Time and Space of Heritage Preservation: Conservation Theoretical Perspective

IF 0.1 0 ART
Kurmo Konsa
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引用次数: 0

Abstract

In this article, I discuss the categories of time and space in light of heritage conservation. I demonstrate that heritage creation is the simultaneous creation of human time and space and that the critical treatment of heritage requires a more specific analysis of these terms. First, I look at how the creation of human space occurs through objects, and how the objects of the physical environment become things, i.e. parts of our living world. The world can only be understood through change. This is a fundamental finding that forms the basis for both elementary senses and complicated philosophies. In order to explain the change in heritage-related space, I am using the terms artificialisation and heritage technology. Artificialisation means the anthropogenic transformation of the environment, which takes place mainly with the help of technological systems. Therefore, the environment encompasses physical, biological and genetic environments, as well as the human culture with its past. In this environment, it is impossible to distinguish between the human and non-human, since they make up a single hybrid whole. Artificialisation is by no means a determined course in history; it is a human means of description, a metaphor that helps to explain the processes ongoing in nature and human society. According to this approach, the heritage process is one technique in the artificialisation of the environment. Although change is central to conservation theory, it is also a concept that causes the greatest doubts and ambiguous interpretations. The reason for this is very simple: change is related to time, which is a foundational concept. In this article, I use metaphysical time models to analyse the life course of things and their damage. Finally, I also refer to the conservation theories of Eugene Viollet-le-Duc and John Ruskin. The essential difference between the conservation theories that are discussed here lies in their attitudes toward time, and the related problems of object authenticity and identity. In the framework of the presentist model, it is not possible to solve the main contradiction connected to restoration. Stylistic restoration ruins the authenticity of buildings as historical documents; however without restoration, the objects would be destroyed and thereby lose their historical value. However, a solution to this dilemma can be found based on the eternalist time model, which helps connect heritage to contemporary time, and avoid its physical, legal, and mental separation from the everyday life of society. The fact that including objects as a part of heritage may damage them instead of preserving them should not be overlooked. The authenticity of an object is not related to any ideal state in its history but to a conceptual, factual and actual state in its wholeness.
遗产保护的时间与空间:保护理论视角
本文从文物保护的角度探讨了时间和空间的范畴。我证明了遗产的创造是人类时间和空间的同时创造,而对遗产的批判性处理需要对这些术语进行更具体的分析。首先,我看了人类空间是如何通过物体来创造的,以及物理环境中的物体是如何成为事物的,即我们生活世界的一部分。只有通过变化才能理解世界。这是一个基本的发现,构成了基本感觉和复杂哲学的基础。为了解释遗产相关空间的变化,我使用了人工和遗产技术这两个术语。人工化是指环境的人为改变,主要是在技术系统的帮助下发生的。因此,环境既包括物理环境、生物环境和遗传环境,也包括人类文化及其历史。在这种环境下,不可能区分人类和非人类,因为他们构成了一个单一的混合整体。人造化绝不是历史上一个确定的进程;它是一种人类的描述方式,一种有助于解释自然界和人类社会中正在进行的过程的隐喻。根据这种方法,遗产过程是环境人工化的一种技术。虽然变化是保护理论的核心,但它也是一个引起最大质疑和模棱两可解释的概念。原因很简单:变化与时间有关,这是一个基本概念。在这篇文章中,我用形而上学的时间模型来分析事物的生命历程及其损害。最后,我还参考了尤金·维奥莱特-勒-杜克和约翰·罗斯金的守恒理论。这里讨论的守恒理论之间的本质区别在于它们对时间的态度,以及与之相关的对象真实性和同一性问题。在现有模式的框架下,不可能解决与恢复有关的主要矛盾。文体修复破坏了建筑作为历史文献的真实性;然而,如果不进行修复,这些物品将被破坏,从而失去其历史价值。然而,解决这一困境的方法是基于永恒主义的时间模型,它有助于将遗产与当代时间联系起来,避免其在物质、法律和精神上与社会的日常生活分离。不应忽视的事实是,将物体作为遗产的一部分可能会损害它们,而不是保护它们。一个对象的真实性与它的历史上的任何理想状态无关,而是与它的整体性中概念的、事实的和实际的状态有关。
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来源期刊
CiteScore
0.20
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期刊介绍: THE BALTIC JOURNAL OF ART HISTORY is an official publication of the Department of Art History of the Institute of History and Archaeology of the University of Tartu. It is published by the University of Tartu Press in cooperation with the Department of Art History. The concept of the journal is to ask contributions from different authors whose ideas and research findings in terms of their content and high academic quality invite them to be published. We are mainly looking forward to lengthy articles of monographic character as well as shorter pieces where the issues raised or the new facts presented cover topics that have not yet been shed light on or open up new art geographies.
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