Relevant bibliographies by topics / Digital Heritage, online museum

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Digital Heritage, online museum'

Author: Grafiati
Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Digital Heritage, online museum"

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Giannini, Tula, and Jonathan P. Bowen. "Global Cultural Conflict and Digital Identity: Transforming Museums." Heritage 6, no. 2 (February 15, 2023): 1986–2005. http://dx.doi.org/10.3390/heritage6020107.

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This paper looks at key elements of global culture that are driving a new paradigm shift in museums causing them to question their raison d’être, their design and physical space, recognizing the need to accommodate visitor interaction and participation, and to reprioritize institutional outcomes and goals reexamining their priorities. As heritage sharing in online spaces reaches across national, political, and social boundaries on platforms and networks, this has been driven by museum engagement with Internet life during the pandemic. Museum relationships and interactions with communities both local and global continue to challenge core values and precepts, leading to radical changes in how museums define their roles and responsibilities. In this new cultural landscape, museums are responding to human digital identity in a tidal wave of human interactions on the Internet, from social media to online sharing of images and videos. This is revealing shared perspectives on cultural conflict as being tied to freedom of expression of one’s heritage embedded in digital identity.
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Barić, Mislav. "Earthquake and the pandemic on top of old problems – work of the Croatian History Museum after the Zagreb earthquake of March 2020 and during the Covid-19 pandemic." Libellarium: časopis za istraživanja u području informacijskih i srodnih znanosti 13, no. 1 (August 26, 2022): 143–58. http://dx.doi.org/10.15291/libellarium.3472.

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Purpose. The aim of the paper is to present the work the Croatian History Museum (CHM) has done to preserve cultural heritage and the use of its digital strategy to present that work. This was applied in the CHM’s plan as the digital editorial board was formed to oversee and curate the Museum’s presence on the social media and the internet. Approach/methodology. The paper showcases the increase of online visitors and users that consume cultural heritage on online platforms through the examples of virtual exhibitions, social media posts and gathered data. The maintenance of a specifically targeted virtual identity of a museum helped in this regard, which is evident in the increase of online visitors. Data was gathered and interpreted by using Google Analytics and Instagram analytical data by the author throughout 2020, and the data suggest that digital museums have a lot of potential, in particular with modern online users. Findings. The data presented in the paper shows that the online visitors were interested in the work of the Museum and that the promotion thorough social media generated online visitors as much as a real-life exhibition. It shows the interest in digital museums and the promotion of museum work online. Research limitations. The author recognizes that the data presented in the paper is gathered only from one source as the author could not access data from other similar institutions which would have been used for comparison. Originality/value. Through empirical examples, the paper showcases how useful a virtual museum can be in raising interest in cultural heritage. This is especially important in times when people cannot attend large social gatherings. Also, the paper describes the events and the work guidelines given at times of crisis such as earthquakes, which the author witnessed himself and participated in.
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Martin, Marcella, and Federica Vacca. "Heritage narratives in the digital era." Research Journal of Textile and Apparel 22, no. 4 (December 3, 2018): 335–51. http://dx.doi.org/10.1108/rjta-02-2018-0015.

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Purpose By considering the role of technology in museum archives and exhibitions, as well as company archives and production, this paper aims to present that digital technologies offer new approaches and tools to consider fashion know-how, traditions and memories. Design/methodology/approach Through an extensive literature review and a close consideration of multiple sources, this paper analyzes fashion, tradition and knowledge creation through the lens of museum and company archives. A section on museum archives analyzes the role of fashion in the museum and the use of technology in cataloging, online resources and exhibitions for knowledge transfer of fashion history. The second half of the paper considers the relationship between heritage, company archives and technology in branding and consumer engagement. Findings The paper summarizes recent scholarship in the fields of fashion archives and demonstrates the still current importance of heritage in generating new design and exhibition practices. Despite having its roots in the past, heritage demonstrates continuity with the present and looks to the future with the same devotion and commitment, thus guaranteeing quality and authenticity for both museum collections and company productions. Originality/value Through a case study methodology, this paper presents how digital technologies can offer new approaches and tools in museum archives and exhibitions, as well as in company archives and collection development, to reconsider and translate fashion know-how, traditions and memories in the digital era.
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Vasileva, Sofia, and Tina Petrova. "Virtual Reality Development and the Socialization of Bulgarian Cultural Heritage." Journal of International Cooperation and Development 2, no. 1 (May 1, 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, and Tina Petrova. "Virtual Reality Development and the Socialization of Bulgarian Cultural Heritage." Journal of International Cooperation and Development 2, no. 2 (November 10, 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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Wang, Yanyan, Yuhan Zhou, Weiwen Liu, Huiru Chen, and Yifang Li. "Using Digital Storytelling in a Virtual 3D-Museum for Beijing Old Objects." Digital Presentation and Preservation of Cultural and Scientific Heritage 9 (September 13, 2019): 303–8. http://dx.doi.org/10.55630/dipp.2019.9.31.

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This paper presents an overview of the construction of a virtual online 3D-museum for Beijing old objects (3D-BOOM) through digital storytelling. The project of 3D-BOOM proposed, implemented and evaluated an innovative conceptual and technological framework applying digital storytelling in 3D-museums, which will enable both the experiencing of personalized interactive stories for the visitors of cultural heritage and the authoring of narrative structures by the cultural experts. The emotive virtual cultural experience provided by 3D- BOOM will make cultural heritage more attractive and effective.
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Underberg-Goode, Natalie. "Digital Storytelling for Heritage across Media." Collections: A Journal for Museum and Archives Professionals 13, no. 2 (June 2017): 103–14. http://dx.doi.org/10.1177/155019061701300205.

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This article presents insights from digital heritage and digital storytelling scholarship and practice to address the question, “How can heritage materials be presented online or through other digital formats in a useful and engaging way?” Specifically, the article focuses on opening up a dialogue between archivists/museum curators, heritage professionals and scholars, and digital media specialists in the following key areas: the affordances and constraints in developing digital storytelling projects within and across platforms, digital storytelling tips for heritage experts, knowledge of the digital media production process as an aid in the development of digital storytelling projects for archives/museums, and digital storytelling practices, tools, and tips in the areas of digital video, Internet-based storytelling, and mobile augmented-reality storytelling. The article provides examples from the author's own work and teaching along with examples of other projects—both those directed by the author and those developed by others—that illustrate these ideas at work.
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Jokanović, Milena. "Space Crisis: Encounter in the Museum Building or Online?" INSAM Journal of Contemporary Music, Art and Technology, no. 9 (December 15, 2022): 74–87. http://dx.doi.org/10.51191/issn.2637-1898.2022.5.9.74.

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After witnessing a huge turnaround in the wider social context in the previous period, it seems that the question of the future of museums in the digital environment has begun to take on a very optimistic tone full of potential. There is a growing visibility of these heritage institutions on social networks and an increasingly diverse offer of virtual tours, as well as the use of modern virtual and augmented reality technologies in the interpretation and presentation of cultural heritage, while some works of art and collections are created exclusively for cyberspace. Nevertheless, the museum as a meeting place still seems irreplaceable. At a time of isolation, growing loneliness and fears, studies on the emotions of visitors during their stay in the museum in the last few years show that real, physical spaces of the museum encourage constructive attitudes. Encounters with other visitors as well as with the exhibited artifacts especially prove to be important for positive feelings and the need to visit the museum. We will issue these theoretical premises on selected examples and examine whether modern technologies serve as additional tools of promotion and other possible ways of presenting museum content or, oppositely, whether social media and NFT galleries manage to overcome the need for the museum itself as a place of physical encounter.
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Stainforth, Elizabeth. "From museum to memory institution: the politics of European culture online." Museum and Society 14, no. 2 (June 9, 2017): 323–37. http://dx.doi.org/10.29311/mas.v14i2.646.

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Museums, libraries and archives have long been considered the retainers of some form of collective memory. Within the last twenty years, the term ‘memory institution’ has been coined to describe these entities, which is symptomatic of the fact that such places are increasingly linked through digital media and online networks. The concept of the memory institution is also part of the vocabulary used to promote broader cultural integration across nations, and appears in discussions of European heritage and in policy documents concerning the digitization of cultural heritage collections. To explore the relationship between cultural heritage, memory and digital technology further, this paper will examine the large-scale digitization project Europeana, under which museums, libraries and archives are re-defined as cultural heritage institutions or memory institutions. My purpose is to trace the conceptual trajectory of memory within this context, and to address how the idea of a European cultural memory structured by technology holds implications for institutions traditionally associated with practices of remembering.Key words: Cultural heritage, collective memory, digitization, network, memory institution, Europe, integration
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Janowska, Anna Anetta, and Radosław Malik. "Digitization in museums: Between a fashionable trend and market awareness." Studia z Polityki Publicznej, no. 3(27) (October 28, 2020): 31–45. http://dx.doi.org/10.33119/kszpp/2020.3.2.

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The purpose of this article is to verify how museums in Poland deal with the challenge of digital transformation. The proliferation of information and communications technology (ICT) enables the digitization of museum collections and increases their availability to the public. The preservation and popularization of cultural heritage, being an important part of the cultural policy, is a priority for the European Union, resulting in increased funding of digitization initiatives. The study presented in this article is based on a survey performed among a group of leading museums in Poland which are recorded in the State Register of Museums. The results show that museums accept digitization as a crucial element of their activity. 69% of the institutions present some part of their collections online and 94% intend to increase the scope of digitization. However, most institutions share less than 25% of their current collections online despite having a larger part digitized. 83% of museums share their collections exclusively on their own websites or dedicated platforms, and most institutions (62%) observe a positive connection between sharing collections online and the number of physical visits to the museum. The results also show that museums tend to prioritize heritage preservation over collection sharing.
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Dissertations / Theses on the topic "Digital Heritage, online museum"

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FERNANDEZ, BLANCO MONTSERRAT. "Museum without walls: per una tipologia dei progetti online di musei." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2015. http://hdl.handle.net/10281/96106.

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The research has addressed the issue of digitization in museums. The goal of the work is to create a framework of various types of online projects that serve as guidelines for museum workers. In particular, through the analysis of primary and secondary literature, interviews with key informant, online research and case studies (projects) was rebuilt the current phase of 'normalization' in museum practice.
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De, Wild Karin. "Internet art and agency : the social lives of online artworks." Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/a6a64a92-2edc-44a8-b371-de4a61bdc289.

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During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).
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Lilja, Josefin. "Interactive digital storytelling and tangibility in cultural heritage museums." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22810.

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This paper focuses on how a single installation can enhance personalization of the information in cultural heritage museums and enhance the overall experience using interactive digital storytelling and the ability to touch artefacts. Interaction design methods helped establish best practices centring on usability. In the process low- fidelity and mid-fidelity prototypes were created based on the field studies such as obeservations in exhibits and interviewing professionals in different museums. The conclusion could be made that artefact and the purpose of the exhibit as an whole does get more intense if one has the opportunity to touch and make it part of the visitors journey can be said.
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Clari, Michela. "In the hands of the user : a framework for the analysis of online engagement with digital heritage collections." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7543.

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Within a context of recent and rapid transformation in authorship and participation practices on the Internet, this thesis explores the implications of an emerging digital culture for heritage institutions, such as museums and archives. Combining insights from internet, education and museum theory it explores different experiences of participation and meaning making around digital heritage collections opened to public engagement and contribution. In particular, the investigation analyses and contrasts the online activities of the Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS), partner in the research, with alternative approaches. The thesis applies ethnographic research methods to investigate embodied and virtual settings. Based on the empirical findings, it identifies different theoretical models of online engagement with heritage content. It then extrapolates from these models a conceptual framework that could be used by heritage institutions to analyse and re-assess their online practices, intellectual positioning and strategic ambitions in the context of the paradigm shift brought about by digitality.
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Eriksson, Elin. "Museet i en digital värld : En visuell analys av Nationalmuseums digitaliserade verksamheter." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448612.

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Digital technology has changed the nature of how humans live as a society with lives orbiting a digital core of internet, smartphones, social media etc. There is now not only a physical world but a digital one too. This far-reaching transformation also applies to cultural institutions to digitize their activities, a result of responding to the expectations of a contemporary audience. The aim of this study is to examine the digitization of art- and cultural heritage in a digital world. The essay examines the digital activities of the Swedish National Museum of fine art that has developed before, during and as a result of the COVID-19 pandemic. This is done through visual analysis and the theoretic framework of postphenomenology and social semiotics. The study finds that cultural heritage can be digitized in many different ways but that the digitization can’t replace the physical encounter with an artwork. Yet it can constitute new ways and perspectives on how to experience, see and discuss traditional works of art. Digitization of cultural heritage can therefore work to enhance its general interest, disseminate and influence an increase in availability of knowledge about cultural heritage and art history.
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LA, GUARDIA Marcello. "GIS BASED WEB APPLICATIONS FOR TERRITORIAL ANALYSIS AND VIRTUAL ONLINE FRUITION OF COMPLEX DATASETS." Doctoral thesis, Università degli Studi di Palermo, 2022. https://hdl.handle.net/10447/575770.

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Lawson, Laté Jean-Paul Cypriano. "La valorisation du patrimoine matériel dans les musées ouest-africain: conception d’une stratégie d’e-médiation culturelle." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29718.

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Dans les musées, le patrimoine matériel est constitué de l'ensemble des objets et artefacts palpables, conservés et mis à la disposition des publics au travers d’actions de médiation. Depuis le début de la décennie 1990, de nombreux pays se sont tournés vers la technologie, pour rendre plus accessibles leurs collections. S’il est vrai qu’en Europe, c’est le recours au numérique s’est très tôt opéré, aussi bien au niveau de la conservation que de la valorisation des collections muséales, il faut noter qu’en Afrique, l’appropriation et l’utilisation du numérique ne s’est fait que très récemment, au début de la décennie 2010. Tout au long de notre formation de Master TPTI, nous avons eu l’occasion de visiter de nombreux institutions muséales en Europe (lesquelles disposent ou pas d’énormes ressources), ce qui nous a permis de constater que l’utilisation du numérique dans la valorisation des collections patrimoniales impliquent plusieurs enjeux tous importants : la formation et le renforcement des capacités du personnel à l'usage des technologies nouvelles, l’implication des publics, la définition des ressources (matérielles, financières et humaines), et surtout, l’élaboration et la mise en oeuvre de stratégie de médiation numérique. Nous nous sommes alors interrogés sur le rôle du numérique dans la valorisation des collections matérielles et le développement des musées en Afrique. Ou comment les musées africains pourraient utiliser le numérique pour mieux valoriser les objets dont regorgent leurs collections. Au travers une revue de littérature sur la question, ainsi que des interviews que nous avons menés avec les professionnels des musées des civilisations de Dakar et d’Abidjan et des professionnels du numérique en France, nous avons compris que la principale difficulté pour les musées africains en matière d’usage des technologies est intimement liée à la non-maîtrise de l’élaboration et de la mise en oeuvre de stratégies numériques au sein de ces musées. Ainsi donc, après avoir présenté un panorama actuel du numérique dans les musées à travers les outils, dispositifs et contenus, nous avons exposé les enjeux du numérique pour les professionnels et les publics africains, pour finir sur la proposition, dans ses grandes lignes, d’une stratégie de médiation numérique pouvant être adaptée et mise en application dans les musées africains avec un focus sur la stratégie numérique que nous proposons au Musée des Civilisations Noires de Dakar (Sénégal); ABSTRACT: In museums, tangible heritage is made up of all the palpable objects and artefacts that are conserved and made available to public through mediation actions. Since the early 1990s, many countries have begun to use technology to make their collections more accessible. While in Europe, recourse to digital technology was made very early on, both in terms of conservation and the enhancement of museum collections, it should be noted that in Africa, the adoption and implementation of digital technology only took place very recently, at the beginning of the decade 2010. Throughout our TPTI Master's degree course, we had the opportunity to visit many museum institutions in Europe (which may or may not have huge resources), which allowed us to observe that the use of digital technology in the enhancement of heritage collections involves several important issues: training and capacity building of staff in the use of new technologies, the involvement of publics, resources etablishment (material, financial), and above all, the development and implementation of a digital mediation strategy. We then asked ourselves about the role of digital technology in the enhancement of material collections and the development of museums in Africa. Or how African museums could use digital technology to enhance the value of the objects in their collections. Through a literature review on the issue, as well as interviews we made with professionals from the Museums of Civilization in Dakar and Abidjan and digital professionals in France, we understood that the main difficulty for African museums in terms of technology use, remains the lack of control over the development and implementation of digital strategies within these museums. Therefore, after having presented a current panorama of digital in museums through tools, devices and contents, we have exposed the challenges of digital for professionals and African audiences, to finish on the proposal, in its broad lines, of a strategy of digital mediation that can be adapted and implemented in African museums with a focus on the digital strategy we propose to the Museum of Black Civilizations in Dakar (Senegal).
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Lian, Elisabeth. "Digitaliserat kulturarv : En studie av hur fyra forskare med textila föremål som källmaterial upplever sitt arbete i en digitaliserat tid." Thesis, Uppsala universitet, Textilvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-437226.

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Our whole society is affected by the digitisation process. The policies of the Swedish government encourage the cultural heritage organizations to strategically develop the digitisation of their collections. These strategies often aim to make the collections more accessible but there is not much research about how researchers who have use of the digital information meet with the digital collections. The intention of this thesis is to study four researchers in the field of humanities who have textile objects as source material, and their professional experience of the digitisation of the cultural heritage. The researchers were interviewed in a semi-structured qualitative way, and the interviews were recorded and transcribed for analyzation of the data collected.  The main result of the study is that the digital access of research material represents an improvement of their work when it comes to getting a quick and easy overview of their research subject which also represent a chance to improve the research quality by being able to compare and search for similar objects all over the world without having to travel to the collections. It has also become cheaper because of less travelling. Being able to take digital photos is also a big improvement compared to analogue photographs that are expensive and takes time to develop. One negative aspect that the study shows, is that the information in digital collections often lacks the quality that the researchers need, for example close-up pictures or relevant and reliable metadata. The researchers also experience an uncertainty in how to use the digital tools and computer programs in an effectively way and expresses a need for more knowledge about the different IT-systems. This thesis shows that the research topics seem to change due to the digitisation, partly because of the technological possibilities that new methods offers. Digital humanities points to this as a possibility to develop the research in the field of humanities and explore new areas that cannot be done without the digital methods.
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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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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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Books on the topic "Digital Heritage, online museum"

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Parry, Ross. Recoding the museum: Digital heritage and the technologies of change. Abingdon, Oxon: Routledge, 2008.

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S, Frey Franziska, and Rochester Institute of Technology, eds. Direct digital capture of cultural heritage: Benchmarking American museum practices and defining future needs. Rochester: Rochester Institute of Technology, 2005.

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Queers online: LGBT digital practices in libraries, archives, and museums. Sacramento, CA: Litwin Books, 2015.

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1948-, Stephenson Christie D., and McClung Patricia A, eds. Delivering digital images: Cultural heritage resources for education. Los Angeles, Calif: Getty Information Institute, 1998.

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1959-, Gemmeke Claudia, John Hartmut, and Krämer Harald 1963-, eds. Euphorie digital?: Aspekte der Wissensvermittlung in Kunst, Kultur und Technologie. Bielefeld: transcript Verlag, 2001.

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Roosen-Runge, P. H. The virtual display case: Making museum image assets safely visible : a report prepared for the Canadian Heritage Information Network. 2nd ed. [Ottawa]: Canadian Heritage Information Network, 1998.

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Workshop on Digital Media and its Application in Museum & Heritage (2nd 2007 Chongqing, China). Second Workshop on Digital Media and its Application in Museum & Heritage: Proceedings : DMAMH 2007 : Chongqing, China, December 10-12, 2007. Edited by Pan Zhigeng 1965-, Jia Jinyuan, and IEEE Computer Society. Los Alamitos, Calif: IEEE Computer Society, 2007.

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Cirinnà, Chiara, and Maurizio Lunghi, eds. Cultural Heritage on line. Florence: Firenze University Press, 2010. http://dx.doi.org/10.36253/978-88-6453-187-8.

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The 2nd International Conference "Cultural Heritage online – Empowering users: an active role for user communities" was held in Florence on 15-16 December 2009. It was organised by the Fondazione Rinascimento Digitale, the Italian Ministry for Cultural Heritage and Activities and the Library of Congress, through the National Digital Information Infrastructure and Preservation Program - NDIIP partners. The conference topics were related to digital libraries, digital preservation and the changing paradigms, focussing on user needs and expectations, analysing how to involve users and the cultural heritage community in creating and sharing digital resources. The sessions investigated also new organisational issues and roles, and cultural and economic limits from an international perspective.
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John, Schofield, and Tracy Ireland. Ethics of Cultural Heritage. Springer, 2014.

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John, Schofield, and Tracy Ireland. The Ethics of Cultural Heritage. Springer, 2014.

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Book chapters on the topic "Digital Heritage, online museum"

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Cameron, Fiona R. "Technospheric Curation and the Swedish Allah Ring: Refiguring Digitisations and Curatorial Agency as Ecological Compositions, and Eco-curating as Planetary Inhabitations." In Museum Digitisations and Emerging Curatorial Agencies Online, 95–120. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_5.

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AbstractIn this chapter I unravel human-centred understandings of digitisations working with the digitisation of a silver-alloy finger ring inscribed in Arabic Kufic writing with the words “il-la-lah” (“For/to Allah”) and re-theorise it through a novel ontological, new-materialisms, posthuman, ecological mode of thinking (Cameron, Fiona R. 2018. Posthuman Museum Practices. In The Posthuman Glossary, ed. Rosi Braidotti and Maria Hlavajova, 349–352. London / New York: Bloomsbury Academic; Cameron, Fiona R. 2019. Theorizing Digitisations in Global Computational Infrastructures. In The International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites, ed. Hannah Lewi, Wally Smith, Steve Cooke, and Dirk vom Lehn, 55–67. London: Routledge). The ring is significant as evidence of interactions between Viking and Islamic worlds and as an artefact directed to promoting intercultural respect during the Syrian refugee crisis and the rise of far-right anti-Muslim sentiments. Significantly, the ring digitisation also becomes planetary in reach and distribution as an unruly, more-than-digital ecological composition in which curatorial agency is refigured as radical, eco-systemic processes involving the action and vitality of many different coordinates in their unfolding (Cameron, Fiona R. 2021. The Future of Digital Data, Heritage and Curation in a More-Than-Human World. Abington: Routledge., 129).
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Zhou, Mingquan, Guohua Geng, and 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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Fauerbach, Ulrike, Willike Wendrich, Salma Khamis, Martin Sählhof, Bethany Simpson, and Angela Susak. "AEgArOn – Ancient Egyptian Architecture Online." In Digital Heritage, 463–72. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-16873-4_37.

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Michael, Despina, Nectarios Pelekanos, Isabelle Chrysanthou, Panagiotis Zaharias, Loukia L. Hadjigavriel, and Yiorgos Chrysanthou. "Comparative Study of Interactive Systems in a Museum." In Digital Heritage, 250–61. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-16873-4_19.

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Grincheva, Natalia. "Digital heritage imperialism." In Museum Diplomacy in the Digital Age, 67–102. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781351251006-4.

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Andaroodi, Elham, and Asanobu Kitamoto. "Architectural Heritage Online: Ontology-Driven Website Generation for World Heritage Sites in Danger." In Digital Heritage, 277–90. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-16873-4_21.

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Povroznik, Nadezhda. "3D Models of Ancient Greek Collection of the Perm University History Museum." In Digital Cultural Heritage, 144–54. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75826-8_12.

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Tonkin, Emma L., Gregory J. L. Tourte, and Alastair Gill. "Crowd Mining Applied to Preservation of Digital Cultural Heritage." In Museum Experience Design, 115–36. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-58550-5_6.

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Ozden, Kemal Egemen, Devrim Unay, Huseyin Inan, Bahtiyar Kaba, and Ovgu Ozturk Ergun. "Intelligent Interactive Applications for Museum Visits." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 555–63. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13695-0_55.

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Themos, Athanassios, Eleni Zavvou, Eirene-Loukia Choremi, and Nikolaos Dessipris. "The Epigraphic Museum of Athens Revisited." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 55–63. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01765-1_7.

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Conference papers on the topic "Digital Heritage, online museum"

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Gheorghiu, Dragos, and Livia Stefan. "VIRTUAL MUSEUMS: DEALING WITH CULTURAL IDENTITY IN THE DIGITAL AGE." In eLSE 2018. Carol I National Defence University Publishing House, 2018. http://dx.doi.org/10.12753/2066-026x-18-280.

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One of the roles of traditional museums was that to support cultural identities. According to UNESCO’s definition, the heritage that generates the identity of a community is both material (objects, architectural constructions), and immaterial (represented by technologies, customs).In order to preserve today, and to transfer into the future the identity of a community, a solution is the digitalization of both categories of cultural heritage, complemented by a subsequent structuring of the information, starting from the objects and buildings, up to their utilization by people. This logical process outlines the possible structure of a virtual museum of cultural identity. The virtual museum we have implemented within the Time Maps Project (www.timemaps.net), following the above mentioned concept, in a first stage presents to the visitor the objects specific to the local history, virtually reconstructed in 3D. In a secondary stage, the visitor can study the technologies behind the manufacturing of the 3D objects, explained by means of a series of video films. In the third stage, the visitor will be immersed in the architectural contexts virtually reconstructed, in which the 3D objects have been introduced, as well as the human characters that utilize these objects, the latter being created with 3D photogrammetry techniques. The 3D content has been simplified for optimal utilization of the virtual museums in online and mobile environments. The e-learning experiments with the virtual museums of cultural identity have been performed in different rural and urban communities within the Time Maps project, and will be described and discussed in the current paper.
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Jing, Shuxu, Howard Leung, Fazhi He, Taku Komura, and Jacky Chan. "LDA Based Method for Online Punch Segmentation and Recognition." In Second Workshop on Digital Media and its Application in Museum & Heritage (DMAMH 2007). IEEE, 2007. http://dx.doi.org/10.1109/dmamh.2007.4414578.

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Ottaviano, Simona, and Mario Allegra. "CULTURAL HERITAGE AND EDUCATIONAL WEB SITES." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-101.

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ICT and Internet have allowed the creation of new educational objects in an innovative and original way, in particular in the fields of the retrieval and study of cultural heritage and art. The connectionbetween the digital and cultural domains brought a new approach to learning which reveals in activities where space and time vanish, giving rise to a new relationship between an individual and culture. The digital world, offering many potentialities and chances, enters in the museum, bringing substantial changes permitting new experiences of living and perceiving exhibition places, stimulating interest, curiosity, imagination and emotions of the users. This is possible through the use of innovative ways to communicate with people using a more extensive advertising that can reach a wide audienceand through the creation of attractive and smart websites that allow access to collections through interactive guided tours in all languages, consultation of databases, 3D reconstructions of environments, educational section dedicated to children and students, online meeting with experts and assistants. The paper describes an overview of the current state of the websites of the main Italian museums, archives and libraries that make available to users online information and learning resource. The study of these sites and their functionalities allow us an analysis about methodological and pedagogical implications of the impact that ICT tools and the related educational models have on the Cultural Heritage Education. Finally, the contribution investigates how new technological tools can be used to create open access-museums for disabled people and which are the technological device and techniques necessary to develop appropriate frameworks and to outline the future directions to support Cultural Heritage Education. ine the future directions to support Cultural Heritage.
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Aderhold, Andreas, Yvonne Jung, Katarzyna Wilkosinska, and Dieter W. Fellner. "Distributed 3D model optimization for the web with the common implementation framework for online virtual museums." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744841.

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Avanzini, Alessandra, and Annamaria De Santis. "Digital collections, online exhibitions and virtual museums in the MEDINA project: Communicating the Ancient Near East Cultural Heritage in the Mediterranean basin." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744800.

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Jing, Shuxu, Howard Leung, Fazhi He, Taku Komura, and Jacky Chan. "LDA Based Method for Online Punch Segmentation and Recognition." In Second Workshop on Digital Media and its Application in Museum & Heritages (DMAMH 2007). IEEE, 2007. http://dx.doi.org/10.1109/dmamh.2007.74.

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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
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Matanovac Vučković, Romana, Ivana Kanceljak, and Marko Jurić. "CULTURAL HERITAGE INSTITUTIONS DURING AND AFTER THE PANDEMIC: THE COPYRIGHT PERSPECTIVE." In EU 2021 – The future of the EU in and after the pandemic. Faculty of Law, Josip Juraj Strossmayer University of Osijek, 2021. http://dx.doi.org/10.25234/eclic/18312.

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The COVID-19 pandemic has imploded the traditional ways in which creative, cultural and artistic content are presented and consumed. Museums, libraries, archives, and other cultural institutions have been closed in lockdowns all around the European Union, and their content presented and consumed online. This paper will analyse how copyright rules affect cultural heritage institutions (publicly accessible libraries or museums, archives or film or audio heritage institutions) in the digital age. Four recent legal documents at the European level refer to the digitalisation of their collections and the digitised content’s exposure to the public in the Digital Single Market. These are Directive 2001/29/EC, Directive 2012/28/EU, Directive (EU) 2019/790 and Directive (EU) 2019/1024. This paper willfirst analyse how exclusive rights are regulated for authors, other creators, publishers, and producers in the digital age. Those rights need to be respected and exercised effectively by their owners. On the other hand, there is also a public interest, in that digitisation and access to digitised content should be free in cultural heritage institutions. To resolve the tension inherent in this relationship is not easy. The recent rapid change in consumption of creative, cultural and artistic content in the Single Digital Market (due to the pandemic caused by the COVID-19 virus) has triggered the need for swifter digitisation of cultural heritage institutions’ collections. The European legal framework offers some solutions to this need, which will be presented here. It does not resolve the situation generally, but refers to particular issues, such as orphan works, out-of-commerce works, text and data mining and the re-use of public sector information. In general, copyright protection prevails. Nevertheless, the tendencies towards free access grow stronger every day. This paper will analyse how these four directives interact with each other in the effort to resolve the tension between copyright, digitisation and free access to digitised content in cultural heritage institutions. At the end, two ideas for a new balance are presented.
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Diarthamara, Hervanny, and Ni Putu Praja Chintya. "Integrating Close Range Photogrammetry and Augmented Reality for Cultural Heritage Architecture Visualization." In The 2nd International Conference on Technology for Sustainable Development. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-c1ve14.

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Since the beginning of 2020, the Covid-19 pandemic has emerged in Indonesia and affected how people live, including the learning process. Schools and education institutions have been forced to move online. In addition, the places to support learning activities were closed as a precautionary measure against the spread of the virus, such as museums and historical sites. The education sector needs to rapidly develop and deploy a robust digital framework in dealing with the pandemic's effect. The 4.0 technological sophisticated development starts to pervade the learning process, such as augmented reality (AR). AR, which supports inclusive learning with interactive and attractive performance, can play an essential role in delivering profound understanding for students. This article presents the 3D historical enriched model of the Pawon temple derived from close range photogrammetry's point clouds that blends real and virtual environments. The 3D model of Pawon temple, which reached Level of Detail 3 (LoD3), can be accessed and perceived by users with augmented reality technology via Android-based devices.
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Capurro, Carlotta, Dries Nollet, and Daniel Pletinckx. "Tangible interfaces for digital museum applications." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413881.

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Reports on the topic "Digital Heritage, online museum"

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Rieger, Oya Y., Roger Schonfeld, and Liam Sweeney. The Effectiveness and Durability of Digital Preservation and Curation Systems. Ithaka S+R, July 2022. http://dx.doi.org/10.18665/sr.316990.

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In August 2020, with funding from the Institute of Library and Museum Services (IMLS), Ithaka S+R launched an 18-month research project to examine and assess the sustainability of these third-party digital preservation systems. In addition to a broad examination of the landscape, we more closely studied eight systems: APTrust, Archivematica, Arkivum, Islandora, LIBNOVA, MetaArchive, Samvera and Preservica. Specifically, we assessed what works well and the challenges and risk factors these systems face in their ability to continue to successfully serve their mission and the needs of the market. In scoping this project and selecting these organizations, we intentionally included a combination of profit-seeking and not-for-profit initiatives, focusing on third-party preservation platforms rather than programmatic preservation. Because so many heritage organizations pursue the preservation imperative for their collections with increasingly limited resources, we examine not only the sustainability of the providers but also the decision-making processes of heritage organizations and the challenges they face in working with the providers.
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Martin, Kathi, Nick Jushchyshyn, and 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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