Travel Reference
In-Depth Information
less) collective memory - making sure that the
person in mind is added to the institutionalized
construction of space and meaning for a specifi c
place, even if he/she is not or will never be pres-
ent there. A relational concept of space helps
understanding these phenomena. Analytically,
the meaning of what is constituted as space is
brought up by the semantic gaze - the linking of
photos attached with a certain meaning.
There are quite a few areas of application
for this way to create virtual cities from photos
using the semantic gaze: from an artistic, collage-
like approach, it can be used in education to
work with digital media (informatics or art) in
combination with a subject like history or social
studies to present interactive pieces of art (or of
social research) at the schools festival.
It could be used in tourism to show the
(short) way to the beach from the intended
accommodation, the way from the nearest train
station to a hotel or different walks around a
historical or religious site to become acquainted
with before going there (or even as part of a
virtual pilgrimage - MacWilliams, 2002 - for
handicapped people).
The imaginary provided supports the
impression of the non-professional background
and therefore has more credibility in terms of
authenticity than photos in glossy brochures or
otherwise professionally generated and distri-
buted images.
Moreover, there are fascinating possibilities
for visualization and research as this 3D model
for virtual cities offers a low-budget and grass-
roots approach to building digital cities without
any need for programming. This can be taken
up again by local interest groups or individuals
to show their neighbourhood, their community -
this has happened in the Asian region so far, but
references to Europe are very rare. In fact, this
software is nearly unknown here.
Building a collage as a network of photos
with semantic links between pictures and places,
the students participating were able to build
their subjective image of the city as a digital city
existing in a medial space - like the offi cial image
production using ordinary Web pages. Showing
fragments of the city's space with a specifi c
importance, these iconographs (a semantic net-
work of photographic essences of places) can
be analysed following a 'semantic gaze' in order
to examine the processes by which identity is
bound to places by repetition, memory or imag-
ination and social networks.
References
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