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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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Abrak, Esra, and Banu Küçüksaraç. "Digital public relations and experiential marketing practices in postmodern museums: A qualitative research on postmodern museums in IstanbulPostmodern müzelerde dijital halkla ilişkiler ve deneyimsel pazarlama pratikleri: İstanbul'daki postmodern müzelere yönelik nitel bir araştırma." Journal of Human Sciences 14, no. 4 (January 12, 2018): 5040. http://dx.doi.org/10.14687/jhs.v14i4.5156.
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Along with the development of information and communication technologies, the phenomenon of leisure time, the transformation of everyday life practices and the effects of changing consumer identity have brought about transformations and new approaches in the understanding of museology as well as in almost every area of social life. Until recently, the museum, which was defined as preserving and exhibiting works of art with its basic functions, has now become a vital space based on user experience, based on the leisure time activities of life, beyond the work of preserving the works it hosts. In this transformation conceptualized as contemporary museology or postmodern museology, the museum which has become a consumption object, has excitement and open details that interact with the day that it is unforgettable to live apart from a constant and chronological journey. These are practices consisting of digital public relations and experiential marketing strategies that are designed and planned to bring and interact with the museum's collection and the creative elements that enable the user experience, as well as the desired visitor experience.In this study, it was aimed to determine digital public relations and experiential marketing practices of contemporary art museums in Turkey which are postmodern. The study is limited to the postmodern museums in Istanbul (Istanbul Modern, Pera Museum and Sakıp Sabancı Museum), which have emerged as extensions of the big holdings in our country and have been working on art management for many years and aiming to offer a multi-service approach. In the study in which in-depth interviews and descriptive analysis methods were used, the result of the obtained data reveals the place and usage of digital public relations and experiential marketing practices in postmodern museum.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetBilgi ve iletişim teknolojilerinin gelişmesiyle birlikte serbest zaman olgusu, gündelik hayat pratiklerinin dönüşümü ve değişen tüketici kimliğinin etkileri, toplumsal yaşamın hemen her alanında olduğu gibi müzecilik anlayışında da dönüşümleri ve yeni yaklaşımları beraberinde getirmiştir. Yakın tarihe kadar, temel işlevleri geçmişe ait sanat eserlerinin muhafaza edilip sergilenmesi olarak belirlenen müzeler, günümüzde, barındırdığı eserleri muhafaza eden bir yapının ötesinde, hayatın serbest zaman uğraşılarına odaklı, kullanıcı deneyimini temel alan ve tercih edilebilir yaşamsal bir alan haline dönüşmüştür. Çağdaş müzecilik anlayışı ya da postmodern müzecilik şeklinde kavramsal-laştırılan bu dönüşümde, tüketim nesnesi haline gelen müzeler sabit, kronolojik bir gezinin haricinde, ziyaretçiye heyecan veren ve o günü yaşamasını unutulmaz kılan, etkileşime açık detaylar barındırmaktadır. Bunlar müzenin koleksiyonunun ve sergileme biçimlerinin kullanıcı deneyimine imkan veren yaratıcı unsurlarının yanı sıra, bu deneyimi yaşaması arzu edilen ziyaretçiyi müzeye getirmeye ve onunla etkileşim kurmaya yönelik hazırlanmış ve planlanmış olan dijital halkla ilişkiler ve deneyimsel pazarlama stratejilerinden oluşan pratiklerdir.Bu çalışmada, postmodern nitelik gösteren Türkiye'deki çağdaş sanat müzelerinin dijital halkla ilişkiler ve deneyimsel pazarlama pratiklerini belirlemek amaçlanmıştır. Çalışma, ülkemizdeki büyük holdinglerin uzantısı olarak ortaya çıkan, uzun yıllardır sanat yönetimi konusunda çalışmalar yapan ve çoklu hizmet anlayışını bir arada sunmayı hedefleyen İstanbul’daki postmodern müzeler (İstanbul Modern, Pera Müzesi ve Sakıp Sabancı Müzesi) ile sınırlandırılmıştır. Derinlemesine görüşme, gözlem ve betimsel analiz yöntemlerinin kullanıldığı çalışmada elde edilen veriler sonucunda dijital halkla ilişkiler ve deneyimsel pazarlama pratiklerinin postmodern müzecilik anlayışı içindeki yeri ve kullanım şekilleri ortaya konulmuştur.
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Ronco, Francesca. "Digital technologies applied to the accessible management of museums. The first experiments carried out at the Museum of Oriental Art of Turin." EGE-Expresión Gráfica en la Edificación, no. 14 (June 30, 2021): 49. http://dx.doi.org/10.4995/ege.2021.15661.
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<div data-canvas-width="568.0812">La investigación propuesta se centra en el contexto museístico de la ciudad de Turín (Italia), dentro de un acuerdo marco en curso entre el Politecnico di Torino y el Museo de Arte Oriental (MAO). Su objetivo es la construcción de un modelo para la gestión del flujo de trabajo que parte de la digitalización de las obras de arte y de los espacios y termina con la realización de modelos táctiles. El artículo comienza con una visión general sobre los métodos de conservación y difusión del patrimonio cultural y arquitectónico sobre la percepción y los gráficos táctiles. Presenta los primeros resultados del flujo de trabajo diseñado, centrándose especialmente en los experimentos de fabricación digital en el sistema abovedado del atrio del Palazzo Mazzonis (casa del MAO). La idea básica es que la exploración táctil de los artefactos ayuda a la participación del visitante, haciendo que la experiencia del museo sea más incisiva desde el punto de vista educativo y más inclusiva, en una perspectiva de “Diseño para todos”.</div>
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Park, Yoon Ok, and Eun Sok Bae. "The Improvement of Museum Communication Using Digital Technologies in the Danwon Art Museum." Advanced Science Letters 24, no. 3 (March 1, 2018): 1954–58. http://dx.doi.org/10.1166/asl.2018.11817.
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Liu, Yulong, Shan Wu, Qi Xu, and Hubin Liu. "Holographic Projection Technology in the Field of Digital Media Art." Wireless Communications and Mobile Computing 2021 (May 18, 2021): 1–12. http://dx.doi.org/10.1155/2021/9997037.
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The advent of the digital age has given new forms and new connotations to artistic creation, and more and more digital media technologies have entered the stage of artistic creation and exhibitions. At present, holographic projection technology has become a hot application technology in the field of digital media art. The purpose of this paper is to explore the technical principles of holographic projection technology and its application in the field of digital media art, so as to provide suggestions for the application and promotion of holographic projection technology and the development and innovation of digital media art. First of all, this article understands the technical principles of holographic projection and its application status in various fields, especially in the field of digital media art, through relevant literature research. Then, this article introduces the digital holographic technology, virtual imaging technology, and computer simulation technology used in the realization of holographic projection technology. Then, based on the advantages of holographic projection technology in three-dimensional image recording and reproduction, this paper proposes to introduce holographic projection technology to digital art museums, digital art exhibitions, and other digital media art applications and to study the effect of holographic projection technology on art through simulation experiments, the effect of recording and reproducing the image of the work. Finally, the three-dimensional reconstruction image of the digital holographic projection experiment on the artwork is compared with the simulated image of the Contour GT profiler to verify the feasibility of applying the holographic projection technology to art exhibitions and the effect of three-dimensional image recording and reproduction. Research shows that the holographic projection technology can achieve 93.34% of the simulation effect of recording and reproducing 3D images of artworks. It is also found that 59.86% of the audience who pay attention to the art experience strongly support the application of holographic projection technology in digital media art fields such as digital art gallery. This fully proves the feasibility of applying holographic projection technology to digital art exhibitions and provides a full range of artistic experience for audiences who cannot be present.
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Cossu, Stefano. "Labours of Love and Convenience: Dealing with Community-Supported Knowledge in Museums." Publications 7, no. 1 (March 7, 2019): 19. http://dx.doi.org/10.3390/publications7010019.
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This writing utilizes the case study of a specific project, namely adopting a Digital Asset Management System (DAMS) based on open source technologies at the Art Institute of Chicago (AIC), to describe the thought process, which along the way led to the discovery of Linked Data and more general technology development practices based on community participation. In order to better replicate such a thought process and its evolution into a broader strategy that goes beyond technology, this paper will begin by describing the problem that the Collection IT team at AIC had been initially tasked to resolve, and its technical implementation. After that, the paper will treat the strategic shift of resources from a self-contained production and review cycle toward an exchange-based economy. The challenges, both external and internal, posed by this change will be addressed. All the while, the paper will highlight perspectives and challenges related to the museum sector, and the efforts of AIC to adopt views and methodologies that have traditionally been associated with the library world. A section is dedicated to ongoing efforts of the same nature among museums.
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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (August 31, 2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.
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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
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Pierroux, Palmyre, Ingeborg Krange, and Idunn Sem. "Bridging contexts and interpretations: Mobile blogging on art museum field trips." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 18. http://dx.doi.org/10.7146/mediekultur.v27i50.2997.
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In this study of art museum field trips by high school students, we investigate the ways in which features of different social and mobile technologies, specifically blogs and mobile phones, are able to bridge and support meaning making in young people’s encounters with contemporary art. Empirical material is presented from Gidder, a web-based learning environment with a mobile blogging feature. Through close examination of students’ use of contextual resources and the writing and editing of blog entries, this study contributes a deeper understanding of the ways in which digital technologies may be designed for pedagogical use on museum field trips.
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Cherepanova, Svitlana. "Art within philosophy of education. Part 2." Filosofiya osvity. Philosophy of Education 26, no. 2 (June 25, 2021): 90–99. http://dx.doi.org/10.31874/2309-1606-2020-26-2-6.
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Modern reformation-educational processes are influenced by digital technologies, electronic communications networks, media-art practices, etc. Hence we get the actuality of creative potential of art for pedagogical activity as the concept of philosophy of education. Human consciousness inherents organic interdependence theoretically-cognitive (knowledge, ideas, comprehension of the boundary principles of human existence, culture, procedure of philosophical reflection) and social-psychological (feelings, will) elements. Author’s perennial experience incorporates interactive forms of artistic knowledge activation of pedagogical specialties students: preparations and guided tours by students (museums, architecture of Lviv, etc.), developing skills to conduct dialogues about art and education of the countries which languages are taught in pedagogical institution (Ukraine, the United Kingdom, Germany, France, Spain). In accordance personal and pedagogical experience of intersubjective communication, existential and cultural self-determination is enriched. In the system of philosophy of education, art is designed to harmonize human existence, to balance the sensory-emotional and rational-intellectual spheres of consciousness. The spread of electronic media requires a thorough study of their impact on humans, given the cognitive problems of communication technologies, information and computer systems, digitalization. A variety of artistic phenomena form a holistic system. Moreover, beliefs are knowledge that has passed through the world of feelings and human will. An open humanitarian space, new dialogical, communicative, cultural opportunities for interaction of nature-man-culture-society-universe, the universal nature of self-organization of human life, education of intersubjective cultural communication between carriers of different types of worldview, values, spiritual traditions is methodologically important.
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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.
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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet
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Kontopanagou, Katerina, Athanasios Tsipis, and Vasileios Komianos. "A Framework for Exploring Churches/Monuments/Museums of Byzantine Cultural Influence Exploiting Immersive Technologies in Real-Time Networked Environments." Technologies 9, no. 3 (August 9, 2021): 57. http://dx.doi.org/10.3390/technologies9030057.
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The unique art that was developed in Byzantine times is widely accepted as a precursor to the Renaissance and is still evident in monuments either from or influenced by the Byzantium. Visiting such a site is a unique experience due to the lavishly painted interior for both tourists and scholars. Taking advantage of the emerging 5G technologies, cloud/fog computing, and Augmented/Mixed Reality mechanisms, a common smart device (e.g., smartphone, tablet) could be employed to give a better experience to the end-users. The proposed framework is intended to provide visitors with interpretative information regarding the visited monuments and their paintings. Under the framework introduced in this paper, camera input is uploaded to a cloud/fog computing infrastructure where appropriate algorithms and services provide monument and painting recognition and the mobile application retrieves and projects the related information. In addition, the designed immersive user interfaces assist visitors in contributing in cases of monuments and paintings for which no available information exists. This paper presents the state of the art in approaches for immersive experiences in Digital Culture, reviews the current image recognition approaches and their suitability for Byzantine paintings, proposes interaction techniques appropriately designed for observation and interaction of paintings, and discusses the overall framework architecture that is needed to support the described functionality while stressing the challenging issues of the above aspects thus paving the road for future work and providing guidelines for a test-bed implementation.
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Maiwald, F., F. Henze, J. Bruschke, and F. Niebling. "GEO-INFORMATION TECHNOLOGIES FOR A MULTIMODAL ACCESS ON HISTORICAL PHOTOGRAPHS AND MAPS FOR RESEARCH AND COMMUNICATION IN URBAN HISTORY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 763–69. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-763-2019.
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<p><strong>Abstract.</strong> This contribution shows ongoing interdisciplinary research of the project HistStadt4D, concerning the investigation and development of different multimodal access strategies on large image repositories. The first part of the presented research introduces different methods of access, where classical analogue access stands in contrast to digital access strategies such as online collections, Web3D, Augmented Reality (AR) and Virtual Reality (VR). We discuss the main persisting issues of libraries, advantages of digital methods, and different access tools. The second part shows technologies and workflows used to create various access possibilities. The photogrammetric and geo-informational work serves as a technical basis for a 3D WebGIS as well as multiple AR/VR applications, which require spatial oriented images, object coordinates, and further spatial data. We introduce a research environment that allows art historians spatial access to historical photography, integrating 3D/4D models with photographic documents of the respective architecture. For dissemination of research results in installations and museums, we present fully immersive VR as well as handheld AR applications allowing users a free exploration of historical photography in a spatial setting.</p>
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Voskoboinikova-Huzieva, Olena. "DIGITAL HUMANITIES IN HIGHER EDUCATION SYSTEM OF CANADA." Continuing Professional Education: Theory and Practice, no. 2 (2019): 58–62. http://dx.doi.org/10.28925/1609-8595.2019.2.5862.
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The urgency of the article is due to the increased impact of information and communication technologies on research in the field of socio-humanitarian cycle sciences, which led to the emergence of interdisciplinary direction of research and projects – Digital Humanities, increasing socially important digital content (electronic collections, archives, libraries, museums) and the need for training specialists for this area of activity. The author relies on the main provisions of the publications by V. Kopanieva, T. Yaroshenko, S. Chukanova, O. Oliinyk, and Manifesto for the Digital Humanities. The purpose of the paper is to analyze the experience of preparing specialists in Library Science and Information Sciences (LIS) in the interdisciplinary Master’s Degree Programs in Digital Humanities in Canada and determining the prospects for introducing such programs in Ukraine. The author uses the systematic approach to determining the prospects of training specialists in Digital Humanities for libraries, educational institutions, museums, archives, and other cultural institutions. Methods of analysis of literary sources and information resources, content analysis of university sites in Canada, comparative analysis of educational programs Digital Humanities are applied. The University of Alberta (Edmonton, Canada) was selected as the main research object, where the 3-year Interfaculty Educational Program upon Digital Humanities and the Master of Science in Library and Information Research (MLIS) is offered by the Digital Humanities Program and the Library for Information Studies School. The comparative analysis of the contents of the Interfaculty Educational Program upon Digital Humanities at the University of Alberta and the educational and professional program on Information, Library and Archives Management at Borys Grinchenko Kyiv University stimulated the decision to develop a new specialization in Digital Humanities for undergraduate Master’s program students in Ukraine. Digital Humanities combine information and communication methods and theories with research and teaching in the field of art and the humanities. The training of specialists in the field of DH is an actual and important task for the higher education system in Ukraine, and the experience of universities in Canada can be extremely useful.
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Drikker, Alexander S., and Eugene A. Makovetsky. "MUSEUM AURA IN A DIGITAL FORMAT." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 49–58. http://dx.doi.org/10.17223/22220836/40/4.
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In conditions of rough social changes and of ICT of development a museum-temple gives way to modern post-museum. Whether the museum-temple era came to end, or its potential can be demanded? In search of the answer, combining the social-analitical view (Benjamin) with a psychological analysis (Vygotsky), we will address a question of aura which traditionally defined emotional influence of museum exposition. Since moment when Benjamin noted that technical reproduction washes away aura, a scales of high-quality reproduction in network environment grew in thousands times and decisively devaluated sacrality of a museum space. Besides a democratic museum is guided by inquiry of a mass visitor with his specific perception. An ability of museum collections to cause the strongest “power” influence, powerful passions does not raise doubts. However, attempts to find the concrete localization, material traces inducing a mysterious field and defining surprising impact on a viewer do not lead to anything. In that case it is more logical to connect a disappearance of aura with a viewer. Author's creation, museum exhibit “will not take place”, without having met the viewer, his response. Art passion, emotional expenditure are provided not with external influence, but by himself viewer, his mental energy and experience. If following Vygotsky behind esthetic signs it can see author's experiences, then a suit of Eskimo and a painting – only certain sign-emotional display of internal insight of the author – of the original. A masterpiece, an exhibit are only a mediator between the viewer and the author. A museum visitor on an exposition uses visual language, reading clear and available graphic signs. However a museum demands not reading of information, but a contemplate, concentrated look lost in rational acceleration. Whether it is possible to revive this look and aura? Digital technologies which were a reason of disappearance of aura give a such hope. ICT technologies can be used not only as an entertainment for a bored tourist. Their potential is more that potential that is demanded in educational, educational programs. Only relying on experience and interests of viewer it is possible to adjust his on meeting with museum, with art. Experience and inquiries of the modern visitor – the network user – most full of are reflected in an array of network data. The analysis of these data (preferences) creates base to find connection of personal tastes and khowledge with those impressions which museum can offer. Similar programming of associations, special virtual assistance can influence perception, initiating interest, bright emotions which leave marks in memory and promote growing. Perhaps, a viewer supported by “emotional” program progress will find aura in museum again.
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li, Gang, Jiaqi Xuan, and Shaoyang Ren. "Research on Digital Cultural Creation Design of The Palace Museum from the Perspective of Symbol consumption -- A Case study of Twelve Beauties of Prince Yong." E3S Web of Conferences 236 (2021): 05019. http://dx.doi.org/10.1051/e3sconf/202123605019.
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With the development of digital technology, mobile terminals have become a new medium for museum cultural and creative products to spread the connotation of art and culture. The innovation of digital technology has caused corresponding changes in the design of cultural and creative products, and various digital cultural and creative products have been created on its basis. The emergence of digital technologies such as mobile Internet, cloud computing, AI, VR, human-computer interaction, and 5G communication technology has brought broader development prospects for digital creative design. This article studies the concepts of cultural symbols and design methods of the digital cultural and creative products of The Palace Museum to provide new ideas for the design of digital cultural and creative products of the museum. We choose Twelve Beauties of Prince Yong as an example, the first digital cultural creation product of The Palace Museum.
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Corbett, Susan. "Archives, Museums and Copyright Law: Reconciling the Traditional with Contemporary Practices." Victoria University of Wellington Law Review 50, no. 4 (December 2, 2019): 587. http://dx.doi.org/10.26686/vuwlr.v50i4.6303.
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By preserving and providing accessibility to cultural heritage, archives and museums have a crucial role in civil society. "Culture" is not a static concept; ideally, the practices of contemporary archives and museums should adapt to meet the changed expectations and cultural values of society. However, the limited permitted exceptions for archives in the Copyright Act 1994 are an obstacle to archives and museums attaining this goal. For example, the provisions are drafted from a traditional, analogue perspective, albeit with more recent minor changes in an attempt to acknowledge digital technologies. Furthermore, the permitted exceptions are confined to not-for-profit and state archives– a somewhat contentious limit in the 21st century when the Internet promises the means for cultural democracy. Museums are not mentioned at all. In addition, there is no legislative process permitting uses of orphan copyright works. This article explains how the permitted exceptions for archives could be amended in the upcoming review of the Copyright Act to better acknowledge and support cultural heritage institutions. It examines recent amendments in the Copyright, Designs and Patents Act 1988 (UK) and suggests that while some of these amendments would be useful for New Zealand to emulate, additional changes should also be considered.
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Coad, Samuel. "Digitisation, Copyright and the Glam Sector: Constructing a Fit-For-Purpose Safe Harbour Regime." Victoria University of Wellington Law Review 50, no. 1 (June 3, 2019): 1. http://dx.doi.org/10.26686/vuwlr.v50i1.5551.
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Copyright law does not currently align with the legitimate activities of galleries, libraries, archives and museums (GLAMs). The GLAM sector plays a central role in collecting and promoting access to cultural works. Increasingly, GLAM institutions are employing innovative digital technologies to expand access to culture and foster greater levels of cultural participation. Despite the utility underlying digitisation, copyright limits the use of digital technologies within the GLAM sphere. This article examines current copyright limitations and demonstrates copyright's significant limiting effect. It argues that reform is necessary to strengthen the right to participate in cultural life and to remedy harms inflicted by the current copyright regime. Creating a fit-for-purpose safe harbour would empower institutions to employ digitisation within a framework of reasonable copyright constraints. Accordingly, this article constructs a potential safe harbor that permits non-commercial GLAM digitisation, while also protecting copyright holders and tikanga Māori. The Copyright Act 1994 is currently under review. New Zealand ought to seize the present reform opportunity to invigorate participation in cultural life and enrich the cultural fabric of society.
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Sarpong, Kwame. "Ghana's Highlife Music: A Digital Repertoire of Recordings and Pop Art at the Gramophone Records Museum." History in Africa 31 (2004): 455–61. http://dx.doi.org/10.1017/s0361541300003612.
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Throughout history, libraries and archives have been the guardians of the documentary heritage of mankind. Given the rapid evolution of the new technologies, safeguarding the cultural heritage becomes more and more the concern of specialists. One of the essential goals of archival and library services is to facilitate access to the documents or materials in their care, thus ensuring that that cultural heritage is kept alive and can be an object of research and enrichment. Their other important mission is to preserve the materials in their care so that cultural heritage may be passed on intact to future generations, since the future of a nation, a people, or a community is unthinkable without knowledge of its past. Preservation and access to the collection are the main objectives of the digitization project that was implemented recently in our museum with the help of international organizations and collaborators.One of the main goals of the Gramophone Records Museum and Research Centre of Ghana (GRMRC) is the preservation and the promotion of the nation's musical patrimony. The museum is located in Cape Coast. It is presently situated inside the building of the Centre for National Culture (CNC) just opposite the main gate of the University of Cape Coast. The museum was founded by Kwame Sarpong on the basis of his private collection, spanning over 40 years of music. From the modest beginnings in one small room inside the CNC building, it has grown to occupy an exhibition room, the archives and documentation rooms, and an office.
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Pagán, Ester Alba, María del Mar Gaitán Salvatella, María Dolores Pitarch, Arabella León Muñoz, María del Mar Moya Toledo, José Marin Ruiz, Maurizio Vitella, et al. "From Silk to Digital Technologies: A Gateway to New Opportunities for Creative Industries, Traditional Crafts and Designers. The SILKNOW Case." Sustainability 12, no. 19 (October 8, 2020): 8279. http://dx.doi.org/10.3390/su12198279.
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Nowadays, cultural heritage is more than ever linked to the present. It links us to our cultural past through the conscious act of preserving and bequeathing to future generations, turning society into its custodian. The appreciation of cultural heritage happens not only because of its communicative power, but also because of its economic power, through sustainable development and the promotion of creative industries. This paper presents SILKNOW, an EU-H2002 funded project and its application to cultural heritage, as well as to creative industries and design innovation. To this end, it presents the use of image recognition tools applied to cultural heritage, through the interoperability of data in the open-access registers of silk museums and its presentation, analysis and creative process carried out by the design students of EASD Valencia as a case study, in the branches of jewellery and fashion project, inspired by the heritage of silk.
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Park, Jung-Chul, Hyuk-Jae Edward Kwon, and Chul Woon Chung. "Innovative digital tools for new trends in teaching and assessment methods in medical and dental education." Journal of Educational Evaluation for Health Professions 18 (June 29, 2021): 13. http://dx.doi.org/10.3352/jeehp.2021.18.13.
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With the goal of providing optimal care to patients, student-centered active learning and the development of clinical competency have become vital components of the education of future physicians capable of sustainably coping with future challenges. However, the shape of future medicine is dramatically changing based on advances in information and communication technology, and the current classroom model seems to have difficulties in fully preparing students for the future of medicine. New trends in teaching and assessment methods include computer-aided instruction, virtual patients, augmented reality, human patient simulations, and virtual reality for the assessment of students' competency. The digital technologies introduced in medical and dental education include Google Forms to collect students’ answers, YouTube livestreaming, Google Art & Culture (an online art museum), and choose-your-own-adventure as a story-telling technique. Innovations in digital technology will lead the way toward a revolution in medical and dental education, allowing learning to be individualized, interactive, and efficient.
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Marra, Adriana, Salvatore Gerbino, Alessandro Greco, and Giovanni Fabbrocino. "Combining Integrated Informative System and Historical Digital Twin for Maintenance and Preservation of Artistic Assets." Sensors 21, no. 17 (September 5, 2021): 5956. http://dx.doi.org/10.3390/s21175956.
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The protection of artistic and cultural heritage is a major challenge due to its peculiarities and its exposure to significant natural hazards. Several methodologies exist to assess the condition of artistic heritage and to protect it from exceptional actions. Moreover, novel digital technologies offer many solutions able to deliver a digital replica of artifacts of interest, so that a reduction in the uncertainties in the analysis models can be achieved. A rational approach to the preservation and protection of artistic heritage is based on traditional approaches supported and integrated by novel technologies, so that qualitative and quantitative indicators of the current condition of artistic heritage can be defined and validated in an interdisciplinary framework. The present paper reports the results of an approach to the maintenance and preservation of art objects housed in a museum complex based on a comprehensive digital path towards a Historical Digital Twin (HDT). A workflow aimed at estimating the stress regime and the dynamic properties of two sculptures, based on the detailed three-dimensional model resulting from a laser scanner survey, is illustrated and discussed. The results highlight the great advantages resulting from the integration of traditional and novel procedures in the field of conservation of artistic assets.
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Wani, Showkat Ahmad, Asifa Ali, and Shabir Ahmad Ganaie. "The digitally preserved old-aged art, culture and artists." PSU Research Review 3, no. 2 (August 29, 2019): 111–22. http://dx.doi.org/10.1108/prr-08-2018-0026.
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Purpose This paper aims to explore the Google Arts and Culture platform in terms of parameters used for categorizing the digital collections by it; the total number of items and their types; top contributing artists; top ten historical events and figures; and the top ten countries having maximum artworks. Design/methodology/approach An online method was used to collect the relevant data for achieving the objectives of the study. Data were harvested from the official website of Google Arts and Culture (https://artsandculture.google.com/) during the period of 15 May to 31 May 2018, and the same was tabulated in MS Excel for analysis and interpretation. Findings The findings revealed that Google Arts and Culture includes a total of 6,272 artists, 228 media and 121 art movements. Moreover, there are a total of 641 historical movements; 6,250 historical figures; 9,692 places; 3,226 museum views; 1,702 zoom views; 39,607 featured videos; and 5,528 featured stories; 122 items organized by color and 954 organized by time. Originality/value The present study is first of its kind that focuses on exploration of diverse arts and cultural heritages of different countries and by diverse artists made visible by Google Arts and Culture initiative. It will significantly reinforce the art and cultural heritage lovers to acquire the knowledge pertinent to various types of arts and cultures that prevailed in antiquity across the globe and also make aware the conservators about how to use digital technologies for efficient preservation and visibility of unique artworks, artists and the places whom they belong.
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De Largy Healy, Jessica. "“This is the Circle of the Art World”: Joe Gumbula and the Value of Digital Repatriation in Australia and Beyond." Preservation, Digital Technology & Culture 47, no. 3-4 (December 19, 2018): 149–58. http://dx.doi.org/10.1515/pdtc-2018-0025.
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AbstractThe title of this article was inspired by a filmed interview that I conducted with Joe Gumbula in France in July 2007 during one of his ARC-funded research trips in response to a sceptical European curator who wanted to know why the Yolŋu wanted to have their materials back. Was it because they had lost their culture? Drawing on Joe’s eloquent response, I outline his pioneering perspective on museum collaborations and the digital repatriation of knowledge. Rather than transfixing things on computers, repatriation processes should be seen as modern pathways that link Indigenous peoples to their past, as well as present and future visions, enabling renewed performances of culture. This article has been adapted from my closing plenary address in tribute to Joe Gumbula at the 2017 Information Technologies and Indigenous Communities Symposium in Melbourne.
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Di Paola, F., G. Milazzo, and F. Spatafora. "COMPUTER AIDED RESTORATION TOOLS TO ASSIST THE CONSERVATION OF AN ANCIENT SCULPTURE. THE COLOSSAL STATUE OF ZEUS ENTHRONED." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 177–84. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-177-2017.
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The research focuses on the contribution of the integrated application of <i>Computer Aided Restoration</i> digital procedures as a means to guide the integration measure of an artifact, innovating and implementing the traditional investigation methods. The aim of the study was to provide effective geometrical-formal investigation tools in the frame of the conservation work of Zeus enthroned from Soluntum, conserved in the Archaeological Museum “A. Salinas” of Palermo. The paper describes the workflow of the 3D acquisition and graphical modeling with non-invasive digitalization and high information density techniques to assist the conservation of the legs of the throne, especially the integration of the missing part. Thanks to the technique of the digital fabrication it has been reconstruct the two missing parts following the theoretical criteria as: recognisability, compatibility and retractability. This innovative application of 3D digital technologies have showed as the integrated use of the new technology can be a useful tools for improving the conservation of a work of art.
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MANNING, PETER. "The significance of techné in understanding the art and practice of electroacoustic composition." Organised Sound 11, no. 1 (March 15, 2006): 81–90. http://dx.doi.org/10.1017/s1355771806000112.
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The birth of electroacoustic music is associated with an era of creativity which is now firmly embedded in the past. As the years advance so the opportunities for evaluating the pioneering years of the medium become increasingly remote. Few can now claim first-hand experience of working with the technologies that shaped and influenced the evolution of the early repertory, and many commentators are content to see them consigned to the museum. Others are less sure, having become aware of a number of features that appear to have no parallels in the modern all-digital domain. This article is predicated on the proposition that the functional characteristics of the equipment available during the formative years materially influenced the ways in which composers developed their compositional aesthetic. By studying the characteristics of the resulting interactions, important clues emerge as to the true nature of this engagement. Central to this study is the nature of the techné involved in these processes of creativity, and the significance of this is evaluated in the context of establishing a case for further research in this area. Particular attention is paid to the role of the tape recorder in this context, in particular its influence on the development of spatialisation techniques.
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Kazanis, S., G. Kontogianni, R. Chliverou, and A. Georgopoulos. "DEVELOPING A VIRTUAL MUSEUM FOR THE ANCIENT WINE TRADE IN EASTERN MEDITERRANEAN." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 399–405. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-399-2017.
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Digital technologies for representing cultural heritage assets of any size are already maturing. Technological progress has greatly enhanced the art of virtual representation and, as a consequence, it is all the more appealing to the general public and especially to younger generations. The game industry has played a significant role towards this end and has led to the development of edutainment applications. The digital workflow implemented for developing such an application is presented in this paper. A virtual museum has been designed and developed, with the intention to convey the history of trade in the Eastern Mediterranean area, focusing on the Aegean Sea and five productive cities-ports, during a period of more than 500 years. Image based modeling methodology was preferred to ensure accuracy and reliability. The setup in the museum environment, the difficulties encountered and the solutions adopted are discussed, while processing of the images and the production and finishing of the 3D models are described in detail. The virtual museum and edutainment application, <i>MEDWINET</i>, has been designed and developed with the intention to convey the essential information of the wine production and trade routes in the Eastern Mediterranean basin. The user is able to examine the 3D models of the amphorae, while learning about their production and use for trade during the centuries. The application has been evaluated and the results are also discussed.
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Hawthorne, Lucy. "MoKnow your museum: Using simple websites for internal resource-sharing." Art Libraries Journal 44, no. 3 (June 12, 2019): 151–58. http://dx.doi.org/10.1017/alj.2019.21.
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This paper will demonstrate the way low-cost WYSIWYG websites can be used as a method of storing and disseminating information in a museum context, as illustrated by the internal website – MoKnow – developed by the Museum of Old and New Art (Mona) library. Websites like Google Sites can be used to share resources with a range of in-house users – from curators to front of house staff – in an easy-to-access manner. Quick to set up, these sites can be used to share text and bibliographic information, store PDFs and other documents, and link to images, videos and websites, thereby providing users with an intuitive and quick method of accessing information relevant to the institution and its collection. As Mona library manager, Mary Lijnzaad notes, the website MoKnow, “started as a digital version of the old school vertical filing cabinets… it was simply a way of not having to store vast amounts of physical information.” However, six years after the original site's creation, the website's purpose and scope continues to evolve in response to the changing nature of online resources and the demands of the institution. The paper will also examine some of the challenges and restrictions associated with using such sites, including copyright, ownership, changing technologies, and confidentiality concerns.
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Pantalony, Rina Elster. "Museums and Digital Rights Management Technologies." Museum International 54, no. 4 (December 2002): 13–20. http://dx.doi.org/10.1111/1468-0033.00395.
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Grubor, Marina, and Miodrag Šmelcerović. "WITH KNOWLEDGE TO BETTER FUTURE." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 1 (March 20, 2019): 245–48. http://dx.doi.org/10.35120/kij3001245g.
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Innovation in education technology, under the influence of the modern information and communication complex, has allowed the development, modernization and rationalization of education, thus creating completely new paradigms in the field of knowledge transfer. New technologies provide efficient, diversified and autonomous access to knowledge, and this significantly changes the organization of the teaching or educational process as a whole. In addition, the complexity and multidimensionality of modern communication transmits the educational process into a simulated environment. By the way, the condition in such a way of simulated - virtual reality is interaction. Contemporary educational processes require new studies, as well as teaching and upbringing through modern means of communication and modern expression, which become an integral part of a specific and autonomous field of knowledge process in pedagogical theory and practice. The use of information and communication technologies in education is the future, which all speaks in favor of Serbian enlightenment and how they want new knowledge and discussion about how the future of the future will look. And exactly in this virtual space, outside the classroom, and actually in the classroom, the biggest changes are taking place. Because of the enormous amount of information from modern media (TV, radio, computer networks), the teacher of the future becomes more and more difficult to teach young people why it is important to be able to read, write. Indeed, the media, TV, radio, and computers were created by people with literacy skills, not people from the media. In order to filter the enormous amount of information that students will encounter inside and outside the school, using multimedia computer networks, the teacher of the future must act as a measure, perspective of the provider. The simplest way to provide this perspective in the context of a curriculum is to learn from where information came from: History of technology, history of science, history of mathematics, history of language, art history, history of history (including the history of the "future"!). In other words, regardless of the subject to be taught, the teacher will in the future have to give the students a sense of evolution of the subject in order to provide a reason for thinking in the continuous flow of information, not in parts. " The School of the Future will be moved from classrooms to parks and museums, students will learn to meditate, and the main assistant teachers will be artificial intelligence. It is time for pedagogy to catch up with technology. Since recently, computer networks are paradise literacy, the textual state is rapidly passing, and computer network research quickly moves to multimedia This means that digital images (moving images, audio, graphics) will become the biggest influence on these networks.
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KARAYILANOĞLU, Gamze, and Burçin Cem ARABACIOĞLU. "DIGITAL INTERACTIVE EXPERIENCES IN CONTEMPORARY ART MUSEUMS." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 10, no. 4 (October 1, 2020): 423–40. http://dx.doi.org/10.7456/11004100/007.
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Evallyo, V. D., and V. P. Krutous. "“Humanization” of Art: Museums on the Internet." Art & Culture Studies, no. 1 (2021): 222–43. http://dx.doi.org/10.51678/2226-0072-2021-1-222-243.
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In this article, the digital museum is examined through the perspective of the “humanization” processes, which is the reorientation of museums to reach the widest audience and to introduce works of art in media discourse. First of all, these problems cover the transformation of the usual communication between museums and their visitors. Thus, new accents are formed and landmarks are shifted from a work of art to its recipient. The purpose of this study is analyzing the visual component of museums’ websites, cultural research of digital content. As a result of the release of museums and their material and cultural archive in the field of mass culture, access to works of art, and its informational, expert support are realized, but also a kind of desacralization of cultural objects is fixed. The article concludes that the range of visual shows presented in digital museums is wide and relies largely on game aesthetics, on the possibility of interactive manipulation of website content.
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Tesoriero, R., J. A. Gallud, M. Lozano, and V. M. R. Penichet. "Enhancing visitors’ experience in art museums using mobile technologies." Information Systems Frontiers 16, no. 2 (March 21, 2012): 303–27. http://dx.doi.org/10.1007/s10796-012-9345-1.
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Novakovic, Jelena. "The Role of Museums in a Digital World – Attracting Youth and Overcoming COVID19 Obstacles." Cultural Management: Science and Education 5, no. 1 (July 15, 2021): 59–68. http://dx.doi.org/10.30819/cmse.5-1.04.
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In the world of digital technology, overwhelmed with information and content, digitalization is often perceived as a process of alienation. This article will challenge that perception and demonstrate that digital museums actually present a unique opportunity to develop interest in art and attracting people not only to art in general but to on-site cultural institutions as well. Digital museums can, among other roles, assume the role of interpreting cultural heritage, but are also the best way to attract a young au-dience to art. This article examines the opportunities provided by digital technology for museums in terms of communication and dissemination of knowledge. The particular emphasis will be on the use of digital collections as well as on connecting and interacting with the public, particularly with a young au-dience. If there was any doubt about the importance and influence of digital museums, the COVID-19 pandemic was a final proof that digital museums have a much greater value than is generally admitted, and that they have become an indispensable part of the overall museum experience in all museums that have been able to develop them as a part of overall museum strategy.
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Iranowska, Joanna. "One mobile app – seven art museums. A case study of Kunstporten." Nordisk Museologi 29, no. 2 (December 21, 2020): 67. http://dx.doi.org/10.5617/nm.8443.
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As digital media change our society, museums are trying to rethink their mission and benefit from the possibilities digital tools afford. First, this article provides a historical background for the development of mobile apps as digital interpretive media in Norwegian museums between 2005 and 2020. Second, it analyses a specific case – the app Kunstporten – one of the most interesting apps to have emerged in the Norwegian cultural sector in recent years. The app was developed between 2012–2013 by seven Norwegian art museums, and the first museum app in Norway targeted explicitly at children. This small case study is based on interviews with museum educators and digital walkthroughs exploring the affordances (Gibson 1978) of Kunsporten. The article seeks to answer two questions: what have education departments learned from introducing this digital interpretive media? And why is the app more successful in some museums than others?
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Huang, Patricia H. "Managing Digital Image Licensing Services in Art History Museums." Journal of Arts Management, Law, and Society 50, no. 4-5 (September 2, 2020): 220–33. http://dx.doi.org/10.1080/10632921.2020.1815615.
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Innocenti, Perla. "Preventing Digital Casualties: An Interdisciplinary Research for Preserving Digital Art." Leonardo 45, no. 5 (October 2012): 472–73. http://dx.doi.org/10.1162/leon_a_00448.
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There are practical problems associated with documentation, preservation, access, function, context and meaning of digital art. How do we care for similar works, and which are the theoretical and methodological challenges for curating and preserving digital art? Upon an ongoing case-based investigation of current digital and media art conservation practices at leading international museums, The author investigates how conservation for digital art could benefit from interdisciplinary synergies with Digital Preservation, Art Theory, and Information Management. A longer version of this paper entitled ‘Evolution and preservation of digital art: case studies from ZKM’, was presented at the Association of Art Historians (AAH) Conference 2010, University of Glasgow, United Kingdom.
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Myrczik, Eva Pina. "Satisfying personal needs at the museum: The role of digital technologies." MedieKultur: Journal of media and communication research 30, no. 57 (December 19, 2014): 21. http://dx.doi.org/10.7146/mediekultur.v30i57.16055.
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<p class="p1">This paper investigates how museum visitors use digital technologies to mediate their general meaning-making process about artworks and other information they encounter throughout their museum experience. Concluding from a case study at the National Gallery of Denmark in Copenhagen, this study suggests that visitors use digital technologies as a vehicle for satisfying one or more personal needs. In order to gain control over their experience, visitors used not only digital technologies provided by the museum but also their personal technologies. The article argues that both museums and visitors will derive great benefits by understanding the ways in which people process multimedia messages and by implementing these principles of multimedia learning into the design of digital technologies at museums. The data also suggest that museums should especially support visitors in using technology with which they are already familiar and embed it in the museum experience.</p>
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Elgewely, Eiman. "3D Reconstruction of Furniture Fragments from the Ancient Town of Karanis." Studies in Digital Heritage 1, no. 2 (December 14, 2017): 409–27. http://dx.doi.org/10.14434/sdh.v1i2.23340.
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Furniture is the most personalized component of architectural space. It reflects or even determines the use of space, but also the standard of living, the gender, and age of the user. Heirlooms, furthermore, are retainers of memory and social relationships. The raw materials used and the level of skill and craftsmanship to produce furniture speak to the availability of such items for the community. Import of wood, techniques, or entire pieces of furniture show connectedness with other production centers. Furniture fragments are abundant among the well-preserved archaeological finds from the ancient Greco-Roman Town of Karanis, a site located on the arid desert edge of the Fayum basin, Egypt. Objects include furniture legs, boxes, reading tables, and table tops. The University of Michigan mission which worked on the site for about ten years (1924-1934), had as its main focus the architecture of Karanis. The furnishings of these structure do, however, provide important information and a study of the woodworking and composition of the pieces has now been undertaken, together with an attempt to place these remains back in their virtual context. The reconstruction of the Karanis furniture provides a major challenge because the fragments belong to various time periods and combine Egyptian, Greek, and Roman influences and tastes. This research is a next phase of the project “Reviving Karanis in 3D”, which we started in 2013. In this research, we aim at using state-of-the-art digital technologies to create multiple interpretations of 3D reconstruction of a selection of furniture pieces based on analysis and photogrammetric models of wood furniture fragments from the Karanis collection of the Kelsey Museum of Archaeology, University of Michigan.
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Borsotti, Marco, and Letizia Bollini. "Reshaping exhibition and museum design through digital technologies: a multimodal approach." International Journal of Virtual Reality 8, no. 3 (January 1, 2009): 25–31. http://dx.doi.org/10.20870/ijvr.2009.8.3.2738.
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Exhibition design as preferential research framework in redefining interior spaces value-ratio in contemporary architecture debate: the merging end integration approach introduced by communication and performative exhibition practices is redesigning culturally and physically the pre-existing spaces. Exhibition design research innovative carrying out planning approach for changing strategies simultaneity knowledge spreading. In this way it became the most interesting and topical interior design project act, able to translate performing spaces into crossing experience built also with meanings dissemination and "surfing" knowledge method. The exhibition design direction is a different tool to control and develop multimodal approach to interior territories whose outcome fit to new social landscapes The Installation of an exhibition space meaning is now coming into sight as work-in-progress multi-disciplinary range, increasingly complex. The experiential element (whom exponential use of digital solution is just an exterior consequence) will increasing more and more and will bring to ostensive solutions development looking to new classifying parameters capable in enclosing several simultaneous organizing relationships. These parameters represents many super-structural rationalization process aptitudes that draw close true courses and imaginary tours, into complex changeable landscapes where raise to the surface place, objects and viewers sense and myths, made by production act, supervising to thoughts and actions as independent and symbiotic designer and visitor condition.
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Koleva, Donka. "Project "Digital Presentation and Preservation of the Cultural Heritage of the Old-print Fund and the Historical Theatre Salon of Community Center "Nadejda 1869", Veliko Tarnovo"." Cultural and Historical Heritage: Preservation, Representation, Digitalization 6, no. 1 (2020): 32–42. http://dx.doi.org/10.26615/issn.2367-8038.2020_1_003.
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The topic is dedicated to the joint project between „Nadejda 1869” community Center and Regional Library „P.R.Slaveykov”. The objectives of the project are preservation and popularization of the Bulgarian cultural heritage in the European context of cultural and creative industries, cultural exchange and cultural diversity through: (1) Presentation and popularization of the value of the cultural wealth of the Community centre; Popularization of the theme of the book Treasures of the Community Library and innovative online presentation of the old Printing fund, storing it in electronic form to facilitate access to it and its preservation for future generations; (2)Popularization of the historical cultural hall, connected with statehood and the first inscription „Unity makes Power” by digitization of archival documentation; (3) Stimulating sustainable partnerships, exchanging experience and knowledge, bringing together scientific and practical experience in the preservation of cultural heritage and volunteering. The community Center „Nadezhda 1869” is associated with historical events important for the Bulgarian statehood. Three great folk assemblies were sitting in his theater hall. It starts the library and museum work, the theater, the cinema and the Art Gallery in the city. The library has a fund of 48 787 units, and the old-print collection consists of 446 books, newspapers and magazines from the period 16th -19th century. The oldest is the book „The Work Miney”, printed in Venice in 1588 and containing religious texts in Greek. For digitization is selected the topic „Bulgarian education to Liberation”, consisting of teaching aids in linguistics, natural sciences, mathematics and history – a total of 78 titles. Digitization is carried out in the specialised Digital center „North +” of Regional Library “P.R.Slaveykov", created under the program BG08 „Cultural Heritage and contemporary arts”. The successful realization of the project activities will help to protect and promote knowledge, improve access through digital technologies to the specialized collections of the old Printing fund and popularization of the Historical Theatre Hall -National value, through their inclusion in the cultural treasury „North +”, the rubric „Old print Fund” and the website of the Community Center. Keywords: Preservation of Cultural Heritage, Old-print Fund, Historical Theatre Salon "Nadejda"
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Jewitt, Carey. "Digital technologies in museums: New routes to engagement and participation’." Designs for Learning 5, no. 1-2 (December 1, 2012): 74. http://dx.doi.org/10.2478/dfl-2014-0005.
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