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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Zhang, Jiachen. "Brand Strategy of Shadow Play Digital Museum." BCP Business & Management 13 (November 16, 2021): 82–86. http://dx.doi.org/10.54691/bcpbm.v13i.52.
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China’s intangible cultural heritage shadow puppet shows its more than two thousand years’ history. In today’s era full of luminous screens, few lights are still projected on the shadow puppets. The shadow puppets only exist in the hands of some old craftsmen. Few young generations take over and inherit the skills and knowledge of the old craftsmen, resulting in the shadow puppets gradually disappear in people’s sights. Besides, few people pay attention to the development and charm of traditional folk art shadow puppets. In this paper, the case analysis method is used to summarize the current situation and development trend of the digital museum in the display and navigation, the analysis of the advantages of the application, and the design principles and design methods of the digital museum user interface. It summarizes and analyzes excellent digital museum design cases at home and abroad, and sorts out and summarizes the design principles of digital museums and the specific methods of user interface design. Digital museums are in line with the development of the times. Since the exposure rate of cultural and creative products has increased in recent years, the number of visits and discussions of museums has increased frequently, which has promoted the brand image of digital museums. Digital museum website designs the improvement of cultural and creative product development, the number of people facing the increase. the digital museum is also being improved. Therefore, the construction of an online digital museum for Tangshan Shadow Play Museum is a project to promote the development of shadow puppet culture. With the vigorous development of computer technology, more and more people use digital products, so Tangshan Digital Museum is operational feasibility. It is of great significance for spreading traditional culture.
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Wang, Wenrui. "The Ways that Digital Technologies Inform Visitor's Engagement with Cultural Heritage Sites: Informal Learning in the Digital Era." GATR Global Journal of Business Social Sciences Review 10, no. 4 (December 30, 2022): 237–48. http://dx.doi.org/10.35609/gjbssr.2022.10.4(3).
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Stewart, Radovesta, Maria Zheleva-Monova, and Yanislav Zhelev. "Expanding the Knowledge Base and Development of New Skills of Museum Specialists in Line with the Digital Era." Digital Presentation and Preservation of Cultural and Scientific Heritage 7 (September 10, 2017): 143–58. http://dx.doi.org/10.55630/dipp.2017.7.13.
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The absence of adequate training is one of the main problems for museum specialists in the process of digitalization of tangible and intangible cultural heritage. The first part of the paper presents the main results of a survey related to the topic among the staff of Regional historical museum Burgas. The second half discusses the paradigm of Massive open online courses (MOOC) as one innovative and flexible solution for continuing vocational education and training. Presented are the results of a large scale research conducted in the framework of BizMOOC project regarding the usage of MOOCs for corporate training in European organizations including cultural institutions such as museums, libraries, archives etc.
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Rees, Arran John. "Collecting Online Memetic Cultures: how tho." Museum and Society 19, no. 2 (July 30, 2021): 199–219. http://dx.doi.org/10.29311/mas.v19i2.3445.
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Using insights gained from reflexive dyadic interviews undertaken as part of ongoing action research, this article positions memes as new and emerging objects of digital cultural heritage and begins to work through the implications of collecting them on museum acquisition practices. The article explores how Stockholm County Museum has collected memes as part of their digital photography collecting activities and draws out the challenges that a meme’s materiality and remix qualities present to provenance, Copyright and ownership. The article concludes that acquisition standards should be remixed to be more appropriate for the cultural contexts that memes sit within and offers some preliminary suggestions on the how tho of collecting. A key feature of those suggestions is my proposal that being more open to alternative approaches to ownership may be more appropriate for these new and emerging object types.
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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, no. 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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Kapyrina, Natalia. "When Museums Go Online." Legal Issues in the Digital Age 2, no. 2 (July 27, 2021): 121–26. http://dx.doi.org/10.17323/2713-2749.2021.2.121.125.
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Achyarsyah, Mochamad, Rizki Adriansyah Rubini, Heny Hendrayati, and Nurul Laelia. "STRATEGI PENINGKATAN KUNJUNGAN MUSEUM DI ERA COVID-19 MELALUI VIRTUAL MUSEUM NASIONAL INDONESIA." Image : Jurnal Riset Manajemen 9, no. 1 (June 22, 2020): 20–33. http://dx.doi.org/10.17509/image.v9i1.25178.
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Kondisi pandemic Covid-19 menyebabkan keterpurukan industri pariwisata. Salah satu strategi yang digunakan untuk mempertahankan kunjungan wisatawan adalah dengan memanfaatkan kemajuan teknologi.. Digital tourism dimanfaatkan sebagai media promosi online, yang belum banyak digunakan oleh destinasi wisata khususnya wisata heritage. Permasalahan yang dihadapi saat ini adalah rendahnya minat wisatawan berkunjung ke wisata heritage salah satunya adalah Museum Nasional Indonesia ditengah pandemic covid-19. Strategi yang dapat dilakukan dalam mengatasi minat berkunjung adalah dengan memanfaatkan promosi yang menyesuaikan perkembangan zaman, yaitu online and social media marketing yang didalamnya terdapat virtual museum. Tujuan penelitian ini adalah untuk memberikan gambaran mengenai pengaruh dari virtual museum Nasional Indonesia terhadap minat berkunjung. Sampel yang diambil adalah sebanyak 100 wisatawan nusantara yang pernah berkunjung ke Virtual Museum Nasional Indonesia yang dijadikan sebagai responden. Teknik penarikan sampling yang digunakan adalah Convenience sampling. Teknik analisis data yang dipakai adalah uji asumsi klasik dan analisis jalur. Hasil penelitian ini menunjukkan bahwa penggunaan virtual museum sebagai media promosi dinilai efektif dalam meningkatkan minat berkunjung oleh responden. Hasil perhitungan analisis jalur diketahui bahwa virtual museum memiliki pengaruh terhadap minat berkunjung ke Museum Nasional Indonesia.
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Kahn, Rebecca. "Man, Woman, Child." Digital Culture & Society 6, no. 2 (December 1, 2020): 63–86. http://dx.doi.org/10.14361/dcs-2020-0205.
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Abstract This paper is concerned with the ethical aspects of museum metadata. These are not always immediately evident when working with the metadata related to museum objects, although, I will argue, they are embedded in the object, accumulated at each phase of its journey into the institution; and continue to accumulate while it is part of a collection. This takes place against a backdrop of new development and possibilities afforded by digital technologies for building connections between and across heritage collections online, which can result in these complicated metadata potentially entering the data ecosystem. This eventuality, I will argue, has ethical and technical implications which need to be considered and understood through the theoretical lenses of critical data studies, museum informatics and the growing calls from museum scholars and others to decolonisation of museum collections. Using a small collection of drawings from the Pitt Rivers Museum of Anthropology and World Archaeology at the University of Oxford, I will demonstrate how difficult museum metadata can be buried deep in museum documentation, and how this data, once brought to the surface by digitisation, can expose the trauma of a collection’s origins. I will go on to ask whether the current models used to share heritage data online are appropriate mechanisms for materials with such sensitive histories, and ask how best to handle them in the increasingly digital future.
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Müller, Katja. "India’s Digital Archives: Online Spaces for Cultural Heritage." Asiascape: Digital Asia 6, no. 1-2 (April 29, 2019): 84–109. http://dx.doi.org/10.1163/22142312-12340103.
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Abstract Digital archives are spaces for managing collections and providing online access to heritage material stored in museums and archives. In India, conventions on preserving cultural heritage in combination with the national agenda of ‘Digital India’ influence recent projects on digitizing collections and creating online repositories. Looking at ‘Virtual Museums’ and ‘Euro-Indian Paintings’ as two projects initiated by the Indian Ministry of Culture, this article sheds light on the dynamics involved in digitizing Indian cultural heritage: the visions, implementation, and use of the digital collection. The projects represent substantial efforts at creating modern collection management systems that would assemble heritage information in a single, online accessible space. In practice, however, it is not only information and communications technology for development that drives the creation of digital archives but also bureaucratic habits, reluctance, and impediments to forming it. Conceptions shape digital spaces but so do their implementation and (dis)use.
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Partarakis, Nikolaos, Xenophon Zabulis, Michalis Foukarakis, Mirοdanthi Moutsaki, Emmanouil Zidianakis, Andreas Patakos, Ilia Adami, Danae Kaplanidi, Christodoulos Ringas, and Eleana Tasiopoulou. "Supporting Sign Language Narrations in the Museum." Heritage 5, no. 1 (December 21, 2021): 1–20. http://dx.doi.org/10.3390/heritage5010001.
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The accessibility of Cultural Heritage content for the diverse user population visiting Cultural Heritage Institutions and accessing content online has not been thoroughly discussed. Considering the penetration of new digital media in such physical and virtual spaces, lack of accessibility may result in the exclusion of a large user population. To overcome such emerging barriers, this paper proposes a cost-effective methodology for the implementation of Virtual Humans, which are capable of narrating content in a universally accessible form and acting as virtual storytellers in the context of online and on-site CH experiences. The methodology is rooted in advances in motion capture technologies and Virtual Human implementation, animation, and multi-device rendering. This methodology is employed in the context of a museum installation at the Chios Mastic Museum where VHs are presenting the industrial process of mastic processing for chewing gum production.
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Rapalai, Boikhutso Lerato. "Storing, Maintaining and Mobilizing Botswana National Museum’s Entomology Digital Collections: The GBIF/BID Approach." Biodiversity Information Science and Standards 2 (June 15, 2018): e26328. http://dx.doi.org/10.3897/biss.2.26328.
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The Botswana National Museum is mandated to protect, preserve and promote Botswana’s cultural and natural heritage for sustainable utilization thereof by collecting, researching, conserving and exhibiting for public education and appreciation. The Entomology Section of the museum is aiming towards becoming the national center for entomology collections as well as contributing to the monitoring and enhancement of natural heritage sites in Botswana. The Botswana National Museum entomology collection was assembled over more than three decades by a succession of collectors, curators and technical officers. Specimens are carefully prepared and preserved, labelled with field data, sorted and safely stored. The collection is preserved as wet (ethanol preserved) or as dry pinned specimens in drawers. This collection is invaluable for reference, research, baseline data and educational purposes. As a way of mobilizing insect biodiversity data and making it available online for conservation efforts and decision making processes, in 2016 the Botswana National Museum collaborated with five other African states to implement the Biodiversity Information for Development (BID) and Global Biodiversity Information Facility (GBIF) funded African Insect Atlas’ Project (https://www.gbif.org/project/82632/african-insect-atlas). This collaborative project was initiated to move biodiversity knowledge out of select insect collections into the hands of a new generation of global biodiversity researchers interested in direct outcomes. To date, the Botswana National Museum has been instrumental through the efforts of this project in storing, maintaining and mobilizing insect digital collections and making the data available online through the GBIF Platform.
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Suls, Dieter. "Europeana Fashion: Past, present and future." Art Libraries Journal 42, no. 3 (June 2, 2017): 123–29. http://dx.doi.org/10.1017/alj.2017.18.
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The subject of this article is Europeana Fashion, an EU-funded initiative that deals with the aggregation and online dissemination of the digital fashion heritage from the most important European collections. The project started with a consortium consisting of 22 partners from 12 European countries and included the Victoria and Albert Museum (London), Les Arts Décoratifs (Paris), MoMu (Antwerp) and many other museums. Also archives of brands, such as Missoni and Pucci were represented. The main goal of Europeana Fashion was to harvest the digital collections of fashion institutions and to re-present them in a uniform way on a specialized fashion portal. This article outlines the origins of the project, focussing on its main achievements, and offers a look into the future of europeanafashion.eu.
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Grácio, Rita. "Museums working with older people in times of pandemic." Working with Older People 24, no. 4 (November 18, 2020): 313–19. http://dx.doi.org/10.1108/wwop-08-2020-0040.
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Purpose The purpose of this paper is to highlight some of the work with/for/about older people being undertaken by museums during the coronavirus disease (COVID-19) pandemic, thinking of museums as caregivers. Design/methodology/approach This paper reviews the responses from museums which work with older adults, in times of pandemic. It reviews how museums have addressed older people during the COVID-19 outbreak in the UK and Portugal. Two Portuguese maritime museums which have older adults as strategic audiences are selected and their Facebook webpage during the lockdown is analyzed. Findings Museums were committed to delivering online the work they have been doing offline, not without limitations. The digital turn in times of pandemic draw attention to inequalities regarding visitors who has access and literacy to engage with the digital museum as well as museums themselves. Unlike in the UK, in the two maritime museums, there were no specific programmes targeting older people – except for COVID-19 messages. However, older adults are presented online as active and as experts on maritime issues, representing empowering versions of ageing, either online or offline. Originality/value This paper reviewed and illustrated with empirical examples from the UK and Portugal how museums are addressing older adults during the COVID-19 pandemic, contributing to the wider debate on the role of arts, culture and cultural heritage for the well-being of older adults.
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Jia, Weiwei, Han Li, Meimei Jiang, and Liang Wu. "Melting the Psychological Boundary: How Interactive and Sensory Affordance Influence Users’ Adoption of Digital Heritage Service." Sustainability 15, no. 5 (February 24, 2023): 4117. http://dx.doi.org/10.3390/su15054117.
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As a result of the post-pandemic situation, enhancing digital heritage services has become one of the key issues for the recovery of tourism. Disruptive innovation in human–computer interaction technology has brought new opportunities for digitalization and intelligent transformation in the contemporary cultural tourism industry. Existing research on the adoption behavior of digital heritage services primarily focuses on users’ assessments of behavior results. There is a considerable gap in research about the interaction and value co-creation between users and digital intelligence services and users’ cognitive construction logic of digital heritage services. Following reciprocal determinism, we propose a conceptual model to deconstruct the detailed transmission path of interactive affordance and sensory affordance to digital heritage adoption. In Study 1, a lab experiment in an AI-assisted smart screen digital heritage service context revealed that interactive affordance and user adoption of digital heritage services were partially mediated by psychological distance. Findings from a between-subject online experiment in Study 2 confirmed that embodied cognition and psychological distance play a parallel intermediary role in the impact of sensory affordance on adoption. In Study 3, a lab experiment in a VR-based digital museum context further verified that information overload moderates the influence of embodied cognition on psychological distance. This research reveals the deep-bounded, rational decision-making logic of digital heritage service adoption and provides significant practical enlightenment for the optimization of the affordance experience.
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Marukawa, Yūzõ. "Cultural Heritage Online: discovering the possibilities of a digital archive." Art Libraries Journal 38, no. 2 (2013): 31–35. http://dx.doi.org/10.1017/s0307472200018010.
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This article offers a brief summary of Cultural Heritage Online, a web portal that contains information and images illustrating Japan’s cultural heritage. What are some of the site’s recently-added features, which are aimed at increasing opportunities to find out about 96,000 objects and places of historical and cultural interest? The map navigation feature, for example, which allows users to search for works of art, sites of interest, and museums, in a particular location; and the Associative Search function, which has a Limit Search option that gives them the opportunity to narrow down results? What will be the effect of the new link that allows data to be added directly by participating museums and art galleries? The author takes readers through a sample search sequence and explains some of the possible options. He also considers ways in which this web portal might develop in the future: a database of artists will be shared online in due course, and an English version of the website is in preparation.
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Todorova – Ekmekci, Mirena, Todor Todorov, and Kalina Sotirova-Valkova. "Usage of Innovative Technologies and Online Media Tools for Digital Presentation of Cultural Heritage in Bulgaria." Digital Presentation and Preservation of Cultural and Scientific Heritage 11 (September 10, 2021): 303–8. http://dx.doi.org/10.55630/dipp.2021.11.29.
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The paper presents implementation of digital media tools and innovative technologies in open access presentation and sustainable preservation of cultural heritage objects, stored in museums. New digital preservation and curation tools like web sites, 3D modeling, virtual tours, and repositories, have been analyzed for usage in cultural heritage fields for memory institutions, museums, institutions, tourist routes, information centers and sites.
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Dawson, Beata, Pauline Joseph, and Erik Champion. "The Story of the Markham Car Collection: A Cross-Platform Panoramic Tour of Contested Heritage." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 62–86. http://dx.doi.org/10.1177/1550190619832381.
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In this article, we share our experiences of using digital technologies and various media to present historical narratives of a museum object collection aiming to provide an engaging experience on multiple platforms. Based on P. Joseph’s article, Dawson presented multiple interpretations and historical views of the Markham car collection across various platforms using multimedia resources. Through her creative production, she explored how to use cylindrical panoramas and rich media to offer new ways of telling the controversial story of the contested heritage of a museum’s veteran and vintage car collection. The production’s usability was investigated involving five experts before it was published online and the general users’ experience was investigated. In this article, we present an important component of findings which indicates that virtual panorama tours featuring multimedia elements could be successful in attracting new audiences and that using this type of storytelling technique can be effective in the museum sector. The storyteller panorama tour presented here may stimulate GLAM (galleries, libraries, archives, and museums) professionals to think of new approaches, implement new strategies or services to engage their audiences more effectively. The research may ameliorate the education of future professionals as well.
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Ostrowska-Tryzno, Anna, and Anna Pawlikowska-Piechotka. "Cultural tourism, museums and COVID-19 pandemic impact." Sport i Turystyka. Środkowoeuropejskie Czasopismo Naukowe 5, no. 1 (2022): 123–39. http://dx.doi.org/10.16926/sit.2022.01.07.
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This paper presents some aspects of COVID-19 impact on cultural tourism and on the museum sector. Museums are closely linked to cultural and heritage tourism, considered a significant attraction.The tourism sector is among the most affected by the COVID-19 pandemic and cultural tourism is not an exception. In 2020 around 95% museums around the world were closed – according to government sanitary regulations. The aim of the research was to identify the impact of COVID-19 disease on cultural tourism (measured by a number of visitors in the most popular museums in 2019 and 2020) and museums’ adaptation to the sanitary restrictions during the pandemic time. For a few decades museums have tried to enhance their digital activities such as online educational programmes, online collection display, online exhibitions, live events, learning programs, brochures, podcasts, social media and virtual tours. These activities and various projects became especially important during the lockdown caused by the pandemic outbreak, as many museums continued their missions during the pandemic. Some museums have reopened (with strict limitations defined by sanitary restrictions), but many institutions remain closed. It shows how crucial IT innovations are. The paper concludes with some reflections on museums’ offer during the pandemic time and cultural tourism prospects in the post-pandemic time.
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Wu, Yue, Qianling Jiang, Hui’e Liang, and ShiYu Ni. "What Drives Users to Adopt a Digital Museum? A Case of Virtual Exhibition Hall of National Costume Museum." SAGE Open 12, no. 1 (January 2022): 215824402210821. http://dx.doi.org/10.1177/21582440221082105.
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The onset of technological innovations (mobile and handhelds, virtual reality, multi-touch screens, and interactive 3D) have provided creative ideas and perspectives for online communication, dissemination, and protection of cultural heritage for costume museums. Digital costume museums (DCM) digitized clothing collections for the Internet, conducive to enhancing visitors’ understanding, enjoyment, and positive attitudes and stimulating further learning, experience, and exploration. However, little attention has been paid to the influence and effects of these technologies on visitors’ experience toward digital costume museums. Improving users’ behavior intention and expanding the influence of digital costume museums are issues that need further discussion. In this study, we expand the technology acceptance model (TAM) by adding information quality and information richness as the system characteristics, constructing the research model, and 11 hypotheses of users’ behavior intention toward digital costume museums. Analysis of data collected from 265 costume-related respondents reveal that information quality (IQ) positively influences perceived convenience (PC) and perceived ease of use (PEOU), while information richness (IR) has a positive impact on perceived usefulness (PU) and perceived playfulness (PP). The finding also reveals that perceived usefulness (PU) and perceived playfulness (PP) are significant predictors of users’ behavior intention (BI) toward using digital costume museums. The research conclusion enriches academic theories and brings practical inspiration for managers, curators, and practitioners to construct and innovate digital costume museums.
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Amitrano, Cristina Caterina, Roberta Gargiulo, and Francesco Bifulco. "Creating Value through Social Media: Fresh Evidence from Cultural Organizations." Journal of Creating Value 4, no. 2 (November 2018): 243–54. http://dx.doi.org/10.1177/2394964318805616.
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The impacts of digital technologies are gaining increasing attention in the service literature, and a growing number of cultural organizations are using online websites and social media to interact with their actual and potential customers. However, the contributions developed by service marketing scholars show little interest in examining the role of underlying technologies in a particular service experience context, namely, the cultural heritage context and the corresponding visiting experience. Therefore, the purpose of this research is to analyse how digital technologies, especially social media, can help cultural organizations stimulate customer engagement. To reach this aim, we conducted a single exploratory case study of a communication project developed by the National Archaeological Museum of Naples (MANN) to attract their actual and potential Italian and foreign visitors. The achieved results allow for us to show how digital communication tools can stimulate customer engagement in a cultural heritage context.
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Fornasari, Alberto. "Distance education and cultural heritage: transformations in the post-literacy age. The case of MArTA." Research on Education and Media 13, no. 1 (June 1, 2021): 1–6. http://dx.doi.org/10.2478/rem-2021-0002.
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Abstract The age of literacy, also known as modern age, was based on vision, regulation and control, whereas the post-literacy age, characterised by the advent of digital technologies, is based on an immersive, multisensorial and participatory approach. The ICT provide new opportunities to rethink and redesign the ways in which cultural heritage has been imagined and enjoyed. Participation and connection, on the one hand, and personalisation, recontextualisation and immersive interaction, on the other hand, are the key elements of the change that is involving cultural heritage and related institutions, including education. After analysing the central role of media literacy in digital humanities, the article focuses on a best practice from the MArTA Museum in Taranto and on innovative strategies to discover and launch new educational opportunities through heritage. The general aim is to design online and offline educational opportunities in order to revive local cultural traditions and generate cultural, social and economic opportunities.
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García-Bustos, Miguel, Olivia Rivero, Paula García Bustos, and Ana María Mateo-Pellitero. "From the cave to the virtual museum: accessibility and democratisation of Franco-Cantabrian Palaeolithic art." Virtual Archaeology Review 14, no. 28 (September 6, 2022): 54–64. http://dx.doi.org/10.4995/var.2023.17684.
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Highlights: Despite being a transcendental cultural manifestation in the history of humanity, there are hardly any open-access virtual repertoires of Palaeolithic art. The numerous photogrammetric studies carried out in successive archaeological campaigns to answer scientific questions can be used in educational and dissemination projects. In the framework of the authors’ outreach project called "PaleoArt-3D: regreso al pasado" a virtual museum has been created to make Palaeolithic art a more accessible and democratic heritage. Abstract: Palaeolithic art is a cultural manifestation of great importance to understanding the early history of our species. Through this artistic phenomenon, one can study aspects such as long-distance contacts, evidence of learning or the perception with which Palaeolithic humans were able to execute and memorise such precise details. However, there are few virtual repertoires that offer collections of Palaeolithic art. Accessibility to this type of archaeological remains is even more difficult considering conservation is prioritised over tourist visits. For these reasons, Palaeolithic art is today a type of cultural asset that is largely unknown to the population. The project "PaleoArt-3D: regreso al pasado" was created with the aim of democratising this heritage and making it more accessible. To this end, a virtual museum has been developed to exhibit digital models of parietal and portable art with complementary annotations for each one. The methodology includes a first stage dedicated to digitising examples of Palaeolithic art in caves or open-air stations and exhibited in Spanish and French museums. Next, the necessary infrastructure was designed to house the exhibition using specific software such as Blender. Post-processing tasks were carried out to reducing the number of polygons without losing quality. Finally, the museum has been uploaded to the Sketchfab platform to make it freely available online. It is hoped that this virtual museum will contribute to promoting and creating a more significant number of digital resources related to Palaeolithic art that are easily accessible to the public.
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Lo, Patrick, Holly H. Y. Chan, Angel W. M. Tang, Dickson K. W. Chiu, Allan Cho, Eric W. K. See-To, Kevin K. W. Ho, Minying He, Sarah Kenderdine, and Jeffrey Shaw. "Visualising and revitalising traditional Chinese martial arts." Library Hi Tech 37, no. 2 (June 17, 2019): 273–92. http://dx.doi.org/10.1108/lht-05-2018-0071.
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Purpose The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong. Design/methodology/approach A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire. Findings A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective. Originality/value Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.
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Champion, Erik, and Hafizur Rahaman. "Survey of 3D digital heritage repositories and platforms." Virtual Archaeology Review 11, no. 23 (July 8, 2020): 1. http://dx.doi.org/10.4995/var.2020.13226.
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<p class="VARAbstract">Despite the increasing number of three-dimensional (3D) model portals and online repositories catering for digital heritage scholars, students and interested members of the general public, there are very few recent academic publications that offer a critical analysis when reviewing the relative potential of these portals and online repositories. Solid reviews of the features and functions they offer are insufficient; there is also a lack of explanations as to how these assets and their related functionality can further the digital heritage (and virtual heritage) field, and help in the preservation, maintenance, and promotion of real-world 3D heritage sites and assets. What features do they offer? How could their feature list better cater for the needs of the GLAM (galleries, libraries, archives and museums) sector? This article’s priority is to examine the useful features of 8 institutional and 11 commercial repositories designed specifically to host 3D digital models. The available features of their associated 3D viewers, where applicable, are also analysed, connecting recommendations for future-proofing with the need to address current gaps and weaknesses in the scholarly field of 3D digital heritage. Many projects do not address the requirements stipulated by charters, such as access, reusability, and preservation. The lack of preservation strategies and examples highlights the oxymoronic nature of virtual heritage (oxymoronic in the sense that the virtual heritage projects themselves are seldom preserved). To study these concerns, six criteria for gauging the usefulness of the 3D repositories to host 3D digital models and related digital assets are suggested. The authors also provide 13 features that would be useful additions for their 3D viewers.</p><p>Highlights:</p><ul><li><p>A survey of relevant features from eight institutional and eleven commercial online 3D repositories in the scholarly fieldof 3D digital heritage.</p></li><li><p>Presents a critical review of their hosting services and 3D model viewer features.</p></li><li><p>Proposes six features to enhance services of 3D repositories to support the GLAM sector, heritage scholars andheritage communities.</p></li></ul>
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Decheva, Prolet. "Trace the Untraceable: Online Image Search Tools for Researching Late Antique Art." Heritage 4, no. 4 (October 31, 2021): 4076–104. http://dx.doi.org/10.3390/heritage4040225.
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In the context of digital humanities and access to cultural heritage online, this paper explores the discoverability of Late Antique material in some searchable museum collections and in some major archaeological and art historical image and object databases. It follows an exploratory approach by using simple keyword searches, such as ‘late antique’ or ‘byzantine’, and comparing the results with chronological searches when a date or period filter is available. Although Late Antique material often comprises a smaller number of objects compared to more popular periods like the Roman and the Renaissance, these are difficult to research due to inconsistent labelling practices and the frequent lack of a customizable date range filter. The ongoing debates on proper periodization and nomenclature also need to be taken into consideration.
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Anastasia А., Chernova. "Altai scientist heritage A. V. Anokhin in offline- and online-formats." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 99–105. http://dx.doi.org/10.30725/2619-0303-2022-1-99-105.
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The famous Altai scientist-ethnographer Andrei Viktorovich Anokhin heritage was dispersed among the museums and archives of Russia due to some historical circumstances. In this regard, an attempt has been made to put value of its availability for using in scientific and educational purposes. The author gives a brief description of the main collections and funds that make up the heritage of the scientist. The article reviews collections of museums and archives of Barnaul, Gorno-Altaysk, Tomsk, Saint-Petersburg. To designate the totality of available information about the person under study the author uses the term «personal heritage», interpreted as a set of memorial value sources and belonging directly to a person or revealing his social, scientific, creative and cultural ties. Drawing on a comparative analysis of personal heritage materials in «offline» and «online» formats, the author concludes about necessity to create a unified resource – a personal digital archive, which would compile biographical, scientific, and creative material. In the article there is the structure of archive and the content of the information resource is substantiated.
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Todorova-Ekmekci, Mirena. "Presenting and Promoting Cultural Heritage with Digital Media, Marketing Approaches and Methods. Good Examples." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 7, no. 2 (2021): 259–66. http://dx.doi.org/10.26615/issn.2367-8038.2021_2_023.
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Making the cultural and historical heritage of countries available and attractive to a broad public, including in a digital way, is a key to making it survive and be acknowledged and well-maintained in time. Researches and practices show that cultural objects, which are digitalized and promoted, are much more known, visited and attract better investments. Digital tools are more and more used – tools like video presentation, 3D models, interactive photos and video with objects, interactive presentations and games, online tours and life events in social media. Especially, after COVID-19 anti-epidemic measures were imposed, such digital and marketing methods of presentation and promotion became a necessity for museums, cultural institutions, events, festivals and other forms of cultural heritage, in order to continue their existence, work and reach to the public. The paper explores good practices and examples and a variety of media and marketing approaches and methods, which can be used for digital presenting and promotion of cultural heritage, historical objects, places and intangible cultural heritage. Keywords: Digital Marketing; Media; Cultural and Historical Heritage; Presentation; Promotion; Dissemination; Good Practices; Good Examples; Methods; Approaches; Digitalization
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Miklouho-Maclay, Niсkolay N. "The role of digital technologies in strengthening ties between Russia and Papua New Guinea." Digital Orientalia 2, no. 1-2 (2022): 0. http://dx.doi.org/10.31696/s278240120024109-2.
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The article is devoted to the use of modern digital technologies for the establishment of scientific, educational, cultural and interstate relations between Russia and Papua New Guinea in the period from 2017 to the present. The methods of digitalization used by the Miklouho-Maclay Foundation for the Preservation of Ethnocultural Heritage for preserving scientific, historical and cultural traditions in the South Pacific studies by domestic researchers both on the basis of archive materials and in the creation of new projects, are analyzed. The Foundation's work on the creation of exhibits, museum projects, digital maps, popular science films, books and international educational online platforms is based on the methods of digital humanitarianism, contributing to the development of intercultural dialogue with foreign partners and bringing together scientists in the Association of the South Pacific Researchers. It is shown how the results of the activities of a non-profit organization meet the requirements of the national program “Digital Economy of the Russian Federation” of the Russian Federation.
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Tang, Yi, Lihong Zhou, Jing Cao, Jiangnan Li, and Xiaofei Nie. "Integration of Digital Cultural Heritage Resources in China: Understanding Public Expectations." Libri 68, no. 1 (March 26, 2018): 59–70. http://dx.doi.org/10.1515/libri-2017-0027.
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Abstract This paper focuses on the recent development of the National Cultural Information Resources Sharing Project in China. This is a national scale project that was initiated by the Chinese central government and has stimulated immense academic attention. Specifically, this paper attempts to understand people’s expectations and requirements on the project. Moreover, this paper aims to articulate and provide specific and useful suggestions for relevant politicians and project operators so that public expectations and requirements can be carefully met. A survey was used to sample a very large and widely distributed population in China, with a questionnaire designed and disseminated through an online survey service platform. A total of 1,076 usable responses were returned and 29 invalid response cases were discarded, yielding an effective response rate of 97.3 percent. An evident public expectation has emerged from the data collected which shows that the Chinese public primarily expects a comprehensive, convenient and unified one stop online access portal to all types of Chinese digital cultural heritage. This paper is of interest to Chinese government officials as well as professionals working at libraries, museums, archives and other cultural institutions in China. Furthermore, although the context of this study is China, the research findings, insights and experiences gained in this study can be shared across international borders.
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Douglas, Susan, and Melanie Hayes. "Giving Diligence Its Due: Accessing Digital Images in Indigenous Repatriation Efforts." Heritage 2, no. 2 (April 27, 2019): 1260–73. http://dx.doi.org/10.3390/heritage2020081.
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An increasing volume of images is available online, but barriers such as digital locks, proprietary interests and narrow scope of information uploaded to image databases maintain structures that have impeded repatriation efforts in the real world. Images of objects (cultural material) in the digital environment support cultural heritage. Institutions are developing complex solutions relevant in the network environment to further repatriation initiatives. These solutions facilitate discovery, opening avenues for research into the ethics of ownership that cross the physical/digital divide. There have been calls for strengthening the potential for use of pertinent information in order to protect and recover cultural heritage through increased visibility. However, some museums still limit access to images. We examine the issues and their implications referencing case studies specific to Indigenous, Inuit and Métis peoples of Canada.
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Tobias, Jenny. "Book Review: Delivering Digital Images: Cultural Heritage Resources for Education, and Images Online: Perspectives on the Museum Educational Site Licensing Project." Library Resources & Technical Services 44, no. 1 (January 1, 2000): 51–52. http://dx.doi.org/10.5860/lrts.44n1.51.
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Permatasari, Puspita Ayu, Akhmad Abdul Qohar, and Arief Faizal Rachman. "From web 1.0 to web 4.0: the digital heritage platforms for UNESCO’s heritage properties in Indonesia." Virtual Archaeology Review 11, no. 23 (July 8, 2020): 75. http://dx.doi.org/10.4995/var.2020.13121.
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<p>The advent of information and communication technologies (ICTs) has had and is having a major impact on Indonesian cultural resource management, and on the safeguarding methods of its tangible and intangible cultural heritages. Despite varied levels and visible gaps between rural and urban regions in terms of technology usage, innovative initiatives have been created, which correspond to the needs and expectations of a technology-savvy public. As a starting point, a number of public institutions dealing with tangible cultural heritage (e.g. museums, palaces, temples, World Heritage Sites (WHS)) do use innovative digital tools in order to communicate to various audiences, as well as to enrich visitors’ experience, especially taking into consideration young generations. This paper will firstly examine the role of ICTs in intangible cultural heritage (ICH) (e.g. Batik, Wayang puppet theatre, etc.); secondly, the authors will explain how ICTs can help to communicate and promote the values, history, and significances of ICH products, both for locals and tourists, with the goal of raising awareness on cultural identity. However, the knowledge of ICH still requires contacts with its own communities and is vulnerable, as it can be exposed to excessive cultural commoditization through e-platforms. This study aims at giving an overview and some examples of digital interventions for cultural heritage communication implemented by various stakeholders in Indonesia. In addition, this paper analyses to what extent a participatory approach engaging local communities, academics, private sectors, NGOs and the government, can ensure higher levels of effectiveness and efficiency, hence supporting the conservation of UNESCO tangible/ICH in Indonesia. This paper aims at: (1) presenting the development of digital heritage platforms in Indonesia; (2) providing a grid of analysis of digital heritage knowledge platforms dedicated to UNESCO tangible and ICH in forms of websites and mobile apps.</p><p>Highlights:</p><ul><li><p>Providing a map of the online presence of UNESCO World Heritage Sites (WHSs) in Indonesia by analysing 180 webpages in English and Indonesian languages.</p></li><li><p>Identifying several types of digital heritage websites in Indonesia based on the set of categories.</p></li><li><p>Classifying a map of 312 mobile apps dealing with UNESCO WHSs and Intangible Cultural Heritage (ICH) in Indonesia, which were retrieved from Android and iOS platforms.</p></li></ul>
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Park, Juhee. "An Actor-Network Perspective on Collections Documentation and Data Practices at Museums." Museum and Society 19, no. 2 (July 30, 2021): 237–51. http://dx.doi.org/10.29311/mas.v19i2.3455.
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The improvement of digital technology over recent decades has advanced the ability of museums to manage records of their collections and share them online. However, despite the rise of research in the area of digital heritage, less attention has been given to a sociotechnical perspective on such technology. Drawing upon concepts from Actor-Network Theory, this paper presents actors associated with the V&A’s collections management system and its online catalogue. Digital design objects, the museum’s new type of collection, are seen as a driving force for change in collections documentation practices. This paper argues for models of documentation to change from closed to open and participatory in order to (re)present such objects’ materiality in collection records through the voices of multiple actors. This paper, highlighting the agency of data and technology, increases our awareness of the potential consequences of museums’ data practices where the integration of advanced technology (e.g., AI) will be implemented in the future.
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Moskvin, Aleksei, Mariia Moskvina, and Victor Kuzmichev. "Parametric modeling of historical mannequins." International Journal of Clothing Science and Technology 32, no. 3 (December 24, 2019): 366–89. http://dx.doi.org/10.1108/ijcst-06-2019-0093.
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Purpose Digital technologies are widely used for digitization of museum and archival heritage and creation of digital, multimedia and online exhibitions, especially in terms of costume history. Digital exhibitions require historical dress forms which were used in the past for costume presentation. The purpose of this paper is to develop a new method for parametric modeling of the nineteenth century dress forms in accordance with fashionable body shape. Design/methodology/approach Due to limited number of body measurements in historical sizing tables, it is impossible to redesign the morphology of old fashionable body with high accuracy by means of contemporary CAD. The developed method is based on two sources of information: first, historical sizing tables with body measurements; second, historical corsets. By combining both resources and applying virtual try-on technology, the full anthropometric database about the nineteenth century fashionable body shape has been organized and the parametric model of historical dress form has been generated. Findings The digital replica of deformable parametric dress form was created automatically in accordance with the historical sizing systems and the corsets construction. The process of reproduction of a historical dress form has been done with high accuracy due to substantial advantages of contemporary software. Originality/value This study shows new way of anthropometric data generating from the construction of close-fitting and compression undergarments. The developed method and the new database can be applied for each type of dress forms which were used in the second part of the nineteenth century to generate its digital replica in virtual reality. The new approach is joining the digital technologies and the professional knowledge as an important part of cultural heritage for studying, recreating and presenting historical costume.
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Washington, Anne. "Book Review: Managing Digital Cultural Objects: Analysis, Discovery, and Retrieval." Library Resources & Technical Services 61, no. 3 (July 14, 2017): 175. http://dx.doi.org/10.5860/lrts.61n3.175.
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Over the past twenty years, libraries, archives, museums, and other institutions have made hundreds of thousands of digitized and born digital cultural heritage objects available online. This momentum is not likely to slow anytime soon. Digitization programs continue to convert analog media, and efforts are ramping up to procure and preserve born digital material. While discussion of technical specifications and skills to support these processes are critical, there is a growing body of research beyond these topics. Some scholars and practitioners have turned their attention towards theory, assessment, and innovative analysis and Managing Digital Cultural Objects: Analysis, Discovery, and Retrieval adds to this conversation.
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Volkova, K. Yu, and Ya L. Shrayberg. "Copyright and information market today: European initiatives and library privileges." Scientific and Technical Libraries, no. 11 (December 30, 2021): 41–53. http://dx.doi.org/10.33186/1027-3689-2021-11-41-53.
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Copyright transformation in the digital world is going ahead. The paper describes new European initiatives in copyright regulation, particularly those that exert influence on information market and the work of libraries and other cultural heritage institutions as well as educational establishments. New European directive on copyright officially called The Directive on Copyright in the Digital Single Market allows for broader use of in-copyright material online and across borders within the European Union for the purpose of education, research and cultural heritage preservation. The Directive simplifies digitization and distribution of out-of-commerce works and gives legal certainty to online use of copies of works of art that are in the public domain. One of the Directive articles gives libraries, archives and museums the right to make digital copies of copyright-protected works in their collections but exclusively for preservation purpose and to the extent necessary for preservation. These important reforms incorporate copyright limitations and exceptions in European legislation and open the way to mass digitization projects in European libraries. The paper also briefly describes LIBER (The Association of European Research Libraries) activities to promote short-term and long-term provisions in international and national copyright legislation to take into account public interests during healthcare, environmental and economic crises.
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Volkova, K. Yu, and Y. L. Shrayberg. "Copyright and information market today: European initiatives and library privileges." Scientific and Technical Libraries, no. 11 (December 30, 2021): 54–64. http://dx.doi.org/10.33186/1027-3689-2021-11-54-64.
Full textAbstract:
Copyright transformation in the digital world is going ahead. The paper describes new European initiatives in copyright regulation, particularly those that exert influence on information market and the work of libraries and other cultural heritage institutions as well as educational establishments. New European directive on copyright officially called The Directive on Copyright in the Digital Single Market allows for broader use of in -copyright material online and across borders within the European Union for the purpose of education, research and cultural heritage preservation. The Directive simplifies digitization and distribution of out-of-commerce works and gives legal certainty to online use of copies of works of art that are in the public domain. One of the Directive articles gives libraries, archives and museums the right to make digital copies of copyright-protected works in their collections but exclusively for preservation purpose and to the extent necessary for preservation. These important reforms incorporate copyright limitations and exceptions in European legislation and open the way to mass digitization projects in European libraries. The paper also briefly describes LIBER (The Association of European Research Libraries) activities to promote short-term and long-term provisions in international and national copyright legislation to take into account public interests during healthcare, environmental and economic crises.
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Nikolova, Alexandra. "Context-dependent Tools and Models in Cultural Heritage Education." Serdica Journal of Computing 14, no. 3-4 (April 14, 2022): 93–112. http://dx.doi.org/10.55630/sjc.2020.14.93-112.
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This paper includes an overview of different tools and methods used to present cultural heritage resources in e-learning contexts - storytelling, serious games, digital libraries, and virtual museums. It introduces a model and several components for providing context-dependent education in cultural heritage topics. The model defines key criteria for the educational process - effective presentation of resources, different contexts, interaction, and the need for the environment to support interactivity between children in learning. The created instruments are based on the basic requirements identified and implemented in an online system for designing and providing educational content in e-learning. They include a component for 3D learning environments, allowing the creation and visualization of three-dimensional scenes in which users can examine cultural and historical artifacts in different settings.
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Cabezos-Bernal, Pedro M., Pablo Rodriguez-Navarro, and Teresa Gil-Piqueras. "Documenting Paintings with Gigapixel Photography." Journal of Imaging 7, no. 8 (August 21, 2021): 156. http://dx.doi.org/10.3390/jimaging7080156.
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Digital photographic capture of pictorial artworks with gigapixel resolution (around 1000 megapixels or greater) is a novel technique that is beginning to be used by some important international museums as a means of documentation, analysis, and dissemination of their masterpieces. This line of research is extremely interesting, not only for art curators and scholars but also for the general public. The results can be disseminated through online virtual museum displays, offering a detailed interactive visualization. These virtual visualizations allow the viewer to delve into the artwork in such a way that it is possible to zoom in and observe those details, which would be negligible to the naked eye in a real visit. Therefore, this kind of virtual visualization using gigapixel images has become an essential tool to enhance cultural heritage and to make it accessible to everyone. Since today’s professional digital cameras provide images of around 40 megapixels, obtaining gigapixel images requires some special capture and editing techniques. This article describes a series of photographic methodologies and equipment, developed by the team of researchers, that have been put into practice to achieve a very high level of detail and chromatic fidelity, in the documentation and dissemination of pictorial artworks. The result of this research work consisted in the gigapixel documentation of several masterpieces of the Museo de Bellas Artes of Valencia, one of the main art galleries in Spain. The results will be disseminated through the Internet, as will be shown with some examples.
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Chen, Chi-Hui, and Chih-ming Shih. "Digital Interpretation as a Bridge to Support the Sense of Place: “Lord Guan Online!” DaxiDaxi Website." Architecture and Urban Planning 18, no. 1 (January 1, 2022): 17–29. http://dx.doi.org/10.2478/aup-2022-0003.
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Abstract In the context of coronavirus (COVID-19) pandemic, large-scale events have been forced to stop as well as movement of people between cities. At Daxi in Taoyuan, Taiwan, there is an event that lasts for over a century, Puji Temple Annual Celebration of Saintly Emperor Guan’s Birthday, held every summer on June 24 of the lunar calendar. It is not only registered as Taoyuan City’s intangible cultural heritage but also considered as the second Chinese New Year for local people. In order to express gratitude to Saintly Emperor Guan for his blessing, the local groups ‘She-Tou’, residents, shopkeepers and volunteers make a great effort on the preparations before the celebration. Local people who at the time do not live in Daxi because they are studying, working or after marriage are living in other cities would also come back to the town on this day. This traditional and cultural event bred from belief has become a mechanism of community cohesion and has shaped Daxi’s unique sense of place. Unfortunately, the traditional pilgrimage of the celebration in 2021 has been paused due to the pandemic situation. However, thanks to the long-term collaboration and participation of the local museum, the ritual of faith can continue in a new way. This article takes the DaxiDaxi “Lord Guan Online” website and its Facebook page as an example. By analysing how the Daxi Wood Art Ecomuseum interprets the traditional celebration and its culture in a digital way, we try to explore the possibility of digital tools as a powerful medium for connecting people and people and place during the pandemic period.