Transcoding of Game Design into Museology: An Object-Oriented Perspective

A reflection of transcoding is projected in the context of museums as cultural heritage institutions that seek innovative ways for converting and tapping into the realm of mass and social media. In parallel with the New Museology movement having been discussed since 1970s critiques of traditional curatorial practices argue that ordinary objects are more informative than precious elements. Based on critical reflections of the novel The Museum of Innocence by Orhan Pamuk, this paper presents an analysis of its main stakeholders (object, visitor and collector) in the context of heritage. Hereby the New Aesthetic that employs variety of digital technologies is discussed of how a contemporary curatorship sits in contrast to conventional comprehension of arts in respect of the phenomena itself. Arguably critical to Kant’s philosophy, object-oriented ontology suggests to go further than the relations between humans and computers. The argument between opponents and supporters of the movement is whether a machine can define our aesthetic apprehension; whether we can experience the world through their eyes; or rather if transcoding from digital to cultural is worthwhile. Having provided all these background information to ground its focus on its place, this paper is limited to a comparatively analyse of Pamuk’s The Museum of Innocence and a digital heritage project, The Museum of Gamers in terms object-oriented perspective as contribution to the aforementioned knowledge.