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Auswahl der wissenschaftlichen Literatur zum Thema „Digitalt museum“
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Zeitschriftenartikel zum Thema "Digitalt museum"
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Santos, Edmea, Frieda Marti und Rosemary dos Santos. „O MUSEU COMO ESPAÇO MULTIRREFERENCIAL DE APRENDIZAGEM: RASTROS DE APRENDIZAGENS UBÍQUAS NA CIBERCULTURA“. Revista Observatório 5, Nr. 1 (14.01.2019): 182–201. http://dx.doi.org/10.20873/uft.2447-4266.2019v5n1p182.
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As novas relações que se estabelecem entre a técnica e a vida social geram novas formas de comunicação, de produção cultural e fenômenos sociotécnicos, desenvolvendo uma nova cultura contemporânea, a cibercultura. Diante desse novo contexto sociotécnico, os museus passaram a fazer uso das tecnologias digitais em rede e móveis, visando potencializar a experiência comunicacional e educacional de/com seus visitantes. Este artigo tem como objetivo discutir o espaço museal na cibercultura, apresentando-o como rede educativa e espaço multirreferencial de aprendizagem, e mostrar exemplos de usos das tecnologias digitais em rede por parte dos museus na contemporaneidade.
PALAVRAS-CHAVE: cibercultura; educação museal; aprendizagem ubíqua; ciberpesquisa-formação; espaços multirreferenciais;
ABSTRACT
The new relations established between technique and social life have generated new forms of communication, cultural production and sociotechnical phenomena, developing a new contemporary culture, cyberculture. Faced with this new sociotechnical context, museums began to make use of mobile and online digital technologies, aiming at enhancing the communicational and educational experiences of/with their visitors. This article aims to discuss the museum space in cyberculture, presenting it as an educational network and a multi-referential learning space, and to show examples of use of online digital technologies by museums in the contemporary world.
KEYWORDS: cyberculture; museum education; ubiquitous learning; cyber research-training; multi-referential spaces.
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Göbel, Stefan, und Jens Geelhaar. „Digitale Museumsanwendungen (Digital Museum Appliances)“. i-com 7, Nr. 2/2008 (September 2008): 26–31. http://dx.doi.org/10.1524/icom.2008.0019.
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ZusammenfassungViele Museen suchen heutzutage neue Methoden und Wege, um Museen attraktiver zu gestalten und weitere Museumsbesucher und Zielgruppen anzusprechen. Eine Ausprägung davon stellen Science Center oder Themenparks dar, aber auch Kinder-, Kunst- und Technikmuseen mit digitalen Museum Guides oder „Exponaten zum Anfassen”. Basierend auf diesem Trend haben das ZGDV Darmstadt und die Bauhaus-Universität Weimar unabhängig voneinander multimediale Museumsanwendungen entwickelt, die insbesondere das jüngere Publikum in die Museen locken als auch „etablierte” Museumsgänger durch einen digital erweiterten Wissens- und Erlebnisraum ansprechen soll. Die Fallbeispiele des ZGDV „DinoSim Senckenberg”, „art-E-fact” und das innovative Präsentationssystem „iPX” repräsentieren interaktive Museumsanwendungen zur wissenschaftlich-technischen Simulation von Dinosaurier Laufstudien und der Exploration von Gemälden und Kunstobjekten sowie des menschlichen Körpers innerhalb der seitens des Heinz Nixdorf Museumsforum initiierten Sonderausstellung „Computer.Mensch” direkt vor Ort im Museum; „DinoExplorer Senckenberg” bietet eine virtuelle Umgebung zur spielerischen Exploration von Museumsräumen und Exponaten in Form einer emulierten Museumsrallye. Das digitale Osmantinum spricht den Literatur interessierten Besucher an und ist als mobiles Informations- und Führungssystem auf der Basis eines PDA's konzipiert, ohne die besondere Stimmung der Museumsräume zu stören.
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Jokanović, Milena. „Perspectives on Virtual Museum Tours“. INSAM Journal of Contemporary Music, Art and Technology, Nr. 5 (15.12.2020): 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.
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As a number of world museums have closed their doors for the public due to pandemic of the new Corona virus, curators are thinking of alternative ways of audience outreach: 3D virtual galleries are increasingly created, video guided tours shared, digitized collections put online. The new circumstances unquestionably bring potentials for growth, but carry numerous risks and inconsideration, as well. Many theoreticians argue that the crisis of this scale will undoubtedly fasten the digital transformation in museum and arts sector and consequently, in a much more wide sense influence the identity rethinking. However, the research of audience interest to virtual museum tours show there was a peak of just 3 days visiting these, massively followed by a fast decrease even the social isolation was globally still present and museum buildings still locked. Turning back to the genesis of the virtual museums, in the following paper, we will question why there is no interest to virtual museum content. Do tours answer the needs of the contemporary digital-born audience? Do these represent just a copy of settings from physical galleries or use potentials and logic of the new spaces? Will museums finally transform and enter into so many times nowadays mentioned digital shift answering the need of the new, transmedia perception of audience?
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Soraya, Ayu, und Yusup Sigit Martyastiadi. „Aesthetics of Virtual: The Development Opportunities of Virtual Museums in Indonesia“. International Journal of Creative and Arts Studies 8, Nr. 1 (28.06.2021): 25–33. http://dx.doi.org/10.24821/ijcas.v8i1.5346.
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The Covid-19 pandemic requires us to carry out physical and social distancing. It is undeniable, this also has an impact on government policy to close tourist destinations, including museums. Currently, sophisticated 3D visualization technology provides the potential for the development of virtual museums. The virtual museums were developed for giving the experience of the visiting museum in the digital world as a distance learning. This application can provide immersion through interactivity while exploring virtual museums. Basically, this article explains the aesthetic investigations in some virtual museums. The researchers describe the aesthetic of each sampled virtual museums projects. The literature synthesis of several virtual museums projects is expected to be able to give an idea of the potential development of virtual museums in Indonesia. The aesthetics of virtual elements could be used as a recommendation for museum conservator for the development of prospective Indonesian virtual museums. Furthermore, the aesthetics of virtual in digital museums provide opportunities to present virtual museums exploration experiences. Estetika Virtual: Peluang Perkembangan Museum Virtual di IndonesiaAbstrakPandemi Covid-19 mengharuskan kita melakukan jarak fisik dan sosial. Tak bisa dipungkiri, hal ini juga berdampak pada kebijakan pemerintah untuk menutup destinasi wisata, termasuk museum. Saat ini, teknologi visualisasi 3D yang canggih memberikan potensi untuk pengembangan museum virtual. Museum virtual dikembangkan untuk memberikan pengalaman mengunjungi museum di dunia digital sebagai pembelajaran jarak jauh. Aplikasi ini dapat memberikan immersion melalui interaktivitas sambil menjelajahi museum virtual. Pada dasarnya, artikel ini menjelaskan investigasi estetika di beberapa museum virtual. Para peneliti mendeskripsikan estetika dari setiap proyek museum virtual yang dijadikan contoh. Sintesis literatur dari beberapa proyek museum virtual diharapkan dapat memberikan gambaran tentang potensi perkembangan museum virtual di Indonesia. Estetika unsur virtual dapat dijadikan sebagai rekomendasi bagi konservator museum untuk pengembangan museum virtual Indonesia yang akan datang. Selain itu, estetika virtual dalam museum digital memberikan peluang untuk menghadirkan pengalaman eksplorasi museum virtual.
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Ray, Joyce. „Digital curation in museums“. Library Hi Tech 35, Nr. 1 (20.03.2017): 32–39. http://dx.doi.org/10.1108/lht-12-2016-0154.
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Purpose The purpose of this paper is to present a perspective on the development of digital curation education and practice in museums in the USA. Design/methodology/approach Methods used include: a historical overview of the development of digital curation, originally as a field of practice – primarily in the sciences – and then as a field of study; a case study of the adaptation of a digital curation curriculum (DigCCurr) framework developed in schools of library and information science (LIS) to a museum studies program; and a discussion of trends in digital curation practices in museums. Findings The case study (the digital curation certificate program of Johns Hopkins University’s museum studies program) describes a successful adaptation of the LIS DigCCurr framework in a museum studies program. Practical implications Findings could help to advance the museum field through the integration of digital curation education, practice and research. Social implications By adopting and supporting digital curation practices, education and research, museums can reach and engage more online users seeking information about museum collections. More online users may also become onsite visitors. Originality/value There is little existing literature on digital curation education in museum studies programs.
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Nancarrow, Jane-Heloise. „Democratizing the Digital Collection“. Museum Worlds 4, Nr. 1 (01.07.2016): 63–77. http://dx.doi.org/10.3167/armw.2016.040106.
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ABSTRACTThree-dimensional modeling and printing of museum artifacts have a growing role in public engagement and teaching—introducing new cultural heritage stakeholders and potentially allowing more democratic access to museum collections. This destabilizes traditional relationships between museums, collections, researchers, teachers and students, while offering dynamic new ways of experiencing objects of the past. Museum events and partnerships such as the Metropolitan Museum of Art “Hackathon”; the MicroPasts initiative; and Sketchfab for Museums and Cultural Heritage, encourage non-traditional methods of crowd-sourcing and software collaboration outside the heritage sector. The wider distribution properties of digitized museum artifacts also have repercussions for object-based and kinesthetic learning at all levels, as well as for experiential and culturally sensitive aspects of indigenous heritage. This article follows the existing workflow from model creation to classroom: considering the processes, problems, and applications of emerging digital visualization technologies from both a museum and pedagogical perspective.
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Zheng, Ying, Yuhui Yang, Huifang Chai, Mo Chen und Jianping Zhang. „The Development and Performance Evaluation of Digital Museums Toward Second Classroom of Primary and Secondary School – Taking Zhejiang Education Technology Digital Museum as An Example“. International Journal of Emerging Technologies in Learning (iJET) 14, Nr. 02 (30.01.2019): 69. http://dx.doi.org/10.3991/ijet.v14i02.7897.
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Currently, visiting museums is one activity that gaining its popularity from primary and secondary school students, which makes museum an important part of second classroom. However, this kind of educational activity is limited by several factors such as transportation, time and space, etc., which result in several defects such as limited visiting efficiency, lacks of evaluation for teaching achievements etc. To solve these problems, we put forward a countermeasure program of digital museums towards second classroom for primary and secondary school students. First, we analyzed the studies of second classroom based on the digital museums both in China and other countries. On the basis of such analysis, we took Zhejiang Education Technology Museum as a template to design and develop Zhejiang Education Technology Digital Museum. Then we used theory of pairing design to study the performance of the traditional museum education and the digital museum education respectively. Finally, we evaluated users’ experience of Zhejiang Education Technology Digital Museum by carrying out a questionnaire survey.
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Wang, Yun-Ciao, Chin-Ling Chen und Yong-Yuan Deng. „Authorization Mechanism Based on Blockchain Technology for Protecting Museum-Digital Property Rights“. Applied Sciences 11, Nr. 3 (25.01.2021): 1085. http://dx.doi.org/10.3390/app11031085.
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In addition to the exhibition, collection, research, and educational functions of the museum, the development of a future museum includes the trend of leisure and sightseeing. Although the museum is a non-profit organization, if it can provide digital exhibits and collections under the premises of “intellectual property rights” and “cultural assets protection”, and licensing and adding value in various fields, it can generate revenue from digital licensing and handle the expenses of museum operations. This will be a new trend in the sustainable development of museum operations. Especially since the outbreak of COVID-19 at the beginning of this year (2020), the American Alliance of Museums (AAM) recently stated that nearly a third of the museums in the United States may be permanently closed since museum operations are facing “extreme financial difficulties.” This research is aimed at museums using the business model of “digital authorization”. It proposes an authorization mechanism based on blockchain technology protecting the museums’ digital rights in the business model and the application of cryptography. The signature and time stamp mechanism achieve non-repudiation and timeless mechanism, which combines blockchain and smart contracts to achieve verifiability, un-forgery, decentralization, and traceability, as well as the non-repudiation of the issue of cash flow with signatures and digital certificates, for the digital rights of museums in business. The business model proposes achievable sustainable development. Museums not only achieve the goal of promoting social education, but also solve their financial problems.
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WIASTUTI, Rachel Dyah, Nurul Sukma LESTARI, Ika TRIANA, Anwari MASATIP, Ngatemin NGATEMIN und Bejo MULYADI. „Enhancing Visitor Experiences at Digital Museum Concept in Jakarta“. Journal of Environmental Management and Tourism 11, Nr. 6 (13.09.2020): 1435. http://dx.doi.org/10.14505/jemt.11.6(46).14.
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This study aims to examine the digital compliance of museums in Jakarta towards the accessible information concept. Furthermore, this study also explores the millennials’ perception towards digital technology adoption for museum. Taman Mini Indonesia Indah website was employed to remark the research object. Hence, 18 museums were finalized as of this research object. Data was accumulated through direct field observation in all museums and interview with museum staff. Meanwhile, a survey with questionnaire was distributed to gather the digital technology and accessible information perception of the museum. Also, other accessibility information data was gathered through content analysis. The findings reveal accessible information compliance in term of printed material, digital document, audio visual content, website, application, self- service terminal, and signage. Findings also show that Museum Olahraga turns out to be the most compliance regarding its accessible information and providing digitalization facilities such as interactive digital signage, augmented reality, interactive video mapping, automatic display slider, interactive kiosk, and interactive light show. However, the result shows that only several museums comply with digital context. This research implication is to deliver the best practice for the museum to anticipate future trends to ensure better experiences for the visitors.
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Tong, Y., und Y. Ma. „DIGITAL MUSEUM CONSTRUCTION STANDARDS STUDY“. International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (28.08.2021): 753–60. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-753-2021.
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Abstract. In the post-epidemic era, with the development of digital information technology, there is an extremely urgent need for the construction of digital museums in the field of cultural and museums. However, there is no unified consensus on the concept, function and form of digital museums at home and abroad. The author believes that digital museums are a special form of traditional physical museums and should give full play to digital features and advantages to meet the needs of online and offline integration. This paper is oriented to the practical problems that exist in the realization of the basic functions of traditional physical museums based on collection, management, storage, research, exhibition, education and popularization, and public services. By collating the current standards of digital museums, analyzing the new forms of digital museums domestically and abroad, clarifying the mission of digital museums, proposing the construction and development of digital museums around “human experience”, exploring the standards of digital museum construction, and promoting the industry consensus and standardized management of digital museum construction.
Dissertationen zum Thema "Digitalt museum"
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Karlsson, Matilda. „Bevarande av digitalt kulturarv - en del av museets ansvar?“ Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-43482.
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Begreppet "digitalt kulturarv" har två betydelser: dels digitaliserat fysiskt kulturarv, till exempel digitala kopior av föremål, dels det kulturarv som består av företeelser som skapats digitalt och därmed inte har någon fysisk motsvarighet. Det är det senare området, föremål som i sin ursprungsform är digitala, som denna uppsats fokuserar på. Syftet med uppsatsen är att undersöka om digitala kulturföremål kan räknas som en del av museernas uppdrag, samt hur museer i så fall kan samla in, bevara och visa dessa föremål. Digitalt material bygger inte på att föremålen har en fysisk form, och de ställs därför ofta i motsats till de materiella föremål som museer samlar in och bevarar. Däremot utesluter ingen av de museidefinitioner som undersöks i uppsatsen att museer även hanterar immateriellt kulturarv. Om museet dessutom inte fokuserar på föremålen i sig utan på föremålens betydelser och sammanhang, vilket många menar, så spelar det mindre roll om det som förmedlar betydelsen eller sammanhanget har fysisk form eller ej. Bland andra Unesco har också poängterat att det är viktigt att digitalt kulturarv bevaras. Samtidigt som det digitala kulturarvet växer i omfattning riskerar nämligen de digitala föremålen i sig att försvinna, antingen för att de inte bevaras alls eller för att de inte bevaras på ett lämpligt sätt. Ett av problemen är att de medier som materialet idag lagras på är instabila i sig och bevarande kräver därför att föremålen flyttas till andra lagringsmedier efterhand. En annan risk är att digitala föremål i framtiden inte kommer att kunna avläsas eftersom de maskiner eller den programvara som hanterade dem inte längre finns kvar eller går att använda. Det finns alltså ett antal faktorer som de institutioner som samlar in digitalt material bör vara medvetna om, även om de rutiner som museerna redan har för dokumentation och insamling i många fall även kan appliceras på digitala föremål. Utställning av digitalt kulturarv är en fråga i sig eftersom digitala föremål och helt digitala utställningar kräver ett annat tillvägagångssätt än när museet ställer ut fysiska föremål.
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Nolin, Jenny. „Soffvisningar på Moderna Museet : Nya sätt att förmedla och betrakta konst i ett digitalt, interaktivt format via sociala medier“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446494.
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This essay investigates live-streamed guided tours made by Moderna Museet, so called sofa tours, streamed between February 2020 and April 2021. The aim is to observe, describe and analyze the [Moderna Museet’s] sofa tours using a modality approach as well as relating the sofa tours to physical museum visits, using the concepts of media, mediation, remediation, immediacy and hypermediacy. The research questions concern ways of looking at art when participating in sofa tours and the differences compared to physically viewing art at the museum. In conclusion, the sofa tours made by Moderna Museet offers several alternatives to physical museum visits, not necessarily better or worse. Participants can actually modify their experience of participating in sofa tours and looking at art, for example by choosing to participate live or afterwards, with or without access to other participants comments, questions and reactions as well as choosing between using Facebook, Instagram, YouTube or the museum webpage to access the sofa tours. Comparing sofa tours to physical museum visits showed that both their principal function is to provide opportunities for people to view art together with other people, with or without the aid of a guide. However, most of the mediated space in the physical museum is unavailable to sofa tour participants. On the other hand, the sofa tour creates another set of unique mediations which do not exist in the physical museum space.
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Ziolkowski, Pawel. „Användare av digitala kulturarvssamlingars informationssökningsbeteende på ett exempel på Biblioteks- och Informationsvetenskap studenter och DigitaltMuseum“. Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105459.
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The purpose of this bachelor’s thesis is to examine information search behaviour of a group of Library and Information Science students in the cultural heritage digital collection cross search service DigitaltMuseum and an evaluation of the cross-search service search functionalities’ usability for the end-user. The study aims in understanding the user search behaviour to let the designers of cultural heritage digital collections websites improve the search tools so that the design matches the real needs of the users. After doing simulated search tasks the informants answered several questions about the chosen search strategies and preferable search functionalities. Quantitative analysis shows that simple search and free keywords are the most preferable search methods, however it is not clear why. On one hand it is observed that the users prefer google-like searching, on the other, discussion on the DigitaltMuseum search functionalities shows lack of use of Knowledge Organisation System of any kind which makes the advanced search tool insufficient.
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Phan, Jenny. „Museets moderna postmoderna digitalisering : Hur digitaliseringen av museers kulturarv uppfattas och varför“. Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353614.
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This study is a critical analysis of the various opinions of why museums should digitize their heritage collections. The aim of the study is to break these opinions down and critically analyse them in order to increase our understanding of why digitization is a desirable activity in museums. The purpose is to contribute to sustainable digitization works in the future. The opinions analysed in this study have been identified from three main sources: previous research; official policies and guidelines; and through interviews with the staff at Nationalmuseum in Stockholm, Sweden. An argument analysis was conducted to identify the main positive and negative opinions of digitization. A theoretical perspective based on the societal development from modernity to postmodernity was incorporated into the analysis to uncover why these particular opinions exist. The study shows that while several issues with digitizing the cultural heritage of museums were acknowledged, the attitude towards digitization was predominantly positive. The negative opinions and fears of digitization, such as the potential loss of the physical experience turned out to be either unwarranted or solvable. The positive effects of digitization, such as increased accessibility, outweighed the negative issues. The opinions found in the previous research and the official policies reflected those of the staff who had been working with digitization in recent years at Nationalmuseum. Analysing the opinions showed that digitization is essentially a postmodern activity that caters to the needs and aims of the postmodern society. The reason why museums, that are traditionally modern would resort to a postmodern activity such as digitization is because digitization does not in fact undermine the authority of the museum, but rather helps this institution to fulfil its role and stay relevant in a postmodern society. This study is a two-year master’s thesis in Museum and Cultural Heritage Studies.
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Tällgård, Nelly. „Museums användning av digitala verktyg : En komparativ undersökning av tre museum“. Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169425.
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Genom en deltagande observation undersöks hur tre museum använder digitala verktyg i sitt publika arbete i museet genom appar och på deras hemsida. En kombination av Duncan F. Camerons och Shannon och Weavers modeller för kommunikation används för att undersöka de olika stegen i processen. Kommunikationen undersöks med fokus på hur museet vill nå fram till besökaren.
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Vasconcelos, Karla Colares. „As prÃticas educativas digitais nos museus virtuais“. Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11499.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorA pesquisa investigou os museus virtuais como uma ferramenta didÃtica nas prÃticas educativas digitais, e a sua contribuiÃÃo para a construÃÃo da memÃria e como fontes digitais para a aquisiÃÃo de conhecimentos. Para desenvolver esse objetivo utilizamos a pesquisa qualitativa e como estratÃgia de investigaÃÃo o estudo de caso porque possibilita analisar um fenÃmeno individual ao proporcionar uma visÃo de outros fenÃmenos semelhantes (YIN, 2005). Como a pesquisa aconteceu em ambientes virtuais, a etnografia virtual foi a base para a investigaÃÃo nos ambientes da Internet. Foram desenvolvidos os conceitos de Cibercultara; MemÃria Digital; PrÃticas Educativas Digitais e Museologia. De posse dessa clareza, fizemos o levantamento dos museus virtuais cadastrados no Instituto Brasileiro de Museus - IBRAM e sequencialmente, classificamos os museus virtuais brasileiros e analisamos de acordo com a possibilidade didÃtica de cada um deles. A coleta dos dados foi realizada por meio de diÃrio de bordo digital, o qual respondeu a seguinte questÃo: Como o fenÃmeno dos museus virtuais à considerado um aporte da memÃria digital social e podem ser uma ferramenta didÃtica nas prÃticas educativas digitais? Os recursos utilizados nesta pesquisa foram: a exploraÃÃo bibliogrÃfica, documento digital (imagem, vÃdeos, textos, links) e o diÃrio de bordo digital. Os resultados encontrados nos possibilitou uma reflexÃo e aprendizagem significativa para conhecermos e compreendermos o fenÃmeno educativo no Ãmbito das tecnologias digitais de comunicaÃÃo e informaÃÃo que estÃo alocados no ciberespaÃo. Dessa forma, podemos entender como essas tecnologias nos auxiliam na perspectiva da propagaÃÃo da memÃria, seja ela coletiva ou social, e a migraÃÃo das informaÃÃes â lembranÃas- para as nuvens. A relevÃncia do estudo da memÃria foi apresentada no decorrer da pesquisa, que foi encontrado um museu que guarda a memÃria social atravÃs de falas de pessoas comuns que podem registrar a sua histÃria no museu. Assim percebemos que de uma forma direta as PrÃticas Educativas Digitais se fazem presentes neste ambiente museual. Os museus virtuais ainda estÃo criando a sua identidade dentro do contexto pelo o qual ele à definido. à por meio de tentarmos compreender o papel do museu virtual para a educaÃÃo que concentramos esforÃos para a realizaÃÃo dessa pesquisa cientÃfica que ajude aos pesquisadores o conhecimento cientÃfico a todos que necessitam.
The research investigated the virtual museum as a teaching tool in digital educational practices and their contribution to the construction of memory and how digital sources for acquiring knowledge. To develop this goal we use the qualitative research strategy and how the case study research because it allows analyzing an individual phenomenon by providing an overview of similar phenomena (Yin, 2005). As the research took place in virtual environments, virtual ethnography was the basis for investigation in Internet environments. The concepts of Cibercultara were developed; Digital memory; Digital and Museology Educational Practices. Armed with this clarity, we did a survey of registered virtual museums in Brazilian Institute of Museums - IBRAM and sequentially classify Brazilians virtual museums and analyzed according to the didactic potential of each. Data collection was performed by daily digital board, which answered the question: How does the phenomenon of virtual museums is considered a social contribution of digital memory and can be a teaching tool in digital educational practices? The resources used in this research were: a bibliographic exploration, digital document (image, video, text, links) and the daily digital board. The results allowed us to reflect and meaningful learning to know and understand the phenomenon of education within the digital communication and information technologies that are allocated in cyberspace. Thus, we can understand how these technologies help us in view of the spread of memory, be it collective or social and migration of information - memories - to the clouds. The relevance of the study of memory was presented during the research, it was found that a museum guard social memory through the speech of ordinary people who can record their history in the museum. Thus we realize that in a direct way the Digital Educational Practices are present in this museual environment. Virtual museums are still creating their identity within the context by which it is defined. It is by trying to understand the role of the virtual museum for the education focus efforts toward this scientific research that helps researchers to scientific knowledge to all who need.
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VASCONCELOS, Karla Colares. „As práticas educativas digitais nos museus virtuais“. www.teses.ufc.br, 2014. http://www.repositorio.ufc.br/handle/riufc/7957.
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VASCONCELOS, Karla Colares. As práticas educativas digitais nos museus virtuais. 2014. 130f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2014.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-04-28T13:49:02Z No. of bitstreams: 1 2014-DIS-KCVASCONCELOS.pdf: 1422022 bytes, checksum: 4378c18be63788384206f0a01015ac5d (MD5)
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The research investigated the virtual museum as a teaching tool in digital educational practices and their contribution to the construction of memory and how digital sources for acquiring knowledge. To develop this goal we use the qualitative research strategy and how the case study research because it allows analyzing an individual phenomenon by providing an overview of similar phenomena (Yin, 2005). As the research took place in virtual environments, virtual ethnography was the basis for investigation in Internet environments. The concepts of Cibercultara were developed; Digital memory; Digital and Museology Educational Practices. Armed with this clarity, we did a survey of registered virtual museums in Brazilian Institute of Museums - IBRAM and sequentially classify Brazilians virtual museums and analyzed according to the didactic potential of each. Data collection was performed by daily digital board, which answered the question: How does the phenomenon of virtual museums is considered a social contribution of digital memory and can be a teaching tool in digital educational practices? The resources used in this research were: a bibliographic exploration, digital document (image, video, text, links) and the daily digital board. The results allowed us to reflect and meaningful learning to know and understand the phenomenon of education within the digital communication and information technologies that are allocated in cyberspace. Thus, we can understand how these technologies help us in view of the spread of memory, be it collective or social and migration of information - memories - to the clouds. The relevance of the study of memory was presented during the research, it was found that a museum guard social memory through the speech of ordinary people who can record their history in the museum. Thus we realize that in a direct way the Digital Educational Practices are present in this museual environment. Virtual museums are still creating their identity within the context by which it is defined. It is by trying to understand the role of the virtual museum for the education focus efforts toward this scientific research that helps researchers to scientific knowledge to all who need.
A pesquisa investigou os museus virtuais como uma ferramenta didática nas práticas educativas digitais, e a sua contribuição para a construção da memória e como fontes digitais para a aquisição de conhecimentos. Para desenvolver esse objetivo utilizamos a pesquisa qualitativa e como estratégia de investigação o estudo de caso porque possibilita analisar um fenômeno individual ao proporcionar uma visão de outros fenômenos semelhantes (YIN, 2005). Como a pesquisa aconteceu em ambientes virtuais, a etnografia virtual foi a base para a investigação nos ambientes da Internet. Foram desenvolvidos os conceitos de Cibercultara; Memória Digital; Práticas Educativas Digitais e Museologia. De posse dessa clareza, fizemos o levantamento dos museus virtuais cadastrados no Instituto Brasileiro de Museus - IBRAM e sequencialmente, classificamos os museus virtuais brasileiros e analisamos de acordo com a possibilidade didática de cada um deles. A coleta dos dados foi realizada por meio de diário de bordo digital, o qual respondeu a seguinte questão: Como o fenômeno dos museus virtuais é considerado um aporte da memória digital social e podem ser uma ferramenta didática nas práticas educativas digitais? Os recursos utilizados nesta pesquisa foram: a exploração bibliográfica, documento digital (imagem, vídeos, textos, links) e o diário de bordo digital. Os resultados encontrados nos possibilitou uma reflexão e aprendizagem significativa para conhecermos e compreendermos o fenômeno educativo no âmbito das tecnologias digitais de comunicação e informação que estão alocados no ciberespaço. Dessa forma, podemos entender como essas tecnologias nos auxiliam na perspectiva da propagação da memória, seja ela coletiva ou social, e a migração das informações – lembranças- para as nuvens. A relevância do estudo da memória foi apresentada no decorrer da pesquisa, que foi encontrado um museu que guarda a memória social através de falas de pessoas comuns que podem registrar a sua história no museu. Assim percebemos que de uma forma direta as Práticas Educativas Digitais se fazem presentes neste ambiente museual. Os museus virtuais ainda estão criando a sua identidade dentro do contexto pelo o qual ele é definido. É por meio de tentarmos compreender o papel do museu virtual para a educação que concentramos esforços para a realização dessa pesquisa científica que ajude aos pesquisadores o conhecimento científico a todos que necessitam.
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Schweibenz, Werner. „Vom traditionellen zum virtuellen Museum : die Erweiterung des Museums in den digitalen Raum des Internets /“. Frankfurt am Main : DGI, 2008. http://bvbm1.bib-bvb.de/webclient/DeliveryManager?pid=497402&custom_att_2=simple_viewer.
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Ururahy, Heloisa Pinto. „Museus na internet do século XXI: a caminho do museu ubíquo“. Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-25042014-112545/.
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A pesquisa observa as novas relações de produção e difusão da arte que surgiram com a utilização da internet e das novas tecnologias, pelas instituições culturais, para a expansão de suas atividades. A investigação propõe que essa nova forma de comunicação pode unir o alcance das plataformas virtuais, a credibilidade de grandes centros artísticos e a força dos processos colaborativos de criação em rede para ampliar a propagação da arte e da cultura. O estudo pretende mostrar como museus, galerias e instituições culturais em geral, têm desenvolvido trabalhos na world wide web, desde o começo dos anos 90, de forma a ampliar o acesso do público, não apenas a seus acervos e exposições, mas também à possibilidade de criação conjunta do conhecimento museológico e de nossa herança cultural. Através da observação dos conteúdos disponibilizados na rede por museus variados, nacionais e internacionais, relacionados a artigos sobre questões contemporâneas da museologia, são analisados como os objetivos das instituições artísticas quanto ao uso do ciberespaço têm evoluído. Há um crescente esforço em suprir as necessidades culturais dos novos espectadores da era conectada da internet. Hoje, modelos de exposições virtuais permitem que formatos de arte efêmera, como performances ou intervenções, possam efetivamente fazer parte dos espaços museológicos. Foi criada uma nova ligação com o visitante do museu, que pode estar em qualquer lugar do mundo e, utilizando redes sociais e mídias móveis, passa a ser criador e difusor de conteúdo, além de receptor. Por fim, há a reflexão sobre como, enquanto se adéquam às novas relações do homem com a arte e a cultura através do mundo virtual, as instituições devem se preocupar com a responsabilidade social e a democratização do acesso aos bens culturais por aqueles que ainda não tem contato frequente com as novas tecnologias.The research points the new relations of production and dissemination of art that emerge with the use of the Internet and new technologies, by cultural institutions to expand their activities. The research suggests that this new form of communication can put together the reach of virtual platforms, the credibility of major artistic centers and the strength of networks for collaborative creation processes, to enlarge the propagation of art and culture. The study aims to show how museums, galleries and cultural institutions in general, have developed activities on the world wide web since the early \'90s, in order to increase public access, not only to their collections and exhibitions, but also to the possibility of joint creation of the museological knowledge and cultural heritage. How the goals of art institutions in the use of cyberspace have evolved are analyzed through observation of the content provided on the net by various museums, national and international, related with articles about issues on contemporary museology. There is a growing effort to meet the cultural needs of the new spectators of internet connected age. Nowadays, virtual exhibitions models allow ephemeral art formats, such as performances or interventions, to effectively be part of the museum spaces. A new connection was created with the museum visitor, who can be anywhere in the world and, using social networks and mobile media, becomes a creator and disseminator of content, as well as a receiver. Finally, there is the observation on how, while adapting with the man\'s new relationship with art and culture through the virtual world, institutions should concern also about social responsibility and democratic access to culture for those who do not have frequent contact with new technologies.
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Lima, Zamana Brisa Souza. „Museu do Alto Sertão da Bahia: diálogos entre museu de território e culturas digitais“. Faculdade de Filosofia e Ciências Humanas, 2016. http://repositorio.ufba.br/ri/handle/ri/22646.
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Esta dissertação se associa à iniciativa de criação do Museu do Alto Sertão da Bahia (MASB), no território que dá nome a essa instituição, com sede em Caetité - Bahia - Brasil, e analisa as relações entre museus, Museologia e a cultura digital. Nesse sentido, expõe reflexões sobre a importância de aproximar o MASB, como projeto pioneiro voltado para um território específico, das novas tecnologias da informação e comunicação (TICs), principalmente em relação à Internet. Dessa forma, fundamenta-se em estudos que facilitem a compreensão do espaço em que essa instituição está inserida, o Alto Sertão, e mais especificamente a cidade de Caetité, que é o recorte espacial geográfico desta pesquisa. Além disso, a pesquisa aborda a ideia de virtual, traçando conexões com a Museologia, e dialoga com a Internet como meio que qualifica ou legitima os chamados "museus virtuais". Assim, ancorada no vocabulário filosófico, a pesquisa defende que o virtual é um processo abrangente a todo e qualquer museu, independentemente de sua tipologia. Além disso, a dissertação aborda a questão da desterritorialização de um museu de território em processos de virtualização que, na verdade, independem da Internet, podendo esta, entretanto, ser um agente impulsionador de mudanças e potencializador de acesso. Acredita-se que os processos de virtualização possam fazer do MASB um museu virtual e que as TICs atuem como mediadores no processo de comunicar o patrimônio de maneira integrada e multidisciplinar, trazendo para essa instituição uma perspectiva de dinamização e expansão.
This dissertation associates the initiative of creation of the Museum of the High Interior of Bahia (MASB), in the territory that gives name to that institution, with thirst in Caetité - Bahia - Brazil, and it analyzes the relationships among museums, Museology and the digital culture. Then, it exposes reflections on the importance of approaching MASB, while I project pioneer gone back to a specific territory, of the new technologies of the information and communication (TICs), mainly in relation to the Internet. This way, it is based in studies that facilitate the understanding of the space in that institution is inserted, the High Interior of Bahia, and more specifically the city of Caetité, the geographical space cutting of this research. This way, the research approaches the idea of virtual tracing connections with Museology and dialogues with the Internet while half that qualifies or it legitimates them called "virtual museums". Like this, anchored in the philosophical vocabulary, the research defends that the virtual is an including process to whole and any museum, independent of its typology. Besides, the dissertation approaches the subject of the deterritorialization of a territory museum in virtualization processes that, actually, independent of the Internet, being able to not this, however, to be an agents booster of changes and access potentiator. It is believed that the virtualization processes can do a virtual museum of MASB and that TICs acts as mediators in the process of communicating the patrimony in an integrated way and multidisciplinary, bringing for this institution a dynamics perspective and expansion.
Bücher zum Thema "Digitalt museum"
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Franco, Susanne, und Gabriella Giannachi. Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6.
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This collection of essays investigates some of the theories and concepts related to the burgeoning presence of dance and performance in the museum. This surge has led to significant revisions of the roles and functions that museums currently play in society. The authors provide key analyses on why and how museums are changing by looking into participatory practices and decolonisation processes, the shifting relationship with the visitor/spectator, the introduction of digital practices in collection making and museum curation, and the creation of increasingly complex documentation practices. The tasks designed by artists who are involved in the European project Dancing Museums. The Democracy of Beings (2018-21) respond to the essays by suggesting a series of body-mind practices that readers could perform between the various chapters to experience how theory may affect their bodies.
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Pemberitaan, Indonesia Dewan Perwakilan Rakyat Biro Humas dan. Koleksi digital Museum DPR RI. [Jakarta]: Biro Humas dan Pemberitaan, Bagian Humas, 2010.
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Giannini, Tula, und Jonathan P. Bowen, Hrsg. Museums and Digital Culture. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6.
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Grincheva, Natalia. Museum Diplomacy in the Digital Age. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781351251006.
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Sugita, Shigeharu. Global digital museum (GDM) for museum education on the Internet. Osaka: National Museum of Ethnology, 2002.
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Parry, Ross. Museums in a digital age. Milton Park, Abingdon, Oxon: Routledge, 2009.
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Parry, Ross. Museums in a digital age. Milton Park, Abingdon, Oxon: Routledge, 2009.
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Pfennig, Gerhard. Museum und Urheberrecht im digitalen Zeitalter. Wiesbaden: VS Verlag für Sozialwissenschaften, 2005. http://dx.doi.org/10.1007/978-3-663-10854-2.
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Bertacchini, Pier Augusto. Il museo nell'era digitale. Catanzaro: Abramo, 1997.
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Digital collections: Museums and the information age. Oxford, [England]: Butterworth-Heinemann, 1998.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Digitalt museum"
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Gries, Christian. „Das digital kompetente Museum – digitale Strategien für Museen“. In Der digitale Kulturbetrieb, 99–110. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-24030-1_5.
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Zhou, Mingquan, Guohua Geng und Zhongke Wu. „Digital Museum“. In Digital Preservation Technology for Cultural Heritage, 207–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-28099-3_7.
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Geismar, Haidy. „Museum + digital = ?“ In Digital Anthropology, 264–87. 2. Aufl. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2021. | Revised edition of: Digital anthropology / edited by Heather A. Horst and Daniel Miller. London ; New York : Berg, 2012.: Routledge, 2021. http://dx.doi.org/10.4324/9781003087885-18.
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Grincheva, Natalia. „Digital museum diplomacy“. In Museum Diplomacy in the Digital Age, 19–37. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781351251006-2.
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Hall, Mark Michael. „Digital Museum Map“. In Digital Libraries for Open Knowledge, 304–7. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00066-0_28.
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Neuroth, Heike. „Bibliothek, Archiv, Museum“. In Digital Humanities, 213–22. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05446-3_15.
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Lo Turco, M., und M. Calvano. „Digital Museums, Digitized Museums“. In Advances in Intelligent Systems and Computing, 387–98. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12240-9_41.
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Caldeira, Altino Barbosa, und Silvio Romero Fonseca Motta. „Digital Documentation and Digital Prototyping of Sacred Artwork of Museum Museu Mineiro - Brazil“. In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 248–55. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48974-2_28.
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Nikonanou, Niki, und Alexandra Bounia. „Digital Applications in Museums: An Analysis from a Museum Education Perspective“. In Research on e-Learning and ICT in Education, 179–94. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-6501-0_13.
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Boutsiouki, Sofia, und Anna-Eleni Polydora. „Is the Museum Going Digital? Experiences from the Websites of Greek Museums“. In Cultural and Tourism Innovation in the Digital Era, 229–45. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36342-0_19.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Digitalt museum"
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Güner, Atiye, und İsmail Erim Gülaçtı. „The relationship between social roles of contemporary art museums and digitalization“. In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.
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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Willeart, Saskia. „Digitizing collections of musical instruments in Africa“. In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.
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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped bring attention to valuable but not easily accessible collections. Both the musical patrimony held in African museums and the metadata they provide are proving to be valuable sources for understanding musical world heritage.
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Рябинин, Константин, Konstantin Ryabinin, Амир Ахтамзян, Amir Ahtamzyan, Мария Колесник, Mariya Kolesnik, Елена Сударикова und Elena Sudarikova. „Tangible Interfaces for the Virtual Reconstructions of Museum Exhibits“. In 29th International Conference on Computer Graphics, Image Processing and Computer Vision, Visualization Systems and the Virtual Environment GraphiCon'2019. Bryansk State Technical University, 2019. http://dx.doi.org/10.30987/graphicon-2019-1-87-92.
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In this paper we propose an approach to create cyber-physical museum exhibits based on the methods and means of scientific visualization, Internet of things, additive technologies and ontology engineering. Cyber-physical exhibit consists of tightly interconnected virtual and real parts. Scientific visualization is used as methodological and technological basis for presenting the virtual part, which can contain relevant digital content and 3D-reconstructions. Internet of things is a core technology to create tangible interfaces for the corresponding visualization software. Additive technologies allow creating virtual reconstructions and precise copies of museum exhibits. Ontology engineering provides adaptive mechanisms for seamless integration of new cyber-physical exhibits into the existing digital infrastructure of museums. The proposed approach is used in practice to create cyber-physical exhibits in State Darwin Museum (Moscow) and Museum of Permian Antiquities (Perm).
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Hookk, D. „Web Analytics as a tool for analyzing a network resource with a variety of sources on the archaeological research materials“. In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1837.978-5-317-06529-4/384-390.
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Despite the already introduced concept of Webometrics, the visitors counter has considered as a main indicator of the effectiveness of the museum open sources. The article presents the statistical data and observations made during the work on the start-up project “Digital Encyclopedia of the Hermitage. Vol. 1. Archaeology”, as well as during the COVID-19 quarantine period, when communication with virtual visitors became a priority in museums.
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Muñoz Garcia, Adolfo, und Ana Martí Testón. „Estudio de experiencias inmersivas en museos. Las nuevas narrativas de la realidad aumentada“. In INNODOCT 2018. València: Editorial Universitat Politècnica de València, 2018. http://dx.doi.org/10.4995/inn2018.2018.8845.
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En los últimos diez años hemos vivido una revolución en el ámbito de los museos y los sistemas de información. Desde 2015 nuestro grupo de investigación del Instituto de Diseño y Fabricación de la Universitat Politècnica de València investiga sobre la creación de experiencias inmersivas con gafas de realidad aumentada para la industria productiva y la cultural, investigando nuevas fórmulas que cambien radicalmente la manera en que nos relacionamos con los datos digitales en contextos inmersivos. En este artículo presentamos Holomuseum, una aplicación especialmente diseñada para crear exhibiciones de realidad aumentada para las gafas Hololens, y comparamos brevemente sus resultados con otras cuatro propuestas punteras en la aplicación de las tecnologías digitales en el ámbito expositivo: Back to Life del Natural History Museum de Londres; Survivors' Stories del Museo del Holocausto de Illinois; The Lost Palace del Whitehall Palace de Londres o la reconstrucción proyectada de la iglesia Románica de Sant Climent de Taüll de Lleida.
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Mezzino, Davide, und Francesca Valentina Luisa Lori. „THE DIGITAL TRANSFORMATION OF THE MUSEO EGIZIO“. In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12041.
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The project of digital transformation of Museo Egizio di Torino started in response to the rapid change of its structure and needs. The project is centred on the integration of heterogeneous information and data to implement collection management, conservation and research workflows. This paper presents the concept and design of a management system, called SiME (Sistema Museo Egizio) that the Museum conceived in collaboration with Politecnico di Milano. The project is intended not only as a mere acquisition of technological tools, but rather as the construction of an integrated system that facilitates dialogue and connections between all museum activities, from daily management to research, from the design of installations to the generation of multiple possible narratives. Considering the pace of technological innovation a solid methodological approach has been adopted in order to ensure the longevity of the designed solutions in a long-term perspective.
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Graf, Holger, Jens Keil, Alfonsina Pagano und Sofia Pescarin. „A contextualized educational museum experience connecting objects, places and themes through mobile virtual museums“. In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413896.
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Autran, Camille, und Francois Guena. „3D reconstruction for museums and scattered collections applied research for the Alexandre Lenoir's museum of French monument“. In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413831.
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Keil, Jens, Laia Pujol, Maria Roussou, Timo Engelke, Michael Schmitt, Ulrich Bockholt und Stamatia Eleftheratou. „A digital look at physical museum exhibits: Designing personalized stories with handheld Augmented Reality in museums“. In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744836.
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Rongbutsri, Nikorn, Korrawee Rochanakit, Siriporn Theppawong, Paphada Woraphat, Sudarat Khantha, Sermsak Kittakool, Titiya Kapanya und Santichai Wicha. „Mobile learning in museums: A case study of the Golden jubilee Museum of Agriculture Office“. In 2017 International Conference on Digital Arts, Media and Technology (ICDAMT). IEEE, 2017. http://dx.doi.org/10.1109/icdamt.2017.7904963.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Digitalt museum"
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Barnes, Sally-Anne, Doris Eikhof, Erika Kispeter und Ross Parry. Mapping the Museum Digital Skills Ecosystem - Phase One Report. University of Leicester, April 2018. http://dx.doi.org/10.29311/2018.01.
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Malde, Sejul, und Ross Parry. Defining the Digital Skills Needs of Museums – Phase Two Report. University of Leicester, November 2018. http://dx.doi.org/10.29311/2018.02.
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Martin, Kathi, Nick Jushchyshyn und Daniel Caulfield-Sriklad. 3D Interactive Panorama Jessie Franklin Turner Evening Gown c. 1932. Drexel Digital Museum, 2015. http://dx.doi.org/10.17918/9zd6-2x15.
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The 3D Interactive Panorama provides multiple views and zoom in details of a bias cut evening gown by Jessie Franklin Turner, an American woman designer in the 1930s. The gown is constructed from pink 100% silk charmeuse with piping along the bodice edges and design lines. It has soft tucks at the neckline and small of back, a unique strap detail in the back and a self belt. The Interactive is part of the Drexel Digital Museum, an online archive of fashion images. The original gown is part of the Fox Historic Costume, Drexel University, a Gift of Mrs. Lewis H. Pearson 64-59-7.
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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn und Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.