Journal articles: 'Web Museums'

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Povroznik, N. G. "WEB ARCHIVES IN RECONSTRUCTING HISTORY OF VIRTUAL MUSEUMS: POTENTIAL AND LIMITATIONS." Вестник Пермского университета. История, no. 4(51) (2020): 95–105. http://dx.doi.org/10.17072/2219-3111-2020-4-95-105.

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Web archives are repositories of unique sources on the history of the information society, including the cultural segment of the World Wide Web. The relevance of studying the web history of museum information resources refers to the need to understand the past and contemporary processes of the development of the museum's digital environment in order to more effectively build strategies for future advancement with a valuable impact on society. The article, for the first time, attempts to assess the information potential of web archives for studying the web history of virtual museums and discusses the limitations that prevent the reconstruction of their web history. Web archives are designed to observe web pages and web sites saved at a certain point in time; they analyze the structure and content of the museum web, interpret the visual aids and sections' titles, and track statistics of publication activity. Tracing changes in the role and significance of the digital environment in museum activities, as well as trends in the development of museums, and predicting future trajectories are possible based on the analysis of the dynamics of museums' web content. At the same time, the peculiarities of search engines in web archives, technical restrictions, incompatibility of modern software with earlier formats, limits on scanning information on the World Wide Web to save it, uneven preservation by domain zones in the Internet Archive, and the lack of specialized web preservation programs at national and regional levels restraint the possibility of a comprehensive study of the history of virtual museums. The author concludes that it is necessary to expand national web archiving programs in favour of a more detailed preservation of the cultural segment of the web as a digital cultural heritage, as well as the content of social networks and mobile applications, for future use by researchers.

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KUDO, Hirohiko. "Museums and the Web 2009." Journal of Information Processing and Management 52, no. 4 (2009): 228–31. http://dx.doi.org/10.1241/johokanri.52.228.

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Marselis, Randi. "Digitizing migration heritage: A case study of a minority museum." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 16. http://dx.doi.org/10.7146/mediekultur.v27i50.3325.

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Museums are increasingly digitizing their collections and making them available to the public on-line. Creating such digital resources may become means for social inclusion. For museums that acknowledge migration history and cultures of ethnic minority groups as important subjects in multiethnic societies, digitization brings new possibilities for reaching source communities. This article describes Web projects conducted at Museum Maluku in Utrecht, the Netherlands. The article focuses on the museum’s experiences with cross-institutional Web projects, since digitization of the museum’s collection was initiated through collaboration with major national heritage institutions. The article also discusses how source communities through digital participation can become involved in building cultural heritage. Based on the case study of the Museum Maluku, it is argued that in order to design an appropriate mode of user participation as well as a sense of ownership it is crucial to take memory politics of source communities into account.

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Jiang, Hao, and Si Jia Jiang. "The Architecture of Daniel Libeskind’s Jewish Museums." Applied Mechanics and Materials 174-177 (May 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.

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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodily and affectively, control their behavior and help them see what the museums want them to see; the museums’ spatial existence can never really be independent of their contents. Light will be shed on the future of museum architecture: the trend is for museums designed for an expressive experience, involving movement, rather than the static enjoyment of single works of art.

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Eler, Denise. "As práticas museológicas emergentes na Internet e as tecnologias que as viabilizam." Txt: Leituras Transdisciplinares de Telas e Textos 4, no. 8 (December 31, 2008): 18. http://dx.doi.org/10.17851/1809-8150.4.8.18-28.

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Resumo: Historicamente, os museus têm sido flexíveis na adoção de posturas e configurações favoráveis ao desenvolvimento social e humano, refletindo os contextos socioculturais em que estão inseridos. Este artigo lista e descreve algumas práticas museológicas emergentes, bem como as tecnologias que as viabilizam.Abstract: Historically, museums have been flexible in adopting practices and settings which are advantageous to social and human development. This article lists and describes both some emergent museum practices and the technologies that make them possible.Keywords: cyberculture; museums; Web 2.0; Semantic Web.

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Bowen, Jonathan P. "Weaving the museum web: the Virtual Library museums pages." Program 36, no. 4 (December 2002): 236–52. http://dx.doi.org/10.1108/00330330210447208.

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Bearman, David, and Jennifer Trant. "Museums and the Web '99." Bulletin of the American Society for Information Science and Technology 25, no. 5 (January 31, 2005): 23–26. http://dx.doi.org/10.1002/bult.128.

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Langa, Lesley, Andrea Herman, David Hillsgrove, Brian Jones, Cho Man Li, Zach Matthai, Jonathan Schlaffer, et al. "Museum Web Accessibility: A Pilot Assessment of Mid-atlantic Museums." International Journal of the Inclusive Museum 4, no. 1 (2012): 15–28. http://dx.doi.org/10.18848/1835-2014/cgp/v04i01/44360.

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Kaiser, J. "WEB TOOLS:Searching Museums From Your Desktop." Science 284, no. 5416 (May 7, 1999): 888a—888. http://dx.doi.org/10.1126/science.284.5416.888a.

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Mikhailovskaya, Anna, and Kirill Nasedkin. "The Museums of Russia Web Portal." Museum International 54, no. 4 (December 2002): 52–56. http://dx.doi.org/10.1111/1468-0033.00400.

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SARRAF, SUZANNE. "A Survey of Museums on the Web: Who Uses Museum Websites?" Curator: The Museum Journal 42, no. 3 (July 1999): 231–43. http://dx.doi.org/10.1111/j.2151-6952.1999.tb01143.x.

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Wang, Ru Guang, Huai Lin Dong, Min Wen Wu, and Qing Feng Wu. "Research and Design of Digital Museum Based on Virtual Reality." Advanced Materials Research 926-930 (May 2014): 2516–20. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.2516.

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Digital museum is an important trend in the development of museums in recent years, and virtual reality technology in the digital museum is one of the most important issues in museum construction and it has broad development prospects. This paper aims to research into two kinds of key virtual reality technologies: image-based 360 degree panoramic display and 3D modeling technology, exploring various kinds of virtual museums based on these two technologies. It discusses the advantages and limitations of the various kinds of VDMs and proposes the design of the Virtual Museum based on 360 - degree panorama, web 3D technology and 3D modeling technology. And its application in the design of Xiamen Overseas Chinese Museum has obtained good results.

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Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.

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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.

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Kasperiuniene, Judita, and Odeta Norkute. "COMMON FACETS OF MUSEUM VIRTUAL SELF-PRESENTATION: EXPERIMENTING WITH INTERACTIVE IMAGE AND TEXT." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 25, 2018): 304–14. http://dx.doi.org/10.17770/sie2018vol1.3141.

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In the modern world, all the museums, especially science and technology centers, seek transforming from storages of valuable historical objects to the knowledge exchange and construction places. This study aims to research official sites and social media channels of twenty European science and technology museums in order to understand how the virtual museum self-presentation is done. Using thematic analysis five common facets of the science and technology museum official site were coded: i) site interoperability; ii) home page; iii) first ten news; iv) science and education activities; v) information “about us”. All the data were anonymized. The study showed two contradicted science and technology museum virtual self-presentation behavior styles: orientation “Museum as a storage” and orientation “Visitor as a creator”. Researching how science and technology museums experimented with interactive image and text in their official web pages, museum social media site follower responses and museum ratings in social media, we expanded The Museum Visitor Experience Model with insights how the virtual self-presentation could help attracting museum visitors.

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Benedetti, Daniela. "L’uso dei media da parte dei musei nell’era della pandemia Covid-19: criticità e potenzialità." Media Education 11, no. 2 (November 2, 2020): 199–205. http://dx.doi.org/10.36253/me-9649.

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The closing to the public due to the health emergency led museums to publish on the web a considerable amount of digital contents, in several cases self-produced. The modest diffusion in the Italian museums of a planned and conscious use of digital communication, resulting in part from the peculiarities of the national scene, revealed during the pandemic. It’s appropriate move from the need to provide over the internet displays of resilience or contents alternatives to the possibility to go to the museum to a rethinking of the online offer, extremely challenging task for the several small and medium Italian museums, with few professional and economic resources.

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Pallas, John, and Anastasios A. Economides. "Evaluation of art museums' web sites worldwide." Information Services & Use 28, no. 1 (April 3, 2008): 45–57. http://dx.doi.org/10.3233/isu-2008-0554.

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최정아 and 차승화. "Web-Based Design Education of Design Museums." Journal of Digital Design 9, no. 4 (October 2009): 23–34. http://dx.doi.org/10.17280/jdd.2009.9.4.003.

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Hyvönen, Eero, Eetu Mäkelä, Mirva Salminen, Arttu Valo, Kim Viljanen, Samppa Saarela, Miikka Junnila, and Suvi Kettula. "MuseumFinland—Finnish museums on the semantic web." Journal of Web Semantics 3, no. 2-3 (October 2005): 224–41. http://dx.doi.org/10.1016/j.websem.2005.05.008.

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Allason-Jones, Lindsay, Colm O'Brien, and Glyn Goodrick. "Archaeology, Museums, and the World Wide Web." Journal of European Archaeology 3, no. 2 (September 1995): 33–42. http://dx.doi.org/10.1179/096576695800703702.

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Chen, Hsin-Liang. "Chinese Collections in Museums on the Web." Journal of Internet Cataloging 7, no. 1 (April 13, 2005): 89–102. http://dx.doi.org/10.1300/j141v07n01_06.

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McAllister, Don E. "Biodiversity awareness: People, museums and the Web." Biodiversity 1, no. 1 (January 2000): 38–39. http://dx.doi.org/10.1080/14888386.2000.9712496.

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Kiourexidou, Matina, Nikos Antonopoulos, Eugenia Kiourexidou, Maria Piagkou, Rigas Kotsakis, and Konstantinos Natsis. "Websites with Multimedia Content: A Heuristic Evaluation of the Medical/Anatomical Museums." Multimodal Technologies and Interaction 3, no. 2 (June 12, 2019): 42. http://dx.doi.org/10.3390/mti3020042.

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The internet and web technologies have radically changed the way that users interact with museum exhibits. The websites and their related services play an important role in accessibility and interaction with the multimedia content of museums. The aim of the current research is to present a heuristic evaluation of forty-seven medical and anatomy museum websites from usability experts, for the determination of the principal/key characteristics and issues towards the effective design of a museum website. For homogeneity and comparison purposes, the websites of museums with no support of English language were not included in the evaluation process. In the present paper, the methodology was structured with the assessment of the technologies and services of anatomy museum websites in mind. The results of the current statistical examination are subsequently analyzed and discussed.

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Kapleris, Ignas. "Dalyvaujamojo muziejaus paradigma virtualioje Lietuvos muziejų komunikacijoje." Informacijos mokslai 68 (January 1, 2014): 77–99. http://dx.doi.org/10.15388/im.2014..3919.

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Straipsnyje aptariamas 2013 m. pabaigoje autoriaus atliktas Lietuvos muziejų interneto svetainių, paskyrų socialinėje „Facebook“ medijoje turinio ir apsilankymų charakteristikų tyrimas. Juo buvo siekiama įvertinti muziejų ir jų lankytojų pasirengimą virtualioje erdvėje įgyvendinti dalyvaujamojo muziejaus paradigmą. Tyrimo metu surinktų duomenų apie socialinę tinklaveiką skatinančių įrankių kiekį interneto svetainėse, virtualių apsilankymų charakteristikas analizė parodė, jog dauguma Lietuvos muziejų virtualią komunikaciją suvokia ir vykdo pagal industrinės, o ne tinklaveikos visuomenės logiką. Augantis paskyrų ir sąveikų su lankytojais skaičius „Facebook“ socialinėje medijoje liudija lėtus abiejų muziejų lauko veikėjų žingsnius link dalyvaujamojo muziejaus paradigmos įgyvendinimo virtualioje erdvėje.Pagrindiniai žodžiai: dalyvaujamasis muziejus, skaitmeninės medijos, interaktyvumas, tinklaveika, antros kartos saitynas, interneto svetainės, virtualūs lankytojai, „Facebook“. The participatory museum paradigm in virtual communication of Lithuanian museumsIgnas Kapleris SummaryThe article presents a research of Lithuanian museums’ websites and profiles in the social Facebook media content and visits’ characteristics, done by the author in the end of 2013. The aim of the research was to assess the preparation of museums and their visitors for implementing the participatory museum paradigm. The information of social interaction encouraging tools in museum websites and virtual visits’ characteristics gathered in the analysis has shown that most of Lithuanian museums understand virtual communication in the logic inherent to industrial rather than network society. The growing number of museums’ profiles and theis visitors’ interaction in Facebook digital media show that both actors of the museums’ field slowly move towards the realization of the participatory museums’ paradigm in the virtual space.Keywords: participatory museum, digital media, interactivity, Web 2.0, website, virtual visitors, Facebook

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Cristobal-Fransi, Eduard, José Ramón-Cardona, Natalia Daries, and Antoni Serra-Cantallops. "Museums in the Digital Age." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–21. http://dx.doi.org/10.1145/3464977.

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In terms of destination image, museums represent a tourism resource of the first magnitude. However, just as the information available online influences visitors’ decision-making about destinations, the internet is also fundamental in promoting and attracting visitors to museums. For that reason, we sought to analyse the online presence of museums in the seven most visited cities in Spain. To examine the museums’ websites, we developed an integrative model based on web content analysis (WCA ) and the extended model of internet commerce adoption (eMICA) that we applied to 77 publicly and privately run museums in Spain. Both WCA and the eMICA indicated that, despite their great economic and touristic scope, museums in Spain's most visited cities tend to mismanage their online presence and communication. We thus tentatively attributed the online presence of museums in Spain to type of museum management and several city-related parameters as explanatory variables. Multiple linear regressions of the variables revealed that, under public management, museums have had better online presence, while their respective cities have attracted more tourists. Those findings imply that museums still have a long way to go when it comes to facilitating effective communication and interaction with their target public, which we address in relation to the study's limitations and directions for future research.

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Aguirrezabal, P., and S. Sillaurren. "3DPublish: solución web para crear museos virtuales 3D dinámicos." Virtual Archaeology Review 3, no. 7 (November 18, 2012): 116. http://dx.doi.org/10.4995/var.2012.4411.

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Today museums around the world offer their content through two basic methods: a simple view of their artworks through a content viewer, or through a custom designed 2D or 3D virtual exhibition in which the pieces and the scene are static. This article describes a 3DPublish tool which represents an alternative to these two static solutions thereby giving the possibility to dynamically manage a 3D virtual scenario (real or imaginary) and the artwork that composes it. This gives the user a most realistic experience through different exhibitions, using various added value methods like storytelling or virtual tours. 3DPublish will facilitate the museum curator’s daily tasks and will improve the final results for 3D virtual museum exhibitions. This article will also present the case study of the Kubo Gallery in San Sebastian (SPAIN) as an example of 3DPublish use case.

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Bowen, Jonathan P. "The World Wide Web Virtual Library of museums." Information Services & Use 15, no. 4 (October 1, 1995): 317–24. http://dx.doi.org/10.3233/isu-1995-15408.

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Frioux-Salgas, Sarah, and Françoise Dalex. "Tools for studying the collections at the musée du quai Branly: paper archives and electronic research." Art Libraries Journal 33, no. 2 (2008): 17–20. http://dx.doi.org/10.1017/s0307472200015303.

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The musée du quai Branly, dedicated to the arts and civilisations of Africa, the Americas, Asia and Oceania, has been open since 20 June 2006. Its holdings came from two pre-existing museums, and also from a number of new acquisitions. The museum’s library conserves and enhances the value of three heritage collections – the documents in the library itself, those in the drawings, engravings and photographs collection and the archive pieces and documents about the collections – and a miscellany of users is welcomed to its three dedicated research spaces, from museum visitors to internationally renowned scholars. An ambitious policy has led it to define and develop tools for consulting the collections, and to create a virtual collection in the form of a documentary web portal, through which the museum diffuses its research and heritage documents on the internet. The archives and the collections documentation described below perfectly illustrate how this works.

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Reading, Anna, Jim Bjork, Jack Hanlon, and Neil Jakeman. "The labour of place: Memory and extended reality (XR) in migration museums." Memory Studies 14, no. 3 (June 2021): 606–21. http://dx.doi.org/10.1177/17506980211010697.

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How do we understand the relationship between memory and place in the context of Extended Reality (XR) migration museum exhibitions? The study combines a global mapping of XR within migration museums, a user analysis of Cologne’s virtual migration museum, and practice-led research with the UK Migration Museum to argue that XR places in Web 2.0 constitute a multiplication of memory’s significant localities. These include a migration memory’s place of beginning (the location of a migrant experience), the place of production (where the memory is transformed into representation) and the place of consumption (where the mediated memory is engaged with, looked at, heard). Mnemonic labour involving digital frictions at each of these sites constitutes a form of multiple place-making with complex feelings, meanings, and (dis)connections. This points to an innovative approach to understanding and curating XR experiences with museums that recognises the significance of the labour of place.

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Kuleva, Olesya V. "Virtual Museum in the Library: Models and Technologies of Creation." Bibliotekovedenie [Library and Information Science (Russia)] 67, no. 4 (October 20, 2018): 463–71. http://dx.doi.org/10.25281/0869-608x-2018-67-4-463-471.

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The article describes the history of creation of virtual museums (VM) in global Internet space. The author considers the research areas of this resource, including the phenomena of VM development; defines the aspects of VM existence (information, social, technical) and its main types, in particular, representation of a real Museum and a virtual Museum existing only in the Web-space, and VM as an effective PR-tool. The paper presents the results of monitoring of Russian and some foreign virtual museums in libraries and describes their current state. The main specific features of the museums in the Russian libraries are the original object of exposure (book) and additional information materials (bibliography, alphabetical index, search system, etc.). Information content of the VM is mainly created basing on free programs and with minimal use of multimedia technologies; communication links to Web 2.0 services are weak. The main advantages of VM in the foreign libraries are simplicity of collections presentation and navigation through them, as well as aesthetics and dynamism, achieved by the use of original Web design (beautiful typography, sliders, tile (block) interfaces, etc.). Further development of memorial space of Russian libraries and creation of VM require theoretical study of the issue, namely the modeling of this resource. Analysis of scientific publications shows that there are different approaches to VM modeling, such as functional (educational, information, marketing models), complex (complex hardware — software system) and structural (structural model, including the following blocks: collections, library, exhibition, lecture and reference). Priority approach to the modeling of library VM at the stage of changing technological paradigm can be the technological one, which allows to reveal the set of the given resource properties, the process of the model design, consisting of the following blocks: resource, software and technology, preparation of objects for exhibiting, resource promotion, educational, cultural-educational and analytical.

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Reily, Lucia, Jéssica Kelly Yacabo de Carvalho, and Agda Brigatto. "“The Museum is Yours”: Access to Virtual Visitation of Art Museums for All." Revista de Cultura e Extensão USP 16 (November 11, 2016): 53. http://dx.doi.org/10.11606/issn.2316-9060.v16i0p53-68.

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Museus de arte são espaços culturais que recebem um público bastante diverso. Entre os visitantes, há pessoas com deficiências de várias naturezas que exigem alguns cuidados especiais para circular nos espaços museológicos e para acessar informações sobre o acervo. No atual contexto de inclusão, percebe-se uma crescente preocupação quanto ao acesso cultural das pessoas com necessidades especiais e muitas institui- ções culturais têm realizado ações voltadas especificamente para as pessoas com deficiência. Este texto apresenta uma síntese sobre políticas públicas que buscam assegurar o acesso à cultura para todas as pessoas. Com base num estudo de sites da internet de museus de arte, este artigo aborda as “Recomendações de Acessibilidade para Conteúdo Web” do World Wide Web Consortium (W3C) e discute a experiência de simular visitas com o monitor do computador desligado para sites de nove museus que indicam na página de abertura que atendem aos requisitos de acessibilidade digital

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López-Martínez, Alejandro, Álvaro Carrera, and Carlos A. Iglesias. "Empowering Museum Experiences Applying Gamification Techniques Based on Linked Data and Smart Objects." Applied Sciences 10, no. 16 (August 5, 2020): 5419. http://dx.doi.org/10.3390/app10165419.

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Museums play a crucial role in preserving cultural heritage. However, the forms in which they display cultural heritage might not be the most effective at piquing visitors’ interest. Therefore, museums tend to integrate different technologies that aim to create engaging and memorable experiences. In this context, the emerging Internet of Things (IoT) technology results particularly promising due to the possibility of implementing smart objects in museums, granting exhibits advanced interaction capabilities. Gamification techniques are also a powerful technique to draw visitors’ attention. These often rely on interactive question-based games. A drawback of such games is that questions must be periodically regenerated, and this is a time-consuming task. To confront these challenges, this paper proposes a low-maintenance gamified smart object platform that automates the creation of questions by exploiting semantic web technologies. The platform has been implemented in a real-life scenario. The results obtained encourage the use of the platform in the museum considered. Therefore, it appears to be a promising work that could be extrapolated and adapted to other kinds of museums or cultural heritage institutions.

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Fotakis, Thomas, and Anastasios A. Economides. "Art, science/technology and history museums on the web." International Journal of Digital Culture and Electronic Tourism 1, no. 1 (2008): 37. http://dx.doi.org/10.1504/ijdcet.2008.020134.

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Anderson, Margaret. "Oh what a tangled web ... politics, history and museums." Australian Historical Studies 33, no. 119 (April 2002): 179–85. http://dx.doi.org/10.1080/10314610208596209.

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Szekely, Pedro, Craig A. Knoblock, Fengyu Yang, Eleanor E. Fink, Shubham Gupta, Rachel Allen, and Georgina Goodlander. "Publishing the Data of the Smithsonian American Art Museum to the Linked Data Cloud." International Journal of Humanities and Arts Computing 8, supplement (March 2014): 152–66. http://dx.doi.org/10.3366/ijhac.2014.0104.

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Museums around the world have built databases with metadata about millions of objects, their history, the people who created them, and the entities they represent. This data is stored in proprietary databases and is not readily available for use. Recently, museums embraced the Semantic Web as a means to make this data available to the world, but the experience so far shows that publishing museum data to the linked data cloud is difficult: the databases are large and complex, the information is richly structured and varies from museum to museum, and it is difficult to link the data to other datasets. This paper describes the process of publishing the data of the Smithsonian American Art Museum (SAAM). We describe the database-to-RDF mapping process, discuss our experience linking the SAAM dataset to hub datasets such as DBpedia and the Getty Vocabularies, and present our experience in allowing SAAM personnel to review the information to verify that it meets the high standards of the Smithsonian. Using our tools, we helped SAAM publish high-quality linked data of their complete holdings: 41,000 objects and 8,000 artists.

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Manikowska, Ewa. "Museums and the Traps of Social Media: The Case of the Auschwitz-Birkenau Memorial and Museum." Santander Art and Culture Law Review, no. 2 (6) (2020): 223–50. http://dx.doi.org/10.4467/2450050xsnr.20.017.13020.

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In this article I discuss both the recent threats as well as opportunities posed by social media to the activities of museums, taking into account social media’s importance as an evolving space of both social outreach and social activism. Recalling the controversies around the U.S. and UK museums’ social media responses to George Floyd’s death, I argue that museums run the risk of politicization and entanglement in controversial issues which are not necessarily linked to their profile and mission. I analyse museums’ social media guidelines, good practices, and mission statements, and posit that they play a fundamental role in integrating the new realm of the Web 2.0 into traditional museum activities. My main case study and example of good practice is the Auschwitz-Birkenau Memorial and Museum. It has constantly embedded general ethical and educational principles and guidelines of Holocaust commemoration and education into its more than 60-years’ experience in dealing with and taming political and cultural controversies surrounding this memory site of universal importance, and this embeddedness lies at the core of its social media activity. Defined as an “online community of remembrance”, it consists of well-thought-out initiatives which aim at informing the public about the everyday history of the camp, involving itself in the current commemorations and anniversaries, and rectifying simplifications and misinformation about Auschwitz and the Holocaust. I also analyse the fundamental role played by the official social media profiles in managing the crisis which arose at the beginning of 2018 with the amendment of the socalled “Holocaust Law” in Poland.

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Bowen, Jonathan. "The World Wide Web and the Virtual Library museums pages." European Review 5, no. 01 (January 1997): 89. http://dx.doi.org/10.1017/s106279870000226x.

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Bearman, David, and Jennifer Trant. "Interactivity comes of age: museums and the World Wide Web." Museum International 51, no. 4 (October 1999): 20–24. http://dx.doi.org/10.1111/1468-0033.00225.

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Bowen, Jonathan. "The World Wide Web and the Virtual Library museums pages." European Review 5, no. 1 (January 1997): 89–104. http://dx.doi.org/10.1002/(sici)1234-981x(199701)5:1<89::aid-euro157>3.0.co;2-7.

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Orlandi, Sarah Dominique, Gianfranco Calandra, Vincenza Ferrara, Anna Maria Marras, Sara Radice, Enrico Bertacchini, Valentino Nizzo, and Tiziana Maffei. "Web Strategy in Museums: An Italian Survey Stimulates New Visions." Museum International 70, no. 1-2 (January 2018): 78–89. http://dx.doi.org/10.1111/muse.12194.

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Padilla-Meléndez, Antonio, and Ana Rosa del Águila-Obra. "Web and social media usage by museums: Online value creation." International Journal of Information Management 33, no. 5 (October 2013): 892–98. http://dx.doi.org/10.1016/j.ijinfomgt.2013.07.004.

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Hook, David. "Web-Based Portal for Impact Evaluation Reveals Information Needs for Museums, Libraries and Archives." Evidence Based Library and Information Practice 2, no. 1 (March 14, 2007): 137. http://dx.doi.org/10.18438/b8959p.

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Objective – This study reports on research into the information and support needs of practitioners in the museum, archive, and library sectors, who are undergoing an impact evaluation. Design – Qualitative survey. Setting – Web-based questionnaire. Subjects – Twenty-one practitioners in the fields of museums, archives, and libraries. Methods – The study made use of a small-scale web portal that provides impact evaluation research findings, toolkits, and examples of methods. The portal’s intent was to present to the users multiple views of the available information in order to overcome the problem of users not being able to identify their needs. A purposive sample group consisting of 50 practitioners from the museum, library, and archive fields was invited to participate in a questionnaire evaluating the website. Main Results – Despite a fairly low response rate (49%) and poor distribution among the three sectors (museums, libraries, and archives), the results indicated a significant difference in the levels of knowledge and understanding of impact evaluation. Over half of the organizations surveyed had done some assessment of their institution’s economic impact, and there appears to be a rising trend towards doing impact studies for specific projects and developments. Nearly a quarter of the organizations had not undertaken any impact evaluation study previously. Practitioners already familiar with impact evaluation tended to look at broader range of fields for expertise, whereas those with less familiarity remained within their own sector. Practitioners with less experience preferred tools, guidance, and examples of methodologies as opposed to actual evidence of impact. The results also provided the authors with feedback on their web portal and how to organize the information therein. Conclusions – One of the findings of the study was that the overall reaction to impact evaluation support through research evidence, guidance, and other mechanisms was positive. For most practitioners, evaluation itself and the level of understanding of impact evaluation are at early stages. The primary goals for those undertaking impact evaluation were found to be professional and organizational learning, thus there is a need for practical help and guidance in these areas. Time limitation appeared to be a significant factor in the responses – particularly with smaller organizations – suggesting that their portal material would provide much-needed assistance to such organizations. Finally, it was concluded that future emphasis should be placed on developing practical applications rather than pure research.

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Monteagudo-Fernández, José, Cosme J. Gómez-Carrasco, and Álvaro Chaparro-Sainz. "Heritage Education and Research in Museums. Conceptual, Intellectual and Social Structure within a Knowledge Domain (2000–2019)." Sustainability 13, no. 12 (June 11, 2021): 6667. http://dx.doi.org/10.3390/su13126667.

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Heritage and museums have constituted two fundamental axes of heritage education research in recent decades. This can be defined as the pedagogical process in which people can learn about heritage assets in formal or informal learning contexts. Museums, as centres of reference in informal education, are in constant and fluid contact with schools and produce different and varied didactic materials related to heritage. This paper provides results concerning the development and shaping of the knowledge domain known as heritage education between 2000 and 2019 on the Web of Science (WoS). To this end, different techniques and tools have been used: R-package Bibliometrix and VOSviewer. This analysis has identified five clusters with the topics underpinning heritage education as a specific field of knowledge. Our inquiry has highlighted the fact that there has been an increase in production regarding research topics associated with heritage education and museums in this period, particularly between 2015 and 2019. The inclusion of ESCI journals has led to a greater visibility of WoS-indexed academic production in some countries. Finally, the concepts “heritage”, “museum” and “education” are the axes around which the research paradigms related to heritage education research seem to have been developed.

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Uribe, Bernardo, Luis Miguel Méndez, Andrés Tovar, Jean Pierre Charalambos, Olmedo Arcila, and Álvaro David López. "Mixed Reality Boundaries in Museum Preservation Areas." International Journal of Art, Culture and Design Technologies 3, no. 2 (July 2013): 63–74. http://dx.doi.org/10.4018/ijacdt.2013070105.

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The paper presents a work in the field of ‘mixed reality boundaries’ applied to the visualization of museum collections in order to display the collections ‘live’ as a way to extend virtually the preservation areas of museum collections. To achieve this goal, it was set out to integrate several virtual-studio techniques with multicasting IP in the web and the ‘tectonics’ of museums architecture were also redesigned to turn this sort of new infrastructure into what will be a new typology of mixed architectures for museum preservation areas. Dynamic lighting for Chroma-keying techniques were adapted to the real time applications and a MR J3D collision tool was added to the remote motion control of the video camera´s 3d scene live navigation.

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Catton, Freyja, and Laura Smith. "Museums Without Walls." Pathfinder: A Canadian Journal for Information Science Students and Early Career Professionals 2, no. 2 (May 4, 2021): 72–85. http://dx.doi.org/10.29173/pathfinder31.

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The purpose of this paper is to explore the possibilities of virtual exhibitions (VEs) for GLAM institutions. While VEs continue to be secondary to physical exhibitions, an effective VE uses technology to engage viewers and present opportunities for interactivity to support further learning and discovery of collection materials. Cultural heritage organizations can use VEs to make the “digital version of a cultural artefact accessible even when the physical access is restricted” and leads GLAM institutions and LIS scholars to reflect on how “users receive and interact with information in a virtual world” (Caggianese et al., 2018, p.625). With the aid of easily accessible additional information, this modern form of presentation may support a deeper level of understanding than a user can experience by viewing a traditional physical exhibition, and may enhance their overall viewing experience. Despite the excitement and opportunities afforded by VR, exhibitions remain accessible for visitors without VR equipment via browsers or web-page based exhibitions. As the “virtual exhibition is a concept that has acquired new meanings along with the evolution of modern information and communication technologies,” we look forward to seeing how GLAM institutions continue to shape the user experience (Ciurea & Filip, 2016, p.28). Cultural organizations will continue to develop and combine their partnerships, financial and staff resources, content, and visitor interests to build more VE structures that fit both their collections and their community.

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Dahmen, Nicole Smith. "From the Walls to the Web: Media Aesthetics, Technological Innovation, and Audience Attention to Artwork Representations." International Journal of Art, Culture and Design Technologies 5, no. 2 (July 2016): 30–48. http://dx.doi.org/10.4018/ijacdt.2016070103.

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Aesthetic theory considers the reciprocal relationship between the creator, the object, and the viewer of an artwork. When viewing artworks on a museum website, a new element is added to the aesthetic model: the mass-mediated representation of the art object. This research brings together art and media theory, as well as technological understanding, to study mass-mediated presentations of artworks and to gauge audiences' visual attention to artworks based on differences in media presentations. Study findings indicate that art museums are generally showing rigor for visual displays of their artworks on their websites, thereby providing a legitimate visiting experience for their virtual patrons. However, regarding technology, art museum websites are not fully embracing web capabilities. Eyetracking data provide empirical evidence of the effects of certain changed aesthetic variables in the viewing experience. From a theoretical perspective, the research showed how aesthetic theory can be placed within a media aesthetic theory model to study the mass mediated viewing experience.

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Sykes, Jean. "Find it in London: a unique co-operative venture across libraries, archives and museums." Art Libraries Journal 28, no. 1 (2003): 19–23. http://dx.doi.org/10.1017/s0307472200012943.

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Find it in London is the first pilot project of its kind in London. Using ten partner institutions across the archive, library and museum domains, it tests the concept of searching in one single step across these sectors for relevant collections. The pilot database, though currently small, allows an information seeker to choose a subject and find out which archives, libraries and museums in the pilot have collections which may be of interest. The next step will be to seek further substantial funding to scale the project up across the full span of London’s information treasure troves and create a world-beating web-based lookup subject tool.

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Zidianakis, Emmanouil, Nikolaos Partarakis, Stavroula Ntoa, Antonis Dimopoulos, Stella Kopidaki, Anastasia Ntagianta, Emmanouil Ntafotis, et al. "The Invisible Museum: A User-Centric Platform for Creating Virtual 3D Exhibitions with VR Support." Electronics 10, no. 3 (February 2, 2021): 363. http://dx.doi.org/10.3390/electronics10030363.

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With the ever-advancing availability of digitized museum artifacts, the question of how to make the vast collection of exhibits accessible and explorable beyond what museums traditionally offer via their websites and exposed databases has recently gained increased attention. This research work introduces the Invisible Museum: a user-centric platform that allows users to create interactive and immersive virtual 3D/VR exhibitions using a unified collaborative authoring environment. The platform itself was designed following a Human-Centered Design approach, with the active participation of museum curators and end-users. Content representation adheres to domain standards such as International Committee for Documentation of the International Council of Museums (CIDOC-CRM) and the Europeana Data Model and exploits state-of-the-art deep learning technologies to assist the curators by generating ontology bindings for textual data. The platform enables the formulation and semantic representation of narratives that guide storytelling experiences and bind the presented artifacts with their socio-historic context. Main contributions are pertinent to the fields of (a) user-designed dynamic virtual exhibitions, (b) personalized suggestions and exhibition tours, (c) visualization in web-based 3D/VR technologies, and (d) immersive navigation and interaction. The Invisible Museum has been evaluated using a combination of different methodologies, ensuring the delivery of a high-quality user experience, leading to valuable lessons learned, which are discussed in the article.

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Golat, Rafał. "IT ASPECTS OF MUSEUM OPERATIONS." Muzealnictwo 61 (March 9, 2020): 21–26. http://dx.doi.org/10.5604/01.3001.0013.9717.

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In the current technological environment, operation of every institution, museum included, requires the use of IT networks, among them the internet. This results from the fact that museums have their respective websites and web addresses. Regardless of the technological aspects, the use of the internet by museums has to bear in mind legal requirements resulting in particular from the Act on Access to Public Information, this including the BIP page, namely that of the Bulletin of Public Information that allows to provide access to this kind of information within the range as defined in the above Act. The requirements of the accessibility of digital websites of public museums taking into account the needs of disabled citizens is specified by the Act on Accessibility of the Websites and Mobile Applications of Public Sector Bodies. Some of the provisions of the Act with respect to websites published before 23 September 2018 will come into force as of 23 September 2020. In the discussed context it also legal provisions related to IT assets that are of importance; these contain computer software and electronic databases. The legal status of these assets is specified in the provisions of the Act on Copyright and Related Rights (see its Arts. 3 and 7) as well as of the Act on Database Protection. Apart from the above, which, however, do not exhaust the whole range of the topic-related issues, it is also important to tackle the question of the digitizing of the assets (collections) that museums have at their disposal, in particular museum objects and images of people that constitute personal rights, which are digitized and disseminated online. Apart from the Act on Museums, particularly its Art. 25a, it is the Act on Copyright and Related Rights as well as the Civil Code that through the general provisions on the protection of personal rights, these also including images of people, give the prescriptive context to the problem.

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Rozghon, O. "Virtual version of the museum as a means of introducing digital technologies." Law and innovative society, no. 2 (13) (December 26, 2019): 20–26. http://dx.doi.org/10.37772/2309-9275-2019-2(13)-3.

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Problem setting. The issue of legal regulation of the digitization of museums is currently relevant and deserves special attention, since digital transformation at an effective level is necessary for both rare objects (museum cultural values) and modern ones. Creating a modern digital space for museum cultural values will be appropriate for: both visitors, owners and authors of museum cultural values, and outside investors and the museum. The purpose. Analysis of the “virtual version of the museum” category as a means of introducing digital technologies and defining its features, mechanism for realization and protection of digital works rights, which are in the repository of the museum site. Analysis of recent research and publications. At the scientific level, scientists, such as A. G. Vasnev, A. V. Goloviznin, S. G. Dolgov, T. V. Dudenko, V. F. Zverhovskaya, I. E. Martynenko, V. Yu. Stepanov, B. M. Odaynyk, but were considered exclusively within the framework of the legal regulation of the circulation of cultural values. The issues of digitization of museums dealt with such scientists as M. A. Belyaeva, T. A. Ladygina, N. V. Klementyevа, K. D. Savitskaya, but more from the point of view of general issues, without affecting the features of the virtual version of the museums. Article’s main body. Virtual excursion is the result of creative activity, presented in electronic (digital) form, by means of spherical or cylindrical panoramas, based on the interactive interaction of the user (visitor) with the virtual environment through a computer program for visual demonstration of digital works that are to be expressed electronically (digitally) and located on the museum’s website. Digitization of museum cultural values is one of the most promising areas in the field of introduction of high technologies and automation for museum cultural values. “Digitalization” should provide every citizen with equal access to cultural information and knowledge services provided through digital technologies. The implementation of this principle is possible when implementing a virtual version of the museum. The author defines the essence of the category “virtual version of the museum” and reveals its features. The article states that when visiting a virtual tour, the visitor can receive the following electronic services in the field of culture and the arts (paid / free), in particular, 1) view the virtual panorama by going to different halls of the museum, 2) explore museum exhibits that are museum cultural values, 3) get information about museum cultural values and more. Conclusions. According to the results of research, the expediency of positioning the museum in the Web space is established and the necessity of introducing a virtual version of the museum as a means of introduction of digital technologies is substantiated. The author found that if the museum site has a repository of digital photographs, which are viewed through virtual tours, access to such a site or content must be based on the copyright and copyright of the digital author himself.

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García-Ceballos, Silvia, Pilar Rivero, Sebastián Molina-Puche, and Iñaki Navarro-Neri. "Educommunication and Archaeological Heritage in Italy and Spain: An Analysis of Institutions’ Use of Twitter, Sustainability, and Citizen Participation." Sustainability 13, no. 4 (February 3, 2021): 1602. http://dx.doi.org/10.3390/su13041602.

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Improving heritage educommunication on the web 2.0 is key to reaching certain sustainable development goals focused on educational quality and citizen participation. Although numerous partial studies have already been conducted, to date neither assessment tools nor detailed studies are available regarding the quality of educommunicative initiatives. Spain and Italy’s archaeological heritage museums have a consolidated track record on Twitter, which has been bolstered by museum closures due to COVID-19 and has resulted in a significant change to their educommunicative policies. The present article aims to analyze educommunicative actions undertaken on Twitter at Italian archaeological museums, compare their strategies with a previous study on Spanish institutions, and analyze to what degree the sustainability of heritage, citizen participation, learning opportunities, and universal access are being promoted. This mixed method analysis was carried out through the implementation of a web 2.0 heritage educommunication analysis tool focused on three key factors: educational procedure, R-elational interactions, and the prevailing learning paradigm, as well as a content analysis of the variables that comprise them. The key findings suggest that neither country is close to achieving a quality educommunicative strategy. Italian archaeological heritage institutions use Twitter simply as an advertising platform. Despite being a social media platform, participative initiatives are scarcely promoted, although heritage sustainability is promoted through raising awareness of conservation and appreciation. Spanish institutions, however, demonstrated the opposite pattern of use.

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Journal articles on the topic 'Web Museums'

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