Museums+Tech conference 2017: Museums and tech in a divided world, Imperial War Museum London
Friday November 3 2017
http://museumscomputergroup.org.uk/events/museumstech-2017/
Granite State Gallery: NH Art and Artists through the Years+-Jane Oneail
New Hampshire has attracted and inspired artists since the colonial era. What is distinctive about the art made here? This program will consider works by itinerant and folk painters, landscape artists drawn to the state's scenic vistas, and modern artists that adopted bold styles to depict everyday life in the Granite State. Augustus Saint-Gaudens, Childe Hassam, and Maxfield Parrish are some of the artists discussed in this program.
International opera artist and pianist initiate musical collectionPriscilla Burgos
Ekaterina Potego and Svitlana Kosachenko are looking for sponsors to aid with an international musical project call Following Marco Polo – Music Along the Silk Road.
Robert Cawston. Generating engagement: creating playful experiences with muse...Museums Computer Group
MCG’s Museums+Tech 2016 presentation
Parallel sessions B #3
Robert Cawston, National Museums Scotland, Generating engagement: creating playful experiences with museum collections
Granite State Gallery: NH Art and Artists through the Years+-Jane Oneail
New Hampshire has attracted and inspired artists since the colonial era. What is distinctive about the art made here? This program will consider works by itinerant and folk painters, landscape artists drawn to the state's scenic vistas, and modern artists that adopted bold styles to depict everyday life in the Granite State. Augustus Saint-Gaudens, Childe Hassam, and Maxfield Parrish are some of the artists discussed in this program.
International opera artist and pianist initiate musical collectionPriscilla Burgos
Ekaterina Potego and Svitlana Kosachenko are looking for sponsors to aid with an international musical project call Following Marco Polo – Music Along the Silk Road.
Robert Cawston. Generating engagement: creating playful experiences with muse...Museums Computer Group
MCG’s Museums+Tech 2016 presentation
Parallel sessions B #3
Robert Cawston, National Museums Scotland, Generating engagement: creating playful experiences with museum collections
Essay on Art in Society
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The Importance of Art Essay
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The History of Art Essay
The Importance of Arts in School Essay
Argumentative Essay On Arts Education
The Argument Of Arts And Culture
The Artist And The Art Essay
Essay on Cultures Influences on Art
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Why Is Art Important in Society Essay
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Art & Well-being; exploring the potential of arts to enhance individual and c...OECD CFE
Presentation by Rarița ZBRANCA, Programme Director, Cluj Cultural Centre in Romania, during the meeting held in virtual format entitled, "Cultural participation and local resilience: Strategies for the recovery" from 1-3 December 2020 as part of the CULTURE, CREATIVE SECTORS AND LOCAL DEVELOPMENT Policy webinar series. Providing evidence and guidance to cities and regions on ways to maximize the economic and social impact of culture and support the creative economy.
The Trouble with (The Term) ArtAuthor(s) Carolyn DeanSour.docxwsusan1
The Trouble with (The Term) Art
Author(s): Carolyn Dean
Source: Art Journal, Vol. 65, No. 2 (Summer, 2006), pp. 24-32
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/20068464 .
Accessed: 19/08/2013 10:04
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content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal.
http://www.jstor.org
This content downloaded from 128.227.105.38 on Mon, 19 Aug 2013 10:04:21 AM
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http://www.jstor.org/stable/20068464?origin=JSTOR-pdf
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Carolyn Dean
The Trouble with
(the Term) Art
Inca,"Funerary Rock," c. 1400-1530, stone,
Machu Picchu, Peru (photograph by the
author)
Much of what is today called art was not made as art. This is the case not only
with regard
to early European artifacts and monuments, but also with regard
to
objects made outside the West in places where the concept of
art traditionally has
not been recognized. Not infrequently (although less frequently than in the past),
many of the objects from outside the West that
were not made as art are grouped
together and called "primitive art." This is
so
despite the fact that art historians
and anthropologists, among others, have been fussing about the
term
"primitive
art" and its synonyms since the middle of the twentieth century.
'
In
19^7, Adrian Gerbrands was one of the first to offer a thorough discus
sion of what he called "the problem of the name."2 Yet his proposed
substitute term?non-European art?was also criticized by those in the
field. Suggested alternatives?exotic art; traditional art; the
art of pre
-
industrial people; folk or popular art; tribal art; ethnic
or ethno-art;
ethnographical art; ethnological art; native art; indigenous art; pre
urban art; the art of precivilized people; non-Western art; the indige
nous arts of Africa, Oceania, and the Americas?have all been proposed and cri
tiqued.3 Despite decades of discussion, little has been resolved,
as was seen in
the array of commentary provoked in 1984 by William Rubin's "Primitivism" exhi
bition and .
The relationship between culture, language and literature cannot be overemphasized. Culture shows itself in everything-language, literature, performing arts, verbal and non-verbal behaviourof people, etc. We not only represent but also embody our respective cultures. Cultures may differ in codes, conducts, cuisines and culinary delights, coaxing, customs, conventions,contraception, costumes or clothing, courtesies, conversation or communication, clock-time,concepts, conveniences, calendars, currencies, contracts, contacts, queues and quietness,courting, questions, crossing, consumerism, collaboration and competition, collectivism andcrafts.
As custodians of the world’s greatest portrait collection, comprising masterpieces spanning the centuries, the National Portrait Gallery tells the story of Britain through paintings, bringing history to life and exploring modern living.
Read more: https://jamieritblatblog.wordpress.com/2023/04/24/the-national-portrait-gallery/
Rethink research, illuminate history with the British LibraryMia
Join Dr Mia Ridge, Digital Curator for Western Heritage Collections at the British Library, to discover how research and technology can create a richer picture of our past. Living with Machines is a collaborative project between the Alan Turing Institute, universities and the British Library – home to the world’s most comprehensive research collection. Together, they are using data science and digital history methods to analyse millions of historical documents and understand the impact of mechanisation in the 19th century. Their initial approach has focused on specific regions like Yorkshire that will help tell us the story of industrialisation in Britain.
The 'Living with machines' project is a collaboration between the British Library and the Alan Turing Institute for Data Science and Artificial Intelligence. This presentation introduces the project and highlights some early explorations and work.
More Related Content
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Essay on Art in Society
Essay On Art Appreciation
Persuasive Essay On The Art Of Art
Argumentative Essay On Fine Arts
The Importance of Art Essay
Essay On Why I Love Art
The History of Art Essay
The Importance of Arts in School Essay
Argumentative Essay On Arts Education
The Argument Of Arts And Culture
The Artist And The Art Essay
Essay on Cultures Influences on Art
Fine Arts Research Papers
Why Is Art Important in Society Essay
Art and Aesthetics Essay
Reflective Essay On Art Museum
Descriptive Essay On Art
Art & Well-being; exploring the potential of arts to enhance individual and c...OECD CFE
Presentation by Rarița ZBRANCA, Programme Director, Cluj Cultural Centre in Romania, during the meeting held in virtual format entitled, "Cultural participation and local resilience: Strategies for the recovery" from 1-3 December 2020 as part of the CULTURE, CREATIVE SECTORS AND LOCAL DEVELOPMENT Policy webinar series. Providing evidence and guidance to cities and regions on ways to maximize the economic and social impact of culture and support the creative economy.
The Trouble with (The Term) ArtAuthor(s) Carolyn DeanSour.docxwsusan1
The Trouble with (The Term) Art
Author(s): Carolyn Dean
Source: Art Journal, Vol. 65, No. 2 (Summer, 2006), pp. 24-32
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/20068464 .
Accessed: 19/08/2013 10:04
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal.
http://www.jstor.org
This content downloaded from 128.227.105.38 on Mon, 19 Aug 2013 10:04:21 AM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=caa
http://www.jstor.org/stable/20068464?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
3
This content downloaded from 128.227.105.38 on Mon, 19 Aug 2013 10:04:21 AM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsp
Carolyn Dean
The Trouble with
(the Term) Art
Inca,"Funerary Rock," c. 1400-1530, stone,
Machu Picchu, Peru (photograph by the
author)
Much of what is today called art was not made as art. This is the case not only
with regard
to early European artifacts and monuments, but also with regard
to
objects made outside the West in places where the concept of
art traditionally has
not been recognized. Not infrequently (although less frequently than in the past),
many of the objects from outside the West that
were not made as art are grouped
together and called "primitive art." This is
so
despite the fact that art historians
and anthropologists, among others, have been fussing about the
term
"primitive
art" and its synonyms since the middle of the twentieth century.
'
In
19^7, Adrian Gerbrands was one of the first to offer a thorough discus
sion of what he called "the problem of the name."2 Yet his proposed
substitute term?non-European art?was also criticized by those in the
field. Suggested alternatives?exotic art; traditional art; the
art of pre
-
industrial people; folk or popular art; tribal art; ethnic
or ethno-art;
ethnographical art; ethnological art; native art; indigenous art; pre
urban art; the art of precivilized people; non-Western art; the indige
nous arts of Africa, Oceania, and the Americas?have all been proposed and cri
tiqued.3 Despite decades of discussion, little has been resolved,
as was seen in
the array of commentary provoked in 1984 by William Rubin's "Primitivism" exhi
bition and .
The relationship between culture, language and literature cannot be overemphasized. Culture shows itself in everything-language, literature, performing arts, verbal and non-verbal behaviourof people, etc. We not only represent but also embody our respective cultures. Cultures may differ in codes, conducts, cuisines and culinary delights, coaxing, customs, conventions,contraception, costumes or clothing, courtesies, conversation or communication, clock-time,concepts, conveniences, calendars, currencies, contracts, contacts, queues and quietness,courting, questions, crossing, consumerism, collaboration and competition, collectivism andcrafts.
As custodians of the world’s greatest portrait collection, comprising masterpieces spanning the centuries, the National Portrait Gallery tells the story of Britain through paintings, bringing history to life and exploring modern living.
Read more: https://jamieritblatblog.wordpress.com/2023/04/24/the-national-portrait-gallery/
Rethink research, illuminate history with the British LibraryMia
Join Dr Mia Ridge, Digital Curator for Western Heritage Collections at the British Library, to discover how research and technology can create a richer picture of our past. Living with Machines is a collaborative project between the Alan Turing Institute, universities and the British Library – home to the world’s most comprehensive research collection. Together, they are using data science and digital history methods to analyse millions of historical documents and understand the impact of mechanisation in the 19th century. Their initial approach has focused on specific regions like Yorkshire that will help tell us the story of industrialisation in Britain.
The 'Living with machines' project is a collaboration between the British Library and the Alan Turing Institute for Data Science and Artificial Intelligence. This presentation introduces the project and highlights some early explorations and work.
Festival of Maintenance talk: Apps, microsites and collections online: innova...Mia
Talk for the Festival of Maintenance in Liverpool https://festivalofmaintenance.org.uk/ My talk notes http://www.openobjects.org.uk/2019/09/festival-of-maintenance-talk-apps-microsites-and-collections-online-innovation-and-maintenance-in-digital-cultural-heritage/
Hopes, dreams and reality: crowdsourcing and the democratisation of knowledge...Mia
Crowdsourcing projects have generated millions of data points through volunteer contributions of classifications, tags and other information about cultural heritage and scientific collections. However, to what extent have crowdsourcing and citizen science projects democratised knowledge about the past within 'official' collections and knowledge management systems? And how would infrastructures and policies in cultural heritage organisations need to change to allow deeper integration with knowledge captured through citizen science projects?
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develop the necessary skills and knowledge to support emerging areas of modern scholarship. Their familiarity with the foundational concepts, methods and tools of digital scholarship in turn helps promote a spirit of innovation and creativity, encouraging digital initiatives within the Library and with external partners. Finally, the programme of events helps nourish and sustain an internal digital scholarship community of interest/practice.
In this talk, Digital Curator Dr. Mia Ridge will share some of the lessons the team have learnt about delivering Digital Scholarship training in a library environment since it began several years ago, and some of the challenges they still face.
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Projects like In the Spotlight http://playbills.libcrowds.com encourage people to pay close attention to historic playbills while transcribing text to help make them more discoverable. Crowdsourcing cultural heritage tasks can create new relationships between cultural organisations and the public, while creating moments of curiosity that help people understand the past and present. Isn't it time you tried crowdsourcing?
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The British Library has been experimenting with crowdsourcing since it launched the Georeferencer (http://www.bl.uk/georeferencer/) in 2012. It launched an updated platform for crowdsourcing in late 2017. Currently the platform supports two projects, In the Spotlight (http://playbills.libcrowds.com/, transcribing information from the Library's historic collection of theatre playbills) and Convert-a-Card (https://www.libcrowds.com/collection/convertacard, converting printed card catalogues into digital records).
This presentation will provide a case study of the implementation of this crowdsourcing platform, considering how the design of behind-the-scenes processes such as metadata workflow, and visible outputs such as the user experience and conversations with participants, were informed by lessons learnt from past projects. The platform is integrated with new Library infrastructure that publishes images in IIIF (International Image Interoperability Framework, http://iiif.io/about/) and has pioneered the use of web annotations for crowdsourced data.
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1. Chair's Welcome: Dr Mia Ridge
MCG / British Library @mia_out
MCG's Museums+Tech 2017
2. ...a divided world
"Annual Reports of the Department of the Interior for the Fiscal Year Ended June 30, 1900--Twenty-First Annual Report of the
United States Geological Society" (1901)
4. Museums as opportunities for empathy
'arts and cultural engagement [helps] shape
reflective individuals, facilitating greater
understanding of themselves and their lives,
increasing empathy with respect to others, and
an appreciation of the diversity of human
experience and cultures.'
Understanding the value of arts & culture: The AHRC Cultural Value Project by
Geoffrey Crossick & Patrycja Kaszynska
5. Museums as opportunities for empathy
George Eliot, as quoted in Peter Bazalgette's The Empathy Instinct:
'The greatest benefit we owe to the artist,
whether painter, poet, or novelist, is the
extension of our sympathies. ... Art is the
nearest thing to life; it is a mode of amplifying
experience and extending our contact with our
fellow-men beyond the bounds of our personal
lot.'
6. Tell better stories about museums
Engineer Karen Leadlay in Analog Computer Lab
https://www.flickr.com/photos/sdasmarchives/32846963613/
7. Today's programme
• Keynote: ‘What makes a Museum?
• Museums in a post-truth world of fake
news
• Challenging Expectations
• Dealing with distance; bringing the
museum to the people
• How can museums use sound and
chatbots?
Editor's Notes
Thank sponsor for their support... check out their case study [ask Sean for line re why supported us]
About the theme: 2016 was the year that deep fractures came to the surface, but they’d been building for some time. We might live in the same country as each other, but we can experience it very differently. What we know about the state of the world is affected by where we live, our education, and by how (if?) we get our news.
https://www.flickr.com/photos/internetarchivebookimages/14597970957/ Image from page 46 of "Annual Reports of the Department of the Interior for the Fiscal Year Ended June 30, 1900--Twenty-First Annual Report of the United States Geological Society" (1901)
We can't pretend that it'll all go away and that society will heal itself. Divisions over Brexit, the role of propaganda in elections, climate change, the role of education, what we value as a society - they're all awkward to address, but if we don't it's hard to see how we can move forward. And since we're here to talk about museums - what role do museums have in divided societies? How much do they need to reflect voices they mightn't agree with? Do we need to make ourselves a bit uncomfortable in order to make spaces for sharing experiences and creating empathy? Can (digital) experiences, collections and exhibitions in cultural heritage help create a shared understanding of the world?
I've been struck lately by the observation that empathy can bridge divides, and give people the power to understand others. The arts and culture provide opportunities to 'understand and share in another person's feelings and experiences' and connect the past to the present. How can museums - in all their different forms - contribute to a more empathic society?
Digital experiences aren't shared in the same way as physical ones, and ‘social’ media isn't the same as being in the same space as someone experiencing the same thing, but they have other advantages - I hope we'll learn about some today.
Museums have been using technology to serve audiences and manage collections for decades. But still it feels like museums are criticised for simultaneously having too much and too little technology. Shiny apps make the news, but they're built on decades of digitisation and care from heritage organisations. There's a lot museums could do better, and digital expertise is not evenly distributed or recognised, but there's a lot that's done well, too. My challenge to you is to find and share better stories about cultural heritage technologies connecting collections, people and knowledge. If we don't tell those stories, they'll be told about us.
Speaking of better stories - I'm looking forward to hearing from all our speakers today – they're covering an incredible range of topics, approaches and technologies, so hopefully each of you will leave full of ideas. Join us for drinks afterwards to keep the conversation going.
To set the tone for the day, it's a great time to hear Hannah Fox on the topic of 'what makes a museum' ...
http://museumscomputergroup.org.uk/events/museumstech-2017/
