Page 41 - Studia Universitatis Hereditati, vol 10(2) (2022)
P. 41
ia universitatiscussions influenced the role of promotion of cultural širijo perspektivo dediščinskega turizma in ga selijo v
what do you r eally want? 41 heritage and especially archaeology in cultural tourism svet virtualne resničnosti.
and consumer culture. Ravno IKT naprave lahko na določenem področju po-
Consequently, we can today define heritage tourism trošnje kulturne dediščine, v našem fokusu v prime-
more narrowly as a phenomenon based on visitors’ mo- ru arheologije, omogočijo, da se pri razpravi o vključe-
tivations and perceptions rather than on specific site at- vanju oseb s posebnimi potrebami premik od razprave
tributes. This means that heritage tourism is not only o minoriziranih identitetah k skupni izkušnji. In v tre-
tourism in places categorized as heritage or histor- nutku, ko se prezentacija, to je potrošnja kulturne de-
ic places based purely on the fact that they present his- diščine, premakne iz »avtentičnih« materialnih oko-
tory, but history featured is part of the experience and lij in izkušenj v hiperrealistična digitalna, se zmanjšajo
partially links it with motivations for the trip. New per- razlike med zmožnostmi potrošnje med različnimi čla-
spectives of presentations, including the use of ICT de- ni družbe.
vices are broadening the perspective of heritage tourism
shifting it in to the world of virtual reality. References
It is exactly the ICT devices that in a specific area of cul- Addis, M. 2005. “New technologies and
tural heritage consumption, in our focus in the case of
archaeology, can enable, when discussing the involve- cultural consumption – edutainment is
ment of persons with special needs the shift form the born!” European Journal of Marketing 39
discussion about minorized identities towards a com- (7/8): 729–736.
mon experience. And in the moment when the pres- Barker, A. W. 2010. “Exhibiting archaeology:
entation, this is the consumption of cultural heritage, is Archaeology and Museums.” Annual
shifting from “authentic” material environments and ex- Review of Anthropology 39: 293–308.
periences in to the hyper-realistic digital ones the differ- Boorstin, D. J. 2002. The Image. A Guide
ences between the capacities for consumption between to Pseudo-Events in America. 25th
different members of the society become reduced. Anniversary Edition, New York: Vintage
Books.
Povzetek Cohen, J. 2002. “The contemporary Tourist: Is
Everything Old New Again?” Advances in
V obdobju zadnjih 50 let se je razprava o tem, kaj avten- Consumer Research 29: 31–35.
tičnost v resnici pomeni, premaknila od vprašanj o rea- Compton, J. L. 1979. “Motivations for Pleasure
lizmu, reprezentaciji in realnosti v estetiki in medijskih Vacation.” Annals of Tourism Research 6:
študijah do »avtentičnosti kot ideje«, povezane z naci- 408–424.
onalno identiteto in kulturno dediščino, pa tudi »av- Di Pietro, L., R. Gugilielmetti Mugion, G.
tentičnosti kot strategije« pri trženju in blagovni znam- Mattia and M. F. Renzi 2015. “Cultural
ki krajev. Vse te razprave so vplivale na vlogo promocije heritage and consumer behaviour: a survey
kulturne dediščine in predvsem arheologije v kultur- on Italian cultural visitors.” Journal of
nem turizmu in potrošniški kulturi. Cultural Heritage Management and
Posledično lahko danes dediščinski turizem opredeli- Sustainable Development 5 (1): 61–81.
mo ožje kot pojav, ki temelji na motivaciji in percepci- Eco, U. 1983. Travels in Hyperreality. San
ji obiskovalcev, ne pa na posebnih lastnostih območja. Diego: Harcourt Brace Jovanovich.
To pomeni, da dediščinski turizem ni samo turizem na Farid, M. M. A. and A. A. Ezzat 2018. “The
krajih, ki so kategorizirani kot dediščina ali zgodovinski cultural and economical impacts of using
kraji zgolj na podlagi dejstva, da predstavljajo zgodovi- virtual heritage in archaeological sites
no, ampak je predstavljena zgodovina del izkušnje in jo in Egypt.” Proceedings of Science and
delno povezuje z motivacijo za potovanje. Nove per- Technology 1 (2): 183–197.
spektive predstavitev, vključno z uporabo IKT naprav, Fraser, B. 2018. Cognitive Disability Aesthetics.
Visual Culture, Disability Representations,
what do you r eally want? 41 heritage and especially archaeology in cultural tourism svet virtualne resničnosti.
and consumer culture. Ravno IKT naprave lahko na določenem področju po-
Consequently, we can today define heritage tourism trošnje kulturne dediščine, v našem fokusu v prime-
more narrowly as a phenomenon based on visitors’ mo- ru arheologije, omogočijo, da se pri razpravi o vključe-
tivations and perceptions rather than on specific site at- vanju oseb s posebnimi potrebami premik od razprave
tributes. This means that heritage tourism is not only o minoriziranih identitetah k skupni izkušnji. In v tre-
tourism in places categorized as heritage or histor- nutku, ko se prezentacija, to je potrošnja kulturne de-
ic places based purely on the fact that they present his- diščine, premakne iz »avtentičnih« materialnih oko-
tory, but history featured is part of the experience and lij in izkušenj v hiperrealistična digitalna, se zmanjšajo
partially links it with motivations for the trip. New per- razlike med zmožnostmi potrošnje med različnimi čla-
spectives of presentations, including the use of ICT de- ni družbe.
vices are broadening the perspective of heritage tourism
shifting it in to the world of virtual reality. References
It is exactly the ICT devices that in a specific area of cul- Addis, M. 2005. “New technologies and
tural heritage consumption, in our focus in the case of
archaeology, can enable, when discussing the involve- cultural consumption – edutainment is
ment of persons with special needs the shift form the born!” European Journal of Marketing 39
discussion about minorized identities towards a com- (7/8): 729–736.
mon experience. And in the moment when the pres- Barker, A. W. 2010. “Exhibiting archaeology:
entation, this is the consumption of cultural heritage, is Archaeology and Museums.” Annual
shifting from “authentic” material environments and ex- Review of Anthropology 39: 293–308.
periences in to the hyper-realistic digital ones the differ- Boorstin, D. J. 2002. The Image. A Guide
ences between the capacities for consumption between to Pseudo-Events in America. 25th
different members of the society become reduced. Anniversary Edition, New York: Vintage
Books.
Povzetek Cohen, J. 2002. “The contemporary Tourist: Is
Everything Old New Again?” Advances in
V obdobju zadnjih 50 let se je razprava o tem, kaj avten- Consumer Research 29: 31–35.
tičnost v resnici pomeni, premaknila od vprašanj o rea- Compton, J. L. 1979. “Motivations for Pleasure
lizmu, reprezentaciji in realnosti v estetiki in medijskih Vacation.” Annals of Tourism Research 6:
študijah do »avtentičnosti kot ideje«, povezane z naci- 408–424.
onalno identiteto in kulturno dediščino, pa tudi »av- Di Pietro, L., R. Gugilielmetti Mugion, G.
tentičnosti kot strategije« pri trženju in blagovni znam- Mattia and M. F. Renzi 2015. “Cultural
ki krajev. Vse te razprave so vplivale na vlogo promocije heritage and consumer behaviour: a survey
kulturne dediščine in predvsem arheologije v kultur- on Italian cultural visitors.” Journal of
nem turizmu in potrošniški kulturi. Cultural Heritage Management and
Posledično lahko danes dediščinski turizem opredeli- Sustainable Development 5 (1): 61–81.
mo ožje kot pojav, ki temelji na motivaciji in percepci- Eco, U. 1983. Travels in Hyperreality. San
ji obiskovalcev, ne pa na posebnih lastnostih območja. Diego: Harcourt Brace Jovanovich.
To pomeni, da dediščinski turizem ni samo turizem na Farid, M. M. A. and A. A. Ezzat 2018. “The
krajih, ki so kategorizirani kot dediščina ali zgodovinski cultural and economical impacts of using
kraji zgolj na podlagi dejstva, da predstavljajo zgodovi- virtual heritage in archaeological sites
no, ampak je predstavljena zgodovina del izkušnje in jo in Egypt.” Proceedings of Science and
delno povezuje z motivacijo za potovanje. Nove per- Technology 1 (2): 183–197.
spektive predstavitev, vključno z uporabo IKT naprav, Fraser, B. 2018. Cognitive Disability Aesthetics.
Visual Culture, Disability Representations,
