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Доступность и расширение пространства нарративов: конвергентные технологии и семиотика экспозиции в художественном музее
The development of convergent technologies opens up new horizons for expanding the sensory experience of museum visitors, especially the people with disabilities and alternative perception. We argue that augmented reality (AR) technologies, mainly used to develop applications that visually expand physical spaces, may serve not only as a tool of inclusion and immersion, but also an instrument of reviewing the narrative of art history delivered by a classical museum. Although AR technologies are focused mainly on visuality, detecting and localizing objects and images, as well as mapping and augmenting the visual space, they could be employed to expand the museum environment by other sensory modalities, such as sound and tactile sensations. Increasing the level of information accessibility of museum expositions and the independence of the development of exhibition space by people with disabilities is possible, among other things, by providing them access to context-aware information (MoMA, Tate, Garage and other institutions provide examples of such type of curatorship and exposition design).Furthermore, we argue that the issue of contextualization of knowledge received by the museum visitor is considered should be considered in a broader sense: we take the museum as a space of narration, where the main concepts of art history (with its conventional semantic accents and limitations) are shaped, consolidated and delivered. Having analyzed the logic of a classical art museum exposition, we review the 106 107 alternative models for presenting art history narratives (in curatorial projects of A. Malraux, J.-H. Martin and F. Lyotard) and argue that new media may become a tool not only for inclusiveness and immersion, but also for a special type of subjectivation of the viewer involved in the process of creative rethinking of the history of art. Inclusiveness, immersion and semantic flexibility provided by new media makes museums a space for an open dialogue. Instead of outlined birders and «ready-touse» senses an exhibition can show how «other things are possible». We argue that curatorial experiments and media applications dedicated to art can turn a museum into a zone of seeking that awakens the viewer to an independent search for subtle meanings and stories that exist on the periphery of the classical history of art. And the new media extensions of museum space, considered in the context of inclusion, may also be viewed as a tool for building new narratives and developing models for a more flexible and complex interpretation of art history in a multipolar world.