Sarah Kenderdine

Sarah Kenderdine is a professor at UNSW Art & Design in Sydney, Australia, and the director of visualisation for the university's transdisciplinary Expanded Perception and Interaction Centre.[1][2] Kenderdine develops interactive and immersive experiences for museums and galleries,[3] often employing interactive cinema and augmented reality.[4]

Career

Kenderdine holds a variety of roles at UNSW. In addition to her professorship and her position with the Expanded Perception and Interaction Centre, she is deputy director of the National Institute for Experimental Arts (NIEA); director of the Laboratory for Innovation in Galleries, Libraries, Archives and Museums (iGLAM); and an associate director of the iCinema Research Centre. She has also been the head of special projects for Museum Victoria since 2003,[5] and is the director of research at the Applied Laboratory for Interactive Visualization and Embodiment at the City University of Hong Kong.

She is a maritime archaeologist and worked as a curator at the Western Australian Maritime Museum from 1994–1997. In her first two years there, she designed and built its website, one of the world’s earliest museum sites. She later designed networks and websites for Museums Australia, for the Association of Southeast Asian Nations and, during the 2000 Summer Olympics, for Intel’s Olympic Games projects. From 1998–2003, she was the creative director of special projects at the Powerhouse Museum in Sydney.

Kenderdine has produced more than 70 exhibitions and installations for museums worldwide and has 35 peer-reviewed publications, including two books. She has created several interactive installations at UNESCO World Heritage Sites, including Angkor Wat;[6] Hampi, India; Olympia, Greece; and numerous sites in Turkey.[7] From 2012–2015, in collaboration with the Dunhuang Research Academy in Dunhuang, China, she directed Pure Land: Inside the Mogao Grottoes at Dunhuang, Pure Land Augmented Reality Edition, Pure Land Henqin and Pure Land UnWired.[8][9] Another project, ECloud WW1, commissioned in 2012 for Europeana, allows interactive browsing of cultural data from World War I.[10]

She also conceived and curated Kaladham/PLACE-Hampi, a permanent museum in Vijayanagar, India, inaugurated in November 2012,[11][12][13][14] and co-directed two installations based on the "Pacifying the South China Sea" scroll, which was displayed at the Hong Kong Maritime Museum in 2013. In 2014, she completed Museum Victoria’s data browser for 100,000 objects: a 360-degree, 3D interactive installation in the museum's galleries.

Kenderdine has served on editorial and advisory boards for SAGE Publications' Big Data & Society,[15] Elsevier's Journal of Cultural Heritage, and the International Conference on Information Visualisation.

Awards

In 2013, for her work on the Kaladham/PLACE-Hampi museum, Kenderdine won the ICOM Australia Award from the International Council of Museums, as well as the Australian Arts in Asia Innovation Award. That same year, she won the Tartessos Award for contributions to virtual archaeology, and an International Congress & Iméra Foundation Fellowship from Aix-Marseille University.

In 2014, she won the Council for the Humanities, Arts and Social Sciences' Prize for Distinctive Work for the Pure Land projects, and in 2015, she was a Rankin Scholar-in-Residence at Drexel University.

References

  1. ↑ "Professor Sarah Kenderdine".
  2. ↑ "Virtual worlds come to Motat". New Zealand Herald. 7 December 2005. an international team that included New Zealand maritime archeologist Sarah Kenderdine.
  3. ↑ "City’s ornate ceilings are projected on mobile dome". The Times of India.
  4. ↑ Linda Morris. "Digital cinema will allow visitors to explore museum archives". The Sydney Morning Herald.
  5. ↑ "Professor Sarah Kenderdine | UNSW Research Gateway". research.unsw.edu.au. Retrieved 2016-03-25.
  6. ↑ Kenderdine, S. 2004. “Stereographic Panoramas of Angkor, Cambodia.” In VSMM2004: Proceedings of the Tenth International Conference on Virtual Systems and Multimedia, edited by H. Thwaites, 612-621. ISO Press.
  7. ↑ Kalay, Y., T. Kvan and J. Affleck, eds. 2007. New Heritage: New Media and Cultural Heritage. Abingdon: Routledge.
  8. ↑ "2015 Pure Land UNWIRED | Associate Professor Stefan Greuter". stefangreuter.info. Retrieved 2016-03-25.
  9. ↑ Kenderdine, Sarah (2013-04-01). ""Pure Land": Inhabiting the Mogao Caves at Dunhuang". Curator: The Museum Journal. 56 (2): 199–218. ISSN 2151-6952. doi:10.1111/cura.12020.
  10. ↑ "ECLOUD WWI". Jeffrey Shaw Compendium. Retrieved 2017-01-03.
  11. ↑ "Project Overview". www.icinema.unsw.edu.au. Retrieved 2016-03-25.
  12. ↑ Kenderdine, Sarah. "PLACE-HAMPI :: Inhabiting the Cultural Imaginary". www.place-hampi.museum. Retrieved 2016-03-25.
  13. ↑ Kenderdine, Sarah (2007-09-23). Wyeld, Theodor G.; Kenderdine, Sarah; Docherty, Michael, eds. The Irreducible Ensemble: Place-Hampi. Lecture Notes in Computer Science. Springer Berlin Heidelberg. pp. 58–72. ISBN 9783540785651. doi:10.1007/978-3-540-78566-8_6.
  14. ↑ Place-Hampi: Inhabiting the panoramic imaginary of Vijayanagara (2013), Heidelberg: Kehrer Verlag
  15. ↑ "Big Data & Society | SAGE Publications Australia". au.sagepub.com. Retrieved 2016-03-25.
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