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ZHIQIANG

LI

 

Digital Birch Bark Jar
at Inner Mongolia Exhibition Hall

2023

Paul Klee’s famous quotation “a drawing is simply a line going for a walk” means that drawing is not just an end result but a beginning. It carries its own magic and life, constantly evolving and connecting with the world around it. However, museum exhibits as artefacts often lose their connection to their surrounding environment, resulting in a lack of contemporary relevance and making it difficult to foster critical perspectives on cultural heritage. Digital interactive data visualisation offers a compelling method of re-establishing these connections, thereby enhancing the relationships between exhibits, visitors, and their shared context. Guided by Ihde’s theory of technological mediation in postphenomenology, which identifies four mediation relationships (embodiment, hermeneutics, alterity, and background), an interactive digital visualisation called “Digital Birch Bark Jar” was developed. This visualisation is based on an ancient birch bark jar unearthed in Zhalainuoer, Hulunbuir City (Han Dynasty, 202 BC–220 AD), which is currently housed in the Inner Mongolia Museum. The project integrates Internet of Things (IoT) and parametric technologies to digitise the exhibit and introduce interactive features. IoT technology is used to collect real-time data on environmental factors in the museum, including sound, humidity, temperature, and visitor proximity—factors considered potentially detrimental to museum exhibits. The collected data are translated into dynamic 3D representations of the artifact through parametric technology. After interacting with the digital visualisation, visitors have the option to 3D print these transformed objects. Visitors’ visual and physical engagement with the 3D models 1) gives them an embodied understanding of and deeper, personalised insights into the artifact’s historical context; 2) enhances the relevance of the focal artifact to contemporary culture; 3) breaks down the traditional binary relationship between visitors and exhibits; and 4) stimulates visitors’ imaginaries of heritage through touch and interaction.

 © 2025 by Zhiqiang Li

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