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Littérature scientifique sur le sujet « Online museum »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Online museum"

Sizova, Irina A. « Monetizing online museum products : Mechanisms, strategies, and examples ». Issues of Museology 13, n^o 1 (2022) : 140–48. http://dx.doi.org/10.21638/spbu27.2022.110.

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The quarantine and post-quarantine restrictions have forced museums to pay close attention to digital content. Initially, this was done to maintain their audience and public interest, and after that, they began to think about monetizing these products. Monetizing digital content can help them recover lost revenue. Monetization of online museum products refers to the process of converting free or paid online products and services developed by museums themselves or in collaboration with developers. In this article, the author identifies mechanisms and strategies for monetizing museum online products that can also apply to museums in modern times. The case study was the main method of analysis. Four possible methods for monetizing museum online products were identified as a result of the study. Several factors should be considered before developing museum online products. In addition, six strategies for monetizing virtual initiatives were identified, whose development must take into account such factors as time, human and material resources of the museum as well as the uniqueness and quality of the content. Therefore, we can conclude that the introduction of monetization was a difficult process for museums, accompanied by a number of problems related to the distribution of time and significant human resources, as well as financial costs; lack of motivation for museum staff; using outdated software; the dual nature of the online product, which works both outside the museum and draws visitors directly into the museum halls.

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Sizova, Irina A. « Museum as an Active Participant in Continuing Education ». Vestnik Tomskogo gosudarstvennogo universiteta, n^o 464 (2021) : 225–31. http://dx.doi.org/10.17223/15617793/464/25.

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The article presents a qualitative analysis of museum educational products. These products have been studied in terms of the possibility of their use in formal, non-formal and informal education. Thus, the role of the museum as an actor of continuing education has been determined. The role of continuing education in the educational process is becoming more obvious for most participants, and informal education plays a huge role in this process. It is urgent now to develop high-quality educational environment. Due to museums and their offline and online educational products, it is possible to get success. The author analyzed educational activities of leading Russian and foreign museums. As a result, the possibilities of museums as an educational institution for formal, non-formal and informal education were determined. Formal education is characterized by the network interaction of educational organizations and museums when the museum educational resources are included in the educational process. The largest number of museum educational products in traditional and innovative forms is made for non-formal or supplementary education. The traditional forms of museum educational resources include excursions, game formats for acquaintance with the exposition/exhibition (quests), museum master classes, interactive classes, as well as offline continuing education programs for a professional audience. The innovative forms include intra-museum programs, for example, performances, thematic classes within the museum’s profile, and Internet resources such as pages of official museum sites, online academies of museums, museum groups on social media, official museum channels on YouTube, webinars, virtual museums. Thus, non-formal educations could be in onsite or online training forms. Informal education can apply the museum’s resources both in traditional forms and in an innovative one. The museum online resources such as online museum games, massive open online courses (MOOC), and podcasts have the highest priority in this area. Museums and universities cooperate to get high-quality competitive educational online resources. In conclusion, it is possible to speak about a new stage in the development of museum educational activity. This stage is characterized by increasing attention to professional education by adding formal and non-formal (supplementary) educational programs, and, simultaneously, increasing the role of informal education due to online technology. It should be emphasized that museum staff could develop museum educational products for formal and non-formal education independently, but it is advisable for museums to intensify cooperation with universities to enter the online education market.

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Santos, Edmea, Frieda Marti et Rosemary dos Santos. « O MUSEU COMO ESPAÇO MULTIRREFERENCIAL DE APRENDIZAGEM : RASTROS DE APRENDIZAGENS UBÍQUAS NA CIBERCULTURA ». Revista Observatório 5, n^o 1 (14 janvier 2019) : 182–201. http://dx.doi.org/10.20873/uft.2447-4266.2019v5n1p182.

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As novas relações que se estabelecem entre a técnica e a vida social geram novas formas de comunicação, de produção cultural e fenômenos sociotécnicos, desenvolvendo uma nova cultura contemporânea, a cibercultura. Diante desse novo contexto sociotécnico, os museus passaram a fazer uso das tecnologias digitais em rede e móveis, visando potencializar a experiência comunicacional e educacional de/com seus visitantes. Este artigo tem como objetivo discutir o espaço museal na cibercultura, apresentando-o como rede educativa e espaço multirreferencial de aprendizagem, e mostrar exemplos de usos das tecnologias digitais em rede por parte dos museus na contemporaneidade. PALAVRAS-CHAVE: cibercultura; educação museal; aprendizagem ubíqua; ciberpesquisa-formação; espaços multirreferenciais; ABSTRACT The new relations established between technique and social life have generated new forms of communication, cultural production and sociotechnical phenomena, developing a new contemporary culture, cyberculture. Faced with this new sociotechnical context, museums began to make use of mobile and online digital technologies, aiming at enhancing the communicational and educational experiences of/with their visitors. This article aims to discuss the museum space in cyberculture, presenting it as an educational network and a multi-referential learning space, and to show examples of use of online digital technologies by museums in the contemporary world. KEYWORDS: cyberculture; museum education; ubiquitous learning; cyber research-training; multi-referential spaces.

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Gordin, Valery E., et Irina A. Sizova. « Museum Educational Online Products : Creation Prerequisites and Development Prospects ». Observatory of Culture 18, n^o 1 (24 mai 2021) : 80–92. http://dx.doi.org/10.25281/2072-3156-2021-18-1-80-92.

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This article examines online educational products developed by museums both independently and in cooperation with educational institutions. The analysis revealed a pool of museum online products, including mass open online courses (MOOCs), specialized professional online courses (SPOCs), educational games, mobile apps, and podcasts. The authors identify advantages and features of each type of the museum online products (MOPs) and determine the prospects for their inclusion in the educational process.The study aims to reveal the activity of different kinds of museums and museum communities in the development and implementation of educational online products both in their own educational activities, carried out by an increasing number of museums, and in the process of formal and non-formal education in cooperation with universities, schools, and further education institutions that implement it. The study discovered that museums develop both MOOCs that are traditional for the system of higher professional education, and educational online products, such as educational games, podcasts, and mobile applications with educational content, that are not widely used at present, but are promising for formal and, especially, non-formal education. An important result of the study was the conclusion about the common practice of cooperation between museums and universities in the joint development of online products, as well as about the feasibility of deploying such work with institutions of secondary general and vocational education.The authors’ analysis of the system of museum educational online products allowed us to conclude that new players — museums — have appeared in the online education market in the role of organizations that create and use various online resources in their activities, including those that can be used in the field of education.

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Jackson, Jason Baird. « Museum Anthropology Online ». Museum Anthropology 30, n^o 1 (avril 2007) : 1–2. http://dx.doi.org/10.1525/mua.2007.30.1.1.

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Cao, Kai. « Development and Design Case Function Comparison of Panoramic Roaming System of Virtual Museum Based on Pano2VR ». Mobile Information Systems 2022 (5 juillet 2022) : 1–11. http://dx.doi.org/10.1155/2022/7363221.

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The development of modern information technology gives birth to virtual museums. The exhibition of physical museums is evolving into online virtual exhibition, allowing users to have an immersive experience of museums without leaving home. Through content analysis, this study analyzes the status quo of online virtual museums in China and discovers two major problems: the exhibits are mainly brief introductory graphs and texts, and the exhibition module is independent of the panoramic roaming module. To solve the problems, Pano2VR was used to develop and design a virtual museum panorama roaming system for Hubei Museum. After realizing the map navigation of the museum, photos of the museum were taken on the site and prepared into a panorama. Then, the panorama roaming of the virtual museum was achieved based on Pano2VR. Finally, the results were displayed on the virtual web page of the museum, and real interactive virtual exhibitions were conducted on the website platform. The proposed system enhances the research value of the cultural relics of the Hubei Museum and increases the interaction with users.

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Walsh, David, Mark M. Hall, Paul Clough et Jonathan Foster. « Characterising online museum users : a study of the National Museums Liverpool museum website ». International Journal on Digital Libraries 21, n^o 1 (5 juillet 2018) : 75–87. http://dx.doi.org/10.1007/s00799-018-0248-8.

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Ferreiro Rosende, Erica. « Museum brand identity model approach : An online Delphi Study ». methaodos revista de ciencias sociales 10, n^o 2 (31 octobre 2022) : 160–76. http://dx.doi.org/10.17502/mrcs.v10i2.544.

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Museum brand management is a practice increasingly used in the museum sector, at least at a primary level. The scarce academic literature on the subject has created the opportunity to approach museum brand management from a deeper perspective, including its brand identity. For this purpose, an online Delphi study consisting of three rounds of questions was developed. A total of 12 experts, from the public and private sector, as well as academia, participated in the process, which was carried out between 2019 and 2021. The main objective was to identify a brand identity model for museums and its adaptability to the post-COVID era from a theoretical point of view. The main dimensions that compose the agreed model are: the product, the person, the symbol, the organisation, the territory and the digital sphere. According to the experts, this model is versatile enough to be adapted to all museums, regardless of their type and size/structure. This study provides a theoretical validation of a brand identity model, and it also demonstrates a growing focus on marketing and brand management by experts and academics.

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Jokanović, Milena. « Perspectives on Virtual Museum Tours ». INSAM Journal of Contemporary Music, Art and Technology, n^o 5 (15 décembre 2020) : 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.

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As a number of world museums have closed their doors for the public due to pandemic of the new Corona virus, curators are thinking of alternative ways of audience outreach: 3D virtual galleries are increasingly created, video guided tours shared, digitized collections put online. The new circumstances unquestionably bring potentials for growth, but carry numerous risks and inconsideration, as well. Many theoreticians argue that the crisis of this scale will undoubtedly fasten the digital transformation in museum and arts sector and consequently, in a much more wide sense influence the identity rethinking. However, the research of audience interest to virtual museum tours show there was a peak of just 3 days visiting these, massively followed by a fast decrease even the social isolation was globally still present and museum buildings still locked. Turning back to the genesis of the virtual museums, in the following paper, we will question why there is no interest to virtual museum content. Do tours answer the needs of the contemporary digital-born audience? Do these represent just a copy of settings from physical galleries or use potentials and logic of the new spaces? Will museums finally transform and enter into so many times nowadays mentioned digital shift answering the need of the new, transmedia perception of audience?

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Anderson, Maxwell L. « Online museum co‐ordination ». Museum International 51, n^o 4 (octobre 1999) : 25–30. http://dx.doi.org/10.1111/1468-0033.00226.

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Thèses sur le sujet "Online museum"

Bontempo, Melissa A. « Online communities : possibilities for museum education / ». Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1160068576.

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Lincoln, Margaret L. « The Online and the Onsite Holocaust Museum Exhibition as an Informational Resource ». Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5407/.

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Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.

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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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D’, Alba Adriana. « Analyzing Visitors’ Discourse, Attitudes, Perceptions, and Knowledge Acquisition in an Art Museum Tour After Using a 3D Virtual Environment ». Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115062/.

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The main purpose of this mixed methods research was to explore and analyze visitors’ overall experience while they attended a museum exhibition, and examine how this experience was affected by previously using a virtual 3dimensional representation of the museum itself. The research measured knowledge acquisition in a virtual museum, and compared this knowledge acquired between a virtual museum versus a real one, employing a series of questionnaires, unobtrusive observations, surveys, personal and group interviews related to the exhibition and the artist. A group of twenty-seven undergraduate students in their first semester at the College of Architecture and Design of the Autonomous University of the State of Mexico participated in the research, and were divided in two groups, one of which used a 3D virtual representation previous to the museum visit. Results show that participants who experienced the virtual museum concurred that using it was a positive experience that prepared them to go to the real museum because they knew already what they were going to find. Most of the participants who experienced the virtual museum exhibited an increased activity during their museum visit, either agreeing, being more participative, concurring and showing acceptance, asking questions, or even giving their opinion and analysis, disagreeing with the guide and showing passive rejection. Also participants from this group showed an increase on their correct answers to the knowledge acquisition questionnaires, going from 27% answers responded correctly in the pre-test, to 67% of correct answers after the virtual museum usage. The research attempted to show that experiencing a virtual museum can be similar to the experience in physical museum visits, not only engaging participants to go to the museum, but sometimes even offering a more functional way to deliver content. Results of this research evidence that using a virtual museum creates a positive impact in users before, during, and after the museum visit, and that it can be a good alternative, not only for educational, but for promotional and recreational and purposes.

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Grieshammer, Natalie. « Engaging Millennial Philanthropy in Art Museums Through an Online Platform ». University of Akron / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=akron1564742946031821.

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Doyon, Malin, et Sofia Borg. « Engagerad ”online” – konsument ”offline” ? : En explorativ studie om konsumtion och kundengagemang i Livrustkammarens online brand community ». Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35571.

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Studien undersöker olika dimensioner av det omdiskuterade begreppet kundengagemang i ett online brand community på Facebook, i förhållande till tidigare konsumtion och köpintention “offline”. Webbaserade enkäter användes som metod för att undersöka vilka dimensioner av kundengagemang som förekommer i det studerade online brand communityt på Livrustkammarens Facebooksida. Vidare användes en korrelationsanalys för att se om det fanns ett samband mellan de olika dimensionerna av kundengagemang i förhållande till tidigare konsumtion samt köpintention. Slutligen användes logistisk regressionsanalys för att se om någon av engagemangsdimensionerna kunde vara en predikator för tidigare konsumtion respektive köpintention. Resultatet av korrelationsanalysen visade på ett positivt, statistiskt signifikant samband mellan kognitivt engagemang gentemot varumärket i förhållande till tidigare konsumtion. Ett positivt och statistiskt signifikant samband förelåg också mellan alla engagemangsdimensioner i förhållande till köpintention. Regressionsanalyserna visade på endast ett statistiskt signifikant resultat, där kognitivt engagemang gentemot varumärket var en predikator för tidigare konsumtion. Troligtvis berodde avsaknaden av statistiskt signifikanta resultat i regressionsanalyserna på multikollinearitet (korrelation) mellan de oberoende variablerna. Denna korrelation gör det också svårt att undersöka alla tre dimensionerna av engagemang samtidigt i en kvantitativ studie. Framtida forskning kan därför använda sig av en kvalitativ metod, exempelvis netnografi, för att studera de antecedents som lämnats utanför studiens ramar. Resultatet visar också på vikten av att praktiker värdesätter det kognitiva engagemanget gentemot varumärket istället för endast det beteendemässiga, då detta var den enda predikatorn som framkom i förhållande till tidigare konsumtion. Resultatet tyder också på att engagemang i sociala medier har en betydelse för köpintention, då ett samband återfanns mellan alla former av engagemang i communityt ”online” och en intention att besöka museet ”offline”.

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Buffington, Melanie L. « Using the Internet to develop students' critical thinking skills and build online communities of teachers : A review of research with implications for museum education ». The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1092187119.

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Sreenan, Patrick N. « Perspectives on Cultural Context : The Use of an Online Participatory Learning Environment as an Expansion of the Museum Visit ». Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31548/.

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Technology offers opportunities for museums to expand the ways in which cultural perspectives relevant to objects on display can be exchanged and understood. Multimedia content offered online in an environment with user input capabilities can encourage dialogue and enrich visitor experiences of museums. This action research project using narrative analysis was an effort to develop the use of web technology in museum education practice, with an emphasis on constructivist learning. Concepts including the visitor-centered museum and multiple narratives led the researcher to collaborate with a pre-service art teacher education classroom and a local Hindu community to create content that might better develop understandings of one museum's Hindu sculpture collection that are personal, cultural, and complex.

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Bashore, Elizabeth Mary, et Elizabeth Mary Bashore. « Diverse directions : A case study on the construction of an online instructional resource in a photographic museum setting ». Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/625874.

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Robinson, Stuart. « The Other White Cube : Finding Museums Among Us ». Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/317041.

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Since hitting mass markets in the 1920s, refrigerators have occupied a lovable corner not just in American kitchens but also in American culture. The story of humankind has always been the story of food, around which we congregate, negotiate power, and explore methods of control. As the U.S. transitioned to industrial, mechanical convenience in the twentieth century, refrigerators replaced hearths as household communication centers, and it has become commonplace to decorate refrigerator surfaces with photographs, keepsakes, lists, and other items of visual culture. As meaningful, expressive arrangements, the curatorial dimensions of such displays have called for their investigation. From January to June of 2013, the Other White Cube Project studied the cultural phenomenon by collecting photographs and questionnaires online at theotherwhitecube.com. From 200 submissions, the project connected activities at home with institutional roles at large. The educational effort performed post-museum theory, in which audiences and institutions share power, build community, and promote awareness. By equating museums with everyday spaces, curators with everyday people, and art with everyday objects, the Other White Cube Project approached three keys to learning in art museums - comfort, relevance, and readability. The project also examined the aesthetic, social, and practical barometers that direct daily choices, which shape consciousness and subsequent interactions with space. In that sense, everyone is a curator - of some kind and of some place.

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Livres sur le sujet "Online museum"

Axelsson, Bodil, Fiona R. Cameron, Katherine Hauptman et Sheenagh Pietrobruno. Museum Digitisations and Emerging Curatorial Agencies Online. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0.

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Crow, William B. All together now : Museums and online collaborative learning. Washington, DC : AAM Press, 2011.

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1968-, Din Herminia, dir. Unbound by place or time : Museums and online learning. Washington, D.C : American Association of Museums, 2009.

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author, Hirx John W., Los Angeles County Museum of Art et Online Scholarly Catalogue Initiative, dir. Southeast Asian art : An online scholarly catalogue at LACMA. Los Angeles, Calif.] : [Los Angeles County Museum of Art], 2013.

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Bailey, Gerald. Handbook on developing online curriculum materials for teachers : Lessons from museum education partnerships. Charlotte, N.C : Information Age Pub., 2010.

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Gerald, Bailey, dir. Handbook on developing online curriculum materials for teachers : Lessons from museum education partnerships. Charlotte, NC : IAP - Information Age Pub., 2010.

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Gerald, Bailey, dir. Handbook on developing online curriculum materials for teachers : Lessons from museum education partnerships. Charlotte, NC : IAP - Information Age Pub., 2010.

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

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Donaldson, Mindi. Virtual destinations and student learning in middle school : A case study of a biology museum online. Youngstown, N.Y : Cambria Press, 2006.

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Zielgruppenbindung mit Online-Kommunikation : Analyse und Evaluation am Beispiel von Museums-Webpages. München : Reinhard Fischer, 2006.

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Chapitres de livres sur le sujet "Online museum"

Müller, Katja. « Sammlungen online ». Dans Edition Museum, 285–98. Bielefeld, Germany : transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457900-016.

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Katja Müller stellt die Unterschiede zwischer Erwartungshaltung an Digitalisierungen ethnografischer Sammlungen und den tatsächlichen Auswirkungen der Onlinestellung kulturellen Erbes dar. Anhand von Beispielen aus Indien und Europa zeigt sie, welche Faktoren eine Nutzung von Onlinearchiven befördern und wie wir Postkolonialisierung im Kontext ethnografischer Sammlungen neu rahmen sollten.

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Schien, Stefanie, et Tina A. Brüderlin. « Online im Museumsverbund ». Dans Edition Museum, 97–116. Bielefeld, Germany : transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457900-006.

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Pietrobruno, Sheenagh. « Tales of the Viking Helmet : Narrative Shifts from Museum Exhibitions to Personalised Search Requests ». Dans Museum Digitisations and Emerging Curatorial Agencies Online, 39–70. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_3.

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AbstractThe stories of museum objects on YouTube can counter and support those advanced by museums. How the narratives of the Viking helmet on YouTube reflect or differ from those put forward by the Swedish History Museum’s Viking exhibitions is approached through a previous methodological study that investigated the issue of location in the personalisation of historical narratives of museum objects on YouTube search engine result pages (SERPs) (Pietrobruno 2021). This revised method combining language with location brings together two media forms—actual museum exhibitions and personalised YouTube SERPs. The philosophy behind their interconnection is rooted in how the personalised content of SERPs produce meaning and museum exhibitions employ forms of individual customisation to generate meaning by enabling visitors to personalise their exhibition experience.

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Axelsson, Bodil, Fiona R. Cameron, Katherine Hauptman et Sheenagh Pietrobruno. « Introduction ». Dans Museum Digitisations and Emerging Curatorial Agencies Online, 1–14. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_1.

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AbstractCuratorial agency is situated in the introduction via an elaboration of the intersection between the mission of public museums to care for collections and their increased reliance on digital capitalism’s social, technical and material infrastructures for the circulation of digitisations, narratives and new research findings. We explain how this book approaches curatorial agency in four individually authored chapters, each taking its own approach to museum knowledge and curatorial agency in regard to the junction of humanistic interpretations and new materialist and posthuman frameworks. Moreover, we explain how each chapter acts as a case study that tracks objects from the Swedish History Museum’s Viking Age collection to distinct technological spheres: Swedish discussion forums, YouTube, Pinterest and the vast infrastructures and destructive processes of Technospheric curation.

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Axelsson, Bodil, Fiona R. Cameron, Katherine Hauptman et Sheenagh Pietrobruno. « Conclusion ». Dans Museum Digitisations and Emerging Curatorial Agencies Online, 121–28. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_6.

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AbstractIn this conclusion, we revisit some of the key findings of this book’s analytical/interpretative cuts into the online circulation of museum collections. The pedagogical challenges museums face when collection knowledge is appropriated by groups whose political aims threaten social solidarity and democratic values are discussed. Highlighted are the ways in which collection knowledge is both customised and open-ended when digitisations, narratives and research findings flow between multiple platforms and are transmitted through interfaces including home feeds or lists. We conclude that curatorial agency simultaneously becomes humanist and subjective; machinic and computational; and imbricated in more-than-human ontological formations that insert digitisations and museum knowledge in multi-scalar geographies and temporalities extending from deep geological time into unforeseen futures.

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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 ». Dans 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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Grincheva, Natalia. « Online power of global brands ». Dans Museum Diplomacy in the Digital Age, 103–42. New York : Routledge, 2020. | : Routledge, 2020. http://dx.doi.org/10.4324/9781351251006-5.

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Hauptman, Katherine. « Curatorial Challenges : Discussion Forums and Fragmented Narratives ». Dans Museum Digitisations and Emerging Curatorial Agencies Online, 15–37. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_2.

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AbstractThis chapter explores discussions surrounding research on the Swedish History Museum’s collection of Viking Age objects on Internet forums, blogs and digital news media during the period 2004–2020. It argues that there has been a clear escalation of questioning, confrontational and antagonistic reactions directed at research that brings into question issues of nationhood and stereotypes of gender roles and power. The discussions evolve around disagreements that focus on details rather than historical synthesis and quickly escalate into hostility, personal attacks and distrust in academic expertise. The debates cast light on the pedagogical challenges the museum face to synthesise and contextualise research to nuance conversations and fulfil its governmentally assigned task to promote knowledge and interest in history.

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Axelsson, Bodil. « Viking Jewellery on Pinterest : Drifting Digitisations and Shared Curatorial Agency ». Dans Museum Digitisations and Emerging Curatorial Agencies Online, 71–94. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_4.

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AbstractThis chapter analyses the manifestations and operations of curatorial agency on the content-sharing platform Pinterest. While the manifestations of curatorial agency are explored through an analysis of the recontextualisations of museum digitisations of jewellery associated with the Viking Age in user-made collections, its operations are investigated through a long-term engagement with the platform’s employment of machine learning models to select and display images in line with its business model. On Pinterest, museum digitisations take on a transnational and dispersed life as inspiration for historical imagination and craft, as well as for contemporary fashion. Due to the complexity of machine learning models, the politics of curatorial agency becomes a delicate issue to locate as it morphs between human and machinic forms of intelligence.

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Razali, Suriyati, Nor Laila Md. Noor et Wan Adilah Wan Adnan. « Structuring the Social Subsystem Components of the Community Based E-Museum Framework ». Dans Online Communities and Social Computing, 108–16. Berlin, Heidelberg : Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02774-1_12.

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Actes de conférences sur le sujet "Online museum"

Nitu, Florentina. « UNIVERSITY MUSEUMS AND DIGITAL DATA. CASE STUDY : UNIVERSITY OF BUCHAREST MUSEUM ». Dans eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-238.

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Museum of the University of Bucharest represents the cultural memory and the institutional identity in the specific field of higher education in Romania. But this mission needs to be adapted to the public nowadays, in cultural contexts that are different from those of the last century, when the museum was founded. The impact of an university museum in society is increasingly based on the diversification of communication paths, with the use of the new media, on the development of new audiences for whom the museum's message is relevant. Also, the university museum must investigate future development directions and opportunities, to be a dynamic and vivid institution. The 21st Century brings with it new and increasingly complex methods of communication for all University Museums, especially ones that allow the public to manage their intellectual needs in their own, customized way. That being said, we're talking about communication through the museum's institutional site, via the various social media platforms, through the online catalogue and portal, which grant access to information regarding the museum's collection. Other interactive elements developed in the 21st century are represented by QR codes, by virtual or augmented reality, these digital breakthroughs being a way for museums not only to attract new types of public, but also to complete the information by making it multisensorial. Our research shows how the aspects mentioned above and others represent the challenges to which the University of Bucharest Museum had to find adequate answers in order to fulfill its mission.

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Marshall, David, Laura Hobbs, Hannah Bird et Charlotte Bird. « THE VIRTUAL NATURAL HISTORY MUSEUM : PLACING DIGITIZED COLLECTIONS BACK WITHIN A MUSEUM CONTEXT ». Dans GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-351284.

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Canto, Aylana, et Ana Helena da Silva Delfino. « The MASP online : the educational strategies from the museum in the pandemic ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.69.

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This article has the target sharing the current research of master degree circumscribed into the Program of Post-graduation in Museology from Federal University of Bahia (PPGMuseum/UFBA) oriented by Ph.d Ana Helena da S. Duarte. In our research we make inquiries into the action of cultural mediation proposed and done by the Museu de Arte de Sao Paolo – MASP during the COVID-19 pandemic. In such a way specially, though, on the Instagram Social Media this Museum interchanged and instigated your audience to learn, to interact and to produce with art objects from your collection. Therefore, through the educational strategies we consider Triangular Approach and Online Educational Museum foundation of your path. As mentioned previously the way to introduce the reader, in our research we investigated the online educational actions did it by the Museu de Arte de Sao Paolo MASP, at the moment of COVID-19 pandemic. The investigation pursues and explores the educational strategies elaborated, designed and done by the MASP and your team for your audience in the virtual place, i.e, the online mode. While theories reference, our base, it is three fundamental axis: Educational Theory of Paulo Freire(Educator and Brazilian Philosopher), and the influence into the Brazilian Educational Museum, Triangular Approach used firstly by Ana Mae Barbosa (educator, pioneer in art-education because of her systematization of the Triangular Approach) and the Greimassian’s Semiotic Theory (Research line of Semiotic study the relation among plans of text circumscribed in relationship through the languages, created by Algirdas Julien Greimas, this theory made possible the investigation of the texts). Combined, brings to light the analysis of the production of the sense from the MASP’s audience. Through of the discourses and texts produced by the Museum Educational team, mediated for Cultural Mediation in a constant dialogue with the concept of Online Educational Museum (OEM) proposed by the Researcher Frieda Marti (Ph.D from the Program of Post-Graduation Education College in the University of the State of Rio de Janeiro - PROPED/UERJ). In this logic, the methodological procedure of the research is based on theory approach and bibliography (theoretical instrumentalisation of concepts for the research) and the analytics investigation in a study case (the analysis of discourses of Online Cultural Mediation from MASP during the pandemic). Our highlight, our general objective, is set a relation between educational actions and the methodologic strategies in Online Cultural Mediation developed by MASP, mediated by analysis of the production made for the audience in this process, assumed the action in the virtual as a contribution for the Brazilian Educational Museum, in context of the pandemic and social isolation – from March 2020 to August 2021. For this purpose, our research problem is to think of the Educational Museum in the pandemic. Indeed our path is in the direction to enrich the Educational Museum, therefore one of the main objectives is reflecting and creating a healthy environment to debate the Educational Museum in the context of pandemic and social isolation in Brazil.

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Filipski, Tatiana. « The valorization of students museum education within the school – museum – family – community interconnectivity during the pandemic crisis ». Dans Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p262-267.

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The article reflects on the pandemic crisis impact on museal education of students and touches the problem of collaboration of educational institution with museum, family and community in this period, which is difficult for the entire society. In this context were developed and signed multiple collaboration contracts in the view of museum education process optimisation and educational institution-museum-family-community interoperability, building an online oriented museum education methodology, in which were actively and sistematically involved pupils, students, proffesors, school managers, proffessionals in different domains, and parents. As result of assesment of museum education activities, was especially notified that all involved actors actively shown interest in national and universal heritage, higly apreciating the developed partnership.

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Kugler, Ralph, Paul Mayer et Patricia Coorough Burke. « UNLOCKING MUSEUM COLLECTIONS WITH 3D PHOTOGRAMMETRY AND VIRTUAL TOURS ». Dans GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-356245.

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Cervinski, Luana, et Richard Perassi. « CONHECIMENTO DIGITAL DE ARTE E DESIGN DE INFORMAÇÃO NA MÍDIA ONLINE ». Dans Congresso Internacional de Conhecimento e Inovação (ciKi). Congresso Internacional de Conhecimento e Inovação (ciKi), 2022. http://dx.doi.org/10.48090/ciki.v1i1.1050.

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Resumo: apresenta-se neste artigo um estudo sobre conhecimento digital de arte e design de informação do website institucional Van Gogh Museum. Assim, cumpre a função de acesso virtual e também suporta a interface gráfica do ambiente de apresentação do acervo do artista Van Gogh. Como parte de um interesse mais amplo sobre museus virtuais de Arte, foi realizada uma pesquisa qualitativo-descritiva, para atender ao objetivo de discutir as características do projeto de design de informação do website. Para tanto, foram teoricamente embasadas e propostas duas categorias de navegação digital: uma estético-intuitiva e outra lógico-cognitiva. E ainda elementos e aspectos sob três abordagens: estética, lúdica e lógica. Como resultado, foi justificado que o projeto de design de informação do website Van Gogh Museum é distinto e coerente com a temática artística, sendo particularmente interessante por seus estéticos e lúdicos.

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Tan, Yu Kai, Andy (Dick Yee) Tan, Andy (Dick Yee) Tan, Ann C. Burke, Ann C. Burke, Ellen Thomas et Ellen Thomas. « FRESHWATER MUSSELS IN NORTH AMERICA : MUSEUM COLLECTIONS AND PRE-INDUSTRIAL BIOGEOGRAPHY ». Dans GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-356925.

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Diaz Lema, Melisa, et Michela Arnaboldi. « The participative turn in Museum : The online facet ». Dans SMSociety'20 : International Conference on Social Media and Society. New York, NY, USA : ACM, 2020. http://dx.doi.org/10.1145/3400806.3400837.

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Sarkar, Ria, Lauren Neitzke Adamo, Julia Criscione et Patricia Irizarry-Barreto. « INTEGRATING 3D PRINTING AND GEOSCIENCES TO VISITOR EXPERIENCES AT THE RUTGERS UNIVERSITY GEOLOGY MUSEUM ». Dans GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-359959.

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« FACILITATING CONSTRUCTIVISM STUDY IN ONLINE MUSEUM VIA SOCIAL MEDIA ». Dans 7th International Conference on Web Information Systems and Technologies. SciTePress - Science and and Technology Publications, 2011. http://dx.doi.org/10.5220/0003310505180524.

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Rapports d'organisations sur le sujet "Online museum"

Martin, Kathi, Nick Jushchyshyn et 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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Soler Humanes, Ana. La Gestión de la Comunicación Externa Online con los Visitantes en los Museos y Centros de Arte en Málaga / The Online External Communication Management with the Visiting Public in Museums and Art Centers in Malaga. Revista Internacional de Relaciones Públicas, décembre 2013. http://dx.doi.org/10.5783/rirp-6-2013-11-197-216.

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Brophy, Kenny, et Alison Sheridan, dir. Neolithic Scotland : ScARF Panel Report. Society of Antiquaries of Scotland, juin 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.

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The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.

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