Abstract
This chapter offers insight into the making of the arts and heritage project Mapping Memory Routes of Moroccan Communities as a case study in the wider exploratory research on the application of digital interactive technologies in migration and critical heritage studies. Focusing on the process leading to the creation of the immersive multisensory installation Zelige Door on Golborne Road, it shows how digital interactive arts can contribute to open up a critical and timely space for effective intercultural dialogue amongst different communities, and how this can stimulate a re-evaluation of our interconnected histories and identities beyond heavily stereotyped visual and symbolic representations of “others.” The analysis aims to generate new ideas on the role that participation and digital technologies can play in developing research in contested and precarious social situations.
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Notes
- 1.
On the issue of how sensorial urbanism theory is reflected in the artistic research practice that led to the creation of the installation, see Terracciano 2017a.
- 2.
For a more detailed description of the Memory Sessions, see Terracciano 2017b.
- 3.
Extracts of the Memory Sessions are available online at Living Archaeology of the Place, www.aldaterra.com.
- 4.
In her recommendations about future developments, the evaluator pointed out that those engaged in the Memory Sessions would have liked their video recordings to become a more integral part of the exhibition. She suggested: “The exhibition can become more interactive on a community level by allowing more opportunities for creative community workshops and engagement events such as the Artists Salon and memory sessions. These events would further strengthen the link between the community members, provide more opportunities for intercultural exchange, critical thinking about the various socio political and social change aspects of the programme and build stronger relationships with members of the intercultural community” (Ardakani 2013, 31).
- 5.
I was alerted to this feminist approach in the archiving practice by Astrid von Rosen, co-leader of the Centre for Critical Heritage Studies at Gothenburg University.
- 6.
Amongst these memories, see “Memory of Coriander” at www.aldaterra.com.
- 7.
On issues concerning the production of data in community projects, see Taylor et al. 2015.
- 8.
This second option was developed by the Politecnico di Milano engineers for the presentation of the installation at Tate Modern in May 2018.
- 9.
In the early hours of Wednesday, 14 June 2017, a fridge freezer caught fire in a flat on the 4th floor of a 24-storey residential tower block in the affluent area of North Kensington. The fire caused severe damage to the 1970s building and killed 72 people, spurring an enquiry by the government into “the circumstances surrounding the fire,” including its causes, and why it spread so quickly through the largely combustible cladding system that had been installed during the building’s renovation in 2016. Grenfell United, the group representing the survivors and bereaved, has since then advocated for the investigation to uncover the responsibilities of the owner of the building, the Royal Borough of Kensington and Chelsea, the landlord, the architects, and the suppliers to find out whether or not Grenfell Tower met building regulations, something residents had been disputing well before this deadly fire. See https://www.grenfelltowerinquiry.org.uk.
- 10.
For a discussion on the creation of digital collective memories, see Steels and Tisselli 2008.
- 11.
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Terracciano, A. (2020). Mapping Memory Routes: A Multisensory Digital Approach to Art, Migration, and Critical Heritage Studies. In: Meerzon, Y., Dean, D., McNeil, D. (eds) Migration and Stereotypes in Performance and Culture. Contemporary Performance InterActions. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-39915-3_15
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