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A Critical Practice-Based Exploration of Interactive A CRITICAL PRACTICE-BASED EXPLORATION OF INTERACTIVE PANORAMAS' ROLE IN HELPING TO PRESERVE CULTURAL MEMORY by KAROL KWIATEK A thesis submitted to the University of Plymouth in partial fulfilment for the degree of MASTER OF PHILOSOPHY School of Architecture, Design and Environment Faculty of Arts February 2013 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. Abstract Karol Kwiatek A critical practice-based exploration of interactive panoramas' role in helping to preserve cultural memory. The rapid development of digital communication technologies in the 20th and 21st centuries has affected the way researchers look at ways memory – especially cultural memory – can be preserved and enhanced. State-of-the-art communication technologies such as the Internet or immersive environments support participation and interaction and transform memory into ‘prosthetic’ experience, where digital technologies could enable 'implantation' of events that have not actually been experienced. While there is a wealth of research on the preservation of public memory and cultural heritage sites using digital media, more can be explored on how these media can contribute to the cultivation of cultural memory. One of the most interesting phenomena related to this issue is how panoramas, which are immersive and have a well-established tradition in preserving memories, can be enhanced by recent digital technologies and image spaces. The emergence of digital panoramic video cameras and panoramic environments has opened up new opportunities for exploring the role of interactive panoramas not only as a documentary tool for visiting sites but mainly as a more complex technique for telling non-linear interactive narratives through the application of panoramic photography and panoramic videography which, when presented in a wrap-around environment, could enhance recalling. This thesis attempts to explore a way of preserving inspirational environments and memory sites in a way that combines panoramic interactive film and traversing the panoramic environment with viewing the photo-realistic panoramic content rather than computer-generated environment. This research is based on two case studies. The case study of Charles Church in Plymouth represents the topical approach to narrative and focuses on the preservation of the memory of the Blitz in Plymouth and the ruin of Charles Church which stands as a silent reminder of this event. The case study of Charles Causley reflects topographical approach where, through traversing the town of Launceston, viewers learn about Causley’s life and places that provided inspirations for his poems. The thesis explores through practice what can be done and reflects on positive and less positive aspects of preserving cultural memory in these case studies in a critical way. Therefore, the results and recommendations from this thesis can be seen as valuable contribution to the study of intermedia and cultural memory in general. I II Table of contents Abstract ......................................................................................................................... I Table of contents......................................................................................................... III List of figures ............................................................................................................ VII List of tables ............................................................................................................... XI Acknowledgements .................................................................................................... XII Author’s declaration................................................................................................. XIII Works published in the course of this research ......................................................... XIV 1. Introduction ....................................................................................... 1 1.1. Communicative vs cultural memory ................................................................ 1 1.2. A gap in knowledge ........................................................................................ 3 1.3. Context for the research .................................................................................. 7 1.4. Structure of the thesis...................................................................................... 8 2. Public and cultural memory ............................................................ 10 2.1. Public memory.............................................................................................. 12 2.2. Cultural memory ........................................................................................... 15 2.3. Features of public and cultural memory ........................................................ 20 2.4. The role of communication technologies in supporting memory .................... 24 2.5. Methods for preserving memory ................................................................... 29 2.5.1. Non-active forms of preserving memory ......................................................................31 2.5.2. Active forms of preserving memory .............................................................................57 2.6. Conclusion .................................................................................................... 60 III 3. Interactive narrative as an active method of preserving memories .......................................................................................... 64 3.1. Theoretical foundations of the narrative ........................................................ 65 3.2. Narrative and memories ................................................................................ 69 3.3. Spatial narratives........................................................................................... 74 3.4. Panoramic traversing and inter-visibility ....................................................... 78 3.5. Interactive narrative ...................................................................................... 84 3.6. Interactive film ............................................................................................. 98 3.7. Conclusion .................................................................................................. 111 4. Immersive environment as a location of transmitting cultural memories ........................................................................................ 116 4.1. The typology of immersive environments ................................................... 117 4.2. The re-evaluation of panoramas .................................................................. 125 4.3. How to view panoramas? ............................................................................ 133 4.4. Navigable spaces......................................................................................... 136 4.5. Panoramic environments ............................................................................. 143 4.6. Conclusion .................................................................................................. 163 5. How to face the task ...................................................................... 167 5.1. Practice-based cases in detail ...................................................................... 168 5.2. The selection of practice-based cases .......................................................... 169 5.3. Conclusion .................................................................................................. 179 IV 6. If only this monument could speak ............................................... 181 6.1. The history of Charles Church .................................................................... 182 6.2. Ruins as reminders ...................................................................................... 188 6.3. Creation of the narrative ............................................................................. 191 6.4. Summary .................................................................................................... 218 7. Inspirational locations and artefacts of a Twentieth Century poet ................................................................................................. 222 7.1. Charles Causley, his town and his poetry .................................................... 222 7.2. The role of artefacts in preserving Causley’s memory ................................. 232 7.3. Creation of the narrative ............................................................................. 236 7.4. Summary .................................................................................................... 256 8. What can be learnt from cases ...................................................... 260 8.1. Insights about panoramas ............................................................................ 261 8.2. Insights about interaction ............................................................................ 265 8.3. Insights about image spaces ........................................................................ 268 8.4. Physical vs digital preservation. What is the strategy of the future? ............. 270 8.5. Conclusions ...............................................................................................
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