CONGRESS CANCELED Reproductive Cultures: New Approaches to the Facsimile
Description
The place of facsimiles in recording, preserving, as well as conveying medieval visual and material culture has a complicated relationship with art history and related fields. These likenesses offer tools for study and reflection, as well as material and digital experiences. The time has come to revisit their significance in shaping medieval studies. Facsimiles hold promise for research, access, and collaboration, even as their cost privilege (again) institutions with budgets that can afford to purchase them. In contrast, likenesses available in digital form or circulated as souvenirs and mementos provide greater access but frequently differ from their models with respect to physical characteristics. Facsimiles warrant innovative examination to move beyond the characterization of them as equivocal substitutions for medieval manuscripts and sculpted works. The contexts for the production and use of these works are diverse. How can phenomenology and material culture studies provide new venues to address the relationship between “original” and “copy” as well as history and the present?
Sigrid K. Danielson
CONGRESS CANCELED Reproductive Cultures: New Approaches to the Facsimile
Schneider 2355
The place of facsimiles in recording, preserving, as well as conveying medieval visual and material culture has a complicated relationship with art history and related fields. These likenesses offer tools for study and reflection, as well as material and digital experiences. The time has come to revisit their significance in shaping medieval studies. Facsimiles hold promise for research, access, and collaboration, even as their cost privilege (again) institutions with budgets that can afford to purchase them. In contrast, likenesses available in digital form or circulated as souvenirs and mementos provide greater access but frequently differ from their models with respect to physical characteristics. Facsimiles warrant innovative examination to move beyond the characterization of them as equivocal substitutions for medieval manuscripts and sculpted works. The contexts for the production and use of these works are diverse. How can phenomenology and material culture studies provide new venues to address the relationship between “original” and “copy” as well as history and the present?
Sigrid K. Danielson