The Shanghai Museum's "Convergence of East and West - Special Exhibition of Ceramics and Cultural Exchange between China and Europe" uses digital imaging technology to restore the ceiling of the porcelain hall of the Palazzo Santos in Portugal
Digital images that are gradually becoming standard for museum exhibitions are reshaping the public experience – the "China-Europe Ceramics and Cultural Exchange Special Exhibition" recently exhibited by the Shanghai Museum surprises people who look up at the exhibition with the ceiling of the porcelain hall of the Santos Palace in Portugal restored by digital image technology; the newly opened digital display project of the Nanyue Palace Museum in Guangzhou "reappears" the original site of the disappeared palace... In museums that focus on physical display, audiences are increasingly feeling the empowerment of digital imaging technology.
People can't help but wonder why visitors still have to face digital images in museums with artifacts and even treasures. At the recent Museum Digital Imaging Forum held in Shanghai, this topic has aroused heated discussion, and it is clear that the future of museums need to reshape the public experience. In this process, digital imaging technology will become an increasingly necessary means. With the updating and iteration of related technologies, the museum will burst out more possibilities in the future and fill people's spiritual and cultural life.
Let the display of cultural relics penetrate the hearts of the people through the transmission of spatial artistic conception, and digital images are promising
Today, digital exhibitions using digital imaging technology have almost become standard for museum exhibitions. For example, the exhibition hall of the Shanghai Municipal History Museum is limited, and it is difficult to fully unfold the story of Shanghai's 6,000-year-old cultural relics alone, so the application of digital imaging technology runs through the entire exhibition system. Ink-style short films with many aliases such as "Shanghai" and "Shen" in the exhibition hall of "Ancient Shanghai" and important revolutionary historical sites in Shanghai presented in the form of multimedia interactive maps in the exhibition hall of "Modern Shanghai" are all combined with cultural relics to create an immersive scene. At the beginning of the establishment of the China Maritime Museum in 2010, the positioning of the museum was natural and scientific, and at that time, it was equipped with the country's first digital dome theater with the dual functions of both celestial demonstration and dome movie, and it was placed in it to watch movies, as if it was in a space vehicle, enjoying the thousands of meteorological phenomena of the magnificent starry sky, and the auditory sense could also feel the extraordinary shock.
Facing people in the environment of information explosion, the museum not only needs to dig deep into the deep meaning behind the cultural relics collection, but also needs to innovate the forms of expression and expression of cultural dissemination, so that the cultural relics display can penetrate the hearts of the people through the transmission of spatial artistic conception. From the traditional static display of cultural relics to cultural places with spatial artistic conception, it is possible to use digital images as a carrier to create a virtual space to intervene in the cultural space of the museum. Xu Xiaoxiao, deputy director of the Hangzhou Museum, believes that digital images in this process are actually an immersive means of rendering emotions. The "flow" of the picture it presents is not only a visual extravagance and stacking, but also an essential shape of a "psychological space" in the exhibition hall to hold people's emotions and imaginations. Moreover, it often does not exist alone, but is combined with a specific story scene and rendered to show the story and scene sense of the space.
The Yangzhou Grand Canal Museum of China, which opened last year, is a company that is talking about it with innovative and interactive digital video methods. The exhibition hall opens up space and integrates cultural relics into a variety of fascinating large-scale ancient scenes. Among them, in the "Flowing Culture" exhibition, the audience wanders through the mobile theater of water, transportation, poetry and painting, can feel the variety of water, see ancient ships and giant sails from different time and space, and imagine the life of ancient canal people. In the "Boat on the Canal" exhibition, the digital media language of "three-dimensional printmaking" opens up a multi-perspective progressive viewing exhibition for people, creating an immersive experience of "people swimming in the middle of the painting".
The Grand Canal Museum of China in Yangzhou is a buzzword by the industry for its innovative and interactive approach to digital imaging
The best application scenario of digital image in museums is the reconstruction of viewing methods
The application scenario of digital image in the museum should not only stay at the level of explanation, but also need to transform the knowledge points into image methods. Digital image is actually a process of creation, the process of innovation, can glow a part of the new content, digital image in the interpretation of the content of the service function outside the openness is very worth looking forward to, it should be said that the re-creation and reinterpretation of the formation of the dialogue space, will fully amplify the dialogue relationship between the exhibition and the audience.
The reconstruction of digital images for the viewing mode of museums has begun to promote the future of museums from a single display of knowledge transmission to a dynamic participatory visual experience, so that the audience can use their original knowledge and experience to actively generate information meaning through interaction with the outside world. At this point, some new media artworks introduced in some art museums have enlightened the museum, such as linking the five senses with the three-dimensional experience of the eyes, ears, nose, hands, and heart, and realizing the dialogue between people, works, and space by reconstructing time and reorganizing knowledge narratives.
At the same time, the "degree" of digital image application in museum scenes is also worth paying attention to. There have been some exhibitions before the digital means are very dazzling, but they are not perfectly integrated with the core of cultural relics and the theme of the exhibition, and they have not brought a rich and clear cognitive experience to the audience. Taking science and technology museums as an example, they can use a large number of technical means, while historical museums and memorial museums are not exactly the same, they need to use technical means to reflect the value of humanities, in the space provided to the viewer to think, technology can not dominate.
Guangzhou Nanyue Palace Museum's newly opened digital display project allows the audience to see the original site of the disappeared palace "reappear"
Author: Fan Xin
Planner: Xing Xiaofang
Editor-in-Charge: Shao Ling
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