Slides from the first session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
The Recurated Museum: III. Digital Collections, Exhibits, & EducationChristopher Morse
Slides from the third session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
The Recurated Museum: VII. Museum Exhibition Design through UXChristopher Morse
Slides from the seventh session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
Slides from the sixth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
The Recurated Museum: II. Museums, Identity, & CommunityChristopher Morse
Slides from the second session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
"Engaging Museum Audiences" - seminars offered across New Zealand in Nov/Dec, 2009 by Nina Simon of Museum 2.0. The content is very similar to another slideshare upload by Nina, "MuseumNext Participatory Museum."
The Recurated Museum: III. Digital Collections, Exhibits, & EducationChristopher Morse
Slides from the third session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
The Recurated Museum: VII. Museum Exhibition Design through UXChristopher Morse
Slides from the seventh session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
Slides from the sixth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
The Recurated Museum: II. Museums, Identity, & CommunityChristopher Morse
Slides from the second session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
"Engaging Museum Audiences" - seminars offered across New Zealand in Nov/Dec, 2009 by Nina Simon of Museum 2.0. The content is very similar to another slideshare upload by Nina, "MuseumNext Participatory Museum."
Co-designing Participatory Practices around a Design Museum ExhibitionMariana Salgado
This paper was published in the Proceedings of the 6th International Conference of Design History and Design Studie. Another name for Design. Words of Creation. In Osaka, Japan, 2008.
Use of Clay in the Dialogue with the Visually ImpairedMariana Salgado
This paper was published in the working paper series of the University of Art and Design Helsinki, F35. Digital tools, a new way to interact with the world.
Oldest Museum, Newest Ideas: Revolutionising Accessibility of World Famous Ar...Crowdsourcing Week
Which is one of the oldest institutions to harness the combined power of crowdsourcing and online community building? Fr. Mark Haydu looks into how the Vatican is engaging the online community around restoration art.
Presented at Crowdsourcing Week Global 2016. Learn more and join the next event: www.crowdsourcingweek.com
PhD dissertation - presentation - March 26 2014Sara Radice
This is the presentation of my PhD thesis: Designing for Participation within cultural heritage. Participatory practices and audience engagement in heritage experiences proscess.
The research investigates the emerging role of cultural institutions that, responding to the expectations of contemporary audiences, are shifting from being providers of content, to being facilitators of experiences around it. The overall aim is to envision novel paradigms for audience engagement within cultural institutions, outlining a general framework for the design of effective participatory experiences of heritage.
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
Helen Graham Whose story is it anyway?: 'Public' and 'Ownership' HelenGraham
Slide from a presentation given by Helen Graham to International Centre for Cultural and Heritage Studies, Newcastle University 'Work in Progress' seminar and University of Leeds 'Museology Seminar' in September and October 2011.
Part of the AHRC 'Partnership and Participation: Intellectual property and Informed Consent' project. See www.partnershipandparticipation.wordpress.com
Standards, prototypes, and pilot projects - technology and flexibility in des...Alessandro Califano, PhD
This presentation is a slightly enhanced version of the one introducing, on behalf of ICOM Italy, its "Commissione tematica per gli Audiovisivi e le Nuove Tecnologie", and ICOM-AVICOM, CDCH 2012, a Satellite Workshop at VL/HCC 2012 - IEEE Symposium on Visual Languages and Human-Centric Computing (Innsbruck, Austria, 4 October 2012).
Sustainable Development Goals and Values for MuseumErfgoed 2.0
How museums can engage their audiences and work together with them on Sustainable Development Goals, based on their core Values and storytelling, by using the GIVE-model
The Recurated Museum: V. Collections Communication & StorytellingChristopher Morse
Slides from the fifth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
Metropolitan Museum of Arts: Transformative Brand Experience StrategyJacques Epangue
A proposal which describes a strategy to align the vision of the MET with an authentic communication, one which is translated into immersive and participatory programs with the aim of transforming the museum as a brand that does the story it tells.
Co-designing Participatory Practices around a Design Museum ExhibitionMariana Salgado
This paper was published in the Proceedings of the 6th International Conference of Design History and Design Studie. Another name for Design. Words of Creation. In Osaka, Japan, 2008.
Use of Clay in the Dialogue with the Visually ImpairedMariana Salgado
This paper was published in the working paper series of the University of Art and Design Helsinki, F35. Digital tools, a new way to interact with the world.
Oldest Museum, Newest Ideas: Revolutionising Accessibility of World Famous Ar...Crowdsourcing Week
Which is one of the oldest institutions to harness the combined power of crowdsourcing and online community building? Fr. Mark Haydu looks into how the Vatican is engaging the online community around restoration art.
Presented at Crowdsourcing Week Global 2016. Learn more and join the next event: www.crowdsourcingweek.com
PhD dissertation - presentation - March 26 2014Sara Radice
This is the presentation of my PhD thesis: Designing for Participation within cultural heritage. Participatory practices and audience engagement in heritage experiences proscess.
The research investigates the emerging role of cultural institutions that, responding to the expectations of contemporary audiences, are shifting from being providers of content, to being facilitators of experiences around it. The overall aim is to envision novel paradigms for audience engagement within cultural institutions, outlining a general framework for the design of effective participatory experiences of heritage.
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
Helen Graham Whose story is it anyway?: 'Public' and 'Ownership' HelenGraham
Slide from a presentation given by Helen Graham to International Centre for Cultural and Heritage Studies, Newcastle University 'Work in Progress' seminar and University of Leeds 'Museology Seminar' in September and October 2011.
Part of the AHRC 'Partnership and Participation: Intellectual property and Informed Consent' project. See www.partnershipandparticipation.wordpress.com
Standards, prototypes, and pilot projects - technology and flexibility in des...Alessandro Califano, PhD
This presentation is a slightly enhanced version of the one introducing, on behalf of ICOM Italy, its "Commissione tematica per gli Audiovisivi e le Nuove Tecnologie", and ICOM-AVICOM, CDCH 2012, a Satellite Workshop at VL/HCC 2012 - IEEE Symposium on Visual Languages and Human-Centric Computing (Innsbruck, Austria, 4 October 2012).
Sustainable Development Goals and Values for MuseumErfgoed 2.0
How museums can engage their audiences and work together with them on Sustainable Development Goals, based on their core Values and storytelling, by using the GIVE-model
The Recurated Museum: V. Collections Communication & StorytellingChristopher Morse
Slides from the fifth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
Metropolitan Museum of Arts: Transformative Brand Experience StrategyJacques Epangue
A proposal which describes a strategy to align the vision of the MET with an authentic communication, one which is translated into immersive and participatory programs with the aim of transforming the museum as a brand that does the story it tells.
Super-Successful GLAMs (Text version with notes)Michael Edson
Opening remarks for The Commons and Digital Humanities in Museums
Sponsored by the City University of New York Digital Humanities Initiative, November 28, 2012
Organized by Neal Stimler and Matt Gold, with Will Noel and Christina DePaolo.
http://cunydhi.commons.gc.cuny.edu/2012/11/07/wednesday-november-28-the-commons-and-digital-humanities-in-museums/
This report is a product of Arup Foresight + Research + Innovation. The Arup F+R+I Team identifies and monitors the trends and issues likely to have a significant impact upon the built environment and society at large. We research and raise awareness about the major challenges affecting the built environment and their implications. We help clients think more creatively about the long-term future, and manage risk and uncertainty more effectively.
Slides used to introduce the discussion at the Dangerous Ground event in Edinburgh, June 2013. More info here: http://culturalvalueinitiative.org/dangerous-ground-project/edinburgh-event-28th-june-2013/
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
Cultural Heritage and the Technology of Culture: Finding the Nature of Illumi...Martin Kalfatovic
Cultural Heritage and the Technology of Culture: Finding the Nature of Illumination in Libraries and Museums. Martin R. Kalfatovic. 9th Shanghai International Library Forum. Shanghai, China. 19 October 2018.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
2. SYTZE VAN HERCK
sytze.vanherck@uni.lu | Centre for Contemporary & Digital History (C2DH)
CHRISTOPHER MORSE
christopher.morse@uni.lu | Centre for Contemporary & Digital History (C2DH)
& Human-Computer Interaction Research Group
3. ?INTRODUCE YOURSELF
moodle.uni.lu
1. What is your background?
2. What interests you about this course, and
museums in general?
3. What do you expect to learn in this class?
5. 04/03/2020
Digital Collections, Exhibits,
& Education
11/03/2020
Collections Management &
Sustainability
18/03/2020
Collections Communication
& Storytelling
25/03/2020
Brainstorm
01/04/2020
Museum Exhibition Design
through UX
08/04/2020
Copyright & Fair Use
22/04/2020
Lab Session
29/04/2020
Jeff Steward (Harvard Art
Museums)
06/05/2020
Wouter van der Horst (We
Share Culture)
13/05/2020
Lab Session
20/05/2020
Blandine Landau (University
of Luxembourg)
27/05/2020
Exhibition
19/02/2020
Museums as Producers
of Meaning
26/02/2020
Museums, Identity,
Community
COURSE SCHEDULE
F
e
b
M
a
r
A
p
r
M
a
y
Guest Lecturer
6. Hypothes.is
Some of your assignments will require you to read articles online and
annotate them using the hypothes.is platform. The software is free, and
you can sign up for an account at the following address:
https://web.hypothes.is/
7. highlight any text within
a web document or pdf
annotate freely using the
hypothesis interface1
2
10. If you compared a museum to anything else,
anything at all, what would it be?
www.menti.com code: XXXXXX
11. The majority take it as axiomatic that
museums are full of holy relics which
refer to a mystery which excludes them
(Berger, 1972).
12. Of the places listed below which does a
museum remind you of most?
Church
Library
Lecture Hall
Department Store
Church & Library
Church and Lecture hall
Library and Lecture hall
None of these
No reply
66 45 30.5
9 34 28
- 4 4.5
- 7 2
9 2 4.5
4 2 -
- - -
4 2 19.5
8 4 9
Manual
Workers
White Collar
Workers
Professional
and upper
managerial
Source: Pierre Bourdieu and Alain Darbel, L’Amour de l’Art, Editions de Minuit, Paris 1969, Appendix 5, table 4
17. What is a museum?
“Museums include, but are not limited to, aquariums, arboretums,
art museums, botanical gardens, children's/youth museums,
general museums (...), historic houses/sites, history museums,
natural history/anthropology museums, nature centers,
planetariums, science/technology centers, specialized museums
(...), and zoological parks.”
(IMLS Eligibility Criteria)
18. But we’ve come to think of museums as
the flagship vessels of our collective
desire for self-improvement. Ideally,
they are benevolent purveyors of
education: open, accessible places for
communal self-definition.
19. What is a museum?
“Museums are considered the most trustworthy source
of information in America, rated higher than local
papers, nonprofits researchers, the U.S. government,
or academic researchers (...)”
(Kennicott, 2018)
20. What is a museum?
Knowledge generation is complex, socially situated,
learner-centered and requires interaction, conversation,
and reflection.
(McLean, 2011)
22. "Curators are highly knowledgeable, experienced, or educated
in a discipline relevant to the museum's purpose or mission."
- (AAM, 2009)
23. What is the role of a curator?
up-to-date, original research,
contribute to field or profession
recommendations for acquiring
and deaccessioning objects in
collections
identify and document history of
materials in the collection
develop and organise exhibitions
contribute to programs and
educational materials
provide public use of the collection
develop or contribute to research
(AAM, 2009)
24. What is the role of a curator?
Research, scholarship, and integrity
Interpretation
Acquisition, care, and disposal
Collection access and use
(AAM, 2009)
25. One time specialists need to become multi-tasking
generalists. Instead of a fount of knowledge, the
curator needs to direct inquiries to make
discoveries themselves. The relevance of a curator
lies in their knowledge and expertise.
(Nielsen, 2017)
26. What is the role of a curator?
research into collections
promoting visitor and community involvement
marketing responsibilities
(Nielsen, 2017)
27. What is the role of a curator?
Novice-expert polarity
Assumption that expertise inherently confers authority and power
renders conversation and exploration impossible.
(McLean, 2011)
28. What is the role of a curator?
Preserve
safeguarding the heritage of art
Selector
Connect to Art History
Displaying or arranging
the work
Preservation
acquisition, selection, allocation of budget
Communication
Decide what’s displayed, shape viewing
experience
Study
(Neuendoft, 2016)
29. What is the role of a curator?
The dual capacity of acting as a tastemaker and validator has
resulted in a small group of prominent “star curators” gaining
influential positions.
(Neuendoft, 2016)
What are the ethical implications of the increasing influence of curators?
Consider who is included in exhibitions (and therefore who is excluded), as well as what visitors get
access to and what remains hidden.
30. Other museum responsibilities
Marketing/Communication
understanding audiences, motivating visitation, reaching potential visitors,
i.e. through social media.
Education
inspiring people around your mission, proving that education is entertaining.
Visitor Operations
creating a satisfying experience increases returning visitors and endorsements.
(Dillenschneider, 2019)
31. Other museum responsibilities
Program or Community Engagement
reaching new audiences, change the type of person to visit, cultivating a culture of
diversity and inclusion in the entire organisation.
Membership
cultivating a community of supporters, members and donors are motivated by the
visitation cycle, they renew when they visit again, members are also the most
satisfied visitors.
(Dillenschneider, 2019)
33. In the main currents of psychological
research, attention is treated as a resource
— a person has only so much of it...
Attention is the thing that is most one’s
own: in the normal course of things, we
choose what to pay attention to, and in a
very real sense this determines what is real
for us; what is actually present to our
consciousness. Appropriations of our
attention are then an especially intimate
matter.
35. From now on, leading-edge
companies — whether they sell to
consumers or businesses — will
find that the next competitive
battleground lies in staging
experiences.
36. Generally, we find that the richest experiences —
such as going to Disney World or gambling in a
Las Vegas casino — encompass aspects of all
four realms, forming a “sweet spot” around the
area where the spectra meet. But still, the
universe of possible experiences is vast.
Eventually, the most significant question
managers can ask themselves is “What specific
experience will my company offer?” That
experience will come to define their business.
(Pine & Gilmore, 1998)
37. As we move from the experience
economy to the attention
economy toward a distraction
economy, how will museums of
the future keep our attention? Or,
will there be different museums
for distinct states of mind: the
museum for focused people, the
museum for distracted people,
and so on and so forth?
(Decter, 2018)
39. 1) Presents a variety of materials and experiences catered to different interests,
ages, technical levels, and educational backgrounds.
1) Ability to connect personally with objects, ideas, and experiences provided.
1) For those visiting in groups, the sense of having a shared experience.
(Falk & Dierking, 2008)
Visitor Expectations
40. 4) There is an inherent sense of integrity to museum objects.
5) The visit is a free-choice learning experience, personalizable to one’s own
particular interests.
(Falk & Dierking, 2008)
Visitor Expectations
41. Learning is a continuous process that begins before the visitor arrives at the
museum door and continues long after. The extent to which a museum facilitates
connections between prior and subsequent experiences and encourages utilization
of other learning resources in the community is the extent to which the museum
experience will be a totally successful learning experience.
(Falk & Dierking, 2000)
Visitor Expectations
42. What is a recurated museum?
As established museums struggle to be less traditional, more user-
friendly, more about experience and less about education, a whole
new crop of pop-ups, themed spaces and commercial ventures
embraces the word “museum” and all the supposed dignity it entails.
- (Kennicott, 2018)
How would you define a “recurated museum”?
Think of this definition as the mission statement of this course.
43. Assignments
DEADLINE
20.02 Start the discussion
21.02 Introduce yourself
26.02 Read & Annotate
7 Reasons Why Museums Should Share More Experiences, Less Information
What, if anything, is a museum?
44. Bibliography
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Crawford, M. 2015. The World Beyond Your Head: On Becoming an Individual in an Age of Distraction. New York: Princeton University Press.
Decter, J. “Will There Still Be a Future When the Museum of the Future Arrives?” In Gerald Bast, Elias G. Carayannis, David F. J. Campbell
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45. Bibliography
Kennicott, “Is it a museum or not? The question is worth asking,” Washington Post, October 12, 2018.
Jane K. Nielsen. 2017. “Museum communication and storytelling: articulating understandings within the museum structure.” Museum
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McLean, Kathleen. 2011. “Whose Questions, Whose Conversations,” in Letting Go? Sharing Historical Authority in a User-Generated World, 70-
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Neuendoft. 2016. “Art Demystified: What Do Curators Actually Do?,” ArtNet News.
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46. Photo by Lizzie George on Unsplash
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47. Photo by Tristan Colangelo on Pexels
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hr. on Unsplash
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48. Painting by Nils Schilmarkl on Europeana
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