HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage
HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (tangible and intangible), thereby promoting participatory curatorship by mobilizing communities of practice. Developed over a three-year period by a European consortium, the project was based on a coopera...
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| 出版年: | URI:https://journals.openedition.org/transposition, |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Anglais |
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Transposition
2019
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| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:transposition_3410 |
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openedition |
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openedition-oai:revues.org:transposition_3410 https://doi.org/10.4000/transposition.3410 urn:doi:10.4000/transposition.3410 en https://journals.openedition.org/transposition/3410 2019-11-04T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lmce https://creativecommons.org/licenses/by-sa/4.0/ HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition Félix, Pedro patrimoine fado participation des communautés théorie de l’acteur-réseau études critiques du patrimoine curation participative heritage fado community participation actor-network theory critical heritage participatory curatorship HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (tangible and intangible), thereby promoting participatory curatorship by mobilizing communities of practice. Developed over a three-year period by a European consortium, the project was based on a cooperative ethnography study on the uses and re-uses of historical sound recordings of two cultural manifestations inscribed on the UNESCO ICH list: fado and flamenco. Taking historical sound recordings as a fundamental actor that informs current musical practice, the project focused on overcoming the artificial divide between tangible heritage (historical phonograms) and intangible heritage (musical practice and community of practice knowledge). HeritaMus was designed to display the networks established by all kinds of actors (human and non-human), deepening the understanding of their intricate relationships.This paper introduces the theoretical background of the HeritaMus project and the conceptual challenges that the consortium faced while developing the tool, describes the tool’s main characteristics and processes, and projects future developments. Some research results are also presented concerning politics of representation, the uneven representation of communities of practice and communities of research, the impact of “heritage excess” and the erasure of controversy among heritage practices—topics that are known to practitioners but often overlooked by academia. HeritaMus est un outil numérique permettant de rassembler, de récupérer et de visualiser des données complexes portant sur le patrimoine (matériel et immatériel). Il favorise ainsi une curation participative, en mobilisant les communautés de pratique. Développé pendant trois ans par un consortium européen, ce projet repose sur une étude ethnographique coopérative des utilisations et réutilisations d’enregistrements sonores historiques afférents à deux pratiques culturelles inscrites sur la liste du PCI de l’UNESCO : le fado et le flamenco. Considérant ces enregistrements historiques comme des acteurs fondamentaux qui informent les pratiques musicales actuelles, le projet a tenté de surmonter la distinction artificielle entre patrimoine matériel (phonogrammes historiques) et immatériel (pratiques musicales et savoirs des communautés de pratique). HeritaMus a été conçu pour donner à voir les réseaux établis entre toutes sortes d’acteurs (humains et non-humains), afin d’approfondir l’intelligibilité de leurs relations complexes.Cet article présente le cadre théorique du projet HeritaMus et les défis conceptuels auxquels a été confronté le consortium lors du développement de l’outil. Il décrit également les principales caractéristiques et modes opératoires de cet outil, et envisage les développements futurs du projet. Certains résultats de recherche sont également présentés à propos des enjeux politiques des dispositifs de présentation, de la représentation dissymétriques des communautés de pratique et des communautés de recherche, de l’impact de « l’excès patrimonial », et de l’effacement des controverses au sein des pratiques patrimoniales – des questions bien connues des praticiens mais souvent négligées par le monde universitaire. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
patrimoine fado participation des communautés théorie de l’acteur-réseau études critiques du patrimoine curation participative heritage fado community participation actor-network theory critical heritage participatory curatorship |
| spellingShingle |
patrimoine fado participation des communautés théorie de l’acteur-réseau études critiques du patrimoine curation participative heritage fado community participation actor-network theory critical heritage participatory curatorship Félix, Pedro HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage |
| description |
HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (tangible and intangible), thereby promoting participatory curatorship by mobilizing communities of practice. Developed over a three-year period by a European consortium, the project was based on a cooperative ethnography study on the uses and re-uses of historical sound recordings of two cultural manifestations inscribed on the UNESCO ICH list: fado and flamenco. Taking historical sound recordings as a fundamental actor that informs current musical practice, the project focused on overcoming the artificial divide between tangible heritage (historical phonograms) and intangible heritage (musical practice and community of practice knowledge). HeritaMus was designed to display the networks established by all kinds of actors (human and non-human), deepening the understanding of their intricate relationships.This paper introduces the theoretical background of the HeritaMus project and the conceptual challenges that the consortium faced while developing the tool, describes the tool’s main characteristics and processes, and projects future developments. Some research results are also presented concerning politics of representation, the uneven representation of communities of practice and communities of research, the impact of “heritage excess” and the erasure of controversy among heritage practices—topics that are known to practitioners but often overlooked by academia. |
| author |
Félix, Pedro |
| author_facet |
Félix, Pedro |
| author_sort |
Félix, Pedro |
| title |
HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage |
| title_short |
HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage |
| title_full |
HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage |
| title_fullStr |
HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage |
| title_full_unstemmed |
HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage |
| title_sort |
heritamus: a tool for collaborative curation of tangible and intangible heritage |
| publisher |
Transposition |
| publishDate |
2019 |
| container_title |
URI:https://journals.openedition.org/transposition |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.3410 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/3410 |
| _version_ |
1877294183251705856 |