Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Online museum.
Articles de revues sur le sujet « Online museum »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleurs articles de revues pour votre recherche sur le sujet « Online museum ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les articles de revues sur diverses disciplines et organisez correctement votre bibliographie.
1
Sizova, Irina A. « Monetizing online museum products : Mechanisms, strategies, and examples ». Issues of Museology 13, no 1 (2022) : 140–48. http://dx.doi.org/10.21638/spbu27.2022.110.
Texte intégralRésumé :
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.
2
Sizova, Irina A. « Museum as an Active Participant in Continuing Education ». Vestnik Tomskogo gosudarstvennogo universiteta, no 464 (2021) : 225–31. http://dx.doi.org/10.17223/15617793/464/25.
Texte intégralRésumé :
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.
3
Santos, Edmea, Frieda Marti et Rosemary dos Santos. « O MUSEU COMO ESPAÇO MULTIRREFERENCIAL DE APRENDIZAGEM : RASTROS DE APRENDIZAGENS UBÍQUAS NA CIBERCULTURA ». Revista Observatório 5, no 1 (14 janvier 2019) : 182–201. http://dx.doi.org/10.20873/uft.2447-4266.2019v5n1p182.
Texte intégralRésumé :
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.
4
Gordin, Valery E., et Irina A. Sizova. « Museum Educational Online Products : Creation Prerequisites and Development Prospects ». Observatory of Culture 18, no 1 (24 mai 2021) : 80–92. http://dx.doi.org/10.25281/2072-3156-2021-18-1-80-92.
Texte intégralRésumé :
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.
5
Jackson, Jason Baird. « Museum Anthropology Online ». Museum Anthropology 30, no 1 (avril 2007) : 1–2. http://dx.doi.org/10.1525/mua.2007.30.1.1.
Texte intégral
6
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.
Texte intégralRésumé :
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.
7
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, no 1 (5 juillet 2018) : 75–87. http://dx.doi.org/10.1007/s00799-018-0248-8.
Texte intégral
8
Ferreiro Rosende, Erica. « Museum brand identity model approach : An online Delphi Study ». methaodos revista de ciencias sociales 10, no 2 (31 octobre 2022) : 160–76. http://dx.doi.org/10.17502/mrcs.v10i2.544.
Texte intégralRésumé :
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.
9
Jokanović, Milena. « Perspectives on Virtual Museum Tours ». INSAM Journal of Contemporary Music, Art and Technology, no 5 (15 décembre 2020) : 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.
Texte intégralRésumé :
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?
10
Anderson, Maxwell L. « Online museum co‐ordination ». Museum International 51, no 4 (octobre 1999) : 25–30. http://dx.doi.org/10.1111/1468-0033.00226.
Texte intégral
11
Thelwall, Mike. « Can museums find male or female audiences online with YouTube ? » Aslib Journal of Information Management 70, no 5 (17 septembre 2018) : 481–97. http://dx.doi.org/10.1108/ajim-06-2018-0146.
Texte intégralRésumé :
Purpose The purpose of this paper is to investigates if and why audience gender ratios vary between museum YouTube channels, including for museums of the same type. Design/methodology/approach Gender ratios were examined for public comments on YouTube videos from 50 popular museums in English-speaking nations. Terms that were more frequently used by males or females in comments were also examined for gender differences. Findings The ratio of female to male YouTube commenters varies almost a hundredfold between museums. Some of the difference could be explained by gendered interests in museum themes (e.g. military, art) but others were due to the topics chosen for online content and could address a gender minority audience. Practical implications Museums can attract new audiences online with YouTube videos that target outside their expected demographics. Originality/value This is the first analysis of YouTube audience gender for museums.
12
Cunningham, Kelly J. « Functional profiles of online explanatory art texts ». Corpora 14, no 1 (avril 2019) : 31–62. http://dx.doi.org/10.3366/cor.2019.0160.
Texte intégralRésumé :
Writing about art and the teaching of art writing are becoming important issues in the art world. Furthering our understanding of art texts can inform the practice and teaching of art writing. In an effort to expand linguistic understanding of art writing, this study examines a corpus of 180 online explanatory art museum texts from the online collections of nine US museums using a functional profiles perspective. I use cluster analysis to group the 180 texts into functional profiles based on their use of twenty-one linguistic features. The cluster analysis resulted in five clusters that are interpreted functionally: Cluster 1 (n=56), ‘descriptive information’; Cluster 2 (n=30), ‘expanded form – adding interpretation and process’; Cluster 3 (n=40), ‘contextualising’; Cluster 4 (n=8), ‘process and interpretation with agency’; and Cluster 5 (n=46), ‘narrative focus’. It is posited that this understanding of online explanatory art museum texts can inform the teaching of future museum professionals.
13
Díaz Meneses, Gonzalo, Miriam Estupiñán Ojeda et Neringa Vilkaité-Vaitoné. « Online Museums Segmentation with Structured Data : The Case of the Canary Island’s Online Marketplace ». Journal of Theoretical and Applied Electronic Commerce Research 16, no 7 (13 octobre 2021) : 2750–67. http://dx.doi.org/10.3390/jtaer16070151.
Texte intégralRésumé :
This paper’s primary objective is to segment the online marketplace of the Canary Islands’ museums by using different conversion funnel metrics. Little systematic research exists on digital user behaviour, and much less is known about how to segment cultural users with structured data from manually extracted and SEO software sources. With this aim in mind, we built a database with data related to the different phases of the conversion funnel of the museums to segment this online museum marketplace. In the findings, not only do we acknowledge the existence of different segments, but we also provide insight into the user’s digital behaviour by considering different metrics from the different phases of the conversion model process (awareness, consideration, conversion and loyalty). The originality of this paper is multifold. Firstly, it estimates the potential optimisation of these websites to improve the digital marketing implemented by the museum sector of the Canary Islands. Secondly, it sheds light on what benchmarking tactics and statistics procedures can be followed to carry out a non-hierarchical segmentation with standardised and comparable data. Thirdly, it contributes to the literature of digital marketing by eclectically combining the conversion funnel model, benchmarking techniques and non-hierarchical segmentation procedures.
14
Jokanović, Milena. « Space Crisis : Encounter in the Museum Building or Online ? » INSAM Journal of Contemporary Music, Art and Technology, no 9 (15 décembre 2022) : 74–87. http://dx.doi.org/10.51191/issn.2637-1898.2022.5.9.74.
Texte intégralRésumé :
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.
15
Ray, Joyce. « Digital curation in museums ». Library Hi Tech 35, no 1 (20 mars 2017) : 32–39. http://dx.doi.org/10.1108/lht-12-2016-0154.
Texte intégralRésumé :
Purpose The purpose of this paper is to present a perspective on the development of digital curation education and practice in museums in the USA. Design/methodology/approach Methods used include: a historical overview of the development of digital curation, originally as a field of practice – primarily in the sciences – and then as a field of study; a case study of the adaptation of a digital curation curriculum (DigCCurr) framework developed in schools of library and information science (LIS) to a museum studies program; and a discussion of trends in digital curation practices in museums. Findings The case study (the digital curation certificate program of Johns Hopkins University’s museum studies program) describes a successful adaptation of the LIS DigCCurr framework in a museum studies program. Practical implications Findings could help to advance the museum field through the integration of digital curation education, practice and research. Social implications By adopting and supporting digital curation practices, education and research, museums can reach and engage more online users seeking information about museum collections. More online users may also become onsite visitors. Originality/value There is little existing literature on digital curation education in museum studies programs.
16
Helmreich, Anne. « A snapshot of the Getty Foundation’s Online Scholarly Catalogue Initiative ». Art Libraries Journal 40, no 2 (2015) : 56–59. http://dx.doi.org/10.1017/s0307472200000225.
Texte intégralRésumé :
What is a page in the digital age? The Getty Foundation’s Online Scholarly Catalogue Initiative (OSCI) was launched in 2009 to create new models for the publication of museum collection catalogues in the online environment. Five years later, all eight museums participating in the grant programme have published pioneering online catalogues. A final report on the initiative, which will share lessons learned and remaining challenges, as well as core information of value for any museum considering online publishing, will be presented by the Foundation later this year.
17
Abbey, Heidi N. « Does a decade make a difference ? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011 ». Art Libraries Journal 37, no 3 (2012) : 34–40. http://dx.doi.org/10.1017/s0307472200017582.
Texte intégralRésumé :
The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.
18
Sundjaja, Arta Moro, Ford Lumban Gaol, Sri Bramantoro Abdinagoro et Bahtiar S. Abbas. « The Behavior of Online Museum Visitors on Facebook Fan Page of the Museum in Indonesia ». Binus Business Review 8, no 3 (30 novembre 2017) : 237. http://dx.doi.org/10.21512/bbr.v8i3.3742.
Texte intégralRésumé :
The objective of this research was to discover the behavior of museum visitors on Facebook fan page in Indonesia based on the user motivation, user expectation, online community involvement, and Facebook fan page of the museum. This research used a quantitative approach to descriptive analysis. The population was the Facebook users who had followed the Facebook fan page of the museum in Indonesia. The samples used were 270 respondents. The researchers distributed the questionnaire to a Facebook group managed by museums or communities. Based on the demographic profile of respondent, the researchers discover that the respondents are highly educated, work as employees or student, and allocate more than Rp500.000,00 per month for traveling expense. Based on social media behavior of the respondents, the respondents are active using Facebook and not aware of the presence of museum in social media. The respondents require museum information, social interaction, and entertainment on Facebook fan page of the museum. Therefore, museum managers must maintain the content quality and perceived usefulness in delivering the information through Facebook. The involvement of cultural community can help people to get honest information about museum through credible opinion from the respondents.
19
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 (26 août 2022) : 143–58. http://dx.doi.org/10.15291/libellarium.3472.
Texte intégralRésumé :
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.
20
Chapman, Henry P., Vincent L. Gaffney et Helen L. Moulden. « The Eton Myers collection virtual museum ». International Journal of Humanities and Arts Computing 4, no 1-2 (octobre 2010) : 81–93. http://dx.doi.org/10.3366/ijhac.2011.0009.
Texte intégralRésumé :
The digitisation of museum collections provides great opportunities for broad communication and access. However, currently the majority of online ‘virtual’ museums present information two-dimensionally. Three-dimensional data capture using laser scanning provides the potential to generate 3D virtual objects that can be used for a much greater interactive experience. This paper presents the results of a JISC-funded project aimed at the generation of a 3D online museum of an internationally important collection of Egyptological artefacts that have not previously been publicly available. The results from the project demonstrate the value of 3D museums, in addition to highlighting some of the future possibilities for interaction with objects and the ways in which such virtual museums can revolutionise access to collections for education and public interest. It also stresses ways in which such collections can benefit scholars in terms of reference collections, object analysis and interpretation. The question of objectivity and authenticity of virtual collections, in comparison with real objects is raised.
21
Chang, Chun-Yen, Johannes-Geert Hagmann, Yu-Ta Chien et Chung-Wen Cho. « LEVERAGING EDUCATIONAL PATHWAY TO BRIDGE IN-SCHOOL AND OUT-OF-SCHOOL SCIENCE LEARNING : A COMPARISON OF DIFFERENT INSTRUCTIONAL DESIGNS ». Journal of Baltic Science Education 11, no 3 (10 septembre 2012) : 275–84. http://dx.doi.org/10.33225/jbse/12.11.275.
Texte intégralRésumé :
A short look on any science center or science museum website reveals that significant amounts of online educational resources have been developed in recent years. However, how can the non-formal online learning resources of science centers/museums support learning activities inside schools? This study leverages the educational pathway of energy resources, designed by the European Open Science Resources project and the Deutsches Museum, to develop in-school learning activities. This research explores the impact of different instructional approaches incorporating the educational pathway, including the Self-Guided Educational Pathway (SGEP) and Teacher-Guided Educational Pathway (TGEP), on Taiwanese high-school students’ science learning outcomes. The results indicate that the TGEP approach provides students significantly higher knowledge gains than the SGEP approach. Moreover, the TGEP approach significantly maintained students’ positive attitudes toward science learning, museum learning, and online museum learning than did the SGEP approach. The results are discussed in terms of both pedagogical designs and the social culture of Eastern Asia. Key words: educational pathways, online learning resources, learning environments, non-formal learning.
22
Clerkin et Taylor. « Online Encounters with Museum Antiquities ». American Journal of Archaeology 125, no 1 (2021) : 165. http://dx.doi.org/10.3764/aja.125.1.0165.
Texte intégral
23
Gil-Fuentetaja, Ion, et Maria Economou. « Communicating Museum Collections Information Online ». Journal on Computing and Cultural Heritage 12, no 1 (28 février 2019) : 1–16. http://dx.doi.org/10.1145/3283253.
Texte intégral
24
Petelska, Michalina. « Polskie muzea w czasie pandemii COVID-19 : działalność online i (nie)stosowanie Rapid Response Collecting ». Studia Historica Gedanensia 12, no 2 (2021) : 405–15. http://dx.doi.org/10.4467/23916001hg.21.021.15003.
Texte intégralRésumé :
Polish museums during the COVID-19 pandemic: Online activity and (non)application of Rapid Response Collecting The subject of this article is Rapid Response Collecting (RRC) as one of the ways in which museums can operate in exceptional situations. Between 2020 and 2021, in Poland and all over the world, curators resorted to RRC in order to document – in live dialogue with society – the pandemic and social protests. The subject of RRC is barely present in the subject literature. This article gathers English-language scholarly literature from the USA and various European countries, and it analyzes cases of applying RRC in Polish museums during the COVID-19 epidemic. From the pandemic’s first weeks, numerous journalistic pieces (and sometime scholarly ones too) – about online activities of museums and other institutions have been published. Internet activities are seen as the first, most obvious, and even universal “cure” for all the difficulties of times of plague. The aim of this article is to present another way in which museums can react to dynamic changes in the surrounding world. In this article, RRC is also presented in the context of transformations taking place in the theory and practice of museum studies in the last few decades. The application of RRC is part of museum activity implemented according to the latest international definitions of a museum, both those in operation and those recommended.
25
Vajda, András. « Museums and Online Spaces. The Society-Building Role of the Museums during the Pandemic ». Acta Universitatis Sapientiae, Communicatio 7, no 1 (1 décembre 2020) : 42–53. http://dx.doi.org/10.2478/auscom-2020-0004.
Texte intégralRésumé :
Abstract In the past more than six months, not only the cultural institutional network but also all of humanity has entered in a peculiar existential state. All that was previously commonplace, accepted, or natural has become in many ways impossible or, in some cases, even illegal. In the last period, we could also witness the changes regarding museums and museum environments, and we ourselves, who inhabit/use the spaces of the museums, have also changed. These changes affect the frameworks of representation and reception as well as our habits of viewing and interpretation. The pandemic has caused in museum practice a backward step towards a previous practice. Museums have suddenly re-become archives preserving objects and meanings, and it will take time for them to recollect themselves and start searching for solutions.
26
Stojanović Stošić, Milena М., et Marija М. Nešić. « Mogućnosti i značaj virtuelnih poseta muzejima na časovima likovne kulture ». УЗДАНИЦА XIX, no 1 (juin 2022) : 345–58. http://dx.doi.org/10.46793/uzdanica19.1.345ss.
Texte intégralRésumé :
Museums, as keepers of tradition and culture, are ideal places for learning and enhancing children’s interest in art. However it is not always easy to take pupils to exhibi- tions, or organise an art class in a museum, which opens the possibility for virtual museum tours. Many renowned museums around the world provide this opportunity. As a result, pupils can see the greatest works of art and have the full museum experience, without having to leave their classrooms. This paper presents an online educational program of the National Museum in Belgrade, titled The National Museum in the Classroom, which comprises two types of activities: Museum in the classroom and Video workshops, thus indicating the significance of creating museum learning programs where students can get familiar with current exhibitions and art collections. The aim of the paper is to emphasize the importance of getting students familiar with museums and exhibitions in Arts Education classes through virtual tours offered by some of the most renowned museums. In order to do so, future teachers of Art Education need a more complex formal education in the field of art.
27
Lawan, Sadiq, et Umar Lawal Yusuf. « Digital Documentation of Museum Collections for Sustainable Development ». Journal of Social Sciences Advancement 2, no 3 (30 septembre 2021) : 85–91. http://dx.doi.org/10.52223/jssa21-020303-19.
Texte intégralRésumé :
Digitalization enhances the impact of museum collections, and it is a global trend for sustainable development. Documentation of museum collections is an essential part of museum development because there is no meaningful museum setting without proper documentation. It is through documentation that museum collections would be understood and appreciated by the audience. Initially, documentation of museum collections can be done through manual procedures. Today, with the advent of digital technology, museums are taking another dimension, paradigm shift from analogue to digital. Different cultural organizations have called upon digital documentation of museum collections to sustain the vital information, accessibility and preservation of collections. People can easily access museums online, secure objects, and go in line with sustainable development. The most crucial part of digital documentation is to manage, administer, record keeping and maintenance. Digital museums are drivers of research, education, creativity, employment, entertainment, economic growth and development. Many museums institutions in Africa and other parts of the world are not digitalized. The paper's objectives are to explore digital documentation, its significance, and what digital tools can be used to digitalize museums. The article adopted content analysis, using a secondary source of data. The sources include textbooks, articles in journals, newspapers, pamphlets etc. All these volumes form the data. The paper finds that digital documentation is important in every human endeavour to ascertain sustainable development, easy connectivity with other social development sectors, and protection against illicit trafficking and other crime against museum objects. The paper recommends that museums in Africa should key into digitalization and employ experts to facilitate museum activities professionally.
28
Antonenko, Volodymyr, et Volodymyr Khutkyi. « Museums as a Tourist Resource in the Conditions of the COVID-19 Pandemic : Challenges and New Opportunities ». Bulletin of Kyiv National University of Culture and Arts. Series in Tourism 4, no 1 (24 juin 2021) : 54–73. http://dx.doi.org/10.31866/2616-7603.4.1.2021.235149.
Texte intégralRésumé :
It is becoming increasingly clear that museum activities and tourism are among the sectors of culture and economy most affected by the COVID-19 pandemic. Despite the fact that museum visits and tourist travel during the pandemic have been reduced to a minimum, museums around the world are looking for a way out of the predicament, using every opportunity to recover and offer innovative museum and tourism products. For many museum institutions, the COVID-19 pandemic and its implications for the cultural sphere as a whole are a challenge that needs to be used to rethink their activities, to introduce new methods of communication with potential museum visitors and cultural heritage enthusiasts. The article presents an analysis of the main challenges of the pandemic and its consequences in the field of culture, museum activities in 2020 and the first half of 2021, considers the expected and possible changes in museum life as a result of the pandemic. The study results of the financial condition of museums as a result of quarantine during the COVID-19 pandemic are presented, the innovative practices of online content that museums offer to their visitors during quarantine are considered.
29
Janowska, Anna Anetta, et Radosław Malik. « Digitization in museums : Between a fashionable trend and market awareness ». Studia z Polityki Publicznej, no 3(27) (28 octobre 2020) : 31–45. http://dx.doi.org/10.33119/kszpp/2020.3.2.
Texte intégralRésumé :
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.
30
Tong, Y., et Y. Ma. « DIGITAL MUSEUM CONSTRUCTION STANDARDS STUDY ». International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (28 août 2021) : 753–60. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-753-2021.
Texte intégralRésumé :
Abstract. In the post-epidemic era, with the development of digital information technology, there is an extremely urgent need for the construction of digital museums in the field of cultural and museums. However, there is no unified consensus on the concept, function and form of digital museums at home and abroad. The author believes that digital museums are a special form of traditional physical museums and should give full play to digital features and advantages to meet the needs of online and offline integration. This paper is oriented to the practical problems that exist in the realization of the basic functions of traditional physical museums based on collection, management, storage, research, exhibition, education and popularization, and public services. By collating the current standards of digital museums, analyzing the new forms of digital museums domestically and abroad, clarifying the mission of digital museums, proposing the construction and development of digital museums around “human experience”, exploring the standards of digital museum construction, and promoting the industry consensus and standardized management of digital museum construction.
31
Hsu, Tien-Yu, et Hsin-Yi Liang. « A cyclical learning model to promote children’s online and on-site museum learning ». Electronic Library 35, no 2 (3 avril 2017) : 333–47. http://dx.doi.org/10.1108/el-01-2016-0021.
Texte intégralRésumé :
Purpose This paper aims to propose an online and on-site cyclical learning model (OOCLM). It considers how combining digital applications can promote a museum’s virtuous learning cycle between online and on-site spaces for children. Design/methodology/approach A practical cyclical learning service has been successfully implemented in a science museum in Taiwan. This provides a thematic game-based learning environment, allowing all the children to create their unique museum experiences before, during and after their visit. A questionnaire was developed to examine the children’s perceptions of the OOCLM to ascertain whether they were satisfied with the pre-visit, on-site visit and post-visit services offered. Findings The learning model considered the contextual factors that influence digital applications in museums. The digital and physical resources are well integrated, and the museum’s online and on-site services are linked to effectively promote children’s cyclical learning. Practical implications The results show that most of the children highly appreciated the learning model. The model presents an interactive learning environment for children’s cyclical learning and repeat visits. Originality/value The OOCLM considers the related contextual influences of digital applications in museum learning; it effectively bridges the museum’s online and on-site services to promote the museum’s virtuous learning cycle and long-term museum learning resource management. This study provides a benchmark example to develop sustainable cyclical learning services for target visitor groups and to motivate their long-term interaction with the museum.
32
Grincheva, Natalia. « The Online Museum : A "Placeless" Space of the "Civic Laboratory" ». Museum Anthropology Review 8, no 1 (6 juillet 2014) : 1–21. http://dx.doi.org/10.14434/mar.v8i1.3187.
Texte intégralRésumé :
Building on Tony Bennett’s (1995) understanding of a museum as a “civic laboratory,” this study advances this framework by researching a museum space in a virtual world. It shows that an online museum can be understood as a “placeless” space of a “civic laboratory” by analyzing visitor research methodologies that are utilized online. Through comparison of traditional museum-visitor research tools and methods with the ones that online museum spaces employ, this article seeks to demonstrate that the online museum environment is equipped with a plethora of tools that make it a laboratory-type research setting where visitor studies are conducted. The analysis reveals that the historical development of online museum-audience research has gone through methodological stages similar to those of traditional visitor research.
33
Wasielewski, Amanda. « The Museum in Quarantine : Architecture, Experience and the Virtual Museum ». Journal of Curatorial Studies 11, no 1 (1 avril 2022) : 4–24. http://dx.doi.org/10.1386/jcs_00053_1.
Texte intégralRésumé :
The effects of the COVID-19 pandemic, beginning in early 2020, were felt across all industries and public institutions, including art museums. Shuttered art museums sought to maintain public interest in their collections and exhibitions by promoting existing online tools, such as the virtual art museum tours hosted by Google Arts & Culture. This article analyses these tours from the perspective of museology and architecture and argues that, rather than a form of virtual reality, these tours are a peculiar kind of image database. As such, they are part of Google’s growing efforts towards mass digitization and data accumulation.
34
Gąsior, Mariusz. « Transforming Photographs into a Digital Catalogue ». Culture Unbound 14, no 2 (7 juillet 2022) : 11–37. http://dx.doi.org/10.3384/cu.3971.
Texte intégralRésumé :
In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database. One of the key elements of the project was a collection of portrait photographs bearing the title Bond of Sacrifice. These comprised over 16,000 photographs of soldiers of the British Commonwealth, handed over to the Museum by their families in the years 1917–1919. After nearly a hundred years, the Museum decided to comprehensively develop, digitize, and make the collection available in the form of an online catalogue. In the meantime, the Museum digitised a huge collection of WWI photographs, the so-called Q Series (ca. 115,000), the most important part of which was British official photography. By 2016, the entire collection was scanned and made available in an external catalogue of the Museum on the basis of a non-commercial license. Since then, the photographs have taken on a life of their own: they are used in academic works, press articles, TV productions, and in social medias. The second project includes numerous photographs of the Polish Armed Forces. This phenomenon is dealt with in the second part of this paper, which discusses the online photographic collection of the Silesian Museum in Katowice. The third and final part of this article is devoted to the impact of digitization and on-line accessibility on the making of temporary exhibitions. This is explained using the example of the author’s last exhibition at the museum about women in industry; based entirely on digital reproductions of photographs from the collections of many museums from Europe and the U.S., amongst others the US National Archives and the IWM. This is due to the fact that the author selected the entire material with the use of online catalogues of these very institutions.
35
Edge, Brainne. « Andy Hollingworth’s online museum of comedy ». Comedy Studies 10, no 1 (2 janvier 2019) : 137–42. http://dx.doi.org/10.1080/2040610x.2019.1592293.
Texte intégral
36
GAMAL, Radwa, Jermin ABDELKAFY et Dalia SOLIMAN. « THE ATMOSPHERIC ELEMENTS OF THE EGYPTIAN MUSEUMS AND THEIR EFFECT ON THE EGYPTIANS' INTENTIONS TO REVISIT ». GeoJournal of Tourism and Geosites 46, no 1 (31 mars 2023) : 148–55. http://dx.doi.org/10.30892/gtg.46116-1010.
Texte intégralRésumé :
This study aims to fill the salient gap in the area of museums' atmospheric elements by examining their effect on the Egyptian visitors’ behavioral outcomes and the resulting effect on their intention to revisit the museum. An online questionnaire was distributed to a convenient sample of the Egyptian museums' visitors (346 respondents) to gather and analyze primary data along with analyzing the secondary data (literature). The results confirmed that museum's atmospheric elements have a positive and significant effect on the visitors’ experiences. This resulted in positive behavioral outcomes that consequently affected the Egyptian visitors’ intention to revisit the museum. This study investigates the importance of taking the physical design and atmospheric elements into consideration by the museum curators and managers, especially during the current phase in Egypt where various museum renewals and constructions are being held.
37
Cowie, Trevor, et Peter McKeague. « Mapping material culture : exploring the interface between museum artefacts and their geographical context ». Scottish Archaeological Journal 32, no 1 (mars 2010) : 73–93. http://dx.doi.org/10.3366/saj.2011.0009.
Texte intégralRésumé :
This paper describes the results of an exploratory project undertaken by National Museums Scotland and the Royal Commission on the Ancient and Historical Monuments of Scotland to enhance their respective databases through sharing information relating to their respective areas of expertise. The resulting MAGI (Museum Artefact Geographical Interface) project highlighted the huge potential for creating an online resource to re-connect objects in museum collections with the locations of their discovery.
38
Triono, BRM Suryo, et Cahyani Tunggal Sari. « EFEKTIVITAS STRATEGI PEMASARAN ONLINE BAGI MUSEUM KRATON KASUNANAN SURAKARTA ». WASANA NYATA 1, no 2 (10 septembre 2017) : 46–52. http://dx.doi.org/10.36587/wasananyata.v1i2.199.
Texte intégralRésumé :
Museum Kraton Kasunanan Surakarta merupakan salah satu tujuan wisata di Kota Surakarta. Pemasaran sangat dibutuhkan bagi sebuah obyek tujuan wisata. Saat ini, pemasaran tidak hanya bisa dilakukan melalui media cetak seperti brosur, Koran, dan majalah, tetapi juga dapat dilakukan melalui pemasaran online melalui internet dan sosial media. Karyawan Museum Kraton Kasunanan Surakarta perlu meningkatkan pengetahuan dalam pemasaran online karena sampai saat ini, pemasaran online yang dilakukan sebatas informasi lokasi di internet. Harapannya, dengan semakin banyak karyawan yang menguasai pemasaran online khususnya sosial media, mampu meningkatkan jumlah kunjungan wisatawan di Museum Kraton Kasunanan Surakarta. Pelatihan penguasaan sosial media untuk karyawan Museum Kraton Kasunanan Surakarta ini bertujuan untuk memberikan kinerja yang lebih baik sehingga tercermin pada kualitas layanan Museum Kraton Kasunanan Surakarta sebagai salah satu tujuan wisata. Pemasaran melalui sosial media yang diajarkan antara lain facebook dan instagram. Kegiatan pelatihan sosial media pada pengabdian masyarakat ini telah terselenggara dengan baik sesuai dengan jadwal. Respon dari peserta sangat baik, tercermin dalam kehadiran seluruh karyawan Museum Kraton Kasunanan Surakarta yang berjumlah 25 orang. Seluruh peserta, baik staf maupun pihak pengurus Museum Kraton Kasunanan Surakarta bertahan sampai dengan acara usai.Kata Kunci : pemasaran online, social media, Museum Kraton Kasunanan Surakarta
39
Бідюк, Наталя Михайлівна, Вікторія Сергіївна Церклевич et Віталій Виталійович Третько. « THE VIRTUAL MUSEUM SPACE AS A PLATFORM FOR STUDENT RESEARCH ACTIVITIES IN THE HISTORY OF ECONOMICS ». Information Technologies and Learning Tools 81, no 1 (23 février 2021) : 167–79. http://dx.doi.org/10.33407/itlt.v81i1.3385.
Texte intégralRésumé :
The article presents the results of theoretical justification and practical verification of modern possibilities of using the pictorial method (museum tours) in teaching the subject “The History of Economics and Economic Thought”. The article justifies the evolution of views on the range of sources on historical processes. A modern understanding of “a pictorial turn” in historical research was presented. The virtual museum as an informational resource, multimedia phenomenon, cost-effective model of museum space was considered. The educational experience of the EU countries in using modern methods of working with museum expositions to form economic thinking was studied. The need to turn the traditional paradigm of the museum as a center for preserving historical values into the educational interaction between the tourist student and the objects of the museum’s collection was proved. The article describes the content of the two-stage pedagogical experiment (between 2014 and 2018). The first stage explores the possibility of using educational museum tours and historically significant territories of cities as a method of studying the history of regional economics in the context of seminars. The author’s pedagogical product, that is regional thematic tours on the history of economics, was presented. The second stage develops and verifies the methodology of using online resources of Ukrainian museums (virtual tours, virtual exhibits) to organize the independent work of students in the context of this subject. The thematic catalog of online resources of Ukrainian museums for conducting research activities within this subject was created. The article presents research activities with the exposition of the virtual museum in the framework of the independent work of students. Based on the results obtained from the survey of students from higher education institutions of Ukoоpspilka, it is proved that working in the virtual museum space implies innovative, multidisciplinary, competence-oriented research activities, as well as an effective form of organizing independent work of students.
40
Ennes, Megan, Amanda Wagner-Pelkey et Meghan McVey. « Museum-Based Online Learning One Year After Covid-19 Museum Closures ». Journal of Museum Education 46, no 4 (2 octobre 2021) : 467–80. http://dx.doi.org/10.1080/10598650.2021.1982221.
Texte intégral
41
Angel, Christine. « Museum artifacts : How online representations can link to the museum environment. » Proceedings of the American Society for Information Science and Technology 45, no 1 (2008) : 1–6. http://dx.doi.org/10.1002/meet.2008.1450450376.
Texte intégral
42
Giannini, Tula, et Jonathan P. Bowen. « Global Cultural Conflict and Digital Identity : Transforming Museums ». Heritage 6, no 2 (15 février 2023) : 1986–2005. http://dx.doi.org/10.3390/heritage6020107.
Texte intégralRésumé :
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.
43
Nubani, Linda, et Aslıhan Öztürk. « Measuring the Impact of Museum Architecture, Spaces and Exhibits on Virtual Visitors Using Facial Expression Analysis Software ». Buildings 11, no 9 (18 septembre 2021) : 418. http://dx.doi.org/10.3390/buildings11090418.
Texte intégralRésumé :
Since the launch of online video portals in 2005, museums have encouraged visitors to upload and share their visits online. Although much has been written about visitors’ experiences in museums, very little exists on the impact virtual visits have on viewers. In this qualitative pilot study, a total of 2035 emotional reactions were recorded and analyzed after visiting 14 online museums using a facial expression recognition software. Following open and axial coding techniques, themes and subcategories emerged. Findings showed that while the background of the participant mediated how one experiences a museum online, certain architectural and exhibit attributes, if present, triggered similar emotions to those experienced in an in-person visit. Findings suggest that experiencing museums through online video portals may be as engaging as visiting museums in person—only if the creator captures a significant proportion of architectural details, transitioning of spaces and exhibits details. Further findings showed that facial expression software reveals what captures virtual visitors’ emotions, and what architectural and exhibit features keep them curious and engaged.
44
Hyun, Hyowon, Jungkun Park, Tianbao Ren et Hyunjin Kim. « The role of ambiances and aesthetics on millennials’ museum visiting behavior ». Arts and the Market 8, no 2 (1 octobre 2018) : 152–67. http://dx.doi.org/10.1108/aam-04-2017-0006.
Texte intégralRésumé :
Purpose The purpose of this paper is to establish a framework for millennials’ museum visiting behaviour and to explore the moderating effects of aesthetics and ambience for visiting art museums. This study uses the Stimulus–Organism–Response (S–O–R) model (Mehrabian and Russell, 1974) in order to confirm the relationship among variables. Design/methodology/approach The data were collected using online surveys from millennial art museum visitors who had visited a museum within three months. In all, 287 responses were collected. Structural equation modelling was used to analyse the model. Findings Korean millennial visitors pursue hedonic value rather than utilitarian value when they visit art museums. It turns out that hedonic value accelerates visitor satisfaction and promotes visitor loyalty more than utilitarian value in the art museum setting. Both ambiance and aesthetics play stimulating roles in the art museum context and moderate the relationships among visitor-perceived value, satisfaction and loyalty. Utilitarian values are identified as unimportant elements for young Korean museumgoers. Practical implications Ambiance and aesthetic factors play important roles in promoting art museum visits. An art museum may elevate its atmospheric factors by emphasising the visit’s fun value (i.e. hedonic value) for millennials. Originality/value This study expands on previous studies concerning conceptualization of multidimensional constructs of millennials’ value for experience of arts museums in terms of aesthetics and ambiance. The results also confirm the value of the S–O–R framework in an art museum context.
45
Pesotska, Yuliia. « Museum activities in the context of socio-cultural and educational spaces ». Social work and social education, no 1(6) (15 avril 2021) : 33–42. http://dx.doi.org/10.31499/2618-0715.1(6).2021.234127.
Texte intégralRésumé :
The article presents the questionnaire results, which is aimed at studying the use of museum pedagogy in the organization of the educational process, the provision of social rehabilitation services to people with special educational needs. The problems of providing services to museum institutions in modern society have been revealed. It is also noted about the relevance of the use of information and communication technologies in the organization of museum activities. The problems of museums arising during the COVID-19 pandemic have been identified.
The transition to online functioning has forced museums to adapt to new conditions. However, the low popularity of the museum during quarantine has become even low. Although, most respondents are positive about excursions to the museum. However, this desire does not increase popularity among young people.
According to the survey results, the modern museum can become an environment for informal and formal education. And the method of social rehabilitation of persons with special educational needs.
Thus, the article reveals the problems of the modern museum and reflects the role of the museum in modern society. The survey results confirm that the museum activity problem is relevant and requires new ideas in solving problems. The introduction of museum pedagogy as an innovative and interactive method will contribute to the development of museum activities in Ukraine. And this method can become an effective tool for overcoming social barriers by persons with disabilities.
46
Morse, Christopher, Blandine Landau, Carine Lallemand, Lars Wieneke et Vincent Koenig. « From #MuseumAtHome to #AtHomeAtTheMuseum : Digital Museums and Dialogical Engagement Beyond the COVID-19 Pandemic ». Journal on Computing and Cultural Heritage 15, no 2 (30 juin 2022) : 1–29. http://dx.doi.org/10.1145/3480955.
Texte intégralRésumé :
The novel coronavirus spurred a keen interest in digital technologies for museums as both cultural professionals and the public took notice of their uses and limitations throughout the confinement period. In this study, we investigated the use of digital technologies by museums during a period when in-person interaction was not possible. The aim of the study was to better understand the impact of the confinement period on the use of museum technologies in order to identify implications for future museum experience design. We compared museums across four countries – France, Japan, Luxembourg, and the United States – by conducting an international survey in three languages on the use of digital technologies during the early phase of the pandemic. Additionally, we analyzed the Facebook activity of museums in each country and conducted a series of interviews with digital museology professionals in academia and the private sector. We found that despite a flurry of online activities, especially during the early phase of the pandemic, museums confronted a number of internal and external challenges that were often incongruent with their ability to offer new forms of digital engagement. In general, digital solutions served only as a temporary substitute for the museum experience rather than as an opportunity to usher in a new digital paradigm for cultural mediation, and many cultural professionals cited a lack of digital training as a limiting factor in robust ICT implementation. We also argue that the most successful digital engagement came from those activities that promoted a sense of community or an invitation for self-expression by visitors. We conclude with a framework that describes a ‘virtuous circle of museum participation’, aiming to support public engagement with museums through the development of content that builds on the interconnectedness of on-site and online interactivity.
47
Kenderdine, Sarah. « Inside the Meta-Centre : A Wonder Cabinet ». Media International Australia 89, no 1 (novembre 1998) : 63–74. http://dx.doi.org/10.1177/1329878x9808900109.
Texte intégralRésumé :
This paper is presented in three parts. The first part examines the emerging models of the online museum to demonstrate how traditional museums are seeking to extend and recreate themselves through the Internet. This section also notes the genesis of the information metacentres as one way to encompass museum collections and processes. The second section of the paper will introduce Australian Museums On-Line (AMOL, http://amol.org.au ) as one example of the information meta-centre, an integrated resource pool of digital museum information from distributed Australian museums and galleries communities. This section will examine salient aspects of this on-line community as offering a complimentary meeting place that is both virtual and real. The third section will look to the underlying design and architecture of the AMOL Website and introduce some of the projects that will be implemented at the site as a response to its users' needs.
48
Buffington, Melanie L. « Museum-Ed Listserv : An Online Community of Practice ». Visual Arts Research 34, no 1 (1 juillet 2008) : 43–52. http://dx.doi.org/10.2307/20715460.
Texte intégralRésumé :
Abstract Online communities live and thrive through the Internet. This article explores an online community devoted to museum education, Museum-Ed. After reviewing the history of online communities and the theory of communities of practice, the article presents a qualitative content analysis of one month of posts to this museum education community. Four themes emerged during the content analysis that relate to how this community functions. These themes include List Functionality, Professional Information, Human Relations, and Educational Resources. Because of the interactions that take place through this community, it is argued that Museum-Ed is an online community of practice. Through studying online communities, we may learn more ways to develop effective opportunities for developing communities of practice among educators.
49
Frieman, Catherine J., et Neil Wilkin. « “The Changing of the Guards” ? » Museum Worlds 4, no 1 (1 juillet 2016) : 33–50. http://dx.doi.org/10.3167/armw.2016.040104.
Texte intégralRésumé :
ABSTRACTOver the past 30 years, Britain’s large archaeological museums and collections have shifted their focus away from academic visitors exploring their stores and collections and toward the dynamic presentation of permanent and temporary displays. These are arranged to emphasize compelling and relevant interpretative narratives over the presentation of large numbers of objects. The shift to digitization and the online presentation of collections is a major feature of public engagement activities at many museums but also might open older and less accessible collections up to research. In this article, we consider what role digital platforms may have in the future of British museum-based archaeology, with special reference to initiatives at the British Museum. We suggest that online collections have the potential to mediate between engaging the public and allowing professional archaeologists to develop sophisticated research programs, since these platforms can present multiple narratives aimed at different audiences.
50
Wagner, Katarzyna. « RESPONSIBILITY FOR THE PAST ? SPOILS OF WAR IN SWEDISH MUSEUM DISPLAYS ». Muzealnictwo 63 (5 août 2022) : 106–11. http://dx.doi.org/10.5604/01.3001.0015.9502.
Texte intégralRésumé :
The paper’s goal is to attempt to show what narrative Swedish museums conduct on spoils of war and trophies which are in their collections, how this strategy was worked out, and how to understand the responsibility versus the visitor watching such objects. Materials from a symposium and a conference held in Stockholm in 2008 have been analysed, and so have current texts (labels, curatorial texts, entries in online catalogues). Swedish museum curators have considered their responsibility to be proper preservation, studying, conserving, displaying those objects, making them available to the public (exhibitions, online bases), thus the basic museum activity has turned into a synonym of modern responsibility. The key activity which enabled the working out of this joint policy is to be found in detailed provenance studies.