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5.2 Redefining and refining the digital cultural asset mapping categories using multi- modal methods
The cultural mapping process adopted for this research goes beyond just the priority heritage assets identified in the Paisley Town Centre Heritage Asset Strategy (Renfrewshire Council, 2014a); my research has revealed points of development for digital cultural asset mapping in this respect, from initial definitions used in section 2.4.1 which are based on the cultural categories used by cultural organisations, towards making better use of the discursive data gained in chapter 4.
As outlined in table 3 it is useful to note that different strategic partners will have varying inclusions or exclusions to cultural activity, and some categories may need some interpretation (for example architecture and heritage may come within a broader definition of environment, or a digital category may not offer subcategories which make specific skills visible such as animation). It is therefore essential to define the categories which are used at the commencement of a research project, be clear on what is included in each category, and use the techniques discussed here to showcase each asset and mark it appropriately.
Through using a multi-modal approach to cultural asset mapping one can begin discussion on both the presence of assets within an area, and then the layers of meaning behind each asset and each category of asset, opening a dialogue on the nature of these assets for both the area which is the subject of the research and the wider meaning of each category in research. This is demonstrated in the specific illustrations below, using one example for each category taken from my research outputs to show how hidden cultural heritage stories (introduced in the hidden heritage typology in table one) are revealed.
Table 8-examples of the practical application of understanding cultural assets from the findings in my research
Category | Digital cultural asset mapping | Cognitive mapping | Digital storytelling |
Community | Location of community centres | Insight into which community assets are used | Importance of community clubs for social life |
History, heritage and architecture | Distribution of statutorily protected assets | Most “cherished” buildings and assets (through frequency of appearance) | Hidden heritage: memories of an event happening at an asset |
Sport, leisure and open space | Presence of parks | How parks are used | Football match stories |
Film, broadcast and digital | Location of current cinema screens | Importance of a particular genre (“geek culture”) | Former cinema memories |
Music | Recognised busking stations | Role of participant as skilled musician | Encounters with famous music artists |
Literature and spoken word | Presence of book clubs | Use of bookshops | Participants writing poems and stories |
Category | Digital cultural asset mapping | Cognitive mapping | Digital storytelling |
Visual arts | Presence of artist studios | Demonstration of creative skills through freedom of expression (see map type analysis) | (not mentioned in my research outputs- opportunities do exist to explore this) |
Theatre and dance | Presence of opportunity to practice dance genres | Presence of former dance halls | Memories of dance halls |
Fashion, design, craft and applied arts | Presence of formal learning opportunities for this category genre | Shops visited in this genre | Documenting the manner in which fashion items were purchased |
Events and festivals | Geographical spread of events | Attendance at events | Thoughts on Paisley 2021 |
My research demonstrates that the categories identified in section 2.4.1 on digital cultural mapping should remain as categories for cultural assets, as I successfully addressed the research objectives in section 1.2 through creating the digital cultural asset map to reveal and document cultural heritage, and then exploring it through creative methods (the multi-modal approach), demonstrating that there is potential to adapt cultural categories for thematic explorations.
The findings from using multi-modal approaches offer additional insights into cultural asset trends, suggesting that if one is aiming to explore a more inclusive exploration of the cultural landscape of an area, widening the scope for cultural discussion beyond creative disciplines (such as film or theatre) and specific cultural occurrences (events and festivals) to embrace a discussion of everyday activities, as this shows the depth of cultural life for each asset across time and its integration with different strands of civic life. The concept of community
heritage must also be embraced within cultural mapping, as without this it risks perpetuation of AHD:
“Although heritage is something that is done at places, these places become places of heritage because of the events of meaning making and remembering that occur at them, and because they lend a sense of occasion and reality to the activities occurring at them” .(Smith, 2011, p.23)
This has implications for my study in that venues which the participants recognised as important within their mapping studies (such as the Blend café) fit the definition of what Smith (2011) sees as constituting heritage, whereas if this café was not in a listed building it would not fit in with a more traditional definition of heritage under AHD, and it may be missed in a scoping exercise.