Day 2, workshop 5

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Day 2, workshop 5

  1. 1. A case study analysis based upon the ICOMOS Ename Charter Daniel Pletinckx CEO Visual Dimension bvba Ename, Belgium DISH Conference: workshop 5
  2. 2. Visual Dimension bvba <ul><li>Visual Dimension bvba is a company that specialises in the use of ICT in Cultural Heritage on international scale </li></ul><ul><ul><li>Consulting </li></ul></ul><ul><ul><li>Digitisation of museum objects, monuments, archaeology </li></ul></ul><ul><ul><li>Virtual reconstruction of ancient structures and landscapes </li></ul></ul><ul><ul><li>Design of innovative presentation methods and systems </li></ul></ul><ul><ul><li>Applies existing guidelines (London Charter, Ename Charter, copyrights) </li></ul></ul><ul><li>Through European projects, major efforts are done for creation and application of guidelines in cultural heritage </li></ul><ul><ul><li>EPOCH (2004 - 2008) </li></ul></ul><ul><ul><li>CARARE (start : Feb 2010) </li></ul></ul><ul><ul><li>Europeana </li></ul></ul>
  3. 3. The Venlo mikwah
  4. 4. The Venlo mikwah
  5. 5. The Venlo mikwah
  6. 6. The Venlo mikwah
  7. 7. The Venlo mikwah
  8. 8. The Venlo mikwah <ul><li>Excavated in 2004-2005 in Venlo, Netherlands </li></ul><ul><li>Identified as a Jewish ritual bath </li></ul><ul><li>Dated by archaeological finds and historical research to be build around 1300 and taken out of use around 1350 (1349 pogrom) </li></ul><ul><li>Oldest mikwah in the Netherlands, only a few mikwahs preserved in Europe that are older </li></ul><ul><li>Only lower part of the structure preserved (destroyed by building activity in the 50’s and 70’s) </li></ul><ul><li>Had to be removed from its original spot (to build parking garage) </li></ul>
  9. 9. P. 1: Access and Understanding <ul><li>Interpretation and presentation programmes, in whatever form deemed appropriate and sustainable, should facilitate physical and intellectual access by the public to cultural heritage sites. </li></ul><ul><li>Physical access </li></ul><ul><ul><li>Is possible to give access to the monument ? </li></ul></ul><ul><ul><li>Should we allow visitors in the monument ? </li></ul></ul><ul><ul><li>If not, what alternatives can be provided ? </li></ul></ul><ul><li>Intellectual access </li></ul><ul><ul><li>What is a mikwah ? How is it used ? Why is it used ? </li></ul></ul><ul><ul><li>How do we know it is a mikwah ? </li></ul></ul><ul><ul><li>How does a mikwah look like ? </li></ul></ul><ul><ul><li>How did it end up as an archaeological find ? </li></ul></ul>
  10. 10. P. 1: Physical Access
  11. 11. P. 1: Physical Access
  12. 12. P. 1: Physical Access
  13. 13. P. 1: Physical Access
  14. 14. P. 1: Physical Access
  15. 15. P. 1: Intellectual Access
  16. 16. P. 1: Intellectual Access This photo comes from the book by Lloyd Wolf &quot;Jewish Mothers: Strength, Wisdom, Compassion,&quot;
  17. 17. P. 1: Intellectual Access
  18. 18. P. 1: Intellectual Access
  19. 19. P. 1: Villa di Livia (Rome)
  20. 20. P. 3: Context and Setting <ul><li>The Interpretation of cultural heritage sites should relate to their wider social, cultural, historical, and natural contexts and settings. </li></ul><ul><li>Social context </li></ul><ul><ul><li>What is the importance of a mikwah in Jewish society ? </li></ul></ul><ul><li>Cultural context </li></ul><ul><ul><li>How is ritual cleaning perceived in general ? </li></ul></ul><ul><ul><li>What makes it specific within the Jewish culture ? </li></ul></ul><ul><li>Historical context </li></ul><ul><ul><li>Why does Venlo have a mikwah this old ? </li></ul></ul><ul><ul><li>What is the story behind the mikwah ? </li></ul></ul>
  21. 21. P. 3: Social Context
  22. 22. P. 3: Social Context
  23. 23. P. 3: Social Context
  24. 24. P. 3: Social Context
  25. 25. P. 3: Cultural Context &quot;We made from water, every living thing&quot; (Sura of Al-Anbiya) “ Then I will sprinkle clean water on you, and you will be clean; I will cleanse you from all your filthiness and from all your idols. ” Ezekiel 36:25
  26. 26. P. 3: Historical Context Pogrom of 1349
  27. 27. P. 3: TimeFrame Storytelling TimeFrame Saint-Laurentius church Ename, Belgium
  28. 28. P. 3: TimeFrame Storytelling TimeFrame Municipal Museum, Tervuren, Belgium
  29. 29. P. 3: TimeFrame Storytelling TimeFrame Born, Netherlands
  30. 30. P. 4: Authenticity <ul><li>The Interpretation and presentation of cultural heritage sites must respect the basic tenets of authenticity in the spirit of the Nara Document (1994). </li></ul><ul><li>What if the context is completely gone ? </li></ul><ul><li>How do we preserve the authenticity of archaeological remains that have been taken out of context ? </li></ul><ul><li>How to restore the notion of ‘monument’ to a 2 x 90 ton object ? </li></ul><ul><li>Is it possible to turn this mikwah into a touristical landmark ? </li></ul><ul><li>Can we integrate it next to the archaeological remains of the 19th century synagogue in Venlo ? </li></ul>
  31. 31. P. 4: Authenticity - Context Q4 city renovation project
  32. 32. P. 4: Authenticity - Context Q4 city renovation project
  33. 33. P. 4: Authenticity - Context
  34. 34. P. 4: Authenticity - Monument K öln, Germany Speyer, Germany Friedberg, Germany
  35. 35. P. 4: Authenticity - Archaeology Sint-Catharinakerk, Eindhoven, Nederland
  36. 36. P. 4: Recreated context
  37. 37. P. 2: Information Sources <ul><li>Interpretation and presentation should be based on evidence gathered through accepted scientific and scholarly methods as well as from living cultural traditions. </li></ul><ul><li>Interpretation process ongoing </li></ul><ul><li>Chapter 15 in new book “Venlo aan de Maas: van vicus tot stad” </li></ul>Spatial reconstruction : Bart Kl ück
  38. 38. P. 2: EPOCH 3D Webservice
  39. 39. P. 2: EPOCH 3D Webservice
  40. 40. P. 5: Sustainability <ul><li>The interpretive plan for a cultural heritage site must be sensitive to its natural and cultural environment, with social, financial, and environmental sustainability among its central goals. </li></ul><ul><li>What is a sustainable environment to preserve, manage and present this mikwah ? </li></ul><ul><li>How do we create an environment that supports, promotes, explains, educates in the long term ? </li></ul>
  41. 41. P. 5: Sustainability <ul><li>Costs (financial sustainability) </li></ul><ul><ul><li>Conservation & restoration </li></ul></ul><ul><ul><li>Transport ! </li></ul></ul><ul><ul><li>Housing ! </li></ul></ul><ul><ul><li>Preservation (conditioned space) </li></ul></ul><ul><ul><li>Protection </li></ul></ul><ul><ul><li>Presentation & Interpretation </li></ul></ul><ul><li>Political and social support (social sustainability) </li></ul><ul><ul><li>Long term support </li></ul></ul><ul><ul><li>Image building </li></ul></ul><ul><ul><li>How does the Venlo mikwah remains relevant ? </li></ul></ul>
  42. 42. P. 6: Inclusiveness <ul><li>The Interpretation and Presentation of cultural heritage sites must be the result of meaningful collaboration between heritage professionals, associated communities, and other stakeholders. </li></ul><ul><li>How can we engage the general public for an object that is known and identified only by the Jewish part of society ? </li></ul><ul><li>How can this mikwah have a meaning in the society of today ? </li></ul><ul><li>How can this mikwah stimulate understanding and respect between religions and parts of society ? </li></ul>
  43. 43. P. 6: Inclusiveness <ul><li>The Venlo mikwah brings us </li></ul><ul><ul><li>A story about integration and expulsion of another culture, which is very actual </li></ul></ul><ul><ul><li>A story about ritual cleaning, purity, transitions which is actual is nearly all religions and also outside religion </li></ul></ul><ul><ul><li>A story about the Jewish cultural values, which have close analogies for the other ‘Religions of the Book’ </li></ul></ul><ul><ul><li>Strong educational potential </li></ul></ul><ul><li>Needs storytelling systems </li></ul><ul><li>Needs educational support for classroom projects </li></ul>
  44. 44. P. 7: Research, Evaluation, Training <ul><li>The Interpretation and Presentation of cultural heritage sites must be the result of meaningful collaboration between heritage professionals, associated communities, and other stakeholders. </li></ul><ul><li>Research </li></ul><ul><ul><li>Historical </li></ul></ul><ul><ul><li>Archaeological </li></ul></ul><ul><ul><li>Cultural </li></ul></ul><ul><li>Educational activities </li></ul><ul><li>Tourism </li></ul><ul><li>Art </li></ul>
  45. 45. Conclusion <ul><li>The Venlo Mikwah, its complexity and the questions it raises, show the necessity of a set of guidelines on Presentation and Interpretation </li></ul><ul><li>The political decision process is ongoing </li></ul><ul><li>These guidelines are adopted by the worldwide cultural heritage community through worldwide consensus (2008) </li></ul><ul><li>But need to be recognised and implemented by local levels </li></ul><ul><li>Technology will need to </li></ul><ul><ul><li>fill in the lost physical, cultural and social context </li></ul></ul><ul><ul><li>allow to experience again the monument </li></ul></ul><ul><ul><li>stimulate the discussion about intercultural understanding </li></ul></ul>
  46. 46. Knowhow Book on Ename Charter Available at http://www.enamecenter.org/
  47. 47. Other EPOCH Knowhow Books <ul><li>Interactive Landscapes – How to read and understand historical landscapes </li></ul><ul><li>Interpretation Management – How to make sustainable visualisations of the past </li></ul><ul><li>Presenting The Hidden Past – Highlights and impressions from the lowlands </li></ul><ul><li>Monitoring Monuments – A low-cost digital early warning system for preventive conservation of built heritage </li></ul><ul><li>Electro Bacchanalia – A peep box and interpretive tool for Old Master’s paintings </li></ul><ul><li>Interactive Storytelling Exhibition – How to produce a virtual interactive story to engage visitors with the real world </li></ul><ul><li>Touch of Kandinsky – How to make a carpet into an interactive or storytelling tool </li></ul><ul><li>Virtex – A multisensory approach for exhibiting valuable objects </li></ul><ul><li>The ARC 3D Webservice – How to turn images of an object or scene into 3D models for exhibitions and archives </li></ul><ul><li>Digitally available at http://www.epoch.eu/ </li></ul>

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