Relevant bibliographies by topics / Digital technologies in art museums

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

Academic literature on the topic 'Digital technologies in art museums'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Digital technologies in art museums"

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Saaze, Vivian Van, Glenn Wharton, and Leah Reisman. "Adaptive Institutional Change: Managing Digital Works at the Museum of Modern Art." Museum and Society 16, no. 2 (July 30, 2018): 220–39. http://dx.doi.org/10.29311/mas.v16i2.2774.

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From digital video to software-driven installations, digital art is now present in museums around the world. Museum systems designed for object-based collections like paintings and sculpture do not address the collections management and conservation requirements for these new technologies and their associated hardware. In this article the authors investigate processes through which digital art becomes embedded in museums. Based on original research conducted at The Museum of Modern Art in New York, we argue that the introduction of digital art to MoMA did not lead, as recent literature suggests, to disruptive or radical changes of existing institutional practices. Instead, the result has been organizational subunit proliferation and adjustments to established practices and procedures. Through our study of managing digital art at MoMA, we engage Science and Technology Studies and the institutional analysis tradition in the sociology of organizations to advance the understanding of processes of change in art museums.
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Nancarrow, Jane-Heloise. "Democratizing the Digital Collection." Museum Worlds 4, no. 1 (July 1, 2016): 63–77. http://dx.doi.org/10.3167/armw.2016.040106.

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ABSTRACTThree-dimensional modeling and printing of museum artifacts have a growing role in public engagement and teaching—introducing new cultural heritage stakeholders and potentially allowing more democratic access to museum collections. This destabilizes traditional relationships between museums, collections, researchers, teachers and students, while offering dynamic new ways of experiencing objects of the past. Museum events and partnerships such as the Metropolitan Museum of Art “Hackathon”; the MicroPasts initiative; and Sketchfab for Museums and Cultural Heritage, encourage non-traditional methods of crowd-sourcing and software collaboration outside the heritage sector. The wider distribution properties of digitized museum artifacts also have repercussions for object-based and kinesthetic learning at all levels, as well as for experiential and culturally sensitive aspects of indigenous heritage. This article follows the existing workflow from model creation to classroom: considering the processes, problems, and applications of emerging digital visualization technologies from both a museum and pedagogical perspective.
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Guazzaroni, Giuliana. "Digital Heritage." International Journal of Art, Culture and Design Technologies 10, no. 1 (January 2021): 1–17. http://dx.doi.org/10.4018/ijacdt.2021010101.

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Virtual reality (VR), augmented reality (AR), and artificial intelligence (AI) are new ways to provoke an emotional response to heritage and culture. In a place of interest, augmented by technologies, visitors meet various stimuli. Consequently, the public activates complex neural responses in the brain. Neural responses will lead to specific actions, decision-making, and learning. Engaging an audience is desirable for institutions that organize exhibitions, as many people see museums and heritage as stagnant spaces. Museums and art galleries should use VR and AR facilities to develop creative thinking and to advance cultural context. Artists, on the other hand, may represent a sort of facilitator, helping to develop positive actions in the smart cities of the future or to educate the audience toward active citizenship.
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Moens, Bart G. "Aesthetic Experience in Virtual Museums: A Postphenomenological Perspective." Studies in Digital Heritage 2, no. 1 (September 26, 2018): 68–79. http://dx.doi.org/10.14434/sdh.v2i1.24468.

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This article explores the impact of the digitization of traditional works of art on the aesthetic experience from a philosophical point of view. Presenting and making use of a recent approach in the philosophy of technology, initiated by the American philosopher Don Ihde, called postphenomenology. This hybrid form of phenomenology builds on traditional phenomenology and combines it with a pragmatic approach in order to focus on the mediating roles of technology. Concrete technologies and applications such as screens and virtual museums are the starting point for our examination of the specific character of these digital media, which are then compared with their physical referents. Following Ihde’s arguments, we show that digital image technologies, and digital images themselves, are not merely functional, but shape perceptions and experiences. Although currently the positive effects and opportunities of these new applications are emphasized in the field – for collection management, the democratization and accessibility of art, possibilities to interact and intervene in the image, efficient marketing, etc. – they do have a significant impact on the way in which art is experienced.
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Górka, Jacek. "PROJECTS FROM THE AREA OF DIGITISATION AND NEW MEDIA IN THE SYBILLA CONTEST." Muzealnictwo 58, no. 1 (September 3, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.3943.

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The dynamics of the social, economic and legal changes which took place from 2004 to 2014 related to Poland’s accession to the European Union has changed our reality and the functioning of the state and its institutions, including museums. New possibilities have arisen, together with serious challenges which museum managers and museum professionals have had to face. The National Institute for Museums and Public Collections, established in 2011, has become the organiser of the prestigious Sybilla Museum of the Year Contest, in line with its founding principles. Its organisers decided to carry out open consultations with museum professionals, which has resulted in changes to the regulations for new contest categories, pertaining for example to sources of financing an institution with European funds, and implementing new technological solutions by museums. The growing availability of new technologies has contributed to a new category in the contest “Digitisation and new media”, which appeared for the first time in the regulations for the 34th edition of the Sybilla contest in 2013. The process of technological revolution also applies to museums, as new technologies are present at museum conservation workshops, research papers, exhibition premises and educational activities. Museums use diverse electronic communication solutions, such as websites, applications and social media. Digital technologies are being used on an unprecedented hitherto scale to document and share collections, and to disseminate knowledge about them. During the latest, 37th edition of the Sybilla contest in 2016, a unique project was awarded: the Gulf of Gdańsk Shipwreck Virtual Open-Air Museum. Recording and Inventory of Underwater Archaeological Heritage, carried out by the National Maritime Museum in Gdańsk. An innovative method for submarine documentation, in the form of the photogrammetry of 3D models of shipwrecks from the Gulf of Gdańsk, is being developed as part of the project. Faras in Wikipedia is a featured project by the National Museum in Warsaw. It consists of creating a knowledge database about the Faras Gallery, about the relics of Nubian art which form part of the museum’s collections, and the archaeological expedition and researchers involved, as well as making it available to the readers of Wikipedia and Internet users in Poland and abroad.
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Banfi, F., and A. Mandelli. "INTERACTIVE VIRTUAL OBJECTS (IVOs) FOR NEXT GENERATION OF VIRTUAL MUSEUMS: FROM STATIC TEXTURED PHOTOGRAMMETRIC AND HBIM MODELS TO XR OBJECTS FOR VR-AR ENABLED GAMING EXPERIENCES." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 47–54. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-47-2021.

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Abstract. Virtual museums should not live on the internet through traditional applications sharing collections through simple panoramas or static images and descriptions but reach novel innovative and interactive forms of Virtual Reality (VR) and Augmented Reality (AR), providing a more creative, intimate, personal learning experience. For this reason, the authors propose a method based on advanced Information Technologies (IT) to fully return the tangible and intangible values of different type of works of art. The primary purpose of this study is to create a system of virtual environments through which the digital user, mainly the visitor of an unconventional museum, will be able to physically interact, through visual and tactile methods, with 3D digital models of sculptures, information, and art objects. Thanks to the integration of the latest 3D modelling and digital survey techniques with the Visual Programming Language (VPL) and eXteded Reality (XR) development platforms, authors propose new levels of interactivity between users and Interactive Virtual Objects (IVOs) capable of coming to life, sharing new forms of real-time human-computer interaction for VR-AR enabled gaming experiences and virtual museums, using multiple devices such VR headset, web-based AR platforms, mobile phones, tablets, and PC workstation.
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Rangel-de Lázaro, Gizéh, Adrián Martínez-Fernández, Armando Rangel-Rivero, and Alfonso Benito-Calvo. "Shedding light on pre-Columbian crania collections through state-of-the-art 3D scanning techniques." Virtual Archaeology Review 12, no. 24 (January 19, 2021): 1. http://dx.doi.org/10.4995/var.2021.13742.

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<p class="VARAbstract">During the 19<sup>th</sup> and 20<sup>th</sup> centuries, numerous museums, scientific societies, and royal academies were founded in Europe and America. In this scenario, the Anthropological Museum Montané was founded in Havana, Cuba. Its collection has grown over the years, thanks to researchers, antiquarians, and amateurs. Since its foundation, the Museum Montané has become an essential institution for anthropological and archaeological research in the region. Nowadays, the Museum Montané, like other museums in developing countries, faces a challenge in the introduction of state-of-the-art technologies to digitizing exhibits and the creation of innovative projects to attract visitors. The current possibilities of virtualization of cultural heritage using digital technologies have a favorable impact on the preservation, access, and management of museum collections. The use of three-dimensional (3D) models fosters engagement with visitors, stimulates new forms of learning, and revalorizes the exhibits. In the current study, we use a hand-held structured light scanner to create 3D reality-based models of pre-Columbian crania from the Caribbean and South American collection of the Anthropological Museum Montané. The resulting 3D models were used for producing 3D printing replicas and animated videos. The 3D resources derived will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities. The significance of digitizing these specimens goes beyond the creation of 3D models. It means protecting these fragile and valuable collections for future generations. The methodology and results reported here can be used in other museums with similar collections to digitally document, study, protect, and disseminate the archaeological heritage. Going forward, we seek to continue exploring the application of novel methods and digital techniques to the study of the pre-Columbian crania collections in Latin American and the Caribbean area.</p><p class="VARAbstractHeader">Highlights:</p><ul><li><p>A hand-held structured light scanner was used to acquire 3D reality-based models of pre-Columbian crania. The 3D models resulting were used for 3D printing replicas and 3D animations.</p></li><li><p>This study provides unprecedented 3D reconstructions of pre-Columbian crania in the Caribbean area, and new 3D reconstructions of artificially deformed crania from South America.</p></li><li><p>The 3D resources created will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities.</p></li></ul>
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Rudloff, Maja. "Det medialiserede museum: digitale teknologiers transformation af museernes formidling." MedieKultur: Journal of media and communication research 29, no. 54 (June 28, 2013): 22. http://dx.doi.org/10.7146/mediekultur.v29i54.7299.

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<p>Over the past two decades, digital technologies have gained a greater and more important role in communication and dissemination of knowledge by museums. This article argues that the digitization of museum communication can be viewed as a result of a mediatization process that is connected to a cultural-political and museological focus on digital dissemination, in which user experience, interactivity, and participation are central concepts. The article argues that the different forms of communication, representation, and reception offered by digital media, together with the interactive and social possibilities for action they facilitate for their users, contribute to a transformation of the museum as an institution. It is concluded that the relationship between museum, collection, and users has undergone a number of changes caused by the intervention of the media and that the traditional social act of museum visiting has been transformed and somewhat adapted to new media-created forms of communication and action. From a more general perspective, the article may be regarded as a contribution to a continuous discussion of the role museums must play in a mediatized society.</p>
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Kunjir, Ajinkya Rajendrakumar, and Krutika Ravindra Patil. "Effectiveness of Practicing Social Distancing in Museums and Art Galleries for Visitors Using Mobile Augmented Reality (MAR)." International Journal of Art, Culture and Design Technologies 9, no. 1 (January 2020): 1–14. http://dx.doi.org/10.4018/ijacdt.2020010101.

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After the tragic Coronavirus (COVID-19) pandemic was declared by the WHO (World Health Organization) in March 2020, social distancing and sanitization were recommended by top medical experts and health officials to help stop the virus spread. Research has sought to help people practice social distancing in public attractions such as museums and art galleries using touchless technologies. In the modern circle of innovation and technology, mobile augmented reality (MAR) is a touchless technology that adds layers of virtual information on top of real-world images. An individual can view 3D images and videos by pointing an AR-enabled device towards a piece of digital information. This paper describes the constructive use of the major design elements of MAR, which can directly be applied for impaired and non-impaired visitors to practice social distancing in museums and art galleries.
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Rubio, Fernando Domínguez, and Glenn Wharton. "The Work of Art in the Age of Digital Fragility." Public Culture 32, no. 1 (January 1, 2020): 215–45. http://dx.doi.org/10.1215/08992363-7816365.

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Impermanence and fragility have become the defining conditions of the digital age. Technologies that were ubiquitous barely a decade ago, like floppy disks, now look like archaeological relics. It takes only a few years, if not months, before software environments are replaced by newer versions, often with limited backward compatibility. At the same time, digital technologies rely on hardware that has short life expectancy. The radical obsolescence of this new digital register raises a number of important questions. How are we going to prevent the fragile memories of contemporary digital cultures from receding into oblivion? This essay answers this question by looking at one of the institutions in which the problems associated with digital fragility are most especially felt, the Museum of Modern Art (MoMA), and by exploring the ontological displacements that digital objects are operating at the heart of the museum.
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Dissertations / Theses on the topic "Digital technologies in art museums"

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Mosako, Daniel Rankadi. "A study to identify and evaluate the roles and challenges of modern art museums - with special reference to the incorporation of digital technology in art museums in the Gauteng province of South Africa." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/61392.

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This research briefly introduces the roles of art museums and presents selected digital technology implementation challenges and benefits in art museums in the Gauteng Province. An art museum is a building or space for the exhibition of work of art, usually visual art. Art museums collect objects of art and other historic artefacts that are documented and exhibited for different purposes, such as aesthetic value, social, historic cultural and educational, significance and research values that are traceable to a specific society or group of individuals. In South Africa, particularly in the Gauteng Province, art museums are failing to keep pace with international trends about the use of digital technology. It is, therefore, important for art museums as information dissemination centres to incorporate digital technology in their daily museum business as it may offer the opportunity for these museums to become more effective and competitive in the global information society. A literature review is done to understand the trends of different digital technologies in other first world international cities. The examined literature revealed that the Internet and other technological applications of the new millennium prompted a re-evaluation of cutting edge museum research, education roles, and documentation capabilities. Consequently, digital technology became an integral component of the digital policies of many art museums, allowing them to satisfy the demand for online information sharing abilities. A qualitative research approach together with a constructivism educational theory is used to fully understand South Africa’s position regarding the use of digital technology. In South Africa, digital technology usage in art museums is predominantly limited to email exchange, electronic invitations to exhibitions, data capturing of collections and viewing of basic websites. In other words, digital technologies are not optimally used in the South African art museum environment. The study explores the benefits of digital technology interfaces at art museums against fixed traditional art museum information dissemination practices. The objectives of the study are to create an awareness of best practice in the implementation of digital technology interfaces at art museums in Gauteng. The findings in this study indicate that digital technologies have proved to be useful in several spheres of public life resulting in the popular utilization of e-learning, e-mail, e-health, e-government and e-commerce. It is, therefore, proposed that art museums in South Africa embrace digital technologies to enhance the transformation of these museums. In essence, the implementation of digital technologies such as ‘virtual tours’ and other popular social media platforms and applications may raise the profile of art museums and market their contents to wider audiences, and may also help to popularise their heritage collections for leisure and scholarly purposes.
Mini Dissertation (MCHS)--University of Pretoria, 2017.
Department of Arts & Culture
University of Pretoria
Visual Arts
MHCS
Unrestricted
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Papadopoulou, Kyriaki. "Digital Technologies in Museums : An ethnographic study." Thesis, Linnéuniversitetet, Institutionen för informatik (IK), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-59643.

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This thesis follows a research at the Mineralogy and Petrology Museum of the University of Athens (Greece). The purpose of the research is to examine how digital technologies can support museums in attracting new visitors during the economic crisis, and provide design suggestions. The research was conducted under the interpretive paradigm using the ethnographic methodology and the participatory design approach. The staff, volunteers and artists related to the museum participated in interviews, thinking aloud sessions and a workshop. In addition, several observations were conducted during guided tours of visitors. The data were analyzed through thematic analysis. The findings provided themes of identified issues and opportunities concerning the implementation of digital technologies in the museum, such as the underlying policies of the University of Athens, the role of the museum in society, material in the collections that attracts visitors, the importance of the staff in guided tours and the technologies currently being used. Suggestions were put forward during the workshop and were elaborated later on. The thesis aspires to contribute to studies that concern the sustainability of cultural establishments that are being afflicted by the economic crisis currently veils Europe.
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Gonzalez, Desi (Desiree Marie). "Museum making : creating with new technologies in art museums." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.
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Komarova, Maria. "Interactive technologies on art museum websites." Kansas State University, 2015. http://hdl.handle.net/2097/18947.

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Master of Science
Department of Communications Studies
Gregory Paul
This report investigates how American art museums have adopted interactive technologies on their websites. The use of such technologies brings to the forefront a tension regarding authority over visitors’ experience of and interpretation of art both in person and online. Interactive tools on 15 art museum websites were coded as enabling one of three types of interaction: human-to-computer, human-to-human and human-to-content. Human-to-computer interactive features were most prevalent on museum websites, followed by human-to-human and human-to-content interactive technologies respectively. The findings demonstrate a tension between the goals of art museums in wanting to engage visitors in co-creation of meaning about art on the one hand and wanting to maintain their traditional authority over that meaning on the other. The report concludes by offering recommendations for how museums can use interactive technologies more effectively in order to maintain their role as centers of social and cultural life.
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Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /." Online version of thesis, 2010. http://hdl.handle.net/1850/11981.

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Hartley, Julian Alex. "Museums and the digital public space : researching digital engagement practice at the Whitworth Art Gallery." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/museums-and-the-digital-public-space-researching-digital-engagement-practiceat-the-whitworth-art-gallery(8eebb8f4-b0b5-4e40-a419-50be3c2e6e9a).html.

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Since the 1990s, a trend in the UK museum sector for developing community partnerships has witnessed a ‘participatory drive’ that aims to embrace social diversity by engaging communities in the co-creation of exhibitions and other museum work. In this context, the Internet broadly, and social media in particular, are seen as complementary to museum processes of reciprocal exchange and public access. However, as this thesis stresses, treating the Internet and social media as complementary and convergent with the participatory drive in museums is assumptive and has been under-analysed, and its difficulties and complexities understated. In this context, this practice-based research carefully unpicks and critically analyses naturalised assumptions about online resources and social media practices in museums by tracing the cultural history through which the participatory museum has developed and contrasting it with the much later sociology of the Internet. The participatory drive is seen to be mediated through society’s agencies for local governance, healthcare and education services, as well as neighbourhood groups and families. These structures act then as a bridge organising people in space and time. In turn, museums’ digital practices often assume similar social organisation in their approach towards public engagement. However, the distributed architecture of the Internet has the effect of compressing time with space, enabling group organisation and public spaces to bypass society’s structures and instead place the individual at the centre of a network of relationships that self-organises according to the social capital displayed in online behaviour. Accordingly, the thesis argues, there is anapparent mis-match between museums on the Web and the online public, which affects negatively public engagement online. By bringing Bourdieu’s theories of social space and social capital into the realm of the Internet, drawing on cultural historical activity theory and reflecting on a research residency at the Whitworth Art Gallery, this thesis goes on to examine why museums find it challenging to engage with online publics. Its research practice aimed to ‘open’ the digital collections of the participating museum into the same time and space as the online public. This included triggering, following, documenting and critically reflecting upon processes, challenges and actions of digital engagement and the people involved in them. The thesis reflects on the research practice’s organisational and cultural challenges, which relate to the fact that it contradicted the museum’s existing departmental organisation and symbolic representation of public access and engagement. It goes on to argue that when digital practices of museums are attuned to the ecology and spatial structure of the online public, the outcomes are misrecognised as unrelated to museums’ core practices of social inclusivity. Instead, the argument continues, museums need to open up to emerging concepts of digital public space and publicness, in order for their digital practices to be relevant to online publics.
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Walker, Kevin. "Designing for meaning making in museums : visitor-constructed trails using mobile digital technologies." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10006479/.

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This thesis investigates how people make meaning in and from museums, through encounters with artefacts which are mediated by portable digital technologies. It provides evidence that technology can help to manage the amount of information visitors encounter, instead of increasing it, through activities which structure the use of technology. One such activity - visitor-constructed trails through museums - is studied in depth, with attention to how (and to what extent) the activity is structured, the contexts in which it takes place, and how various tools and resources mediate and support the activity. Three studies engage different types of visitors in trail construction, using mobile phones and portable digital audio player/recorders - technologies already commonly carried by visitors - in museums of art, science and history. Trails are shown to support meaning making by providing a curatorial scaffolding for visitors to recontextualise artefacts, through interpretations which are links between visitors' and artefacts' contexts, and are generally narrative in form. Technology is shown to help visitors make connections with artefacts through a two-way contextualisation, and by working in concert with other tools and resources. Meaning making is analysed using a conceptual model for the design and analysis of trails, which is grounded in a constructionist epistemology, a theoretical perspective on museum meaning making, and a methodology derived from activity theory.
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Schum, Joshua F. "The influence of digital technology on the narrative of American art museums." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397650.

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Digital technology is a pervasive aspect of contemporary society and its influence on narrative has been profound. In the realm of museums digital technology is significantly altering the way museums create and disseminate narrative. Using survey research, this study examines the influence of digital technology on the narrative of American art museums. By surveying museum professionals working in American art museums narrative and technological trends can be identified. This research presents three major findings. First, museum professionals identify American art museums as narrative environments. Second, American art museums are using digital technologies for narrative purposes. Third, digital technology has directly influenced the narrative of American art museums. Recommendations for further areas of study are suggested based on the findings of this research.
Department of Telecommunications
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Rottenberg, Barbara Lang. "The commercialization of digital information : implications for the public role of museums." Thesis, City University London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369956.

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Cooper, Julie A. "Changing the Traditional High School Photography Curriculum: Integrating Traditional and Digital Technologies." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/68.

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This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.
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Books on the topic "Digital technologies in art museums"

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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2015 Florence. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-759-3.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Technologies & Applications; New 2D-3D Technical Developments & Applications; Virtual Galleries – Museums and Related Initiatives; Access to the Culture Information. Two Workshops regard: International Cooperation; Innovation and Enterprise.
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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2014 Florence. Florence: Firenze University Press, 2014. http://dx.doi.org/10.36253/978-88-6655-573-5.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; EC Projects and Related Networks & Initiatives; 2D - 3D Technologies and Applications; Virtual Galleries - Museums and Related Initiatives; Access to the Culture Information. Three Workshops regard: International Cooperation; Innovation and Enterprise; e.Culture Cloud.
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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2017 Florence. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-502-9.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.
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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2018 Florence. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.
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Cappellini, Vito, and Enrico Del Re, eds. Electronic Imaging & the Visual Arts. EVA 2016 Florence. Florence: Firenze University Press, 2016. http://dx.doi.org/10.36253/978-88-6655-974-0.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Science and Culture Developments & Applications; New Technical Developments and Applications; Museums - Virtual Galleries and Related Initiatives; Access to the Culture Information. An International Forum on “Culture & Technology” is enclosed. One Workshop regards: Innovation and Enterprise.
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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2019 Florence. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-869-3.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Science and Culture Developments & Applications; New Technical Developments & Applications; Cultural Activities – Real and Virtual Galleries and Related Initiatives, Access to the Culture Information. One Workshop regards Innovation and Enterprise. The more recent results of the Researches at national and international level are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.
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Gwilt, Ian. MadeKnown: Digital technologies & the ontology of making. Ultimo, N.S.W: Faculty of Design, Architecture and Building, University of Technology, Sydney, 2006.

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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2013 Florence. Florence: Firenze University Press, 2013. http://dx.doi.org/10.36253/978-88-6655-372-4.

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Important Information Technology topics are presented: multimedia systems, data-bases, protection of data, access to the content. Particular reference is reserved to digital images (2D, 3D) regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The main parts of the Conference Proceedings regard: Strategic Issues, EC Projects and Related Networks & Initiatives, International Forum on “Culture & Technology”, 2D – 3D Technologies & Applications, Virtual Galleries – Museums and Related Initiatives, Access to the Culture Information. Three Workshops are related to: International Cooperation, Innovation and Enterprise, Creative Industries and Cultural Tourism.
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Arts et nouvelles technologies: Art vidéo, art numérique. [Paris]: Larousse, 2005.

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

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Book chapters on the topic "Digital technologies in art museums"

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Falcão, Patrícia, and Tom Ensom. "Conserving Digital Art." In Museums and Digital Culture, 231–51. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_11.

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Thumim, Nancy. "Museums and Art Worlds." In Self-Representation and Digital Culture, 104–35. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137265135_5.

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Lomas, Andy. "Morphogenetic Creations: Exhibiting and Collecting Digital Art." In Museums and Digital Culture, 353–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_17.

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Gannis, Carla, and Tula Giannini. "Art, Life, and Technology, Through Time and Space." In Museums and Digital Culture, 381–97. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_19.

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Lambert, Nick. "Digital Road Trips: The Shifting Landscape of Digital Art Shows." In Museums and Digital Culture, 147–62. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_7.

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Giannini, Tula, and Jonathan P. Bowen. "Museums, Art, Identity, and the Digital Ecosystem: A Paradigm Shift." In Museums and Digital Culture, 63–90. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_4.

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Flouty, Rosanna. "Breaking Silos: New Modes of Art, Education, and Technology Training in Museums." In Museums and Digital Culture, 435–55. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_22.

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Dodds, Douglas. "Collecting, Documenting, and Exhibiting the Histories of Digital Art: A V&A Perspective." In Museums and Digital Culture, 217–29. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_10.

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Earnshaw, Rae. "Utilization of Digital Technologies." In Art, Design and Technology: Collaboration and Implementation, 21–30. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58121-7_3.

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Feix, Axel, Stefan Göbel, and Rene Zumack. "DinoHunter: Platform for Mobile Edutainment Applications in Museums." In Technologies for Interactive Digital Storytelling and Entertainment, 264–69. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-27797-2_35.

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Conference papers on the topic "Digital technologies in art museums"

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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Mitrović, Aleksandar. "VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT)." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.417m.

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The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.
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Belhi, Abdelhak, and Abdelaziz Bouras. "AI-powered Motion Interaction for 3D Cultural Heritage." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0240.

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Museums and cultural institutions, in general, are in a constant challenge of adding more value to their collections. The attractiveness of assets is practically tightly related to their value obeying the offer and demand law. New digital visualization technologies are found to give more excitements, especially to the younger generation as it is proven by multiple studies. Nowadays, museums around the world are currently trying to promote their collections through new multimedia and digital technologies such as 3D modeling, Virtual Reality (VR), Augmented Reality (AR), serious games, etc. However, the difficulty and the resources required to implement such technologies present a real challenge. Through this poster, we propose a 3D acquisition and visualization framework aiming mostly at increasing the value of cultural collections. This framework preserves cost-effectiveness and time constraints while still introducing new ways of visualization and interaction with high-quality 3D models of cultural objects. Our framework leverages a new acquisition setup to simplify the visual capturing process by using consumer-level hardware. The acquired images are enhanced using frame interpolation and super-resolution. A photogrammetry tool is then used to generate the asset 3D model. This model is displayed in a screen attached to the leap motion controller, which allows hand interaction without having to deal with sophisticated controllers or headgear allowing almost natural interaction.
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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Ilisevic, Dijana, Natasa Banovic-Curguz, and Sarita Vujkovic. "Creating of Digital Life in Art Museums." In 2020 43rd International Convention on Information, Communication and Electronic Technology (MIPRO). IEEE, 2020. http://dx.doi.org/10.23919/mipro48935.2020.9245418.

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Benito, Victoria Lopez. "Art museums, mobile media and education: A new way to explain art?" In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743840.

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Giannini, Tula, and Jonathan P. Bowen. "Art and Activism at Museums in a Post-digital World." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.4.

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Eklund, P., P. Goodall, and T. Wray. "Virtual museums and Web-based digital ecosystems." In 2010 4th IEEE International Conference on Digital Ecosystems and Technologies (DEST). IEEE, 2010. http://dx.doi.org/10.1109/dest.2010.5610657.

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Barranha, Helena. "Between the Virtual and a Hard Place: The dilemma of digital art museums." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.45.

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Thomaidou, Sofia. "MUSEUMS, DIGITAL TRANSFORMATION AND MOOCS. AN ITALIAN CASE STUDY." In 12th International Conference on Education and New Learning Technologies. IATED, 2020. http://dx.doi.org/10.21125/edulearn.2020.0681.

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Reports on the topic "Digital technologies in art museums"

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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