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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.
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Rozghon, O. „Virtual version of the museum as a means of introducing digital technologies“. Law and innovative society, Nr. 2 (13) (26.12.2019): 20–26. http://dx.doi.org/10.37772/2309-9275-2019-2(13)-3.
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Problem setting. The issue of legal regulation of the digitization of museums is currently relevant and deserves special attention, since digital transformation at an effective level is necessary for both rare objects (museum cultural values) and modern ones. Creating a modern digital space for museum cultural values will be appropriate for: both visitors, owners and authors of museum cultural values, and outside investors and the museum. The purpose. Analysis of the “virtual version of the museum” category as a means of introducing digital technologies and defining its features, mechanism for realization and protection of digital works rights, which are in the repository of the museum site. Analysis of recent research and publications. At the scientific level, scientists, such as A. G. Vasnev, A. V. Goloviznin, S. G. Dolgov, T. V. Dudenko, V. F. Zverhovskaya, I. E. Martynenko, V. Yu. Stepanov, B. M. Odaynyk, but were considered exclusively within the framework of the legal regulation of the circulation of cultural values. The issues of digitization of museums dealt with such scientists as M. A. Belyaeva, T. A. Ladygina, N. V. Klementyevа, K. D. Savitskaya, but more from the point of view of general issues, without affecting the features of the virtual version of the museums. Article’s main body. Virtual excursion is the result of creative activity, presented in electronic (digital) form, by means of spherical or cylindrical panoramas, based on the interactive interaction of the user (visitor) with the virtual environment through a computer program for visual demonstration of digital works that are to be expressed electronically (digitally) and located on the museum’s website. Digitization of museum cultural values is one of the most promising areas in the field of introduction of high technologies and automation for museum cultural values. “Digitalization” should provide every citizen with equal access to cultural information and knowledge services provided through digital technologies. The implementation of this principle is possible when implementing a virtual version of the museum. The author defines the essence of the category “virtual version of the museum” and reveals its features. The article states that when visiting a virtual tour, the visitor can receive the following electronic services in the field of culture and the arts (paid / free), in particular, 1) view the virtual panorama by going to different halls of the museum, 2) explore museum exhibits that are museum cultural values, 3) get information about museum cultural values and more. Conclusions. According to the results of research, the expediency of positioning the museum in the Web space is established and the necessity of introducing a virtual version of the museum as a means of introduction of digital technologies is substantiated. The author found that if the museum site has a repository of digital photographs, which are viewed through virtual tours, access to such a site or content must be based on the copyright and copyright of the digital author himself.
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Valtysson, Bjarki, Sanne Lynge Nilsson und Christine Eva Pedersen. „Reaching Out to be in Reach. Museum Communication in the Current Museum Zeitgeist“. Nordisk Museologi 31, Nr. 1 (31.05.2021): 8. http://dx.doi.org/10.5617/nm.8821.
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This article focuses on art museums as multi-layered media- and eventmakers. By discussing the National Gallery of Denmark’s Mysteries from the Museum podcast series and the event SMK Fridays, Louisiana’s digital platform Louisiana Channel and the Glyptotek’s Slow arrangements, we scrutinise these museums’ onsite and offsite outreach techniques and strategies. These are further discussed regarding the current museum zeitgeist, and how this relates to dominant cultural policy paradigms in Denmark. The article is based on interviews with museum professionals, observations of onsite events and document analysis; they indicate that museums constantly renew their outreach techniques and strategies, adding layers to their museum communication. While museums succeed in creating quality digital content and arranging events attracting attention and audiences, these productions do not challenge the power dynamics between museums and their users described in current literature on the museum zeitgeist, as in dominant cultural policy strategies in a Danish context.
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Clements, Johanna, Anna Insa Vermehren, Ida Fossli und Jaroslav Bogomolov. „The Use of Digital Solutions in Museums Today and in the Future“. Journal of Media Innovations 7, Nr. 1 (11.05.2021): 52–62. http://dx.doi.org/10.5617/jomi.8795.
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In this paper we look at digital solutions in museums today and with a view to the future. We believe that they have a potential to innovate museum practices and reach audiences with relevant content. We have found the Norwegian Government’s Museum Framework (Kulturdepartementet 2009) a useful starting point to consider ‘digital’ through the lens of the areas of collection care, research, content dissemination, innovation and business development. In this paper, our focus is on smaller museums and heritage organisations. We contribute our thoughts, experiences and give some practical ideas how small museums can better utilise digital media and digital solutions.
This paper was written by staff members of Museum Nord who are part of the Research and Development Team. Museum Nord was lead partner in the CINE project, 2017-2020 (CINE project 2017) which enabled the team to gain valuable insights into this area of knowledge and practice.
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Wang, Ru Guang, Huai Lin Dong, Min Wen Wu und Qing Feng Wu. „Research and Design of Digital Museum Based on Virtual Reality“. Advanced Materials Research 926-930 (Mai 2014): 2516–20. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.2516.
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Digital museum is an important trend in the development of museums in recent years, and virtual reality technology in the digital museum is one of the most important issues in museum construction and it has broad development prospects. This paper aims to research into two kinds of key virtual reality technologies: image-based 360 degree panoramic display and 3D modeling technology, exploring various kinds of virtual museums based on these two technologies. It discusses the advantages and limitations of the various kinds of VDMs and proposes the design of the Virtual Museum based on 360 - degree panorama, web 3D technology and 3D modeling technology. And its application in the design of Xiamen Overseas Chinese Museum has obtained good results.
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Ferreira, Ana Maria Jensen Ferreira da Costa, und Silvana Aparecida Borsetti Gregorio Vidotti. „A encontrabilidade da informação em web sites de museus“. Informação@Profissões 5, Nr. 2 (23.12.2016): 79. http://dx.doi.org/10.5433/2317-4390.2016v5n2p79.
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Introdução:A Ciência da Informação tem como objeto de pesquisa a informação em diferentes estágios e formas, dentre os quais destacam-se a organização, o armazenamento, a representação e a disseminação, com a finalidade de permitir o acesso e uso. As Tecnologias de Informação e Comunicação propiciam uma maior visibilidade aos ambientes informacionais digitais, tais como: Bibliotecas, Arquivos e Museus.Objetivo:Analisar o Web site oficial do American Museum of Natural History considerando os princípios da Museologia Contemporânea e as recomendações de Encontrabilidade da Informação.Metodologia:De natureza qualitativa, exploratória e analítica com o embasamento teórico da Ciência da Informação, Museologia Contemporânea e Encontrabilidade da Informação. A escolha do Web site do American Museum of Natural History se justifica por se tratar de um museu de referência mundial em História Natural. Procurou-se identificar as formas de apresentação das informações com relação aos princípios da Museologia Contemporânea apresentados por Lubinski (2001) e as recomendações de Encontrabilidade da Informação de Vechiato e Vidotti (2014). Resultado: O Web site do American Museum of Natural History está estruturado segundo as características de um museu contemporâneo e contempla as recomendações da Encontrabilidade da Informação.Conclusão: As recomendações de Encontrabilidade de Informação podem ser aplicadas em Web sites de museus e o American Museum of Natural History em sua versão para Web encontra-se adequadamente estruturado, de modo a promover a utilização de seus produtos e serviços, a incentivar a visita ao museu, a propiciar à construção de conhecimento.Palavras chave: Ciência da Informação. Museologia. Ambientes Digitais. Encontrabilidade da Informação.
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Myrczik, Eva Pina. „Satisfying personal needs at the museum: The role of digital technologies“. MedieKultur: Journal of media and communication research 30, Nr. 57 (19.12.2014): 21. http://dx.doi.org/10.7146/mediekultur.v30i57.16055.
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<p class="p1">This paper investigates how museum visitors use digital technologies to mediate their general meaning-making process about artworks and other information they encounter throughout their museum experience. Concluding from a case study at the National Gallery of Denmark in Copenhagen, this study suggests that visitors use digital technologies as a vehicle for satisfying one or more personal needs. In order to gain control over their experience, visitors used not only digital technologies provided by the museum but also their personal technologies. The article argues that both museums and visitors will derive great benefits by understanding the ways in which people process multimedia messages and by implementing these principles of multimedia learning into the design of digital technologies at museums. The data also suggest that museums should especially support visitors in using technology with which they are already familiar and embed it in the museum experience.</p>
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Vieira, Ana Carolina Maciel, Mariana Gonzalez Leandro Novaes, Juliana Da Silva Matos, Ana Carolina Gelmini Faria, Deusana Maria da Costa Machado und Luiza Corral Martins de Oliveira Ponciano. „A contribuição dos museus para a institucionalização e difusão da paleontologia“. Anuário do Instituto de Geociências 30, Nr. 1 (01.01.2007): 158–67. http://dx.doi.org/10.11137/2007_1_158-167.
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Since the calls "cabinets of curiosities", the essence of natural history was consolidating itself with the birth of the museums and the development of the Museums of Natural History. This consolidation was reached through following activities: expeditions, field trips, collection classification works, catalogues of diffusion of scientific knowledge, educativ activities and expositions. The present paper intends to discuss the importance of the museal institutions for the studies of Paleontology; since the museums of Natural History had exerted a pioneering paper in the institutionalization of certain areas of knowledge, as Palaeontology, Anthropology and Experimental Physiology, in Brazil. The Paleontological studies in museums had collaborated in the specialization and modernization of the appearance of "new museum idea". As this new concept the museum is a space of diffusion of scientific knowledge, represented as an object that reflects the identity of the society without an obligator linking with physical constructions. However, the Brazilian museums have been sufficiently obsolete, with problems that involve acquisition and maintenance of collections to production of temporary or permanent exhibitions. When the Brazilian institutions of natural history are analyzed they are not organized on the new museum conception and the digital age as the North American and European ones. Despite the difficulties found by the Museums since its birth as Institution in the 18th century, the contemporary development of Museology and Palaeontology as Science had contributed for the consolidation and institutionalization of both, helping the diffusion of scientific knowledge.
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Budge, Kylie. „Visitors in immersive museum spaces and Instagram: self, place-making, and play“. Journal of Public Space, Vol. 3 n. 3 | 2018 | FULL ISSUE (31.12.2018): 121–38. http://dx.doi.org/10.32891/jps.v3i3.534.
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Visitors to museums are increasingly drawn to posting images online that document and reflect their experience. Instagram, as a social media platform, has a proliferating presence in this context. Do different kinds of public spaces within the museum motivate people to share particular types of posts? What kind of posts do visitors generate from digitally immersive spaces with an interactive focus? These questions were unpacked through an exploration of data generated from a digitally immersive, interactive public space – the Immersion Room at the Cooper Hewitt, Smithsonian Design Museum in New York. Findings indicate that constructs of self, place-making, and play constitute critical components of what occurs, and these aspects are amplified in immersive spaces leaving digital traces within social media. I argue that the intersection of immersive digital environments and visual social media platforms such as Instagram offer a moment to play with and subtlety reconstruct the self with place being a significant contextual frame for this activity. Implications extend and challenge perceptions and the role of both museums as public spaces and the ways in which visual forms of social media intersect with spaces and the people who use them.
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GONá‡ALVES, MARIA ALICE REZENDE, und MAURáCIO BARROS DE CASTRO. „A FEIRA DAS YABáS E O PROJETO ”MUSEU AFRODIGITAL RIO: memória entre gerações nos quintais do samba da Grande Madureira”“. Outros Tempos: Pesquisa em Foco - História 15, Nr. 25 (28.06.2018): 95–107. http://dx.doi.org/10.18817/ot.v15i25.638.
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Este artigo tem como objetivo refletir sobre memória, samba e poláticas culturais a partir dos resultados obtidos com o projeto de pesquisa ”Museu Afrodigital Rio: memória entre gerações nos quintais do samba da Grande Madureira” desenvolvido pelo Museu Afrodigital Rio (http://www.museuafrorio.uerj.br/), no peráodo de 2012-2016. Trata-se de um museu digital, conectado em rede nacional com outros museus da mesma natureza, que tem como objetivo a preservação da história e da memória dos afro-brasileiros no estado do Rio de Janeiro. O referido projeto de pesquisa dedicou-se a investigar os rituais e tradições que permeiam os festejos realizados nos quintais das casas das ”tias” do samba, das mães de santo, dos jongueiros e das cozinheiras da culinária afrorreligiosa na Grande Madureira, região da cidade do Rio de Janeiro. Esta região concentra um grande número de manifestações e associações de matriz africana. Concluámos que o quintal é espaço de sociabilidade e local privilegiado de convávio e realização de práticas que vão do profano ao religioso, e que, de algum modo, ainda trazem memórias de gerações passadas.Palavras-chave: Poláticas culturais. Museu Digital. Memória. Samba. Gastronomia. Sociabilidade.THE YABAS MARKET AND THE PROJECT "RIO AFRODIGITAL MUSEUM: memory among generations in the Grande Madureira”™s backyards of samba”Abstract: This article aims to reflect on memory, samba and cultural policies from the results obtained by the research project "Afrodigital Museum Rio: memory among generations in the Grande Madureira”™s backyards of samba” developed by the Afrodigital Museum, Rio: (http: /www.museuafrorio.uerj.br/), in the period 2012-2016. It is a digital museum, connected to a national network with other museums of the same nature, whose objective is the preservation of the history and memory of Afro-Brazilians in the state of Rio de Janeiro. This research project was dedicated to investigating the rituals and traditions that permeate the celebrations held in the backyards of the houses of the "aunts" of the samba, of the mothers of saint, of the jongueiros and cooks of the Afro-religious cuisine in Grande Madureira, region of the city of Rio de Janeiro. This region concentrates a great number of manifestations and associations of African matrix. We conclude that the backyard is a space of sociability and a privileged place for living and performing practices that go from the profane to the religious, and that somehow still bring back memories of past generations.Keywords: Cultural policies. Digital Museum. Memory. Samba. Gastronomy. Sociability. LA FERIA DE LAS YABáS Y EL PROYECTO ”MUSEO AFRODIGITAL RIO: memoria entre generaciones en los patios de samba de la Grande Madureira” Resumen: En este artáculo se pretende reflexionar sobre la memoria, la samba y las poláticas culturales a partir de los resultados obtenidos con el proyecto de investigación "Museo Afrodigital Ráo: memoria entre generaciones en los patios de samba de la Grande Madureira" desarrollado por el Museo Afrodigital Rio (http: /www.museuafrorio.uerj.br/), en el peráodo 2012-2016. Se trata de un museo digital, conectado en red nacional con otros museos de la misma naturaleza, que tiene como objetivo la preservación de la historia y de la memoria de los afrobrasileños en el estado de Rio de Janeiro. El referido proyecto de investigación se dedicó a investigar los rituales y tradiciones que permean los festejos realizados en los patios de las casas de las ”táas” de la samba, de las madres de santo, de los jengeros y de las cocineras de la culinaria afroreligiosa en la Grande Madureira, ciudad de Rio de Janeiro. Esta región concentra un gran número de manifestaciones y asociaciones de matriz africana. Concluimos que el patio es espacio de sociabilidad y local privilegiado de convivencia y realización de prácticas que van desde lo profano al religioso, y que, de algún modo, todaváa traen memorias de generaciones pasadas.Palabras clave: Poláticas culturales. Museo Digital. Memoria. Samba. Gastronomáa. Sociabilidad.
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Iranowska, Joanna. „One mobile app – seven art museums. A case study of Kunstporten“. Nordisk Museologi 29, Nr. 2 (21.12.2020): 67. http://dx.doi.org/10.5617/nm.8443.
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As digital media change our society, museums are trying to rethink their mission and benefit from the possibilities digital tools afford. First, this article provides a historical background for the development of mobile apps as digital interpretive media in Norwegian museums between 2005 and 2020. Second, it analyses a specific case – the app Kunstporten – one of the most interesting apps to have emerged in the Norwegian cultural sector in recent years. The app was developed between 2012–2013 by seven Norwegian art museums, and the first museum app in Norway targeted explicitly at children. This small case study is based on interviews with museum educators and digital walkthroughs exploring the affordances (Gibson 1978) of Kunsporten. The article seeks to answer two questions: what have education departments learned from introducing this digital interpretive media? And why is the app more successful in some museums than others?
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Novakovic, Jelena. „The Role of Museums in a Digital World – Attracting Youth and Overcoming COVID19 Obstacles“. Cultural Management: Science and Education 5, Nr. 1 (15.07.2021): 59–68. http://dx.doi.org/10.30819/cmse.5-1.04.
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In the world of digital technology, overwhelmed with information and content, digitalization is often perceived as a process of alienation. This article will challenge that perception and demonstrate that digital museums actually present a unique opportunity to develop interest in art and attracting people not only to art in general but to on-site cultural institutions as well. Digital museums can, among other roles, assume the role of interpreting cultural heritage, but are also the best way to attract a young au-dience to art. This article examines the opportunities provided by digital technology for museums in terms of communication and dissemination of knowledge. The particular emphasis will be on the use of digital collections as well as on connecting and interacting with the public, particularly with a young au-dience. If there was any doubt about the importance and influence of digital museums, the COVID-19 pandemic was a final proof that digital museums have a much greater value than is generally admitted, and that they have become an indispensable part of the overall museum experience in all museums that have been able to develop them as a part of overall museum strategy.
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Alina, Koroleva, und Smolskaya Elena. „Сadiz Museum and its Communication Strategy“. Latin-American Historical Almanac 29 (26.03.2021): 174–95. http://dx.doi.org/10.32608/2305-8773-2021-29-1-174-195.
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During lockdown 2020, museums reacted by attempting to digitally offer everything that had previously been done in the museum space. The testing of tools and resources, as well as new forms of communication and participatory techniques, leads us to a hybrid museum where virtuality is combined with physical presence. The new reality has intensified the current discussions about the museum as a socio-cultural institution, a new definition of the concept of a museum, about the relationship between entertainment and educational forms of interpretation of heritage. Along with an overview of key research trends and methodological approaches in the field of heritage, the article presents the results of the analysis of social networks of the Museum of Cadiz, based on a methodological approach to planning and evaluating integrated communications - the PESO model, which separates the channels of information dissemination into paid, earned, social and owned. The Cadiz Museum was not chosen as an object of research by chance, since even before the pandemic, its digital communications stood out strongly against the background of other Spanish museums of different levels. It is possible that they managed to achieve this due to the fact that they made their pages on Instagram, Facebook and Twitter not only the showcase of the museum, but also the very entrance to the museum. Social networks for the Museum of Cadiz are the only channel with which he can independently work. The official pages of the Museum of Cadiz, during the pandemic, were analyzed for the period from March 12 (the announcement of the closure of museums) to August 31, using the Russian automated service for analytics of brand communities in social networks, JagaJam. The data is compared with the same period in 2019 (except for Twitter, for which there is no data).
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Chen, Yu-Lin, Ting-Sheng Lai, Takami Yasuda und Shigeki Yokoi. „A museum exhibits support system based on history and culture literacy“. International Journal of Humanities and Arts Computing 6, Nr. 1-2 (März 2012): 148–59. http://dx.doi.org/10.3366/ijhac.2012.0045.
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Museums need an interactive data collection and visualisation tool for their artefacts. This paper describes a study in which we enable access to Chinese and Japanese cultural heritage information from two history museums, the National Palace Museum in Taiwan and the Tokugawa Art Museum in Japan. Results from these museum databases were used to develop a prototype system to demonstrate advanced cultural learning and historical timeline functionalities for foreigners. This system is based on temporal data from the museums’ databases, and provided the user with powerful data manipulation and graphical visualisation tools. It might become a basis of an interactive digital museum system for Chinese and Japanese heritages especially for foreign users.
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Perla, Armando. „Democratizing Museum Practice Through Oral History, Digital Storytelling, and Collaborative Ethical Work“. Santander Art and Culture Law Review, Nr. 2 (6) (2020): 199–222. http://dx.doi.org/10.4467/2450050xsnr.20.016.13019.
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The museum as an institution can trace its origins to the colonization process. Many are still undemocratic and exclusionary institutions by nature. This article explores how digital collections, digital storytelling, and ethical guidelines for museum professionals working with historically marginalized communities can contribute to democratize museum practice and theory. Making use of two case studies: 1) the creation of the Canadian Museum for Human Rights’ (CMHR) oral history collection; and 2) the planning of the Swedish Museum of Movements’ (MoM) ethical guidelines – this piece proposes a shift from theory to practice in human rights museology to help institutions be more attuned and responsive to the communities they intend to serve. Both case studies demonstrate that implementing human rights museology in national museums is not an easy task and still faces multiple challenges. Yet, they also indicate that this concept can be more productively informed through practices developed by the marginalized groups which have been historically excluded from taking part in the decision-making processes in museums.
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Saaze, Vivian Van, Glenn Wharton und Leah Reisman. „Adaptive Institutional Change: Managing Digital Works at the Museum of Modern Art“. Museum and Society 16, Nr. 2 (30.07.2018): 220–39. http://dx.doi.org/10.29311/mas.v16i2.2774.
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From digital video to software-driven installations, digital art is now present in museums around the world. Museum systems designed for object-based collections like paintings and sculpture do not address the collections management and conservation requirements for these new technologies and their associated hardware. In this article the authors investigate processes through which digital art becomes embedded in museums. Based on original research conducted at The Museum of Modern Art in New York, we argue that the introduction of digital art to MoMA did not lead, as recent literature suggests, to disruptive or radical changes of existing institutional practices. Instead, the result has been organizational subunit proliferation and adjustments to established practices and procedures. Through our study of managing digital art at MoMA, we engage Science and Technology Studies and the institutional analysis tradition in the sociology of organizations to advance the understanding of processes of change in art museums.
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Wiedemann, Julia, Eva Patzschke und Susanne Schmitt. „Museums' Strategies for Opening up to Open Access. German Museums' Utilization Logics for Digital Content“. Museum and Society 17, Nr. 2 (17.07.2019): 193–209. http://dx.doi.org/10.29311/mas.v17i2.2756.
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Museums are expected to safeguard society’s cultural heritage while also making it publicly available to all. Recently, the digital transformation increased political and societal claims on museums to make their digital content openly available. This paper explores museums’ reactions to this claim and looks at how museums currently utilize their digital content. By analysing qualitative interviews with German museum officials we have found museums to follow four different types of strategies which are ‘Societal engagement’, ‘Safeguarding of heritage related knowledge’, ‘Scientific infrastructure’ and ‘marketing ends’. These were embedded in museums’ organizational identity and the prioritising of some of their tasks.
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Ono, Yuichi, Marlene Murray, Makoto Sakamoto, Hiroshi Sato, Pornthum Thumwimol, Vipakorn Thumwimol und Ratchaneekorn Thongthip. „The Role of Museums in Telling Live Lessons“. Journal of Disaster Research 16, Nr. 2 (01.02.2021): 135–40. http://dx.doi.org/10.20965/jdr.2021.p0135.
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This paper summarizes a discussion of the role of disaster-related museums in passing down memories and lessons-learned to future generations through storytelling. The 135-minute discussion was held as a breakout session entitled “The Role of Museums in Telling Live Lessons” during the 2020 International Forum on Telling Live Lessons from Disasters in Kobe, Japan. On 25 January 2020, representatives of five museums (one still under construction) engaged in disaster storytelling activities. They discussed various issues, including how to engage local communities and improve the relationship between storytelling and sustainable museum management. The participating museums were the Pacific Tsunami Museum in Hawaii, U.S.A., the Disaster Reduction and Human Renovation Institution (DRI) in Kobe, Japan, the Museum of the Mount Bandai Eruption in Fukushima, Japan, the International Tsunami Museum in Khaolak, Thailand, and the Ban Namkhem Memorial and Museum in Thailand (under construction). Museums are important venues that develop and continue disaster storytelling. All the participating museums digitally archive images, which creates the permanent inheritance of collective memory. All the museums focus on children. On the other hand, human and economic resources are required for museums to carry out their activities. The need for a museum network engaged in disaster storytelling is also discussed.
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Quiñones Vilá, Claudia S. „What’s in a Name? Museums in the Post-Digital Age“. Santander Art and Culture Law Review, Nr. 2 (6) (2020): 177–98. http://dx.doi.org/10.4467/2450050xsnr.20.015.13018.
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This article examines the recently proposed ICOM museum definition and its detractors in order to trace the history of museums and their social purpose as they move from a traditional past into a tumultuous present and uncertain future. As countries begin to reframe the role of arts and culture in shaping a world affected by a global pandemic, museums will need to address not only practical measures – such as social distancing guidelines and limited visitor numbers – but also how these institutions are situated within the greater social context. Technology is particularly useful for museums to share their collections with audiences and transcend geographical boundaries, and it also allows these institutions to reposition themselves as relevant within the ongoing cultural heritage dialogue and context. However, it is debatable whether online and digital offerings classify as museums. Even if there is no consensus on the textbook definition of museum, pinpointing common traits will help establish their evolution and role for current and future generations. Embracing digitization, virtual museums, and other non-traditional frameworks allows for a more expansive and inclusive conception of museums, taking into account their dual role: as custodians of public knowledge and spaces for education and development.
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Rudloff, Maja. „Det medialiserede museum: digitale teknologiers transformation af museernes formidling“. MedieKultur: Journal of media and communication research 29, Nr. 54 (28.06.2013): 22. http://dx.doi.org/10.7146/mediekultur.v29i54.7299.
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<p>Over the past two decades, digital technologies have gained a greater and more important role in communication and dissemination of knowledge by museums. This article argues that the digitization of museum communication can be viewed as a result of a mediatization process that is connected to a cultural-political and museological focus on digital dissemination, in which user experience, interactivity, and participation are central concepts. The article argues that the different forms of communication, representation, and reception offered by digital media, together with the interactive and social possibilities for action they facilitate for their users, contribute to a transformation of the museum as an institution. It is concluded that the relationship between museum, collection, and users has undergone a number of changes caused by the intervention of the media and that the traditional social act of museum visiting has been transformed and somewhat adapted to new media-created forms of communication and action. From a more general perspective, the article may be regarded as a contribution to a continuous discussion of the role museums must play in a mediatized society.</p>
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Pino Apablaza, Fernando. „Transformación digital y museos sin fronteras. Una evaluación de siete museos de la ciudad de Lima en tiempos de pandemia“. Revista de Investigaciones de la Universidad Le Cordon Bleu 8, Nr. 1 (11.07.2021): 104–19. http://dx.doi.org/10.36955/riulcb.2021v8n1.010.
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La investigación es de alcance descriptivo. Tuvo como objetivo, conocer los niveles de uso, respecto a las tecnologías digitales de siete importantes museos de la ciudad de Lima. Se consideró dos dimensiones tecnológicas. Una denominada tecnología digital in situ, que son aquellas aplicaciones tecnológicas digitales que están dentro del espacio físico del museo, y la otra dimensión denominada tecnología digital vía remota, que se usa para dar acceso al museo desde afuera del espacio físico. Además, se presenta un breve marco teórico sobre transformación digital, donde se describe a una sociedad líquida que se diluye en plena revolución digital. La hipótesis apunta a que existen aún deficiencias en el uso de las tecnologías digitales en los siete museos del Centro Histórico de Lima. Los resultados obtenidos fueron moderados, demostrando frugalidad por parte de los museos en el uso de las tecnologías digitales. En conclusión, existen brechas digitales aún por subsanar en estos museos, que son los más importantes de la ciudad de Lima, la economía es un factor limitante en la digitalización de los museos, y aún existen reticencias y letargo por abordar la transformación digital.
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Shehade, Maria, und Theopisti Stylianou-Lambert. „Virtual Reality in Museums: Exploring the Experiences of Museum Professionals“. Applied Sciences 10, Nr. 11 (11.06.2020): 4031. http://dx.doi.org/10.3390/app10114031.
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The past few years have seen an increase in the use of virtual reality (VR) in museum environments in an attempt for museums to embrace technological innovations and adapt to the challenges of the digital era. While there are studies that examine the advantages of VR in museums and visitors’ experiences with it, there are no studies examining the experiences of museum professionals who are responsible for a museum’s objects and narratives. The aim of this paper is to explore the practices, experiences, and perceptions of museum professionals on the use of VR technology in museums, their perceived advantages and challenges of such technologies, and their vision for the future of technology in museums. The paper provides an in-depth analysis of interviews with museum professionals from a number of countries around the world who worked with particular VR projects in their own institutions. The ultimate aim is to offer a more critical and holistic examination and assessment of the use of VR in museums and provide suggestions for designing and developing VR projects in the future.
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Shim, H., J. Y. Jun und J. Ahn. „PERSONALIZATION ENVISAGED IN MUSEUM APPLICATION GUIDES AND THEIR IMPLICATIONS: UNDERSTANDING THE CONTEXTUALIZATION OF THE VIRTUAL MUSEUM WITHIN THE MUSEUMS OF KOREA“. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (26.08.2019): 1089–96. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-1089-2019.
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<p><strong>Abstract.</strong> The emergence of innovative technologies in the museum environment has influenced the development of guide application tools for personalization, greatly contributing to the enhancement of collection accessibility and enriching the museum experience. Most Korean museums have thus developed strategic objectives for the application of evolved technological advances in their guide applications over the past decade. Beyond such endeavors, the critical analysis and understanding of technical aspects, the information and interactive approach of the applications, and their personalization strategies, are still not broadly explored. This study aims to investigate the various types of technologies that museums use to envisage the personalization of museums exhibits in light of a range of classifications and their correlations. In addition to providing an overview of personalization, the paper aims to access the level and degree of user experience and engagement found in different forms of digital storytelling to investigate the realization of virtual museum(VM) within the museum sector of Korea. To this end, this paper contributes toward filling the gap in the literature by addressing how museum communities can do critical thinking on the reflection of resources when creating their application guides in developing the appropriate digital strategies.</p>
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Kapleris, Ignas. „Dalyvaujamojo muziejaus paradigma virtualioje Lietuvos muziejų komunikacijoje“. Informacijos mokslai 68 (01.01.2014): 77–99. http://dx.doi.org/10.15388/im.2014..3919.
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Straipsnyje aptariamas 2013 m. pabaigoje autoriaus atliktas Lietuvos muziejų interneto svetainių, paskyrų socialinėje „Facebook“ medijoje turinio ir apsilankymų charakteristikų tyrimas. Juo buvo siekiama įvertinti muziejų ir jų lankytojų pasirengimą virtualioje erdvėje įgyvendinti dalyvaujamojo muziejaus paradigmą. Tyrimo metu surinktų duomenų apie socialinę tinklaveiką skatinančių įrankių kiekį interneto svetainėse, virtualių apsilankymų charakteristikas analizė parodė, jog dauguma Lietuvos muziejų virtualią komunikaciją suvokia ir vykdo pagal industrinės, o ne tinklaveikos visuomenės logiką. Augantis paskyrų ir sąveikų su lankytojais skaičius „Facebook“ socialinėje medijoje liudija lėtus abiejų muziejų lauko veikėjų žingsnius link dalyvaujamojo muziejaus paradigmos įgyvendinimo virtualioje erdvėje.Pagrindiniai žodžiai: dalyvaujamasis muziejus, skaitmeninės medijos, interaktyvumas, tinklaveika, antros kartos saitynas, interneto svetainės, virtualūs lankytojai, „Facebook“.
The participatory museum paradigm in virtual communication of Lithuanian museumsIgnas Kapleris
SummaryThe article presents a research of Lithuanian museums’ websites and profiles in the social Facebook media content and visits’ characteristics, done by the author in the end of 2013. The aim of the research was to assess the preparation of museums and their visitors for implementing the participatory museum paradigm. The information of social interaction encouraging tools in museum websites and virtual visits’ characteristics gathered in the analysis has shown that most of Lithuanian museums understand virtual communication in the logic inherent to industrial rather than network society. The growing number of museums’ profiles and theis visitors’ interaction in Facebook digital media show that both actors of the museums’ field slowly move towards the realization of the participatory museums’ paradigm in the virtual space.Keywords: participatory museum, digital media, interactivity, Web 2.0, website, virtual visitors, Facebook
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Hanussek, Benjamin. „Enhanced Exhibitions? Discussing Museum Apps after a Decade of Development“. Advances in Archaeological Practice 8, Nr. 2 (Mai 2020): 206–12. http://dx.doi.org/10.1017/aap.2020.10.
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OverviewThe introduction of the smartphone into the private and professional lives of humans has provided a channel to real-time and place-specific information that can enhance (and disturb) day-to-day living. Given such impact, many museums and archaeological exhibitions have chosen to develop digital applications to enhance the visitor experience via accompanying the visitor through the exhibitions. Yet after a decade, these applications still seem understudied and, in practice, very undeveloped. This review aims to shed some light on the possibilities and shortcomings of museum apps. I discuss and critically evaluate the technical efficiency, practical utility, and user experience of the British Museum Guide (Museums Guide Ltd.) and My Visit to the Louvre (Musée du Louvre) applications. These two mobile apps represent the contemporary standard for museum apps, thereby allowing me to generalize about this genre of digital media.
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Cristobal-Fransi, Eduard, José Ramón-Cardona, Natalia Daries und Antoni Serra-Cantallops. „Museums in the Digital Age“. Journal on Computing and Cultural Heritage 14, Nr. 4 (31.12.2021): 1–21. http://dx.doi.org/10.1145/3464977.
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In terms of destination image, museums represent a tourism resource of the first magnitude. However, just as the information available online influences visitors’ decision-making about destinations, the internet is also fundamental in promoting and attracting visitors to museums. For that reason, we sought to analyse the online presence of museums in the seven most visited cities in Spain. To examine the museums’ websites, we developed an integrative model based on web content analysis (WCA ) and the extended model of internet commerce adoption (eMICA) that we applied to 77 publicly and privately run museums in Spain. Both WCA and the eMICA indicated that, despite their great economic and touristic scope, museums in Spain's most visited cities tend to mismanage their online presence and communication. We thus tentatively attributed the online presence of museums in Spain to type of museum management and several city-related parameters as explanatory variables. Multiple linear regressions of the variables revealed that, under public management, museums have had better online presence, while their respective cities have attracted more tourists. Those findings imply that museums still have a long way to go when it comes to facilitating effective communication and interaction with their target public, which we address in relation to the study's limitations and directions for future research.
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Daniela, Linda. „Virtual Museums as Learning Agents“. Sustainability 12, Nr. 7 (30.03.2020): 2698. http://dx.doi.org/10.3390/su12072698.
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Virtual solutions for exhibiting museum collections are no longer a novelty, as such experiences already exist in the world, but the remote use of museum collections for learning purposes has so far not been widely used in the educational environment. This article analyzes virtual museum applications by evaluating them from a learning perspective, including 25 criteria in the evaluation rubric divided into three groups: (i) Technical performance; (ii) information architecture; and (iii) educational value. This will enable educators to select the most appropriate material for their specific learning purpose and to plan the most appropriate learning strategies by organizing training sessions to acquire knowledge that can be enhanced by museum information and teaching students digital skills in evaluating information available in the digital environment, analyzing its pros and cons to teach them how to develop new innovative solutions. The research is carried out from a phenomenological perspective; to be more precise, virtual museums are analyzed using the principles of transcendental design and a hermeneutic design is used to interpret the resulting data. A total of 36 applications of virtual museums were analyzed, whereupon the results were compiled using static data analysis software, while 13 applications were used for the hermeneutic data analysis. The results suggest that the strength of virtual museums is in information architecture, but less attention is paid to the educational value of the material, which points to the need to change the principles of virtual museum design and emphasizes the role of teachers in using virtual museums as learning agents.
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Bürger, Thomas. „Aus dem "Giftschrank" in das Internet? Ist Aufklärung über NS-Propaganda im offenen Wissenschaftsnetz möglich? Eine Tagung in Wien zur Verantwortung von Bibliotheken und Museen sucht nach neuen Wegen“. Mitteilungen der Vereinigung Österreichischer Bibliothekarinnen und Bibliothekare 73, Nr. 1 (28.03.2020): 152–57. http://dx.doi.org/10.31263/voebm.v73i1.3463.
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Der Beitrag informiert über die Wiener Tagung „Nationalsozialismus digital. Die Verantwortung von Bibliotheken, Archiven und Museen sowie Forschungseinrichtungen und Medien im Umgang mit der NS-Zeit im Netz“ (27.–29.11.2019). Er ist zugleich ein Plädoyer, die Gedächtniseinrichtungen Bibliothek, Museum und Archiv zu digitalen Werkstätten der Demokratie mit starker BürgerInnenbeteiligung weiterzuentwickeln. Wenn das künftige deutsche Zeitungsportal der „Deutschen Digitalen Bibliothek“ NS-Zeitungen aus urheberrechtlichen Gründen ausblendet, käme dies faktisch einem fortgesetzten Täterschutz gleich. Mit den Methoden der Digital Humanities sollte vielmehr ein vollständiges Zeitungsportal die problematischen Quellen angemessen kontextualisieren und mit sprach- und bildkritischen Analysen zeigen, wohin Gleichgültigkeit und Wegschauen früher schon einmal geführt haben.
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Liddell, Frances. „Building Shared Guardianship through Blockchain Technology and Digital Museum Objects“. Museum and Society 19, Nr. 2 (30.07.2021): 220–36. http://dx.doi.org/10.29311/mas.v19i2.3495.
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This article considers the notion of shared guardianship in the context of digital museum objects and blockchain technology, arguing that this technology can contribute to the production of value in digital museum objects that goes beyond the monetary. Shared guardianship is understood to be a process of prioritizing the experience of others and forming a diverse set of stakeholders that transforms understandings around ownership; meanwhile, a blockchain is a type of distributed ledger technology which can be used to identify digital files and so make them feel ownable and authentic. As such, this paper argues that blockchain technology could create a new layer of materiality and value in digital museum objects which could support the formation of shared guardianship. This question will be analysed in relation to the theoretical underpinnings of digital materiality and a case study project at the National Museums Liverpool, UK, which investigated how to implement blockchain technology in the museum context in order to produce collective ownership and meaningful, connected digital objects.
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Dang, Qiong, und Katia Segers. „A Comparative Analysis of Visitor Satisfaction in the Digital Museum“. INTERIN 25, Nr. 1 (06.12.2019): 83–100. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp83-100.
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A construção de um museu digital é complexa e é influenciada por inúmeras variáveis. Pesquisas anteriores sugeriram que a aplicação da tecnologia promove a preservação de relíquias culturais, o gerenciamento da digitalização, a disseminação eficaz do conhecimento tradicional e o pensamento crítico em museus. No entanto, o estudo sobre a relação entre sites de museu e visitantes parece estar faltando. Esta pesquisa visa preencher a lacuna baseada em dois casos: o Museu do Palácio e o Museu Henan. Os dados foram coletados de 17 entrevistados em profundidade e 557 questionários. Os resultados mostram que os fatores significativos que influenciam a satisfação do visitante nos sites dos museus são: qualidade da informação, qualidade do sistema, utilidade percebida, usabilidade percebida e imagem do museu.
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Bondarets, Oksana. „Museums: Preserving Heritage, Comprehending Past, Forming Identity“. NaUKMA Research Papers. History and Theory of Culture 4 (15.06.2021): 106–12. http://dx.doi.org/10.18523/2617-8907.2021.4.106-112.
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Perception of museums as space of co-operation between public and collections is rethought constantly, with primarily taking into account a sociocultural situation. It is reflected on the specifics of the direction of activity and determination of the mission of different museums. Nowadays, scientists interpret the museum space as social space and regard museums as institutes of social memory (historical memory or cultural memory). Communication, interactivity, and participation are considered to be the main components determining the development of the modern museum. The aim of this study is to analyse the strategy of determination of priority directions of the museum activity and the place and role of museums in the processes of memory. Museums accumulate and translate the experience of a certain culture and the way they present this experience; it is a part of the complicated process of formation of the nation identity. Museum professionals often say that an important task now is to choose one and only line among the events and to create a common collective experience that in turn influences the self-identity of an individual. First, every museum must choose the educational strategy and define the priority directions of their activity. The sharpest discussions in Ukraine concern the direction of the national museums. If a museum considers the priority direction of the activity organization of leisure, then the question is whether it can have the status of national. The function of leisure is important but cannot be basic; in fact, the essence of the museum is the function of cognition. A special attention should be paid to the fact that a tendency of “walls without the museum,” that is the museum without traditional collections, now undergoes substantial changes. Such museums afterwards begin to complete their own collection. It is presently impossible to ignore such an important theme as the maintenance of the cultural heritage and digital transformation. Museums actively use multimedia technologies for the maintenance and popularization of the heritage. But a specific feature of the museum as an institution of storage, study, andtranslation of subject forms of culture has not been lost. Museum objects themselves are the basis of adaptive and inculturation possibilities of the museum. In the epoch of globalization, a museum can create optimal terms for the cultural identification. Presently our task is not consideration of certain historic events and their influence on forming the historic memory of the Ukrainian people. It is important to mark that potential of museums as grounds of proceeding in the national memory and Ukrainian identity considerable enough, but not exposed, and not only by regional museums. The study and use of experience of the creation of complex narratives on difficult questions of history in the museums of the world are important enough for Ukrainian museum professionals. Modern museums, while developing projects related to traumatic remembrances, questions of firmness, dialogue, problems of reconciliation in conflict periods of history, run into numerous problems but must not forget that these projects will assist a reflection among the public.
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Vasileva, Sofia, und Tina Petrova. „Virtual Reality Development and the Socialization of Bulgarian Cultural Heritage“. Journal of International Cooperation and Development 2, Nr. 1 (01.05.2019): 34. http://dx.doi.org/10.36941/jicd-2019-0005.
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The aim of the paper is to show to what extent so far the virtual reality has entered the exhibition concepts of museums in Bulgaria. Two aspects have been emphasized: the integration of information technologies in education in the sphere of cultural heritage and the digital presentation of museum displays. This article presents part of the activities and results on research Project Models of Socialization of Cultural Heritage in a ‘smart city’ ДН05/3, 14.12.2016, supported by the National Science Fund at the Bulgarian Ministry of Education and Science. Descriptive qualitative method was employed in this study. The data were obtained through direct observations of museum institutions in Bulgaria in terms of the degree of online access to museum expositions, the degree of digitization of museum collections and the degree of digital representation of museum expositions. Some of the basic problems of museums in Bulgaria have been systematized. Results are used to improve the quality of education in the field of cultural heritage, to promote the exchange of scientific and practical experience among university tutors, museum specialists and experts. It is expected that the results find application in the programs for informing and training for raising the capacity of local communities in the sphere of cultural tourism.
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Vasileva, Sofia, und Tina Petrova. „Virtual Reality Development and the Socialization of Bulgarian Cultural Heritage“. Journal of International Cooperation and Development 2, Nr. 2 (10.11.2019): 1. http://dx.doi.org/10.36941/jicd-2019-0008.
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The aim of the paper is to show to what extent so far the virtual reality has entered the exhibition concepts of museums in Bulgaria. Two aspects have been emphasized: the integration of information technologies in education in the sphere of cultural heritage and the digital presentation of museum displays. This article presents part of the activities and results on research Project Models of Socialization of Cultural Heritage in a ‘smart city’ ДН05/3, 14.12.2016, supported by the National Science Fund at the Bulgarian Ministry of Education and Science. Descriptive qualitative method was employed in this study. The data were obtained through direct observations of museum institutions in Bulgaria in terms of the degree of online access to museum expositions, the degree of digitization of museum collections and the degree of digital representation of museum expositions. Some of the basic problems of museums in Bulgaria have been systematized. Results are used to improve the quality of education in the field of cultural heritage, to promote the exchange of scientific and practical experience among university tutors, museum specialists and experts. It is expected that the results find application in the programs for informing and training for raising the capacity of local communities in the sphere of cultural tourism.
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Fuchsgruber, Lukas. „Museum Photo Archives and the History of the Art Market: A Digital Approach“. Arts 8, Nr. 3 (18.07.2019): 93. http://dx.doi.org/10.3390/arts8030093.
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Digital images with metadata contain unique potential for research into the history of the art market. The embedding of digital images in a database allows for the possibility of an association with their historical context due to the presence of metadata, which includes economic data, such as the provenance chain, as well as information about collecting practices. The database becomes a historical reconstruction of context accompanying the reproductions of the works. In this paper, a case study of a museum photo archive of forgeries illustrates the ways in which digital methods can be helpful in analyzing these contexts. The archive was run by the secret “Verband von Museums-Beamten zur Abwehr von Fälschungen und unlauterem Geschäftsgebahren” (Association of Museum Officials for Defense against Fakes and Improper Business Practices). This archive allows the engagement of early 20th century museums in the art market to be traced within specific genres. The goal of the case study and methodology presented here is to learn more about the economic practices of museums. Specifically, this paper reconsiders a study by Timothy Wilson on fake maiolica, with a new focus on the involvement of museums in the art market.
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Kliuchko, Yuliia. „COMMUNICATIVE SPACE OF MODERN MUSEUMS DURING THE PANDEMIC“. CULTURE AND ARTS IN THE MODERN WORLD, Nr. 22 (30.06.2021): 145–55. http://dx.doi.org/10.31866/2410-1915.22.2021.235902.
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The purpose of the article is to explore the communicative space of modern museums in the conditions of the COVID-19 pandemic, to outline the main vectors of its development. The research methodology is based on the general scientific principle of objectivity, structural and functional, analytical methods are used during the analysis of the communicative space of museums in the context of the COVID-19 pandemic. Taking into account the current state of museums in Ukraine, the main theoretical achievements of the issue are systematized and generalized; it is shown that the topic of the research at the present stage has not yet been comprehensively reflected in the domestic scientific literature. The novelty of the article is to determine the main vectors of the development of the communicative space of foreign and domestic museums during the COVID-19 pandemic, to study the most successful projects of Ukrainian museums in the context of the transformation of the communicative space. Conclusions. The study shows that today the establishment of a sustained and constructive dialogue with its audience is an important result of the museum activities as one of the communication centers in the cultural space. This article demonstrates that there is a rather significant transformation of the museum environment and the museum communicative space, which is manifested in a combination of traditional and innovative directions, the development of adaptation strategies following the modern conditions. It is claimed that for museums the time of the pandemic is the time of mastering new communication channels, the time of pooling resources. Information technologies adjust and supplement the content of the main functions of museum’s activities. Without digital technologies and digital communication, the museum is no longer able to achieve its full potential as a sociocultural and educational institution. The article shows that during the COVID-19 pandemic the Internet communication between Ukrainian museums and their audience has actually become the only way to interact. To attract a new audience, Ukrainian museums are implementing inclusion practices, rebranding, interdisciplinary and inter-museum projects, applying creative approaches to adapt educational programmes to the online format, and significantly increasing the amount of content for children and adolescents.
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Lupo, Bianca Manzon. „O museu como espaço de interação: arquitetura, museografia e museologia“. Revista CPC 14, Nr. 27 (29.07.2019): 217–43. http://dx.doi.org/10.11606/issn.1980-4466.v14i27p217-243.
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O conceito de interatividade tem sido amplamente utilizado como premissa para a estruturação institucional de museus, sendo comumente introduzido no espaço museológico nas décadas recentes. A museografia interativa frequentemente aparece como alternativa para a apresentação de acervos formados a partir de bancos de dados digitais, participando ativamente da constituição de museus encarados como centros de referências e da criação das narrativas museais. O artigo pretende analisar a interatividade entendida como diálogo entre arquitetura, museografia e museologia, investigando sua relação com a concepção e recepção do espaço expositivo contemporâneo. Para tanto, possui como foco principal a análise do contexto brasileiro a partir dos casos de referência selecionados: Museu do Futebol (São Paulo, 2008) e Museu do Amanhã (Rio de Janeiro, 2015). Com o estudo proposto, pretende-se aprofundar o entendimento sobre a consolidação do campo da museografia interativa no Brasil, verificando suas implicações para o projeto de arquitetura museal.
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Dang, Qiong. „Literature Review on the Digital Museum in a Chinese Context“. Communication, Society and Media 1, Nr. 2 (28.11.2018): 149. http://dx.doi.org/10.22158/csm.v1n2p149.
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<em>Parry (2007) claims that “it would be an exaggeration to suggest that the computer has been the cause of the recent ‘reimagining’, ‘rethinking’, ‘reshaping’ and ‘reframing’ of the museum” (p. 140). Technological innovation creates new possibilities for the development of the museum, and the digital museum as one of its products plays a key role in the preservation and communication of cultural heritage. However, research on the digital museum is lacking in China. Therefore, this article is an attempt to determine the extent to which factors influence the construction of digital museums. In order to answer the research question, a systematic review has been utilized in order to comb the available literature in the Chinese context. As a result, 1829 articles have been retrieved and 205 articles have been accessed, and finally, 41 studies have been selected and reviewed. The results indicate that the development of the digital museum is influenced by technology, human resources, and funding. Then, suggestions and implications are put forward for further research.</em>
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Kenderdine, Sarah. „Inside the Meta-Centre: A Wonder Cabinet“. Media International Australia 89, Nr. 1 (November 1998): 63–74. http://dx.doi.org/10.1177/1329878x9808900109.
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This paper is presented in three parts. The first part examines the emerging models of the online museum to demonstrate how traditional museums are seeking to extend and recreate themselves through the Internet. This section also notes the genesis of the information metacentres as one way to encompass museum collections and processes. The second section of the paper will introduce Australian Museums On-Line (AMOL, http://amol.org.au ) as one example of the information meta-centre, an integrated resource pool of digital museum information from distributed Australian museums and galleries communities. This section will examine salient aspects of this on-line community as offering a complimentary meeting place that is both virtual and real. The third section will look to the underlying design and architecture of the AMOL Website and introduce some of the projects that will be implemented at the site as a response to its users' needs.
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Abdul Aziz, Mohd Nasiruddin, Siti Norlizaiha Harun, Mohd Khairi Baharom und Norfadilah Kamaruddin. „Preferred Learning Styles for Digital Native and Digital Immigrant Visitors in The Malaysian Music Museum“. Asian Journal of University Education 16, Nr. 3 (20.10.2020): 234. http://dx.doi.org/10.24191/ajue.v16i3.11085.
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The majority of museum experts have agreed that museums are informal learning environments, however, most of the previous studies on digital learning have focused on formal education institutions instead of informal environments. Hence, adapting the new fast-changing technology in museum learning has become one of the major challenges for the digital native and digital immigrant populations due to their different learning styles. These two generations have different levels of thinking patterns, experiences, and digital exposure that lead to different levels of technology accessibility in the learning environment. Therefore, the aim of this study was to investigate the preferred learning styles of museum visitors in the Malaysian context based on the learning styles of digital natives and digital immigrants. A total of 265 respondents participated in this study representing the population of N=792 at the Malaysian music museum in the data collection process. These descriptive results on the cross-tabulation analysis from the survey indicated that most of the visitors preferred the digital natives’ learning styles compared to the digital immigrants’, regardless of personal factors (gender, age, nationality, education level, or occupation). Thus, museum institutions should take the necessary steps to enhance or maintain the learning approach for digital natives with elements of entertainment and fun, provide internet connection, less text, out of school environment, digital use, and multi-task activities for skills enhancement. The minority of digital immigrants are suggested to assimilate and become part of the digital native group to stay relevant in this digital era.
Keywords: Digital, Education, Learning, Malaysia, Museum
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Hamer, Naomi. „The hybrid exhibits of the story museum: The child as creative artist and the limits to hands-on participation“. Museum and Society 17, Nr. 3 (29.11.2019): 390–403. http://dx.doi.org/10.29311/mas.v17i3.3256.
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Since the Brooklyn Children’s Museum opened in 1899, the concept of the children’s museum has evolved internationally as a non-profit public institution focused on informal family-centred education and interactive play environments (Acosta 2000; Allen 2004). The majority of these museums highlight science education; however, over the past decade, a new specialized institution has emerged in the form of the children’s story museum that concentrates on children’s literature, storytelling, and picture book illustration. These story museums feature childhood artifacts through the curatorial and display conventions of museums and art galleries, in combination with the active play environments and learning stations of science-oriented children’s museums. These exhibits also reflect the changing place of the museum as an institution in the age of the “participatory museum”: a movement away from collections towards interactive curatorial practices across physical and digital archives (Simon 2010; Janes 2011). Framed by cross-disciplinary theoretical and methodological approaches from critical children’s museology, picture book theory, and children’s culture studies, this analysis draws upon selected examples (2014-2018) of curatorial practices, exhibits, and the spatial/ architectural design from Seven Stories: National Centre for Children’s Books (Newcastle, UK), the Hans Christian Andersen Haus/Tinderbox (Odense, Denmark), and The Eric Carle Museum of Picture Book Art (Amherst, MA, USA). These institutions provide distinctive venues to examine the tensions between discourses of museums as institutions that house collections of material artifacts including children’s literature texts, discourses of the creative child and ‘hands-on’ engagement (Ogata 2013); and discourses of critical engagement and participatory museums. While these exhibits affirm idealized representations of childhood to some extent, participatory engagements across old and new media within these spaces have significant potential for critical and subversive dialogue with ideological constructions and representations of gender, race, socio-economic class, mobility and nationalism rooted in the children’s literature texts.
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Korzun, Dmitry G., Sergey A. Marchenkov, Andrey S. Vdovenko und Oksana B. Petrina. „A Semantic Approach to Designing Information Services for Smart Museums“. International Journal of Embedded and Real-Time Communication Systems 7, Nr. 2 (Juli 2016): 15–34. http://dx.doi.org/10.4018/ijertcs.2016070102.
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The existing wide spectrum of embedded, multimedia, and mobile equipment provides an effective base for making museums smart or intelligent. By using the Internet of Things technology and the smart spaces paradigm the distance can be shortened between exhibits and their descriptive information on one side and consumers and providers of this information on the other side. In this paper, the authors discuss a smart museum concept and present a semantic approach to design of advanced information services for smart museums. The central point is introduction of the semantic layer to create a semantic network. The proposed approach reduces the semantic layer development to the following components: software infrastructure, semantic layer ontology, and mobile user access. For these components the authors provide design solutions, which are analyzed in respect to particular services for the History Museum of Petrozavodsk State University. The semantic approach can be applied to development of many museum services as well as in various digital environments of museums and cultural heritage areas.