Bringing the Tangible into the Virtual : Preserving human-silkworm collaboration ​

The connotation of the term ‘virtual cultural heritage (VCH)’ in Hong Kong (HK) tends to refer to virtual reality experiences that replicate physical sites as a form of digital representation and preservation. This raises the question as to whether there are wider and more creative potentialities that are yet to be explored for VCH by HK researchers. To address this question, the authors use Chinese bio-artist Liang Shaoji’s collaboration with silkworms in making sculptural installations as a case study for seeking a more holistic approach to virtualisation that both preserves and presents their trans-species practice. Additional benefits include increased accessibility and dissemination for an ever-changing experience which would help artist and viewers alike. The particular challenges brought by Liang and the silkworms’ art projects lie in two main factors: the ephemeral and meditative ambience dedicated to Daoist philosophical concepts and the erratic and growing traits of some artworks along the time. In regard to the latter trait, certain works constantly change materially and biologically, such as the yellowing process of the silk spun or the lifespan of the species itself including cocooning, egging and urinating. On the other hand, the audience’s on-site space-specific and multi-sensuous experiences with the art projects, such as changes in the works’ appearance depending on viewer interactions and sensations beyond vision and hearing, are also an integral part of viewing this artistic transformation of a cultural heritage practice that is worth translating into a virtual context. We use a combination of data curation, archival science and digital humanities strategies to propose a model that can be used for Liang’s art practice. One author is an anthropologist working directly with Liang; the other is a hybrid artist-archivist-technologist. Through this analysis, the authors plan to apply the resulting process for proposing a VCH experience based on Liang’s work to other bio-artists incorporating Asian religious or philosophical ideas. This paper focuses mainly on the analysis and design required to create such a virtual framework and considerations that should be made for the unique needs of such artists.