博物馆文物的数字化展示和传播研究——以台北故宫博物院为例
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摘要
博物馆作为一种"展示媒介",虽然因强大的资源占有性可以通过传统的展示方式吸引观众,但是在新媒体时代,传统的传播观念或许渐渐成为文物展示过程中的枷锁,使文物难以抵达受众人群。因此,许多博物馆都在思考如何通过新媒体加强对文物的展示和传播。文章以台北故宫博物院为例,通过考察新媒体环境对信息传播方式的改变,结合台北故宫博物院数字传媒专家的访谈,探讨数字化技术的使用如何引发博物馆文物展示与传播方式的变革和转向,进而思考博物馆未来的发展之路。
As a kind of ″display medium″,museums can attract visitors through traditional exhibition due to their great resource possessions. However,in the new media age,traditional communication concepts may gradually become shackles in the process of cultural relics display,making it difficult for cultural relics to reach the audiences. Therefore,many museums are considering how to strengthen the display and propagation of cultural relics through new media. Taking the Taipei Palace Museum as an example,this article explores how the use of digital technology can lead to the change and transformation of Museums' cultural relics display and then ponders on the future development of museums by investigating the change of information dissemination mode in the new media environment and by interviewing the digital media experts of the Taipei Palace Museum.
As a kind of ″display medium″,museums can attract visitors through traditional exhibition due to their great resource possessions. However,in the new media age,traditional communication concepts may gradually become shackles in the process of cultural relics display,making it difficult for cultural relics to reach the audiences. Therefore,many museums are considering how to strengthen the display and propagation of cultural relics through new media. Taking the Taipei Palace Museum as an example,this article explores how the use of digital technology can lead to the change and transformation of Museums' cultural relics display and then ponders on the future development of museums by investigating the change of information dissemination mode in the new media environment and by interviewing the digital media experts of the Taipei Palace Museum.
引文
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[3]冯明珠,林国平.十年耕耘·百年珍藏———国立故宫博物院数字典藏成果专刊[M].台北:故宫博物院,2012.
[4]吕理政.博物馆展示的传统与展望[M].台北:南天书局有限公司,1999:11-14.
[5] BENJAMIN W. The work of art in the age of mechanicalreproduction[M]. New York:Schocken Books,1969:220.
[6]刘向铜,熊助国,曹秋香.基于3Dmax的虚拟现实的建立过程的探讨[J].西部探矿工程,2009(2):78-81.
[7]熊皇.虚拟现实的关系建构:一种传播学的视角[J].艺术科技,2016(7):89.
[8]史特肯,卡莱特.观看的实践———给所有影响时代的视觉文化导论[M].陈品秀,译.台北:三言社,2009:171.
[9]吴靖.文化现代性的视觉表达———观看、凝视与对视[M].北京:北京大学出版社,2012:115.
[2]廖祥忠.何为新媒体?[J].现代传播,2008(5):121-125.
[3]冯明珠,林国平.十年耕耘·百年珍藏———国立故宫博物院数字典藏成果专刊[M].台北:故宫博物院,2012.
[4]吕理政.博物馆展示的传统与展望[M].台北:南天书局有限公司,1999:11-14.
[5] BENJAMIN W. The work of art in the age of mechanicalreproduction[M]. New York:Schocken Books,1969:220.
[6]刘向铜,熊助国,曹秋香.基于3Dmax的虚拟现实的建立过程的探讨[J].西部探矿工程,2009(2):78-81.
[7]熊皇.虚拟现实的关系建构:一种传播学的视角[J].艺术科技,2016(7):89.
[8]史特肯,卡莱特.观看的实践———给所有影响时代的视觉文化导论[M].陈品秀,译.台北:三言社,2009:171.
[9]吴靖.文化现代性的视觉表达———观看、凝视与对视[M].北京:北京大学出版社,2012:115.