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- Josephine Foster -

Thesis Whilst cultural mnemonics are used by the tourism industry to construct a shared narrative of Rome, their curation is an example of how cultural memory is susceptible to being shaped by socially dominate forces. Therefore, this is a research project in which I test ways of de-stabilising narratives by activating methods of alternative perception and representation.

Perception can be understood as the process of how we interpret information to understand our environment. However, individual perceptions are often socially constructed, which throws their claims of truthfulness into doubt. As a tourist, an individual’s perception of Rome is shaped by the tourism industry, which engages cultural mnemonics to tell the history of the city through a series of narratives.

An example of this is are the ruins and monuments of the Foro Romano. Here, it could be considered that the historical curation of these artefacts by those in power was a form of manipulation, in order to achieve certain ideological aims. Today, they exist as isolated objects within a museum city, echoing themes highlighted in dystopian literature.

Dystopias create imagined realities in which they question the structure of society, expressing a caution with regards to mediated messages. By using literary deconstruction to expose internal contradictions within these messages, it can throw into question claims of authenticity of perceived information. This removes the centre of a text and the role of the author is displaced to reveal something more fluid.

By revealing the possibility of multiple interpretations, deconstruction renders any apparently stable communications into a potentially generative suggestion.

By proposing an alternative system of curation, non-linear mapping can be used to represent the intertextuality of signals and signifiers. Furthermore, chance operations provide space for non-intentions by introducing the ‘other’ into the work. The aim is to de-stabilise the fixed narrative of the Foro Romano’s monuments and ruins. The exploration of these narratives is achieved through labyrinthic spaces, representing an endless derive through the deconstruction process.

This labyrinth needs to exist in a digital environment due to its infinite nature. The use of the digital begins to generate further questions about the authenticity of virtual and real spaces and provides an alternative experience of the Foro Romano. In offering an alternative experience, the digital environment creates a dialogical space through its potential connectivity to a large audience. This can be further translated into fully immersive remote experiences.

Through providing an alternative curation of the Foro Romano, it is possible to de-stabilise established hierarchies of information. This diminishes the control over cultural memory held by socially dominant forces, therefore creating opportunities for new interpretations of cultural mnemonics and their narratives.

Part 1 5

Whilst cultural mnemonics are used by the tourism industry to construct a shared narrative of Rome, their curation is an example of how cultural memory is susceptible to being shaped by socially dominate forces.

Part 2 41

Using literary deconstruction to expose internal contradictions, it can throw into question the claims of authenticity of perceived information. This removes the centre of a text and the role of the author is displaced to reveal something more fluid.

Part 3 65

By proposing an alternative system of curation, the aim is to destabilise the narrativization of the Foro Romano’s monuments and ruins. This provides a way to open up cultural memory for multiple interpretations.

Part 4 103

The presentation looks at representing the ongoing nature of the research project. This is achieved through testing methods of nonlinearity and immersion within a digital space, which encourages further interrogation.

Part 5 113

In offering an alternative experience, the digital environment creates a dialogical space through its potential connectivity to a large audience. This can be further translated into fully immersive remote experiences.

Appendix 129

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erception

Perception is the process of how we interpret information to understand our environment. This translation of information is unique for each person due to our individual experiences, beliefs, background and culture. As a result, perception is subjective and cannot be understood to be the truth.

Filters

Stimulus Perception

Unconscious

Time/Space Language Memories Beliefs

Process of perception. Diagram.

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The five senses of perception. Illustration.

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M

nemonic Objects

The creation of a shared perception helps create a society that

exp ediciis

se

qu

functions collectively. Cultural memory assists this by creating a

e st ibu s

was first introduced by Jan Assman, who defined it as ‘the outer

i re t st idun i a c onsequia verspel is

shared narrative of history that is passed between generations. It

at

is

dimension of human memory’. It is assisted through cultural mnemonics, which are works that have the ability to share a narrative.

rcip

sum q

u e no

nsed et qui ut imus a

m r ru e p a mos m o di

qui eum

que venda quo volorem t u a di Ut

se ta

aut elit

Ha

qu

bu ne scie

pore, volore r ctem

itat fuga. Lentem estiu s ut

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ria

ov i t i ai um

qui od atetur sum Equisqu

tem in comnias i um

em

n

lec um e ut e dol res t

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tore pliq

uam et que v ole s t i o n e s t a ut

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Object Le nde

eum

la et empovUdame na t

Narrative

Mnemonic object. Diagram.

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offi ciu m

Mneumonic objects. Illustration

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Narrative

Individual Perception

Shared Perception

Mneumonic Objects Shared perception through a mnemonic object. Illustration.

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ome

As a tourist, our perception of Rome is shaped by the tourism industry which engages the cultural mnemonics to tell the history of the city. The tourism industry advertises this as being possible ‘in a day’. I experienced the fast track quality of the tourism industry in different cities, as part of an 11 day road trip through Europe, this included Rome.

Experiencing Rome’s tourism industry. Illustration.

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ome

Rome’s cultural history is told through the narratives of mnemonic objects, specifically, the ruins and monuments located throughout the city. These are advertised as the main sightseeing attractions and sub-sequently exist isolated from the city itself.

As sites of memory, they allow us to place ourselves within a moment of time.

Originating with the myth of Romulus and Remus in 753BC, the power of Ancient Rome was so strong that Ancient Romans believed it would last forever. Subsequently the city became known as ‘eternal’, an empire without end. Despite the fall of the Roman Empire, the rich history and myths intwined with this city carry this belief on.

Tourism map of Rome. Illustration.

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F

oro Romano

The Foro Romano is a mnemonic institution which contains a collection of ruins and monuments that provide an insight into the birth, life and death of the Roman Empire.

After the collapse of the Roman Empire, it fell into ruin and in the 18th century it was primarily used as farmland and pastures.

Mussolini aimed to liberate the ancient ruins from centuries of neglect and incorporate them into the plan of a new modernist city. Within today’s society, they exist as a tourist attraction.

As a site it is composed of a series of routes and objects, with information boards that provide a brief narrative for each object.

Via Dei Fori Imperiali Fixed Entry/Exit Objects Paths

Site configuration. Diagram.

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Tourism map of the Foro Romano. Illustration.

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F

oro Romano

The Foro Romano is a mnemonic institution which contains a collection of ruins and monuments that provide an insight into the birth, life and death of the Roman Empire.

After the collapse of the Roman Empire, it fell into ruin and in the 18th century it was primarily used as farmland and pastures.

Mussolini aimed to liberate the ancient ruins from centuries of neglect and incorporate them into the plan of a new modernist city. Within today’s society, they exist as a tourist attraction.

21

As a site it is composed of a series of routes and objects, with information boards that provide a brief narrative for each object.

12 23

03 20 25 08

09

18

05 15 01 17 19 06 13 16 24 10 11 14

07

04

22

02

Via Dei Fori Imperiali Fixed Entry/Exit Objects Paths

Site configuration. Diagram.

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Tourism map of the Foro Romano. Illustration.

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01 Arco di Augusto

02 Arco di Costantino

03 Arco di Settimio Severo

04 Arco di Tito

05 Basilica Aemilia

06 Basilica Giulia

07 Basilica di Massenzio

08 Colonna di Foca

09 Curia Iulia

10 The Atrium Vestae

11 Lacus Juturnae

12 Carcere Mamertino

13 Regia

14 Santa Maria Antiqua

15 Tempio di Antonino e Faustina

16 Tempio di Castore e Polluce

17 Tempio di Giulio

18 Tempio della Pace

19 Tempio di Romolo

20 Tempio di Saturno

21 Tempio di Venere Genitrice

22 Tempio di Venere e Roma

23 Tempio di Vespasiano

24 Tempio di Vesta

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Mnemonic objects of the Foro Romano. Illustration.

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Paths of the Foro Romano. Illustration.

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Paths of the Foro Romano. Illustration.

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Construction for the Tempio della Pace began in 71AD and was completed in 75AD. Following the suppression of the Great Jewish Revolt, Vespasian came to power. One of the first tasks of his new administration was the restoration of the city, to build a forum that would house a temple dedicated to the goddess Pax, the goddess of peace.

Tempio della Pace site section showing reader object relationship. Illustration.

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uthor

The dialogue between author and reader is a critical relationship.

Often the author has a fixed intent, and as a result, they wish to control the reader’s interpretation. They achieve this through

Author

their choice of language, structure and selection of information.

Linear text is a method of structuring text where the reading path follows a fixed route. Through representing information as linear and fixed, it restricts the possible interpretations by the reader, and helps strengthen the author’ intent.

The author has the potential to manipulate information through careful selection, deletion and distortion of opposing views, in an aim to control the reader’s interpretation of their work. If this information is manipulated by a person in power, we interpret it to be the truth. Nietzsche states how “All things are subject to interpretation. Whichever inter-pretation prevails at a given time is a function of power and not truth.”

Reader - writer dialogue. Illustration.

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Linear text. Illustration.

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Manipulation of text. Illustration.

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ystopias

Dystopias exist as a form of deconstruction, which through imagined realities question the structure of society. Different types of dystopias exist, looking at how ‘government control’ explores our relationship with authorship and power in the manipulation of memory.

Within 1984, the memory of society is constantly under control through the reduction of language into ‘newspeak’, and the regulation of published information. “Who controls the past controls the future. who controls the present controls the past.”

Fahrenheit 451 is a systematic burning of all literature enforced by the state. It is an example of how those in positions of power can erase memory, which leads to a society of forgetting where mistakes are repeated and the world ends in war. Through this it highlights the importance of conflict of thought and philosophy in a functioning society.

As seen in Brave New World, society is conditioned into one mode of thinking and existing, where any reference to past life and memory is done so with derision to savages. The savages exist within ‘the reservation’, a museum relic and reminder to the ‘world state’.

Dystopias reflection on society. Illustration.

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Airstrip One Atomic Wars Big Brother bellyfeel blackwhite Chestnut Tree Cafe chocorat crimethink Disputed Territories doubleplusdoublethink duckspeak Eastasia Eurasia facecrime Floating Fortress The Golden Country Goldstein, Emmanuel Goldstein’s Book goodthinker hate week Ingsoc joycamp malreported memory hole Miniluv Minipax Miniplenty he past was alterable. The past never had been altered.

Minitrue Newspeak Oceania was at war with Eastasia. Oceania had always Oceania been at war with Eastasia.”

Oldspeak oldthink Outer Party ownlife Physical Jerks prole prolefeed Recdep Reclamation Centre resistance Room 101 speakwrite Telescreen Thinkpol two minute hate unperson considered thoughtcrime. vaporized versificator Youth League

1984

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451

“T

Government control of memory within 1984, George Orwell. Illustration.

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Government control of memory within Fahrenheit 451, Ray Bradbury. Illustration.

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T

hird Rome

Following the 1922 ‘March on Rome’, Benito Mussolini was put in power and began his ‘Fascist Revolution’. As part of the fascist propaganda, ancient Rome was idealised and The Cult of the Romanita was used for its symbolic value as justification for the intentions of fascist ideology. Ancient and Fascist Rome were to be connected; Mussolini hoped to establish himself as the new Augustus. Ultimately, he aimed to create a Third Rome which would unite Italy and be the successor to the previous Roman Empire.

It can be argued that the ruins were banalized by Mussolini in the appropriation of history for his own purpose. Through using the authority of the ancients to verify his own behaviour, fascism also had a requirement to surpass the ancient’s reputation. Mussolini flaunted his power to show that he could manipulate the ruins to his own purpose. By contrast, the fascist regime could instead be understood to be the ‘true’ rebirth of Rome. Ultimately, Mussolini’s instrumentalization of monuments resulted in their banality.

We are conditioned within society to read ruins as truth, the history we want to remember. Whilst everything falls to decay, it is impossible to preserve everything. Therefore, there exists a conscious decision within the preservation of ruins. As such we are exposed to “strategic forgetting and selective remembrance”.

Ruins exist as sites of memory, but as ruins are curated, displayed and exhibited, the cultural memory of society can be controlled.

Benito Mussolini’s fascist revolution. Illustration.

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“My ideas are clear, my orders are precise and I am sure that they will become a concrete reality. Within five years Rome must appear marvellous to all the peoples of the world: vast, ordered, powerful, as it was in the days of the first empire of Augustus.`

You will continue to free the trunk of the great oak from all that still hinders it. You will make way around the Theatre of Marcellus, the Capitoline Hill, the Pantheon; everything which grew up around them in the centuries of decadence must disappear.

Within five years, the Piazza of the Pantheon must be visible from the Piazza Colonna.

You will liberate the majestic temples of Christian Rome from profane and parasitic constructions. The thousand-year monuments of our history must stand as giants in necessary solitude.

Thus the third Rome will spread over other hills, along the banks of the sacred river, up to the beaches of the Tyrrhenian Sea.

You will remove the inane contamination of tramways that clutter the streets of Rome, but you will give new means of communication to the new cities that will rise in a ring around the ancient cities. A straight line, which must be the longest and largest in the world, will lead from the beating surf of our sea, Mare Nostrum, from a reborn Ostia straight into the heart of the city.

You will provide houses, schools, baths, gardens, sports fields to the Fascist working people. You, rich in wisdom and experience, will govern the city in spirit and in matter, in the past and in the future.

Excavation of the roman ruins. Collage.

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Museum City. Collage.

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Part 1 5

Whilst cultural mnemonics are used by the tourism industry to construct a shared narrative of Rome, their curation is an example of how cultural memory is susceptible to being shaped by socially dominate forces.

Part 2 41

Using literary deconstruction to expose internal contradictions, it can throw into question the claims of authenticity of perceived information. This removes the centre of a text and the role of the author is displaced to reveal something more fluid.

Part 3 65

By proposing an alternative system of curation, the aim is to destabilise the narrativization of the Foro Romano’s monuments and ruins. This provides a way to open up cultural memory for multiple interpretations.

Part 4 103

The presentation looks at representing the ongoing nature of the research project. This is achieved through testing methods of nonlinearity and immersion within a digital space, which encourages further interrogation.

Part 5 113

In offering an alternative experience, the digital environment creates a dialogical space through its potential connectivity to a large audience. This can be further translated into fully immersive remote experiences.

Appendix 129

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iterary Deconstruction

Using literary deconstruction theory, opposing hierarchies within the text can be revealed. Whilst we understand literature to present itself as an inherent truth that is in control of its interpretation, literary deconstruction theory and criticism looks at analysing a piece of text due to contradictory meanings it unintentionally offers. By analysing the hierarchies of oppositions within the text, it is possible to deconstruct it and expose its lack of centre.

The aim of this theory was to present a different understanding for how we read texts. Not as factual truth, but as an explorative fiction.

third option

Deconstruction of oppositions in search of a third option. Illustration.

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ole of the Author

Literary deconstruction looks at removing the cente of a text.

Establishing it as a network of signals and signifiers, its meaning is one of ambiguity as many perspectives and readings exist of it. Therefore, true meaning is in the different interpretations that exist as a result of our individual experiences.

Understanding my role as author, the focus is to open the text up for interpretation. This is achieved through the choice of language, structure and selection of information. Non-linear is a method of structuring text where the reading path is decided by the reader. The process of collage represents the intertextual nature of the information. The piece exists as an intertextual whole of signifiers and it’s meaning is dependent on a vast network of other understandings.

Reader - writer dialogue. Illustration.

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Linear / Fixed

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Non-Linear

Linear structure, fixed authorial intent. Illustration.

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Non-linear structure, allowing for multiple interpretations. Illustration.

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lternative Narratives

Focusing on the cultural mnemonic the Tempio della Pace, I began the process of remapping it’s narrative into something ambiguous. The creation of a non-linear mapping of the qualitive aspects deconstructs the hierarchy of the site’s fixed narrative, whilst representing the intertextuality of signals and signifiers.

This whole process opens it up to interpretation through enabling multiple reading paths.

Easel. Illustration

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Information gathered from books, journals, websites, site, etc..

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Development of esquisse board. Photograph.

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Caption.

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ye Tracking

Chance operations provide the opportunity to introduce the ‘other’ into the work, by allowing space for non-intentions.

Through creating a non-linear mapping, I open the work up to different interpretations. Our eyes read in a series of fixations and saccades. Through the use of a camera and eye tracking software, these precise eye movements composing different reading paths can be recorded. In this process, I assume the role of envisioner, where I am in control of the apparatus in the production of technical images.

Eye tracking. Illustration.

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Eye tracking. Illustration.

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Study 1. Alexander

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Study 2. Niamh

Study 3. Marina

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e-experiencing

By using projection mapping, it becomes possible to make the previously unseen visible, and experience alternative reading paths of the site. The eye is re-embodied in the act of derive.

Through projecting and contrasting alternative reading paths, moments are created that allow for conflict and discussion.

Eye tracking. Video Frames. https://youtu.be/F8QwZcwZuzc

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Projection mapping of the eye tracking study. Photograph. https://youtu.be/pQxUBfHRFqE

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Part 1 5

Whilst cultural mnemonics are used by the tourism industry to construct a shared narrative of Rome, their curation is an example of how cultural memory is susceptible to being shaped by socially dominate forces.

Part 2 41

Using literary deconstruction to expose internal contradictions, it can throw into question the claims of authenticity of perceived information. This removes the centre of a text and the role of the author is displaced to reveal something more fluid.

Part 3 65

By proposing an alternative system of curation, the aim is to destabilise the narrativization of the Foro Romano’s monuments and ruins. This provides a way to open up cultural memory for multiple interpretations.

Part 4 103

The presentation looks at representing the ongoing nature of the research project. This is achieved through testing methods of nonlinearity and immersion within a digital space, which encourages further interrogation.

Part 5 113

In offering an alternative experience, the digital environment creates a dialogical space through its potential connectivity to a large audience. This can be further translated into fully immersive remote experiences.

Appendix 129

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uration

In their current setting, the curation of the Foro Romano’s monuments and ruins may render them as isolated objects within a museum city. However, through alternative curation of the ruins and monuments, by encircling the objects within an installation space, the hope is to achieve an alternative narrativization of the artefacts. This is due to creating a space which provides a platform for alternative stories to be shared, subsequently challenging the site’s fixed narrative.

Tempio della Pace. Object isolated and placed in an installation space. Concept sketch.

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Tempio della Pace. Object isolated and placed in an installation space. Concept sketch.

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I

nstallation Space

This would exist as a fully immersive space that could be occupied by different arts in a series of installations. Ultimately, the space could become home to the acts of philosophy, thinking and conflict, by presenting the opportunity to encourage and engage conflicting thought.

Spherical mapping.

Equirectangle projection..

Field of view within spherical mapping / equirectangle projection.

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M

ultiple Narratives

As these multiple writings occur within the same space, they maintain a dialogue and tension with each other.

Tempio della Pace, connections and tensions between multiple narratives. Illustration.

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Foro Romano, connections and tensions between multiple narratives. Video frames.

Narratives. Equirectangular panorama. Video link. https://youtu.be/RXdixKdONQA Narratives. 360 interactive video. Video link. https://youtu.be/tzoXW-_nDKg

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Foro Romano. Objects isolated and placed in installation spaces. Concept sketch.

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he Library of Babel

Jorge Luis Borges, wrote ‘La biblioteca de Babel’, a universe in the form of a library. It is a series of hexagonal galleries, which contain books of 410 pages; these pages contain every possible combination of 25 characters.

Because of the quantity of possible texts, finding the texts that are comprehensible is impossible, and to those in the libary, ‘that these precious books were inaccessible, seemed almost intolerable.’ Whilst purifiers wander the library, destroying books they understand to be nonsense, wandering decoders are able to translate some into the comprehensible.

Any meaning in the library does not result from the writing of the books but meaning is projected into the texts by the inhabitants of the library. ‘Without interpreters the library is a meaningless abstraction’.

The Library of Babel, Jorge Luis Borges. Collage.

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abyrinth

The act of deconstruction is impossible to escape. As you utter a truth, it is vulnerable to the next iteration of deconstruction.

“One can never escape from the labyrinth because the activity of escaping makes more labyrinth, the thread of a linear narrative or story”. Within this Derridean labyrinth, it is impossible to escape, further wandering reveals the ‘truth of untruth’.

Three types of labyrinth exist. In the first getting lost is impossible, as you are located on a fixed path to the centre containing a minotaur. The second, with a single entrance and exit and multitude of dead ends, you must require Ariadne’s thread to navigate safely. The third type is the rhizome, an infinite space of interconnecting paths that you can wander indefinitely.

The structure of the proposed rhizomatic labyrinth is a series of interconnecting rooms, which provide a container for the

The Minotaur in the labyrinth. Illustration.

narratives.

Deconstructing Writing

...

Ariadne’s thread. Illustration.

Writing

Reading

Deconstructing

Reading Rhizome. Illustration.

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Rhizomatic labyrinth of multiple routes. Axonometric diagram.

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Structure plan. Drawing.

Structure axonometric. Drawing.

Perspective view of structure. Drawing.

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Narrative placed in structure. Drawing.

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Reader writer dialogue. Perspective section. Illustration.

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Perspective view of a route through the labyrinth. Video frames.

Labyrinth Route. Equirectangular panorama. Video link. https://youtu.be/VfE3a5nFHNc Labyrinth Route. 360 interactive video. Video link. https://youtu.be/ecFWA4HK890

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Perspective view of labyrinth. Technical image.

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Perspective view of narrative within labyrinth. Technical image.

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Perspective view of narrative within labyrinth. Technical image.

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Perspective view of labyrinth. Technical image.

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Equirectangle panorama of narrative within labyrinth. Technical image.

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Equirectangle panorama of inside a narrative within the labyrinth. Technical image.

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- 99 Perspective view of a route through the labyrinth. Video frames.

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Enter

Enter digital labyrinth. Hyperlink. https://indd.adobe.com/view/3dc1693a-b654-4e91-8b05-4ca58efbf13e Digital Labyrinth. Demonstration video. Video link. https://youtu.be/hotu6LhCS8U

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- 101 Projection of labyrinth within home environment. Photograph.

Part 1 5

Whilst cultural mnemonics are used by the tourism industry to construct a shared narrative of Rome, their curation is an example of how cultural memory is susceptible to being shaped by socially dominate forces.

Part 2 41

Using literary deconstruction to expose internal contradictions, it can throw into question the claims of authenticity of perceived information. This removes the centre of a text and the role of the author is displaced to reveal something more fluid.

Part 3 65

By proposing an alternative system of curation, the aim is to destabilise the narrativization of the Foro Romano’s monuments and ruins. This provides a way to open up cultural memory for multiple interpretations.

Part 4 103

The presentation looks at representing the ongoing nature of the research project. This is achieved through testing methods of nonlinearity and immersion within a digital space, which encourages further interrogation.

Part 5 113

In offering an alternative experience, the digital environment creates a dialogical space through its potential connectivity to a large audience. This can be further translated into fully immersive remote experiences.

Appendix 129

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resentation

My presentation occupies a virtual space. As a non-linear video mapping of the ongoing research process, it is an immersive experience of my thesis that can be experienced remotely.

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- 105 Perspective views from interactive presentation. Video frames.

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Perspective view from interactive presentation. Video frame.

Perspective view from interactive presentation. Video frame.

Perspective view from interactive presentation. Video frame.

Perspective view from interactive presentation. Video frame.

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Equirectangle panorama from interactive presentation. Video frame.

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Equirectangle panoramas from interactive presentation. Video frames.

Presentation. Equirectangular panorama. Video link. https://youtu.be/JRmaibq7hlM Presentation. 360 interactive video. Video link. https://youtu.be/a-Jmp0Furh8

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Part 1 5

Whilst cultural mnemonics are used by the tourism industry to construct a shared narrative of Rome, their curation is an example of how cultural memory is susceptible to being shaped by socially dominate forces.

Part 2 41

Using literary deconstruction to expose internal contradictions, it can throw into question the claims of authenticity of perceived information. This removes the centre of a text and the role of the author is displaced to reveal something more fluid.

Part 3 65

By proposing an alternative system of curation, the aim is to destabilise the narrativization of the Foro Romano’s monuments and ruins. This provides a way to open up cultural memory for multiple interpretations.

Part 4 103

The presentation looks at representing the ongoing nature of the research project. This is achieved through testing methods of nonlinearity and immersion within a digital space, which encourages further interrogation.

Part 5 113

In offering an alternative experience, the digital environment creates a dialogical space through its potential connectivity to a large audience. This can be further translated into fully immersive remote experiences.

Appendix 129

Part 1

Part 2

Part 3

Part 4

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Remapping the Neo-Avant-Garde

T

Page

he Digital Library of Babel

one of the many 410-page books. The website presents an example of how the library can be converted into a digital space.

It requires only a structure, a system of navigation, and content for the website to function effectively.

of 410

mqfaby

A digital version of ‘The Library of Babel’ was created by Jonathan Basile. Within which it is possible to select and read

1

1ilugvuf42pgm z1sg85ye4bpr0 wb078ft04gprr ...-w4-s4-v29 Single Page Anglishize Bookmarkable Download Back to Portal

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<< < Random Page > >>

Digital version of ‘The Library of Babel, by Jorge Luis Borges’, created by Jonathan Basile. Collage.

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iewing

The digital world creates a potential dialogical space through its connectivity to a large audience. Widely accessible, from all over the world, everyone is connected to the same space. Ultimately, the space could become home to the acts of philosophy, thinking and conflict, by presenting the opportunity to encourage and engage conflicting thought.

The way we experience the digital space is also to be explored, not just restricted to a computer screen, but by using VR and projectors it is possible to creating fully immersive environments.

Ways of viewing - computer. Illustration.

Ways of viewing - virtual reality. Illustration.

Ways of viewing - projector. Illustration.

- 116 -

Connectivity of the digital world. Illustration.

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igital Labyrinth

This is the start of constructing the digital space through a series of pages, hyperlinks and animations. Accessed and navigated online, it is possible to traverse the digital labyrinth, exploring the narratives of the Foro Romano. Two versions exist, one constricted to a fixed field of view, the other exists as a full equirectangular panorama.

â&#x20AC;&#x153;Enterâ&#x20AC;? https://indd.adobe.com/view/3dc1693a-b654-4e91-8b05-4ca58efbf13e

Enter digital labyrinth hyperlink command. Diagram https://indd.adobe.com/view/3dc1693a-b654-4e91-8b05-4ca58efbf13e.

Digital Labyrinth. Demonstration video. Video link. https://youtu.be/hotu6LhCS8U

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“Up” play up animation hyperlink to page x, y, z+1

“Forward” play forward animation hyperlink to page x, y+1, z

“Left”

“Right”

play left animation

play right animation

hyperlink to page x-1, y, z

hyperlink to page x+1, y, z

“Backward”

“Play/View Narratives” play narrative sequence

“Upload Narratives”

play backward animation hyperlink to page x, y-1, z

“Down” play down animation hyperlink to page x, y, z-1

Navigate through digital labyrinth hyperlink commands. Diagram.

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View narratives within digital labyrinth hyperlink commands. Diagram.

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Structure of content and hyperlinks. Diagram.

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Upload and download process of narratives within digital structure. Illustration.

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aze Navigation

Opposed to hyperlinks as a form of navigation, creating a navigation system that functions through the fixations and saccades of eye movement, would provide a more intuitive system.

Navigation of narratives through eye tracking. Concept Sketch.

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Part 1 5

Whilst cultural mnemonics are used by the tourism industry to construct a shared narrative of Rome, their curation is an example of how cultural memory is susceptible to being shaped by socially dominate forces.

Part 2 41

Using literary deconstruction to expose internal contradictions, it can throw into question the claims of authenticity of perceived information. This removes the centre of a text and the role of the author is displaced to reveal something more fluid.

Part 3 65

By proposing an alternative system of curation, the aim is to destabilise the narrativization of the Foro Romanoâ&#x20AC;&#x2122;s monuments and ruins. This provides a way to open up cultural memory for multiple interpretations.

Part 4 103

The presentation looks at representing the ongoing nature of the research project. This is achieved through testing methods of nonlinearity and immersion within a digital space, which encourages further interrogation.

Part 5 113

In offering an alternative experience, the digital environment creates a dialogical space through its potential connectivity to a large audience. This can be further translated into fully immersive remote experiences.

Appendix 129

Part 1

Part 2

Part 3

Part 4

Part 5

Remapping the Neo-Avant-Garde

T

echnology

My relationship with technology formed a crucial component of the project. My individual knowledge of a wide range of software allowed me to develop a suitable workflow for the production of different virtual spaces. An example of this workflow is shown below.

Narratives

Labyrinth

Adobe Photoshop

Revit

panoramic collage

labyrinth structure

.bmp

.dwg

SketchUp

Autodesk Revit. Screenshot.

Adobe Photoshop. Screenshot.

Arena 4D Data Studio. Screenshot.

Adobe Premiere Pro. Screenshot.

Google SketchUp. Screenshot.

Adobe Indesign. Screenshot.

map to sphere

.3ds Arena 4D Data Studio panoramic videos .mp4 Adobe Indesign construct hyperlink network .epub Adobe Digital Editions view interactive labyrinth or Adobe Publish Online view interactive labyrinth online

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M

p4

The .mp4 files found linked throughout this document, are located within a playlist on YouTube for ease of viewing.

Youtube. Screenshot. https://www.youtube.com/playlist?list=PLb8sfnR9Gp1PypwKdQO42Ef3fBj3CmdA3

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pub / publish online

To create an interactive system of linked pages, the file had to be exported as an .epub which can be viewed through Adobe Digital Editions. However, using Adobeâ&#x20AC;&#x2122;s publish online feature, it can also be hosted through a webpage, increasing the accessibility for everyone to view, whilst removing the requirement to own Adobe.

Digital Labyrinth. Adobe Publish Online. Screenshot. https://indd.adobe.com/view/3dc1693a-b654-4e91-8b05-4ca58efbf13e Digital Labyrinth. Demonstration video. Video link. https://youtu.be/hotu6LhCS8U

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130196428 Josephine Foster Arc 8060 Newcastle University