Epilogue: Renaissance Somaesthetics in a Digital World

Author:

Terry-Fritsch Allie1

Affiliation:

1. Bowling Green State University

Abstract

The epilogue highlights a somaesthetic turn in contemporary pedagogical tools used to teach the Renaissance and engage virtual viewers. It highlights select cases of digital humanities projects to demonstrate how researchers have provided new sensory-driven access to historical experience, and explores how the digital platform disrupts hegemonic discourse through its design, which relies on a user’s actions to generate a personalized experience. The epilogue argues that mindful interaction with these tools provides a means to come to know Renaissance works through the body and points to the constructive ways that somaesthetic cultivation can reinvigorate the first-hand experience of art in the museum and beyond.

Publisher

Amsterdam University Press

Reference43 articles.

1. Barker, Emma. “Introduction.” In Contemporary Cultures of Display. Edited by Emma Barker, 8-21. London: The Open University, 1999.

2. Belting, Hans. “Photography and Painting: Thomas Struth’s Museum Photographs.” In Thomas Struth, Museum Photographs, with texts by Hans Belting, Walter Grasskemp, Claudia Seidel. Translated by Michael Robertson, 5-28. Munich: Schirmer/Mosel, 1998.

3. “Bill Viola. Electric Renaissance.” Palazzo Strozzi. https://www.palazzostrozzi.org/mostre/bill-viola/?lang=en (accessed 9 September 2019).

4. “Bill Viola: The Greeting.” Philadelphia Museum of Art, 2005. https://www.philamuseum.org/exhibitions/2005/77.html (accessed 9 September 2019).

5. Brown, Kate. “‘The Louvre Is Suffocating’: Staff at Paris’s Top Museum Go on Strike as Visitor Numbers Surge.” Artnet, May 28, 2019. https://news.artnet.com/art-world/louvre-strike-may-27-1557757 (accessed 9 September 2019).

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