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Aleksandra 
Janus 
Dorota 
Kawęcka 
innemuzeum.pl 
Mobile 
Technology 
and 
the 
Museum
consultants 
bloggers 
researchers
galleries 
libriaries 
GLAM 
archives 
museums
it’s 
all 
about 
experience…
leisure 
industry 
sales 
marketing 
experience 
tourism 
museums
Barbara 
Kirshenblatt-­‐Gimblett 
(1998) 
If 
in 
the 
past 
museums 
were 
object-­‐ 
centred 
and 
the 
collections 
man...
Anthony 
Jackson, 
Jenny 
Kidd 
(2011) 
Visits 
to 
museums 
and 
heritage 
sites 
have 
in 
recent 
years 
become 
(not 
...
Mads 
Daugbjerg 
(2011) 
Experience 
seems 
to 
be 
the 
word 
of 
the 
day 
in 
today’s 
heritage 
industry. 
M. 
Daugbje...
Joseph 
Pine, 
James 
Gilmore 
(1999) 
experience 
model 
• immersion 
• passive 
participation 
• active 
participation 
...
Why 
mobile 
technologies? 
familiar 
technology 
personal 
device 
rescue 
in 
small 
space 
post 
visit
wayfinding 
extra 
resources 
external 
use 
function 
equivalent
Explorer 
-­‐ 
American 
Museum 
of 
Natural 
History
Explorer 
-­‐ 
American 
Museum 
of 
Natural 
History
Muzeum 
Dźwięków 
– 
National 
Museum 
in 
Krakow
Muzeum 
Dźwięków 
– 
National 
Museum 
in 
Krakow
Muzeum 
Dźwięków 
– 
National 
Museum 
in 
Krakow
extending 
the 
experience 
discovering 
the 
city 
mapping 
the 
non-­‐existent 
difficult 
heritage 
urban 
memory
Lublin 
2.0 
(Layar) 
– 
Grodzka 
Gate
Warsaw 
’44 
(Layar) 
– 
Warsaw 
Uprising 
Museum
Warsaw 
’44 
(Layar) 
– 
Warsaw 
Uprising 
Museum
Oszpicin 
– 
Jewish 
Center 
in 
Oświęcim 
(Auschwitz)
Oszpicin 
– 
Jewish 
Center 
in 
Oświęcim 
(Auschwitz)
MyWarsaw 
– 
Museum 
of 
the 
History 
of 
Polish 
Jews
Witold 
Lutosławski 
Guide 
to 
Warsaw 
– 
Fryderyk 
Chopin 
Institute
Witold 
Lutosławski 
Guide 
to 
Warsaw 
– 
Fryderyk 
Chopin 
Institute
Malopolska’s 
Virtual 
Museums
Malopolska’s 
Virtual 
Museums
Malopolska’s 
Virtual 
Museums
Nina 
Simon 
“The 
Participatory 
Museum” 
museum 
2.0
Nina 
Simon 
(2010) 
I 
define 
a 
participatory 
cultural 
institution 
as 
a 
place 
where 
visitors 
can 
create, 
shar...
Create 
Nina 
Simon 
(2010) 
means 
that 
visitors 
contribute 
their 
own 
ideas, 
objects, 
and 
creative 
expression 
t...
trusting 
visitors 
building 
community 
participatory 
sharing 
authority 
giving 
up 
control
Old 
Weather 
– 
The 
Citizen 
Science 
Alliance
See: 
https://speakerdeck.com/tokumine/from-­‐visitors-­‐to-­‐science 
and 
https://vimeo.com/49844515
Supertagger 
-­‐ 
Huis 
van 
Alijn 
(Ghent)
Europeana
Europeana 
1989
Europeana 
1989
Open 
Definition 
A 
piece 
of 
data 
or 
content 
is 
open 
if 
anyone 
is 
free 
to 
use, 
reuse, 
and 
redistribute 
it...
An 
OpenGLAM 
institution 
champions 
these 
principles: 
1. Release 
digital 
information 
about 
the 
artefacts 
(metada...
Source: 
Rui 
Guerra, 
https://twitter.com/ruibeep/status/388016195535790080/photo/1
Yes, 
you 
can 
harvest 
it 
with 
their 
API 
! 
Did 
you 
know 
the 
Rijksmuseum 
opened 
their 
data 
? 
Source: 
http:...
Open 
Cultuur 
Data 
& 
Hack 
de 
Overheid
Faces 
of 
the 
Rijksmuseum
Dook 
voor 
in 
je 
hook
Source: 
http://www.makelifeeasier.pl/img/image/IMG_3276.jpg
Dook 
voor 
in 
je 
hook
Open 
Monuments 
– 
Centrum 
Cyfrowe
What’s 
the 
potential 
of 
mobile 
technologies 
in 
the 
context 
of 
OpenGLAM?
Thank 
you! 
@DorotaKawecka 
@AleksandraJanus 
innemuzeum.pl
Mobile Technology and the Museum
Mobile Technology and the Museum
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Mobile Technology and the Museum

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Presentation given for Create MOME Techlab participants at MOME University in Budapest on 16 October 2013.
http://techlab.mome.hu/index.php?option=com_content&view=article&id=329%3Atechtea-mobile-technology-and-the-museum&catid=62%3Alabor-hirek&Itemid=99&lang=en

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Mobile Technology and the Museum

  1. 1. Aleksandra Janus Dorota Kawęcka innemuzeum.pl Mobile Technology and the Museum
  2. 2. consultants bloggers researchers
  3. 3. galleries libriaries GLAM archives museums
  4. 4. it’s all about experience…
  5. 5. leisure industry sales marketing experience tourism museums
  6. 6. Barbara Kirshenblatt-­‐Gimblett (1998) If in the past museums were object-­‐ centred and the collections managed by curators were their biggest asset, nowadays museum come to be increasingly defined by their relationship with visitors – customers expecting good quality service. B. Kirshenblatt-­‐Gimblett, 1998, Destination: Culture. Tourism, Museums and heritage, p. 138.
  7. 7. Anthony Jackson, Jenny Kidd (2011) Visits to museums and heritage sites have in recent years become (not least in promotional rhetoric) less about the object and more about the experience: an ‘encounter’ with a past that is ‘brought to life’, peppered with ‘events’ and advertised through a list of ‘What’s On’. A. Jackson, J.Kidd , 2011, Performing heritage: Research, practice and innovation in museum theatre and live interpretation, p. 1.
  8. 8. Mads Daugbjerg (2011) Experience seems to be the word of the day in today’s heritage industry. M. Daugbjerg, Playing with fire: struggling with ‘experience’ and ‘play’ in war tourism, “Museum and Society”, 2011, nr 9 (1). p. 17.
  9. 9. Joseph Pine, James Gilmore (1999) experience model • immersion • passive participation • active participation • absorption Entertainment Educa-on Esthe-c Escapist J. Pine, J. Gilmore, 1999, Experience economy. Work is Theatre & Every Business a Stage, p.
  10. 10. Why mobile technologies? familiar technology personal device rescue in small space post visit
  11. 11. wayfinding extra resources external use function equivalent
  12. 12. Explorer -­‐ American Museum of Natural History
  13. 13. Explorer -­‐ American Museum of Natural History
  14. 14. Muzeum Dźwięków – National Museum in Krakow
  15. 15. Muzeum Dźwięków – National Museum in Krakow
  16. 16. Muzeum Dźwięków – National Museum in Krakow
  17. 17. extending the experience discovering the city mapping the non-­‐existent difficult heritage urban memory
  18. 18. Lublin 2.0 (Layar) – Grodzka Gate
  19. 19. Warsaw ’44 (Layar) – Warsaw Uprising Museum
  20. 20. Warsaw ’44 (Layar) – Warsaw Uprising Museum
  21. 21. Oszpicin – Jewish Center in Oświęcim (Auschwitz)
  22. 22. Oszpicin – Jewish Center in Oświęcim (Auschwitz)
  23. 23. MyWarsaw – Museum of the History of Polish Jews
  24. 24. Witold Lutosławski Guide to Warsaw – Fryderyk Chopin Institute
  25. 25. Witold Lutosławski Guide to Warsaw – Fryderyk Chopin Institute
  26. 26. Malopolska’s Virtual Museums
  27. 27. Malopolska’s Virtual Museums
  28. 28. Malopolska’s Virtual Museums
  29. 29. Nina Simon “The Participatory Museum” museum 2.0
  30. 30. Nina Simon (2010) I define a participatory cultural institution as a place where visitors can create, share, and connect with each other around content. N. Simon, 2010, The Participatory Museum, p. ii.. Available at: http://museumtwo.blogspot.com/
  31. 31. Create Nina Simon (2010) means that visitors contribute their own ideas, objects, and creative expression to the institution and to each other. Share means that people discuss, take home, remix, and redistribute both what they see and what they make during their visit. Connect means that visitors socialize with other people—staff and visitors—who share their particular interests. Around content means that visitors’ conversations and creations focus on the evidence, objects, and ideas most important to the institution in question. N. Simon, 2010, The Participatory Museum, p. ii-­‐iii.. Available at: http://museumtwo.blogspot.com/
  32. 32. trusting visitors building community participatory sharing authority giving up control
  33. 33. Old Weather – The Citizen Science Alliance
  34. 34. See: https://speakerdeck.com/tokumine/from-­‐visitors-­‐to-­‐science and https://vimeo.com/49844515
  35. 35. Supertagger -­‐ Huis van Alijn (Ghent)
  36. 36. Europeana
  37. 37. Europeana 1989
  38. 38. Europeana 1989
  39. 39. Open Definition A piece of data or content is open if anyone is free to use, reuse, and redistribute it — subject only, at most, to the requirement to give credit to the author and/or making any resulting work available under the same terms as the original work Source: http://opendefinition.org/
  40. 40. An OpenGLAM institution champions these principles: 1. Release digital information about the artefacts (metadata) into the public domain using an appropriate legal tool such as the Creative Commons Zero Waiver 2. Keep digital representations of works for which copyright has expired (public domain) in the public domain by not adding new rights to them. 3. When publishing data make an explicit and robust statement of your wishes and expectations with respect to reuse and repurposing of the descriptions, the whole data collection, and subsets of the collection. 4. When publishing data use open file formats which are machine-­‐ readable 5. Opportunities to engage audiences in novel ways on the web should be pursued. Source: http://openglam.org/principles/
  41. 41. Source: Rui Guerra, https://twitter.com/ruibeep/status/388016195535790080/photo/1
  42. 42. Yes, you can harvest it with their API ! Did you know the Rijksmuseum opened their data ? Source: http://www.slideshare.net/CollectieInformatie/presentation-­‐museumnext
  43. 43. Open Cultuur Data & Hack de Overheid
  44. 44. Faces of the Rijksmuseum
  45. 45. Dook voor in je hook
  46. 46. Source: http://www.makelifeeasier.pl/img/image/IMG_3276.jpg
  47. 47. Dook voor in je hook
  48. 48. Open Monuments – Centrum Cyfrowe
  49. 49. What’s the potential of mobile technologies in the context of OpenGLAM?
  50. 50. Thank you! @DorotaKawecka @AleksandraJanus innemuzeum.pl

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