and the wider social communication system. Via heritage skills, meanings are created and values are presented to the community and to society as a whole. I think the fact that heritage participates in the creation of value environments is what guarantees heritage a place in contemporary information society.


2019 ◽  
Vol 25 (2) ◽  
pp. 336-341
Author(s):  
Daniela Sorea ◽  
Elena Băjenaru

Abstract The Făgăraș Land is an old Romanian state formation on the territory of Transylvania. Geographically located between the Olt and the Meridional Carpathians, the Făgăraș Land is considered the starting point of the founders of Wallachia. It was caught between the interests and pride of the Hungarian Kingdom and those of the Romanian lords throughout the Middle Ages, and suffered invasions of the Tartars. The memory of the latter is preserved in the collective memory of the locals, especially in the legends about the rocks that girls chased by attackers have jumped off. Many of the villages of Fagaras are arranged in pairs, one in the Olt meadow and the other in the mountain. Over time, there have been differentiations in the folk garment and traditions between the couple villages, but also between neighbouring couple villages. These differences strenghten the community identity of the Făgăraș Land villagers and indicate the existence of significant intangible cultural heritage resources in the area.


2020 ◽  
Vol 7 (1) ◽  
pp. 33-48
Author(s):  
Aniendya Christianna

ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat.


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