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DESIGN AND THE ETHICS OF CULTURAL HERITAGE RE-PRODUCTION: co-creation of intercultural contents and augmented experiences in the Museo Diocesano di Milano Eleonora Lupo Politecnico di Milano

Museum and cultural Heritage experiences have profoundly changed in the last decades in response to the emerging and establishing of digital society, cocreation processes and open-source contents

Many questions arise concerning authoritativeness of cultural contents and authenticity of simulated and augmented experiences when it comes to the cocreation and re-production of cultural heritage by digital technologies and social media

Lupo E. Ozdil E., “Towards a smart heritage as future diffused museums: design and communication technologies to innovate the experience of the cultural patrimony in the smart cities�, In Inclusive Museum Journal, Commonground Publishing, 2013 Allen J., Lupo E. (ed. by) Representing Museum Technologies, Copenhagen Interaction Design Institute, 2012

Design has gained a significant impact and reputation in giving sense to the digital technology in the re-production of cultural contents within museums and exhibitions

Design for CH in the context of phygital world is activating a “smart heritage”

Lupo E. Ozdil E., “Towards a smart heritage as future diffused museums: design and communication technologies to innovate the experience of the cultural patrimony in the smart cities”, In Inclusive Museum Journal, Commonground Publishing, 2013 Allen J., Lupo E. (ed. by) Representing Museum Technologies, Copenhagen Interaction Design Institute, 2012

“smart heritage” is more than a digitally accessible heritage: is the concept of “heritage continuum” we are immersed in.

Is diffused in a richer way because is physically spread outside the traditional museum walls, it is exploited and augmented by digital technologies and accessible by digital devices, making it possible for a deep, dense and intense experience that permeates and extends time and space, connecting the physical to the virtual dimension, mixing the individual and the collective experience, bridging immaterial contents with the tangibility of a territory.

Lupo E. Ozdil E., “Towards a smart heritage as future diffused museums: design and communication technologies to innovate the experience of the cultural patrimony in the smart cities”, In Inclusive Museum Journal, Commonground Publishing, 2013 Allen J., Lupo E. (ed. by) Representing Museum Technologies, Copenhagen Interaction Design Institute, 2012

Cultural heritage fruition design: making smart the heritage, not the technologies AMPLIFIED HERITAGE ICT act amplifying and enriching the heritage: • In the relationship user-contents; • In the temporal and/or spatial dimension; • Showing off hidden links between the contents;

CONNECTIVE HERITAGE • •

ICT as a means to connect diverse people and culture around cultural heritage (community building); ICT as enabler of social connections in building and maintaining the relationship over time.

The connection between people can take place: • through direct contact, facilitated by ICT • through a indirect contact mediated by ICT

MULTIFACED HERITAGE ICT act as a filter that allows the visitor: • To choose a point of view; • To understand many points of view on the same cultural asset; • To add her/his individual point of view; • To question, renegotiate, change, transform the point of view fostering and stimulating contact points or cultural frictions.

PERFORMATIVE HERITAGE ICT act on the representation, understanding and experience of heritage, making visitors perform gestures and actions consistent with cultural practices avoiding standard interaction with the technological tool and stereotypes of interaction (touch, click, move, drag), rather than the cultural practice.

Lupo E., Parrino L., Radice S., Spallazzo D., Trocchianesi R., “Migrations and multiculturalism. A design approach for cultural institutions”, in Innocenti P. (ed) Migrating heritage: networks and collaborations across European museums, libraries and public cultural institutions, Ashgate, 2014.

Cultural heritage fruition design: making smart the heritage, not the technologies AMPLIFIED HERITAGE ICT act amplifying and enriching the heritage: • In the relationship user-contents; • In the temporal and/or spatial dimension; • Showing off hidden links between the contents;

CONNECTIVE HERITAGE • •

ICT as a means to connect diverse people and culture around cultural heritage (community building); ICT as enabler of social connections in building and maintaining the relationship over time.

The connection between people can take place: • through direct contact, facilitated by ICT • through an indirect contact mediated by ICT

MULTIFACED HERITAGE ICT act as a filter that allows the visitor: • To choose a point of view; • To understand many points of view on the same cultural asset; • To add her/his individual point of view; • To question, renegotiate, change, transform the point of view fostering and stimulating contact points or cultural frictions.

PERFORMATIVE HERITAGE ICT act on the representation, understanding and experience of heritage, making visitors perform gestures and actions consistent with cultural practices avoiding standard interaction with the technological tool and stereotypes of interaction (touch, click, move, drag), rather than the cultural practice.

Lupo E., Parrino L., Radice S., Spallazzo D., Trocchianesi R., “Migrations and multiculturalism. A design approach for cultural institutions”, in Innocenti P. (ed) Migrating heritage: networks and collaborations across European museums, libraries and public cultural institutions, Ashgate, 2014.

An articulated strategy interconnecting four design dimensions: • technology • cultural contents • space (places,cities, territories…)

• social engagement Dimensions of observation Technology

Space

Cultural contents

Sociality

1. Amplified

✔

✔

✔

2. Multifaceted

✔

3. Connective

✔

(✔)

(✔)

✔

4. Performative

✔

✔

✔

(✔)

✔

Lupo E., Parrino L., Radice S., Spallazzo D., Trocchianesi R., “Migrations and multiculturalism. A design approach for cultural institutions”, in Innocenti P. (ed) Migrating heritage: networks and collaborations across European museums, libraries and public cultural institutions, Ashgate, 2014.

Getting community engagement and contribution with Cultural Heritage, by augmented technologies, design should "relocate" the meaning of original, traditional, authorship and simulation in the field of cultural contents and experiences

• potentialities of multiple and co-produced (or visitors generated) representations and re-enactment of identities, meanings, contents…

• risk of dislocated interpretations and inconsistency of contents.

PROJECT Designing Multivocal experience at Museo Diocesano, Milano Co-designing with the users an intercultural museum experience

PROJECT 3 Museums&Libraries in the age of migration

www.mela-project.polimi.it/

Museo Diocesano, Milano, Arciconfraternita Hall: 5 paintings

San Bernardo libera un’ossessa con l’Eucarestia di Federico Ferrari

Santa Caterina da Siena vede uscire una fiamma dall’ostia consacrata di Battista Costa

San Pietro martire smaschera la falsa Madonna di Filippo Abbiati

Il miracolo del fanciullo restituito illeso dalla fornace per aver ricevuto la comunione di Carlo Preda

La comunione di San Stanislao Kostka di Gaetano Dardanone

The objective Tell a new (intercultural) story about selected paintings: users with an intercultural background where involved in a co-design process of cultural contents by the use of digital mobile technologies and augmented reality to design new forms of user experiences and interactions and to start intercultural dialogue

The process

The process

reproduction of CH

The process

reproduction of CH

co-creation/co-curation of CH

The dynamics of interaction of the test sessions

The dynamics of interaction / contributory phases

1st prototype design (video narration)/CH re-production

Santa Caterina da Siena vede uscire una fiamma dall’ostia consacrata di Battista Costa

1st test (expert users): Contemplative fruition

This simulated painting, mediated by portable devices, has been evaluated by the users as a fashinating narration, effective in capturing and focusing the attention and disclose new contents

1st test (expert users): serious interpretation and contents co-creation Curatorial contents Trans-religions topic: faith and communitarian rituals Specific objects in the paintings: liturgy objects Links to other works of art of the museums: liturgy objects

Santa Caterina da Siena vede uscire una fiamma dall’ostia consacrata fuoriesce una fiamma 1. Video 2. Questionnaire 3. UGC 4. Evaluation

Consistent UGC Friction issues: liturgy, ecstasy The topic in other cultures/religions References to Objects: the bell in Tibetan culture, ritual apparatus (dresses, objects) References to other works of art 8 6 4 2 0

Content co-curation

The new contents architecture has been designed to show cohesion and coherence between institutional knowledge and relevant user generated multicultural content.

2nd prototype design (app)

The app provides a narrative-based multi-sensorial and expanded experience, enabling the three-tiered interaction model of Pares and Pares (2001): explorative (content navigation), manipulative (gestures required for the content’s activation, like pointing at the paintings or at specific details) and contributive interaction (user comments and reference additions).

2nd prototype design (app)

2nd prototype design (app)

2nd prototype design (app)

2nd test (general public): exploration, activation of 3D models, making connection, adding contents, sharing

Cultural heritage re-production and co-creation

Values of cultural heritage re-production and co-creation Simulation vs a space of negotiation and re-enactement of realities In a cultural and technological context where every cultural product is legitimated to be produced and exist, the re-production/reprocibility of simulated and augmented experience should opens to multivocality of culture, opposite to monoliticity, recalibrating the relationship beetween culture provider and culture user Designing platform (experiences and services) for CH re-production and cocreation, enables intangible geographies of meanings, which are potentially endless and continuosly growing, making heritage a shared open-ended system

Values of cultural heritage re-production and co-creation Authenticity vs Consistency and relevance authenticity is led by the authoritativeness and consistency of contents through a co-design and contributory process of serious interpretation and contents cocreation Crucial elements in this work are the creation of trust in UGC (user generated contents): • well-profiled and expert users.

• Clearly differentiate content, via labelling or by a moderation model, thus delineating the museum-authored content from the UGC Social and cultural sustainability factors to evaluate contents • Ownership • Control • impact

Books

intercultural practices at museo diocesano, milano This book presents the process of designing of a museum experience, included in MeLa Project’s research, and accomplished at the Museo Diocesano di Milano.

The museum experience put together many relevant issues for the renewal of museum interpretation, using a design discourse to explore the combination of technological tools and multi-vocal content to enable diverse dynamics of cultural representation.

With contributions by: Rita Capurro, Sara Chiesa, Luca Greci, Eleonora Lupo, Ece Özdil, Davide Spallazzo, Raffaella Trocchianesi. editors Rita Capurro, Art Historian, Ph.D., Independent Researcher Eleonora Lupo, Ph.D., Associate Professor at School of Design, Politecnico di Milano.

cover image — Test with users at Museo Diocesano, Milan, Raffaella Trocchianesi, 2014.

Books

MeLa–European Museums in an age of migrations

12 isbn978-88-941674-0-5

designing multivocal museums Intercultural Practices at Museo Diocesano, Milano

edited by Rita Capurro and Eleonora Lupo

edited by Rita Capurro and Eleonora Lupo

The volume maps the entire process of a cross-disciplinary research to develop possible scenarios that can be translated not only as test verification of the theoretical investigations but also into the production of various experimental exhibition designs.

designing multivocal museums

designing multivocal museums

Thanks! Teşekkürler!

Eleonora.lupo@polimi.it