(IN)TANGIBLE HERITAGE(S)

Abstract

Re-presenting artefacts and buildings within a cultural and creative environment is a challenge that is constantly evolving. The temporal and geographical manipulation of historic objects allows for a déjà vu effect, warming the audience to what they know to be familiar prior to its being altered and re-presented. The re configuration of known objects evokes a dichotomous response of knowing/not knowing at the same moment, offering up the opportunity of innovation and technological advancement. It is this manipulation of the familiar to create the unfamiliar that sits on a knives edge of recognition and bewilderment. Connecting the known and unknown via a moment of recognition and vague understanding creates an interstitial space allowing for the exploration of different digital technologies in pursuit of an understanding of physical and digital interpretations of interstitial space through the extension of surface imagined in this way the interstitial becomes both figurative and innovative. Supposing a philosophy of experimentation this paper proposes delving into the zone of the artefact or historic object/building and the ‘surface’, both visible and imagined as friction between the built form or object and the body in pursuit of innovation. Radiating in many directions at once, creating connections between disciplines and multiplying possibilities to create an art of multiples that is held in place by disjunctive syntheses to trigger a glimpse into a previously unperceived world. Supporting the choice to refer to Deleuzian philosophy, a philosophy that radiates in many directions at once and creating connections between disciplines, an art of multiples. Of particular interest is Marjan Colletti’s work on ornamentation and surface and the manifested digital representation.