The document discusses the history and evolution of internet art and net art. It notes that internet art has existed as long as the internet itself, taking various forms like GIFs, found images, and experimental social networks that reflect daily online experiences. Net art is defined as art that uses the internet as its medium and cannot be experienced otherwise. Characteristics of internet art mentioned include being accessible online 24/7, interactive, participatory, and critiquing institutions. The document also discusses post-internet art as building upon net art predecessors but reassembling elements in hybrid online-offline forms with a critical awareness of the past.
The Merzweb: Kurt Schwitters And The Inverted WebDave Mee
The document discusses Kurt Schwitters, a 20th century artist known for his "Merz" works which incorporated found objects and collage into paintings and sculptures. It draws parallels between Schwitters' most famous work, the Merzbau, an immersive installation built within his home, and modern websites which incorporate content from external sources through features like comments, videos, images, and links. Both the Merzbau and these websites exist in a state of constant flux, change, and redefinition as new content is added, with no single definitive version.
1. The document discusses the rise of participatory media like Flickr and whether this represents a "Web 2.0 moment". It explores how Flickr encourages sharing of photos and personal information between users.
2. A case study is presented of an Australian Flickr group where a user uploaded old slides of Brisbane from the 1950s-60s, prompting another user to take new photos of the same locations and compare changes over time.
3. The author Jean Burgess argues this type of activity on Flickr demonstrates "vernacular creativity" and shows how digital media allows ordinary people to engage in cultural citizenship by representing themselves and their experiences.
The document appears to be a summary of tweets and discussions from the #RedeyeNetwork event on November 26, 2013 in Manchester, UK. It includes tweets on topics like what it means to be a 21st century photographer, rethinking photoeducation, developing new partnerships and collaborations, the role of the curator, archiving images online, and challenges around scale and visibility in social media. Speakers at the event like Jonathan Shaw shared their presentations and perspectives on emerging issues and opportunities in photography.
Online learning is being transformed by new technologies and social connections. [1] Tools like YouTube and social media allow learning to occur anywhere and be shared widely. [2] Networks provide opportunities for inspiration, collaboration, and crowdsourcing knowledge. [3] Visible, open learning helps develop strong connections and communities for sharing ideas.
This document summarizes a presentation about open scholarship and connected learning. It discusses how knowledge is acquired and shared, from human thought to various coding languages. It also examines shifts towards more open and collaborative models of learning, including the rise of open content online and network literacies. Key barriers like power and control are addressed. The importance of collaboration, critical thinking, and questioning established ideas are emphasized in developing 21st century learning networks.
Slides used to facilitated the Introduction to Connected Learning session in #etmooc (http://etmooc.org). Supporting resources found at: http://bit.ly/Xv3R3P
The document discusses the history and evolution of internet art and net art. It notes that internet art has existed as long as the internet itself, taking various forms like GIFs, found images, and experimental social networks that reflect daily online experiences. Net art is defined as art that uses the internet as its medium and cannot be experienced otherwise. Characteristics of internet art mentioned include being accessible online 24/7, interactive, participatory, and critiquing institutions. The document also discusses post-internet art as building upon net art predecessors but reassembling elements in hybrid online-offline forms with a critical awareness of the past.
The Merzweb: Kurt Schwitters And The Inverted WebDave Mee
The document discusses Kurt Schwitters, a 20th century artist known for his "Merz" works which incorporated found objects and collage into paintings and sculptures. It draws parallels between Schwitters' most famous work, the Merzbau, an immersive installation built within his home, and modern websites which incorporate content from external sources through features like comments, videos, images, and links. Both the Merzbau and these websites exist in a state of constant flux, change, and redefinition as new content is added, with no single definitive version.
1. The document discusses the rise of participatory media like Flickr and whether this represents a "Web 2.0 moment". It explores how Flickr encourages sharing of photos and personal information between users.
2. A case study is presented of an Australian Flickr group where a user uploaded old slides of Brisbane from the 1950s-60s, prompting another user to take new photos of the same locations and compare changes over time.
3. The author Jean Burgess argues this type of activity on Flickr demonstrates "vernacular creativity" and shows how digital media allows ordinary people to engage in cultural citizenship by representing themselves and their experiences.
The document appears to be a summary of tweets and discussions from the #RedeyeNetwork event on November 26, 2013 in Manchester, UK. It includes tweets on topics like what it means to be a 21st century photographer, rethinking photoeducation, developing new partnerships and collaborations, the role of the curator, archiving images online, and challenges around scale and visibility in social media. Speakers at the event like Jonathan Shaw shared their presentations and perspectives on emerging issues and opportunities in photography.
Online learning is being transformed by new technologies and social connections. [1] Tools like YouTube and social media allow learning to occur anywhere and be shared widely. [2] Networks provide opportunities for inspiration, collaboration, and crowdsourcing knowledge. [3] Visible, open learning helps develop strong connections and communities for sharing ideas.
This document summarizes a presentation about open scholarship and connected learning. It discusses how knowledge is acquired and shared, from human thought to various coding languages. It also examines shifts towards more open and collaborative models of learning, including the rise of open content online and network literacies. Key barriers like power and control are addressed. The importance of collaboration, critical thinking, and questioning established ideas are emphasized in developing 21st century learning networks.
Slides used to facilitated the Introduction to Connected Learning session in #etmooc (http://etmooc.org). Supporting resources found at: http://bit.ly/Xv3R3P
Cutting the Gordian Knot — Michael Peter Edson, We Are Museums 2019Michael Edson
This document contains the script for a 15 minute talk on cutting the Gordian knot as a metaphor for solving difficult problems through direct action. It discusses three main defects in museum practice: being too cautious, overestimating indirect action, and being too slow. It argues that museums have tools like institutions, reputation, and convening power but rarely use them convincingly to achieve civic goals. To address issues like climate change, poverty and extremism, museums need to take bolder, more direct action and spend the trust they have earned on important causes, rather than remaining cautious.
This document discusses how social networks and openness are transforming teaching and learning. It highlights how tools like social media allow academics to more openly share their work and connect with peers and students. It also discusses the rise of open access to information, open journal publishing models, and how knowledge is becoming more freely shared. The document advocates for more open and connected models of teaching that take advantage of global online learning networks and communities.
1) The document discusses building a social environment online and identifies four main areas: encouraging a sense of community, socializing users into the community, providing tasks and tools to support the social environment, and defining the role of the e-tutor.
2) It provides examples of principles for collaborative learning and socializing tasks, as well as technologies like blogs, wikis, podcasts, and chats that can help users interact, connect, and express themselves.
3) The role of the e-tutor is to induct participants, guide online behavior, encourage bonding between users, set up social activities, enhance social presence, and bridge the social and learning environments.
This document discusses how networks and new technologies are changing learning. It notes that knowledge is now abundant and free online, learning is increasingly social and visible, and networks enable new forms of collaboration. Weak ties and open sharing of ideas can spark innovation. The document provides examples of how YouTube, social media, and memes spread information and new literacies like network literacy are important. It emphasizes making the learning process visible and contributing to others' learning through open sharing.
Identity, Networks, and Connected LearningAlec Couros
Slides from my keynote presentation at the DesireToLearn Fusion conference in Boston, MA, on July 17, 2013. You can download the .key (Keynote) file at https://www.dropbox.com/s/tzmw3pccuugu7aq/D2L.key ... feel free to reuse/remix under the CC-NC/ATT/SA license.
A video of this presentation is available at: http://www.youtube.com/watch?v=tF2Xj48iRhw
Social networks and networking to support eTwinning teachersRiina Vuorikari
This document discusses social networks and how they can be used to support teachers on the eTwinning platform. It defines what social networks are and how they are represented on eTwinning. Social networks make the relationships between teachers, schools, projects and countries visible and can help teachers find others with similar interests. Being active and engaging within the eTwinning social network, such as participating in groups, can help teachers get more from the platform and support others.
Lego Beowulf and the Web of Hands and Hearts, for the Danish national museum ...Michael Edson
This talk was delivered at the awards ceremony for the 2012 Bikuben Foundation Danish Museum Prize in Copenhagen, Denmark.
Ideas about what museums are, who they serve, and the role they play in society are changing with dramatic speed, driven largely by social media and the participatory culture of global networks.
Denmark supports world-class museums, with remarkable collections, expert staff, and beautiful architecture. But how can museum leaders balance the traditional concepts of organizational mission and outcomes with the disruptive possibilities being demonstrated by those who love and use museums in new ways?
A text version of this presentation, with hyperlinks and footnotes, is available at http://www.slideshare.net/edsonm/michael-edson-lego-beowulf-and-the-web-of-hands-and-hearts-for-the-danish-national-museum-awards-13444266
This document discusses social networks and how they apply to the eTwinning online community. It defines social networks as structures made up of nodes (actors like teachers and schools) and ties (relationships between nodes like friendship or collaboration on projects). The document examines how eTwinning exhibits characteristics of a social network, with nodes, ties, and metrics like centrality and betweenness that can be visualized. It encourages eTwinning ambassadors to actively engage in growing their local networks and connecting other members to help the overall eTwinning network.
The document discusses humanizing online instruction through establishing instructor, social, and cognitive presence based on the Community of Inquiry framework. It describes modifications made to a MOOC design which aligned assignments to competencies and badges, incorporated tools like VoiceThread and FlipGrid to enhance social and instructor presence, and explored using video in discussions. The goal is to create more connected and collaborative online learning experiences for students.
This document discusses identity construction through internet use and social media. It covers how identity was initially presented through static personal homepages but is now more fluid through dynamic social media which allows for multiple simultaneous presentations of self. Identity is negotiated through connections to others online and information sharing on social networking sites has blurred boundaries around attributes like gender, sexuality and race. While online identities can feel liberating, they also face challenges like maintaining authenticity and balancing online and offline social worlds.
The document discusses copyright and Creative Commons licenses. It provides information about different Creative Commons licenses and their terms, including Attribution, Attribution-ShareAlike, Attribution-NoDerivatives, and others. Resources are shared for finding Creative Commons media like images, music, and videos that can be used and remixed for school projects while still providing proper attribution to the creator. National education technology standards are also referenced that promote teaching digital citizenship and responsible use of copyrighted works.
This document summarizes a presentation given by Helen Keegan about embracing social technologies in curriculum design. Some key points:
1) Keegan discussed several examples of incorporating social technologies at the University of Salford, such as BYOD (Bring Your Own Device) policies, international collaborations using hashtags, and mobile film projects across multiple platforms.
2) She emphasized concepts like openness, flexibility, learner agency, and designing for change. Curricula should blur boundaries, embrace serendipity, and be driven by learner interests.
3) Keegan showcased a transmedia storytelling project for a course where students collaborated on a mobile film across different media over multiple weeks.
This document discusses how new media is influencing museum mediation and narrative storytelling. It explores four aspects of narrative under new media: 1) the changing role of the narrator, 2) perspectives and focalization, 3) the ability to cross borders of space, and 4) the relationship between the duration of the telling and the period being described. New media allows for translation, crowdsourcing, choice of media/marketing, and conversation. It also enables alternate reality games and serious games that combine physical and digital experiences.
The following slide show is a collection of ideas I found extremely helpful when trying to gain a deeper understanding of the Net Generation. I have referenced scholarly sources to support my ideas and have organized the material into several subheadings:
Who is the Net Generation?/ How are they different?
How do they learn best?
What are their learning expectations?
What are the implications for teaching this generation?
The document discusses building community online and discusses how community is important for online students to feel connected through peer interaction. It discusses theories of community being places where people work, live, learn and play together and feel safe, connected and part of a group. The document suggests that new media can help expand what people can do and communicate, helping regain what may have been lost from old forms of communication and redefine traditions through new forms of international and non-hierarchical communication.
A slightly enlarged version of a talk given on the panel "Bringing together theory and practice in digital museum communication" with Allegra Burnette, Costis Dallas, Lev Manovich, Susan Hazan, and Sarah Kenderdine. Museums & the Web, San Diego, CA, April 13, 2012. The discussion was just getting underway when the hour ended!
Keynote address for the cultural heritage hackathon Coding da Vinci Schleswig-Holstein, 11 June 2021
https://codingdavinci.de/de/events/schleswig-holstein
@CdVSH21
@codingdavinci
Cover slide: still from Lucio Arese, Les Dieux Changeants, 2021 https://www.youtube.com/watch?v=rAHmAj0QrHk&t=1s
The document discusses digital ethnography and describes the process of conducting research in virtual spaces like Second Life. It outlines three stages of digital ethnography: data collection, content analysis, and comparative analysis. As an example, it then summarizes the author's experience conducting an ethnography interview with a Second Life artist named Corcosman Voom at his virtual art gallery. The author observes Voom's artwork, asks him questions about his creative process and involvement in Second Life, and compares his work to art made in the real world.
Cutting the Gordian Knot — Michael Peter Edson, We Are Museums 2019Michael Edson
This document contains the script for a 15 minute talk on cutting the Gordian knot as a metaphor for solving difficult problems through direct action. It discusses three main defects in museum practice: being too cautious, overestimating indirect action, and being too slow. It argues that museums have tools like institutions, reputation, and convening power but rarely use them convincingly to achieve civic goals. To address issues like climate change, poverty and extremism, museums need to take bolder, more direct action and spend the trust they have earned on important causes, rather than remaining cautious.
This document discusses how social networks and openness are transforming teaching and learning. It highlights how tools like social media allow academics to more openly share their work and connect with peers and students. It also discusses the rise of open access to information, open journal publishing models, and how knowledge is becoming more freely shared. The document advocates for more open and connected models of teaching that take advantage of global online learning networks and communities.
1) The document discusses building a social environment online and identifies four main areas: encouraging a sense of community, socializing users into the community, providing tasks and tools to support the social environment, and defining the role of the e-tutor.
2) It provides examples of principles for collaborative learning and socializing tasks, as well as technologies like blogs, wikis, podcasts, and chats that can help users interact, connect, and express themselves.
3) The role of the e-tutor is to induct participants, guide online behavior, encourage bonding between users, set up social activities, enhance social presence, and bridge the social and learning environments.
This document discusses how networks and new technologies are changing learning. It notes that knowledge is now abundant and free online, learning is increasingly social and visible, and networks enable new forms of collaboration. Weak ties and open sharing of ideas can spark innovation. The document provides examples of how YouTube, social media, and memes spread information and new literacies like network literacy are important. It emphasizes making the learning process visible and contributing to others' learning through open sharing.
Identity, Networks, and Connected LearningAlec Couros
Slides from my keynote presentation at the DesireToLearn Fusion conference in Boston, MA, on July 17, 2013. You can download the .key (Keynote) file at https://www.dropbox.com/s/tzmw3pccuugu7aq/D2L.key ... feel free to reuse/remix under the CC-NC/ATT/SA license.
A video of this presentation is available at: http://www.youtube.com/watch?v=tF2Xj48iRhw
Social networks and networking to support eTwinning teachersRiina Vuorikari
This document discusses social networks and how they can be used to support teachers on the eTwinning platform. It defines what social networks are and how they are represented on eTwinning. Social networks make the relationships between teachers, schools, projects and countries visible and can help teachers find others with similar interests. Being active and engaging within the eTwinning social network, such as participating in groups, can help teachers get more from the platform and support others.
Lego Beowulf and the Web of Hands and Hearts, for the Danish national museum ...Michael Edson
This talk was delivered at the awards ceremony for the 2012 Bikuben Foundation Danish Museum Prize in Copenhagen, Denmark.
Ideas about what museums are, who they serve, and the role they play in society are changing with dramatic speed, driven largely by social media and the participatory culture of global networks.
Denmark supports world-class museums, with remarkable collections, expert staff, and beautiful architecture. But how can museum leaders balance the traditional concepts of organizational mission and outcomes with the disruptive possibilities being demonstrated by those who love and use museums in new ways?
A text version of this presentation, with hyperlinks and footnotes, is available at http://www.slideshare.net/edsonm/michael-edson-lego-beowulf-and-the-web-of-hands-and-hearts-for-the-danish-national-museum-awards-13444266
This document discusses social networks and how they apply to the eTwinning online community. It defines social networks as structures made up of nodes (actors like teachers and schools) and ties (relationships between nodes like friendship or collaboration on projects). The document examines how eTwinning exhibits characteristics of a social network, with nodes, ties, and metrics like centrality and betweenness that can be visualized. It encourages eTwinning ambassadors to actively engage in growing their local networks and connecting other members to help the overall eTwinning network.
The document discusses humanizing online instruction through establishing instructor, social, and cognitive presence based on the Community of Inquiry framework. It describes modifications made to a MOOC design which aligned assignments to competencies and badges, incorporated tools like VoiceThread and FlipGrid to enhance social and instructor presence, and explored using video in discussions. The goal is to create more connected and collaborative online learning experiences for students.
This document discusses identity construction through internet use and social media. It covers how identity was initially presented through static personal homepages but is now more fluid through dynamic social media which allows for multiple simultaneous presentations of self. Identity is negotiated through connections to others online and information sharing on social networking sites has blurred boundaries around attributes like gender, sexuality and race. While online identities can feel liberating, they also face challenges like maintaining authenticity and balancing online and offline social worlds.
The document discusses copyright and Creative Commons licenses. It provides information about different Creative Commons licenses and their terms, including Attribution, Attribution-ShareAlike, Attribution-NoDerivatives, and others. Resources are shared for finding Creative Commons media like images, music, and videos that can be used and remixed for school projects while still providing proper attribution to the creator. National education technology standards are also referenced that promote teaching digital citizenship and responsible use of copyrighted works.
This document summarizes a presentation given by Helen Keegan about embracing social technologies in curriculum design. Some key points:
1) Keegan discussed several examples of incorporating social technologies at the University of Salford, such as BYOD (Bring Your Own Device) policies, international collaborations using hashtags, and mobile film projects across multiple platforms.
2) She emphasized concepts like openness, flexibility, learner agency, and designing for change. Curricula should blur boundaries, embrace serendipity, and be driven by learner interests.
3) Keegan showcased a transmedia storytelling project for a course where students collaborated on a mobile film across different media over multiple weeks.
This document discusses how new media is influencing museum mediation and narrative storytelling. It explores four aspects of narrative under new media: 1) the changing role of the narrator, 2) perspectives and focalization, 3) the ability to cross borders of space, and 4) the relationship between the duration of the telling and the period being described. New media allows for translation, crowdsourcing, choice of media/marketing, and conversation. It also enables alternate reality games and serious games that combine physical and digital experiences.
The following slide show is a collection of ideas I found extremely helpful when trying to gain a deeper understanding of the Net Generation. I have referenced scholarly sources to support my ideas and have organized the material into several subheadings:
Who is the Net Generation?/ How are they different?
How do they learn best?
What are their learning expectations?
What are the implications for teaching this generation?
The document discusses building community online and discusses how community is important for online students to feel connected through peer interaction. It discusses theories of community being places where people work, live, learn and play together and feel safe, connected and part of a group. The document suggests that new media can help expand what people can do and communicate, helping regain what may have been lost from old forms of communication and redefine traditions through new forms of international and non-hierarchical communication.
A slightly enlarged version of a talk given on the panel "Bringing together theory and practice in digital museum communication" with Allegra Burnette, Costis Dallas, Lev Manovich, Susan Hazan, and Sarah Kenderdine. Museums & the Web, San Diego, CA, April 13, 2012. The discussion was just getting underway when the hour ended!
Keynote address for the cultural heritage hackathon Coding da Vinci Schleswig-Holstein, 11 June 2021
https://codingdavinci.de/de/events/schleswig-holstein
@CdVSH21
@codingdavinci
Cover slide: still from Lucio Arese, Les Dieux Changeants, 2021 https://www.youtube.com/watch?v=rAHmAj0QrHk&t=1s
The document discusses digital ethnography and describes the process of conducting research in virtual spaces like Second Life. It outlines three stages of digital ethnography: data collection, content analysis, and comparative analysis. As an example, it then summarizes the author's experience conducting an ethnography interview with a Second Life artist named Corcosman Voom at his virtual art gallery. The author observes Voom's artwork, asks him questions about his creative process and involvement in Second Life, and compares his work to art made in the real world.
The document discusses different perspectives on how digital technologies and the internet are impacting learning, culture, and society. It notes debates around whether the internet hinders deep thinking or enables widespread participation and innovation. It also discusses practical teaching perspectives on preparing students for a world where learning is interconnected online. Several conclusions are drawn around curating information and the potential for a "renaissance" in read-write culture.
The document summarizes challenges in curating digital art, including the sustainability of web-based projects, lack of archival projects for digital exhibitions, and commercialization of the web. It discusses how the pandemic accelerated digital exhibitions and hybrid collections that combine physical and digital works. Curating digital art involves site-specific approaches that respond to the web's interactive capabilities. Effective digital curation evolves from early link lists to collaborative and networked models involving "tab to tab, room to room" experiences. Pressures from social media metrics and corporate controls online limit the scale and format of digital projects.
Social Media for the Scared February 2014Bex Lewis
Day long course designed for the Church of England, encouraging people to think about why, what, when, etc. to use social media, provided by Dr Bex Lewis, Director of Digital Fingerprint Social Media Consultancy.
Technology is continuing to revolutionize many areas of life including creative endeavor. This presentation on Digital Art and Philosophy looks at different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Specific topics include: Design Aesthetics of Meaning-Making: Info Visualization, Democratized Creativity: Performance, Music, Virtual Reality, Gaming, Natural Aesthetics: Generative Art, SynBio, Biomimicry, SocNets, and Portable ArtTech: Identity, Wearable Electronics, the Future. More information: www.MelanieSwan.com/PCA
Digital Culture and the Shaking Hand of ChangeMichael Edson
The presentation shows how to create and use a "problem space" to organize complex challenges. The central metaphor for the talk is the "civic handshake" — a process by which different parts of society cooperate through the informal exchange of information and the sharing of responsibilities.
Closing keynote given at the Museum Educators of Southern California Summer Workshop on June 25, 2010. It starts with a nod to John Seely Brown and his wisdom about solution confusion in rapidly changing technological times, then explores the boundaries between traditionally siloed museum departments that are merging/under threat in this new environment. From there a brief history of the role for new media interpretation in museums (art and otherwise), a summary of the Visual Velcro idea, and the role of mobile multimedia in supplying hooks to the hookless. Finally a summary of "Making Sense of Modern Art Mobile," and the implications of taking on publication and distribution of a mobile tour in-house. Ends with future plans and questions about the integration of social media in such publications.
This document summarizes Winnie Soon's artistic research projects involving collaboration and collective work. It discusses her readme.spampoem project which uses email to explore spam poetry. It also describes her animated gif work collecting internet images of Mao Zedong with permission from each author. The document then explores the differences between collaborative and collective work and provides examples of Soon's collaborative writing and participation in the Transmediale Festival and a datafied research workshop focusing on reflexive practice.
This document summarizes a workshop on writing text for digital media in museums. The workshop covered:
1. The challenges of writing for different digital platforms which require different skills and technical knowledge.
2. An exercise where participants wrote tweets summarizing precious museum objects in 140 characters to practice concise writing.
3. A discussion of how to write for social media by showing interest, asking questions, and focusing on engagement over information.
The workshop emphasized writing in a conversational rather than static way, focusing on the audience experience, and involving other museum staff and visitors in the writing process.
Accompanying text (English) at the keynote for the ICOM-CECA Conference in Yerevan, Armenia, october 2012, a plea for the personal and eccentric museum...
Slides for a remote presentation/session for http://conference2009.e-uni.ee/index.php?n=en
SCHOOL - FROM TEACHING INSTITUTION TO LEARNING SPACE which takes place April 02 - 03, 2009 at the Estonian University of Life Sciences conference centre (Kreutzwaldi 1A, Tartu), Estonia (but I'll be in Seattle and it will be 4:30 am my time!)
Presentation on the Future of the Book,
The Amplified Author and the Local Unlibrary
by Chris Meade,
Director of if:book (London)
the think and do tank exploring the future of the book in the digital age
- Artists have long sought innovative ways to convey emotion and stories through their work. Art can have different meanings for different people depending on their perspective.
- Technology has greatly impacted art and culture over the 20th century, with the development of computers, software like Photoshop, and digital photography and enhancements.
- Media art combines art, science, and technology, creating new interactive and immersive experiences for viewers through digital and virtual means. It is transforming how images are represented and experienced.
Engagement, Art, & Often Children: Gobal Exhibit Forum SwedenMaria Mortati
Known locally as Intensivdagarna:
"Intensivdagarna is Sweden’s largest conference and prime meeting place for professionals working with the exhibition medium.
"The conference takes place in the premises of Swedish Exhibition Agency on the island of Gotland in December 2012. The programme containes more than 60 lectures and workshops focused on everything from new technology, audience involvement, marketing and contemporary art to trend-spotting for future exhibitions and global perspectives."
http://www.riksutstallningar.se/content/global-exhibit-forum-2012-0?language=en
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
The document discusses designing mobile content and experiences for museum audiences. It argues for moving beyond traditional audio tours and instead focusing on social media, facilitating conversations, and connecting communities of interest. Examples are provided of mobile experiences that engage audiences both inside and outside the museum.
Participatory Design Workshop for MuseumsNina Simon
Presentation for museum exhibit and content developers on designing experiences for visitor participation. First presented in the context of a workshop for Seattle-area museums at the University of Washington on April 24, 2009. A Nina Simon/Museum 2.0 presentation.
This document provides an overview of how artists can use social media to promote their work and increase visibility online. It discusses ten ways artists can benefit from social media, including presenting works, promoting events, developing press relationships, and selling works. The document also examines the most suitable social media platforms for artists, including Facebook, Twitter, YouTube, and Instagram. It concludes with a section on protecting copyright and includes interviews with artists about their social media strategies.
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
Similar to Collecting the Cloud, Feeding the Crowd (20)
MW17 Closing plenary: Creating the Visitor-centered MuseumPeter Samis
A rare opportunity to come full circle: 10 years ago I presented about an interpretive evaluation that showed that even if our digital interpretive resources made a huge difference for those who used them, most visitors didn't. For five years I've been researching and co-writing a book on innovative museums that use more holistic ways of reaching their visitors. Here's the presentation I gave. (I was followed by Merilee Mostov, Director of Inclusive Interpretation at the Columbus Museum of Art--one of our ten case study museums.)
"Creating the Visitor-Centered Museum" Book Launch at OMCAPeter Samis
My new book co-authored with Mimi Michaelson, titled "Creating the Visitor-Centered Museum," was the subject of an event at the Oakland Museum of California (OMCA) on Friday, February 3, 2017. I presented the accompanying slide deck as a backgrounder for a dialogue with OMCA Director and CEO Lori Fogarty before we both took questions from the audience. A great and stimulating time, with friends, students, and colleagues from near and far. Many thanks to the John F. Kennedy University Museum Studies Program and OMCA for organizing it!
The XY&Z of Digital Storytelling: Dramaturgy, directionality and designPeter Samis
Talk presented at Museums & the Web 2015 in Chicago on April 9, 2015. Co-authored with Tim Svenonius, it's a reflection on how digital narratives have become more efficient--for instance, cross-platform compatible--but less affecting, and an appeal to find more original ways to tell our stories.
Visitor-Centered: What Does it Mean to Walk that Talk?Peter Samis
Presented at the National Museum of Denmark to a mixed audience of Nationalmuseet curators, educators, and staff from other Danish museums. The presentation addresses responsiveness to visitor needs in developing interpretive components and gallery design. I followed the talk with a hands-on workshop in which participants wrote labels in new ways, observed visitors, and edited their galleries with visitor experience in mind. Part of a 2-day symposium organized by Mette Boritz of the National Museum.
Drawing from the Well of Language: Droughts, Floods, and Flows of MeaningPeter Samis
An attempt to distill some rules of thumb for museum interpretation, covering the spectrum from analog to digital. Delivered to an international audience of museum professionals in Yerevan, Armenia on October 21, 2012.
Three Proposals for the New Millennium--or the next 5 years!Peter Samis
Three proposals are presented for museums to become more transformative in the new millennium:
1) Practice listening to better understand visitors' goals and be open to change. This can involve design thinking approaches.
2) Work with artists to bring fresh perspectives through projects engaging visitors in the galleries.
3) Leverage technology for interpretation, providing context, and allowing access to artists, but ensure it does not replace in-gallery experiences. While apps offer engagement, methods of true dialogue need further development.
From Closed Silos to Collaborative Networks: Digital Impacts on MuseumsPeter Samis
Starts with results of an informal poll conducted among museum technology professionals at MCN 2011. Continues with 4 more in-depth case studies: the Indianapolis Museum of Art (IMA), Tate, MoMA, and the Walker Art Center (WAC). What are the impacts of digital publishing on organizational structures, workflows, and institutional voice? Presented in Rotterdam at DISH 2011.
Creating Dramas of Context, Communities of InterestPeter Samis
A presentation given in various forms at USC's Institute for Multimedia Literacy, the Vancouver Art Gallery, the University of Texas at Austin, and most recently via videoconference at the Maryland Institute College of Art.
Presented in London at Tate Modern's symposium, "Museums & Mobiles in the Age of Social Media," on Sept. 7, 2010. Talks about the explosion of the old single provider audio tour model in the face of apps, museums assuming a greater role in their own mobile content creation, and some visitors (though by no means all) wanting to use their own personal devices. How will museums bring their mobile multimedia interpretation to a broader public than the ones who own iPhones? Suggests opportunity spaces born of the disruption in this field.
After the heroism, collaboration: Organizational learning and the mobile spacePeter Samis
A presentation given with my colleague and co-author Stephanie Pau on April 16, 2009 at Museums & the Web in Indianapolis. It starts out with a report of inter-departmental collaboration around interpretation planning for exhibitions at SFMOMA and then focuses on mobile technologies, including the results of two evaluations indicating visitor preferences. Finally, we outline future directions for mobile multimedia development at SFMOMA.
The eyes want to have it: Multimedia Handhelds in the Museum (an evolving story)Peter Samis
A variant of this presentation, titled "Knowledge on Demand, Knowledge in Hand: Visitor-centered mobile multimedia," was delivered on 3 October 2008 at the conference "Knowledge in Demand '08" in Bern, Switzerland.
Four Tests in Three Summers: Assessing visitor preferences in handhelds at SF...Peter Samis
The document summarizes four tests conducted by the San Francisco Museum of Modern Art over three summers to assess visitor preferences for different handheld audio tour options. The tests found that there is no clear preferred option, as different devices support different touring styles. Visitors appreciated having multiple experience options. While newer options like iPods and cell phones seemed to skew younger, the majority of visitors still did not use any technology during their visit. The museum is continuing to test different options to enhance the visitor experience through a mix of analog and digital offerings.
The document discusses how museums can turn obstacles into learning opportunities for visitors. It suggests that some objects have a natural ability to grab attention, while for other objects museums must provide contextual hooks. When visitors have questions about why an object was made or its purpose, it is an opportunity for museums to help answer bigger questions and honor both the artist and the visitor's experience.
The document discusses a museum's efforts to get visitors to provide comments and feedback on an art exhibition through a blog on the museum's website. Over 400 comments were received from over 200,000 page views, but comments only represented 2% of total blog visitors. The comments provided some useful insights but the discussion lacked depth and meaningful dialogue between visitors and the museum. Moving forward, the museum hopes to better facilitate genuine discussions between experts and novices and bridge the cultural divide through new approaches beyond just a blog.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
1. Collecting the Cloud, Feeding the Crowd
Peter Samis
Associate Curator,
Interpretive Media
San Francisco Museum
of Modern Art
Jochen Gerz, The Gift (detail)
ALI-ABA 2012 San Francisco March 19, 2012
2. ―Knowledge… has broken out of its physical
confines (the pages of a book or the mind of a person)
and now exists in a hyperconnected online
state.‖
–David Weinberger via REBECCA J. ROSEN
4. ―For the coming generation, knowing
looks less like capturing truths in books
than engaging in never-settled networks
of discussion and argument.‖
5. ―the smartest person in the room is
no longer a person but the room
itself.
if the room —
―this also means that
the network — is stupid, we
ourselves will be made more
stupid.‖
―our task is to learn how to build smart rooms.‖
–Rebecca Rosen in dialogue with David Weinberger
8. Harrell Fletcher & Miranda July‘s
Learning to Love you More
[In 2002, before the rise of the blogosphere and Web
2.0 platforms, Harrell Fletcher and Miranda July
launched a collaborative online project that invited
people all over the world to perform and respond to
creative assignments: a kind of socialized ‗art school.‘
Participants followed the artists‘ simple instructions
and submitted documentation or ―reports‖ on their
assignments to the project‘s website.]
14. [Let's listen to the artists themselves give a
little background on the project and the
unforeseen sequels that ended up being
cross-woven among participants from all
over the world. This anticipates the social
web, which we will discuss in more detail
later.]
15. An example of piggybacking:
Assignment #12:
Get a temporary tattoo of one of Morgan Rozacky's neighbors.
17. [In 2010, as part of the exhibition The More Things
Change, SFMOMA invited Bay Area artist Stephanie
Syjuco to develop an in-gallery presentation of
Learning to Love You More. Rather than making a
curatorial selection of a few assignments, Syjuco
opted to translate Fletcher and July‘s online artwork
into a different time-based medium—a digital
slideshow in which all contributions for all the
assignments were presented: two assignments a day,
projected side by side.]
19. Collecting works like this leads us to…
[Technology issues are now Intimately interwoven
with curatorial and aesthetic issues.]
20. And internally, across departments:
Team Media:
• Curators
• Conservators
• Registrars
• Media technicians
• IP managers
Addressing time-based and digital art issues… since 1996!
21. Some of those issues are technical:
think of the ever more rapidly evolving
media format and hardware standards.
[From the job description for the New Media Conservation
Administrator]
22. ―The content has a longer lifespan than
the technology does.‖
Photo: SMcGarnigle
Besides, what‘s the shelf-life of a standard these days?
23. Piggybacking —>Linking w/ an attribution
—> Pirating
In the world of copyright, where does
building on each other‘s work become
uncool? Or in a world where everybody is
borrowing sentence fragments from
everyone else, be they visual or linguistic,
what‘s a copyright lawyer to do?
25. The Internet is inherently a
CULTURE OF LINKING:
“the emerging sense of the author as
moderator — someone able to marshal
„the wisdom of the network.‟”
–Bob Stein via Maria Popova, aka @brainpicker
27. Here‘s a flaming retort: is CURATING just
a grandiose term for SHARING?
28. Continuing with Maria for a minute:
―IP, as a term, is inherently flawed and
anachronistic in its focus on ownership
(―property‖) in an age of sharing and
open access…"
29. Personal
reflection
writ large
as social
sharing…
with
artwork as
an impetus.
[Inspired by the current
Rineke Dijkstra show]
30. Or at a simpler level:
[Whether it‘s through a Pin or a tweet, pictures of our artworks
seep into the Web through many ports.]
32. It‘s clear that our visitors—both on-site
and online—want access to our material
• For creative use
• For personal reflection
• For projection into the
public sphere as part of
their own life and identity
33. Are the artworks* ours to give?
Are they ours to withhold?
*or rather their representations
34. For whom do we hold these works in
public trust?
• For the artists?
• For their descendants/Estates?
• For the visitors who pay at the gate?
• For the visitors who find us for free
through a link on the Web?
• For the Future?
Just who is the Future—and where are they today?
Learning to Love You More is a “smart room” conceived by two artists for the Web. In 2002, before the rise of the blogosphere and Web 2.0 platforms, Harrell Fletcher and Miranda July launched a collaborative online project that invited people all over the world to perform and respond to creative assignments: a kind of socialized ‘art school.’ Participants followed the artists’ simple instructions and submitted documentation or “reports” on their assignments to the project’s website.
Here was the last assignment. If you look on the right, you’ll see the names of people who completed it. On the left are the assignments that came before. Link here…
The site became a book, which you can buy at Amazon… or at the SFMOMA MuseumStore. (There were three copies left when last I checked!)
But when the Museum acquired “Learning to Love You More” in 2010, the year after the project officially ended, we got more than just a website. Many of the >8,000 submissions were analog, ranging from letters and tapes to rolled banners, framed paintings, stuffed toys and a re-created Rubik’s cube. Here’s a glimpse of what we received.
And here are some of the drawings and photos a year later, properly matted and stored.
So some issues are technical—or technologic—and others come at the intersection of aesthetics and philosophy. Fletcher and July are pioneers in the field of social practice art, also known as relational aesthetics.
Assignment #12:Get a temporary tattoo of one of Morgan Rozacky's neighbors. This was An example of piggybacking. (Morgan Rozacky had described her neighbors for Assignment #2Make a neighborhood field recording.)
In 2010, as part of the exhibition The More Things Change, SFMOMA invited Bay Area artist Stephanie Syjuco to develop an in-gallery presentation of Learning to Love You More. Rather than making a curatorial selection of a few assignments,Syjuco opted to translate Fletcher and July’s online artwork into a different time-based medium—a digital slideshow in which all contributions for all the assignments were presented: two assignments a day, projected side by side.
Comfy seating, too!
issues of a more technologic nature, which are now Intimately interwoven with curatorial and aesthetic issues.Matters in Media Art is a platform for working on/addressing these emergent issueswith our peers in the New Art Trust:MoMA and Tate. As a result, SFMOMA’s methods are developed with—and actively critiqued by—two, other museum partners, also active in collecting media art.
Meanwhile, in-house, Team Media holds monthly meetings to address the special sorts of issues raised by time-based and digital art. And this has been going on in one form or another since 1996!
Who knew that a museum conservator would need “familiarity with micro-controllers, sensors, etc. and the ability to read a schematic?” But once you think about it, it makes perfect sense. As a society and its expressive capacities evolve, so do its art forms. And you know the artists are going to go there first, before any standards have been nailed down.
Is there a continuum here? In the world of copyright, where does building on each other’s work become uncool? Or in a world where everybody is borrowing sentence fragments from everyone else, be they visual or linguistic, what’s a copyright lawyer to do? Is the copyright model itself becoming somewhat obsolete?
On the Web itself, a lively debate ensues!
Think once again of Learning to Love You More. What Fletcher and July did was serve as convenors, inviting other people to contribute and display their creativity. Yet we only bought the piece from them—not their myriad contributors.
I recommend this website, where Popova puts forth an already controversial proposal for new forms of attribution on the Web.
It elicited an ad hominem [or feminam?] flame from blogger Matt Langer.
Here is a tumblr blog written by a college student who had a revelation about herself through the discomfort she felt in the presence of her peers as depicted in portraits at the current RinekeDijkstra show—which you’ll be able to see this evening at SFMOMA.
Many people don’t reflect so much as they pin—or tweet—or post to their Facebook page. Pictures of our artworks seep into the Web through many ports.
{FIN}In a world where social aesthetics and participation are becoming the watchwords of the day, these are just some questions to consider.