Scenario
Creative digital technologies have set the foundations of the whole landscape of the whole system of cultural offer: the Museums, considered mostly up to the past decade “Temples of the Art”, today are ready to become sensible organisms capable of introducing new paradigms of interaction/fruition in the relationship between Visitor/Artwork.
Creative digital technologies, so, play a key role in the determination of the aforesaid transformation, allowing the definition of new languages and experimentations capable of multiplying the layers of narration of the Artwork, introducing the possibility of conceptualizing new temporal dimensions and the creation of new paradigms in scenography.
Creative digital technologies, so, play a key role in the determination of the aforesaid transformation, allowing the definition of new languages and experimentations capable of multiplying the layers of narration of the Artwork, introducing the possibility of conceptualizing new temporal dimensions and the creation of new paradigms in scenography.
In this new scenario, with the birth of the Information Society guided by the development of the new I.C.T. technologies, the traditional Artwork, while keeping its value of single cultural good, can be multiplied and replicated in a multi-layer communication system which can not only popularize in different ways and times (on or off-line), but it can also decontextualize allowing its existence in different dimensions.
The new replicability condition generates new “terms of usage” which, in turn, asks for the “Digital Creative” to plan new forms with/through new spaces to traditional Artworks, supplying for them new models of fruition.
The new replicability condition generates new “terms of usage” which, in turn, asks for the “Digital Creative” to plan new forms with/through new spaces to traditional Artworks, supplying for them new models of fruition.
To allow that the experience of museum fruition becomes a real Event, the need of the definition of new languages becomes, inevitably, a floor of comparison and experimentation necessary to shift towards new scenography paradigms which require, in the logics of planning processes, interdisciplinary directing know-hows: on the one hand, so, we’ll have the comparison between technical specificities capable of controlling and exploiting at the highest level technological possibilities; on the other hand, all of those humanistic specificities capable of allowing the usage of technologies which permit to work on the multiplication of the layers of narration of the Artwork itself, showing a stratification of the senses which, if on a side permits a deeper knowledge, on the other it enriches the tour leveraging the Experiential Dimension.
It is the project of the Technologic/Humanistic relation, which is interdependent and collaborative, and which becomes an important object of innovation. With the aim to explore problems which descend from the “communication dyscrasia” that seem has still configured between these two competing environments, two fields, two cultures which seem still deeply separated, we ask the help of Applied Anthropology that tries to transform “implicit knowledge in explicit knowledge”, values and models in operative elements.
It is the project of the Technologic/Humanistic relation, which is interdependent and collaborative, and which becomes an important object of innovation. With the aim to explore problems which descend from the “communication dyscrasia” that seem has still configured between these two competing environments, two fields, two cultures which seem still deeply separated, we ask the help of Applied Anthropology that tries to transform “implicit knowledge in explicit knowledge”, values and models in operative elements.
Therefore, the articulation of the scenography moves from a narrative-spatial model, in which the traditional encyclopedic/chronologic hierarchy is surpassed (which was once defined only by the expert Humanist), to give space to a new System of Cultural Supply which takes place alternating layers of close-up systemic narration moving towards a spatial-performative model which solicits the participation of the visitor, getting close and closer to the paradigm of the game in which the new technologies are called to surprise and perform the space and the relation between Artwork and Spectator, up to reaching the spatial model simulated in which the real space “joins” the virtual one opening up to the new and compelling dimensions of the Experiential Fruition offered by the new technologies for Augmented Reality (AR)
The result of this new methodical paradigm – which sees the joint collaboration as cross-disciplinary and interdependent in the definition of the new museum languages the expert Humanist and the Digital Creative technology expert – is the possibility of realizing new formats inside the Edutainment genre for scenography which can leverage on instruments and languages which find in digital technologies the Ideal System in a Shape to immerse the visitor in an environment which proposes not only as “The Place of Knowledge”, but also as place of entertainment.