Sarah Kenderdine

Sarah Kenderdine is a professor at UNSW Art & Design and Director of Visualisation for UNSW’s transdisciplinary initiative Expanded Perception and Interaction Centre.[1][2] Kenderdine researches at interactive and immersive experiences for museums and galleries.[3] In widely exhibited installation works, she has amalgamated cultural heritage with new media art practice, especially in the realms of interactive cinema, augmented reality and embodied narrative.[4]

Career

Kenderdine concurrently holds the position of Professor at UNSW Art & Design and Director of Visualisation for UNSW’s cross-faculty Medical Innovation through Visualisation project and Expanded Perception and Interaction Centre (EPICentre).[1] Kenderdine is Deputy Director of the National Institute for Experimental Arts (NIEA) and Director of the Lab for Innovation in Galleries, Libraries, Archives and Museums (iGLAM) and an Associate Director, iCinema Research Centre. She is also head of Special Projects for Museum Victoria, Australia (2003—)[5] and is Director of Research at the Applied Laboratory for Interactive Visualization and Embodiment at the City University of Hong Kong.

Kenderdine has conceived and created interactive installations on UNESCO world heritage sites including Angkor Wat;[6] The Monuments at Hampi, India; Olympia, Greece; and at numerous sites throughout Turkey.[7] Between 2012-2015 she directed Pure Land: Inside the Mogao Grottoes at Dunhuang, Pure Land Augmented Reality Edition, Pure Land Henqin and Pure Land UnWired, in collaboration with the Dunhaung Academy.[8][9] Commissioned in 2012 for Europeana, ECloud WW1 turned linear browsing of World War I web information into a large scale dynamic exhibition using semantic relationships.

She conceived and curated Kaladham | PLACE-Hampi as a permanent museum located at Vijayanagar, Karnataka, inaugurated in November 2012,[10][11][12][13] and co-directed two new installations based on the ‘Pacifying of the South China Sea Pirates’ scroll which was displayed at Maritime Museum, Hong Kong in 2013. In 2014, she completed Museum Victoria’s data browser for 100,000 objects, in a 360-degree 3D interactive installation in the galleries.

Kenderdine has been a member of professional editorial and advisory boards for the Sage Journal, Big Data & Society;[14] Elsevier's Journal of Cultural Heritage; and the International Conference on Information Visualisation.

Kenderdine was creative director of special projects at the Powerhouse Museum, Sydney from 1998 until 2003. She is a maritime archaeologist, a curator at the Western Australian Maritime Museum from 1994 to 1997, and has written a number of authoritative books on shipwrecks. In 1994 and 1995, she designed and built one of the world’s earliest museum websites for the Maritime Museum, and subsequently award-winning cultural networks/websites for Australian Museums Online, the Association of Southeast Asian Nations, and Intel’s Olympic Games Olympia projects during the 2000 Summer Olympics. Kenderdine has produced more than 70 exhibitions and installations for museums worldwide, and has 35 peer reviewed publications including two books. In 2016 she will write a new coauthored monograph (with Dr Fiona Cameron), Compositions, materialities, dynamics, embodiments: Theorizing digital cultural heritage for a complex, turbulent and entangled world.

Awards

References

  1. 1 2 "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. doi:10.1111/cura.12020. ISSN 2151-6952.
  10. ↑ "Project Overview". www.icinema.unsw.edu.au. Retrieved 2016-03-25.
  11. ↑ Kenderdine, Sarah. "PLACE-HAMPI :: Inhabiting the Cultural Imaginary". www.place-hampi.museum. Retrieved 2016-03-25.
  12. ↑ 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. doi:10.1007/978-3-540-78566-8_6. ISBN 9783540785651.
  13. ↑ Place-Hampi: Inhabiting the panoramic imaginary of Vijayanagara (2013), Heidelberg: Kehrer Verlag
  14. ↑ "Big Data & Society | SAGE Publications Australia". au.sagepub.com. Retrieved 2016-03-25.
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