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MW18 Presentation: The Future Of Media Determines The Future Of Museum. (Some Remarks In The Current Situation Of The Post-NMC Era)

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By Harald Kraemer, School of Creative Media, City University of Hong Kong

Since the 1990s, multimedia technology has had a growing impact on communication and education in museums. Museums have spent enormous effort in the production of multimedia applications like CD-i, CD-ROM, websites, kiosk-systems, etc. Nowadays museums are open to any kind of media that the new communication technology has forced them to comply with. Using Multimedia and Social Media-supported technologies, visitors have changed from passive learning customers to active co-authors and consumers.

The Millennial generation in particular, with its narcissistic and event-driven behavior and its expectation of following the latest technology innovations, has led museums into a dependency with unforeseeable consequences. This essay contains aspects of the following questions: Are the multimedia contents, which mostly follow Alfred Barr’s didactic model of the educated consumer and focuses on interpretation, still relevant in view of the changed behavior of the digital born user?

How can museums develop a contemporary education model that strengthens our visitor/user’s ability to critically engage with art and media? In the face of the growing loss of the products of our digital cultural heritage, the question remains how can we ensure that future generations will have access to the hypermedia applications created by museums, and that we will not lose these interactive masterpieces, as it is happening right now with the first generation of multimedia classics? Last not least the inglorious end of the NMC raises the question of who now evaluates and recommends the technologies that will have to be used in museums in the future.

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MW18 Presentation: The Future Of Media Determines The Future Of Museum. (Some Remarks In The Current Situation Of The Post-NMC Era)

  1. 1. The Future of Media determines the Future of Museums. (Some remarks on the current situation of the Post-NMC era) Harald Kraemer School of Creative Media City University of Hong Kong
  2. 2. 2014 School of Creative Media, CityU, Hong Kong MA Curating Art & Media 2012 lotsremark Projekte Basel/HKG, Janine Stoll 2005 Artcampus, Bern 2002 Virtual Transfer Musée Suisse, Zurich 2000 PhD Museum Informatics & Digital Collections TRANSFUSIONEN 1999 Vienna/Berlin Norbert Kanter 1998 Science Wonder Productions, Vienna MUSEUM SCHLOSS KYBURG Es gibt nur Geschichten. «Wissen muss nicht nur verwaltet werden, sondern Wissen muss gelebt werden.» «Die rechte Ernte macht das gute Mahl.» «Ich bin einfach sprachlos. Was Sehachsen so alles bewirken können ... unglaublich.» «Die Liebe sieht keine Farben.» «Ich fühle den Mond atmen. Das Universum beginnt mit dem Runden.» «Man siht ouch dicke, daz schoen âbentrôt kumt nâch mangem morgen, der trüeb ist und timmer.» «Historismus: Triumph desVergangenen & Phänomen der Symbiose» VIRTUELLER TRANSFER MUSÉE SUISSE Lustvolle, tragische und lehrreiche Geschichten erzählt von Bewohnern und Gästen der Kyburg CD-ROM und Erweiterung der Ausstellung durch Medienstationen im Museum Schloss Kyburg 2003-2004 | Auftraggeber:Verein Museum Schloss Kyburg | 50 Objekte folgender Sammlungen: Museum Schloss Kyburg, Schweizerisches Landesmuseum Zürich, Staatsarchiv Kanton Zürich, Zentralbibliothek Zürich, Historisches Museum Basel, Kunstmuseum Winterthur | 12 Geschichten: 1663 – Die Reise nach Paris | Scandalöse Enthüllungen | Mode und andere Torheiten | Caffeeschlekerey | Landvogt Leu & Dr. Gugel oder Lexikon vs. Suchmaschine |Verdorbenes & Schmackhaftes | 1725 – Der Kriminalfall Johannes Grün von Kauffbüren | Mandate undVerordnungen | Die Helvetische Revolution oder Das Ende der Landvögte | Treu bis in den Tod: Die tragische Geschichte der Gertrud von Wart | 1 Spiel | 38 Animationen (Flash), 3 Filme (15 Min, 10 Min, Luftaufnahmen), 11 Hörstücke, 1 Interaktives Gemälde, 1 Hologramm (Kopie des Reichsapfels des Rudolf von Habsburg) | 45 MitarbeiterInnen, 11 Schauspieler, 10 SprecherInnen KUNST UND INDUSTRIE Virtueller Transfer Musée Suisse Entwicklung und Produktion neuer Gestaltungs- und Vermittlungsformen von Museumsinhalten im Web für die Musée Suisse Gruppe 2002-2004 | Auftraggeber: Schweizerisches Landesmuseum Zürich | über 600 Sammlungsobjekte folgender Museen: Schweizerisches Landesmuseum Zürich, Musée national suisse Château de Prangins, Museo doganale svizzero Cantine di Gandria, Forum der Schweizer Geschichte Schwyz, Museum für Musikautomaten Seewen, Schlossdomäne Wildegg, Museum Bärengasse Zürich, Zunfthaus zur Meisen Zürich | Wunderkammer mit Meisterwerken, Lieblingsstücken und Kuriositäten, 3 Bilderalben, 4 Anekdoten, 5 Zeitzeugen, 1 Ausstellung, 1 Restaurierungsprojekt, 2 Lernkurse | 140 Animationen (Flash), 30 Filme, 28 Hörstücke | 65 MitarbeiterInnen, 41 Akteure und SprecherInnen | in 5 Sprachen (Deutsch, Französisch, Italienisch, Rätoromanisch, Englisch) Kunst und Industrie Die Anfänge des Museums für angewandte Kunst CD-ROM und Medienkonzeption der gleichnamigen Ausstellung im MAK 1998-2000 | Auftraggeber: MAK – Österreichisches Museum für angewandte Kunst,Wien | über 300 Objekte | Inhalt: Weltausstellungen London 1851 und 1862 | South Kensington Museum | 1863 k.k. Österreichisches Museum für Kunst und Industrie | 1864 Provisorium Ballhaus | 1867 Kunstgewerbeschule | 1871 Museum am Stubenring | 1873 Wiener Weltausstellung | Wien: Zentrum undVorstadt | 1890 Moderner Historismus | 1910 Halbzeit der Moderne | Stile | Stilpluralismus |Vorlagenwerke | 41 Biographien | 60 Animationen, 1 Intro-Film, 20 Filme (darunter zahlreiche historische Filmdokumente des Filmarchivs Austria), 35 Hörstücke, 30 MitarbeiterInnen, 2 SprecherInnen «Jede Zeit hat ihren Stil.» Adolf Loos, 1908 «Nehmen Sie nichts in ihr Haus auf, das nicht entweder nützlich ist oder das Sie als schön ansehen.» William Morris, 1882 Es gibt keine Wahrheit. © Harald Kraemer (TRANSFUSIONEN) Zürich 2004
  3. 3. The Future of Media determines the Future of Museums * The growing Dependency of Museums on the Development of Media Technologies & the Part of NMC * The glorious Past of Multimedia in Museums * Access denied−Moments to remember * Digital Preservation−some Drops on a Hot Stone
  4. 4. Christopher Richartz 1995, 332 “The new information technology could force museums to comply, even if they try to resist; the standards of information transfer experienced by the general public will establish the visitor’s expectations, so that the museum must comply in perpetuity.”
  5. 5. Schloss Kyburg, 2004 Neuberger, 1993 Livre de Lulu, 1995 B. Taut, 1996 Navegar, 1998 S. Freud, 1999 Vienna Walk, 1998 Place Hampi, 2006 Hombroich, 2002 Gentlemen Dogs V. Panton, 2000 W. Forsythe, 1999 Kidai Shôran, 2000 Kongens Kunstkammer Virtual Transfer, 2002 Wanas, 1998 Lewis & Clark, 2004 Visionäre im Exil, 1995 Anderson Coll., 2000 Maeght, 1995
  6. 6. National Gallery London: Art Gallery, 1993
  7. 7. National Gallery London: Art Gallery, 1993 Josef Albers: Interaction of Color, 1994
  8. 8. National Gallery London: Art Gallery, 1993 Josef Albers: Interaction of Color, 1994 Documenta 1-9, 1997
  9. 9. Virtual Transfer Musée Suisse 2002-2004
  10. 10. Virtual Transfer Musée Suisse http://virtualtransfer.com Swiss National Museum & Transfusionen, Zurich 5 languages 600 Objects from 8 Swiss Museums 140 Flash animations / 30 videos / 28 audio pieces Team: 10 + 65 from the museums
  11. 11. Virtual Transfer Musée Suisse
  12. 12. D. Saraga 2015, 21 “An inaccessible database [...] is an unusable database. To stop to maintain is similar with the destruction of the results of scientific work.”
  13. 13. EMULATION  
  14. 14. EMULATION  
  15. 15. I  think  I  got  lost  in   cyberspace.   Snapshot     by     Norbert     Kanter  
  16. 16. Again.     This  guy  really   needs  a  compass.*   *Thanks     to     Darren   Pack  
  17. 17. *Thanks     to     Darren   Pack   How  can  I     help  you?*  
  18. 18. “Two  roads  diverged  in  a  yellow  wood,     And  sorry  I  could  not  travel  both.  …   I  took  the  one  less  traveled  by,   And  that  has  made  all  the  difference.”   (Robert  Frost)  
  19. 19. How  strange…*   *Thanks     to     Darren   Pack  
  20. 20. School of Creative Media / City University of Hong Kong Teaching Development Grant 2017-2019 ‘Multimedia Classics & Transmedia Storytelling— a digital archive with case studies of multimedia applications to inspire and train students for the planning and production of future interactive transmedia applications’
  21. 21. Schloss Kyburg, 2004 Neuberger, 1993 Livre de Lulu, 1995 B. Taut, 1996 Navegar, 1998 S. Freud, 1999 Vienna Walk, 1998 Place Hampi, 2006 Hombroich, 2002 Gentlemen Dogs V. Panton, 2000 W. Forsythe, 1999 Kidai Shôran, 2000 Kongens Kunstkammer Virtual Transfer, 2002 Wanas, 1998 Lewis & Clark, 2004 Visionäre im Exil, 1995 Anderson Coll., 2000 Maeght, 1995
  22. 22. EMULATION  
  23. 23. NMC Horizon Report 2011 / Museum Edition, 26 “Digital preservation of information is becoming an increasingly important topic everywhere.”
  24. 24. NMC Horizon Report 2011 / Museum Edition, 26 “Digital preservation of information is becoming an increasingly important topic everywhere.” “Digital preservation is less about updating content to work with the newest releases of software— a common misconception—and more about future-proofing digital works of art, documents, and media.” (ibid.)
  25. 25. NMC Horizon Report 2013 / Museum Edition, 31 Digital Preservation & Conservation “…to protect important objects, artifacts, and documents …" as well as ”… to stabilize and restore artifacts.”
  26. 26. Digital Preservation - Canadian Heritage Information Network - Digital Preservation Coalition - Online Repository of the Library of Congress - Task Force on Archiving of Digital Information - Network of Expertise in long-term Storage and availability of digital Resources (NESTOR) - ENUMERATE project …      
  27. 27. NMC Horizon Report 2013 / Museum Edition, 32 “Museums across the world also have large collections of electronic media objects, each representing unique challenges from a preservation and conservation standpoint, including antiquated operating systems, hardware, and computer programs…“
  28. 28. NMC Horizon Report 2013 / Museum Edition, 32 “… While future technologies cannot be fully foreseen, the fact that conversations about preservation and conservation are increasingly taking place is an indication that they are poised to become better understood and executed over the next four to five years.”
  29. 29. NMC Horizon Report 2015 / 2016 In the NMC 2015 and 2016 editions preservation and conservation no longer matter. The way in which the forward-thinking NMC handles the generalization of the numerous issues of data to be recovered is a good illustration of the general lack of knowledge of museums in this challenge.
  30. 30. Digital Preservation of Media Art - ZKM Center for Art and Media Technology, Karlsruhe - House for Electronic Arts, Basel - Preservation of Digital Art, Bern - Ars Electronica Center, Linz - Archive of Digital Art, Krems …      
  31. 31. But how can museums and archives follow the technical evolution and produce relevant content for their hypermedia applications without running into danger of losing their creations in the future?
  32. 32. Schloss Kyburg, 2004 Neuberger, 1993 Livre de Lulu, 1995 B. Taut, 1996 Navegar, 1998 S. Freud, 1999 Vienna Walk, 1998 Place Hampi, 2006 Hombroich, 2002 Gentlemen Dogs V. Panton, 2000 W. Forsythe, 1999 Kidai Shôran, 2000 Kongens Kunstkammer Virtual Transfer, 2002 Wanas, 1998 Lewis & Clark, 2004 Visionäre im Exil, 1995 Anderson Coll., 2000 Maeght, 1995
  33. 33. Name the loss in numbers. Shareholders of technology companies need to understand that through the return-oriented of the companies, they are jointly responsible for destroying cultural values. Only by developing a critical awareness of the handling of digital-born data in the corporate philosophy can long-term strategies of archiving and sustainability be successfully implemented. Technology companies must provide guarantees and ensure that content can be transferred without loss.
  34. 34. Communication Curator We conceive, develop, design and communicate content and significantly shape the future of our visitor groups. We are the creators of knowledge environments at the interface of content, education, experience and technology. We are largely responsible for the success and distribution of our stories. What we need is a broadened job description, a new job title that strengthens the sense of self and strengthens our work to those who equate to curators.
  35. 35. Joseph Beuys, Das Museum, 1993 Museums in the 21st century should be seen as universities with complex collections.
  36. 36. Joseph Beuys, Das Museum, 1993 “Art museums are excluded from all the problems of the world.” (48-49) “totalization of the concept of art ” (20) “the world is something that wants to be shaped by humans.” (20) “Every human being is an artist.”  
  37. 37. Joseph Beuys, Das Museum, 1993 The Museum should become a place in which questions and constellations can be discussed that are not considered elsewhere and that poses the crucial “cultural, democratic, social and ecologic questions“ (38) “that goes through all the ways of society.“ (49)  
  38. 38. H.Kraemer@cityu.edu.hk                kraemer@transfusionen.de  

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