{"id":9148,"date":"2020-05-27T17:07:30","date_gmt":"2020-05-27T15:07:30","guid":{"rendered":"https:\/\/blog.laval-virtual.com\/musees-virtuels-et-realites-museales\/"},"modified":"2020-12-21T14:52:13","modified_gmt":"2020-12-21T13:52:13","slug":"virtual-museums-and-museums-realities","status":"publish","type":"post","link":"https:\/\/blog.laval-virtual.com\/en\/virtual-museums-and-museums-realities\/","title":{"rendered":"Virtual Museums and Museums Realities"},"content":{"rendered":"

Virtual reality<\/a> is becoming more and more popular in the field of culture and art, allowing new experiences of visits but also of creation. The integration of virtual reality questions the traditional approach of museums and leads to their reinvention. Suzanne Beer, Associate Professor of Philosophy and Professor of Digital Arts at the University of Paris-Est Marne-La-Vallée, gives an overview of this new phenomenon by presenting her work and proposing a classification of virtual museums.<\/strong><\/p>\n\n\n\n

A book on the question of the identity of virtual museums<\/h2>\n\n\n\n

Presenting my book, Virtual Museums & Museums Realities<\/a><\/em>, in the context of Laval Virtual’s international virtual reality exhibition, and more precisely Recto VRso, the artistic part initiated and directed by Judith Guez, led me to focus more on the XR and 3D side of my study<\/strong>. The book is written on a theoretical level that starts from a voluntarily very generalist point of view, to ask the question of the identity of virtual museums, sought after because of all the definitional variety they have known since the beginning of their history in the early 90s. This focus loses the question of the documentary filmmakers that virtual museums can only be documents and not real museums, complements, never substitutes.<\/p>\n\n\n\n

Real\/Virtual axis: complementarity and substitution, the challenges of virtualization<\/h2>\n\n\n\n

As the axes of the various conferences of Recto VRso<\/a>, the plan of the relationship between virtuality and reality is not lost<\/strong>. On the contrary, it is at the heart of the XR. The reflection on virtual museums in 3D and VR thus enters on the same level and is anchored in this questioning. If the iconoclastic answer has been lost, the question of the denaturation of the original works by their transposition into digital media is preserved. The problem posed by the reproductive, representational aspect of virtual museums is clearly apparent, even in virtual museums that present natively digital works. The solutions found this year have shown that simulation develops worlds quite different from the real world in which the work must be interpreted in VR. Thus, a reproductive mode is introduced, not a duplicate mode.<\/p>\n\n\n\n

Like any object and world in XR, virtual museums enter into two main relationships with real museums (IRL). They are either in a complementary relationship when they constitute the part of a digital media, in a virtual world, of a real museum. Or the virtual museums are in a relationship of substitution, when their presentation takes the place of a museum exhibition in place of the real museum and when they intend to be by themselves real, instituted museums.<\/p>\n\n\n\n

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