Talk presented as part of Creating Online Exhibitions on 2 Nov 09 at the British Museum, run by the E-Learning Group for Museums, Libraries and Archives
Generate UK Digital Marketing Strategy seminar 2012 Generate UK
slides from the various presentations at the Generate UK Digital Marketing Strategy seminar held in October 2012 at The Donnington Grove Hotel in Newbury.
The document discusses the concepts of buzz marketing, word-of-mouth marketing, and viral marketing. It outlines 5 myths of buzz marketing, provides tips for word-of-mouth marketing, and identifies 3 factors that can ignite public interest. Examples are given of Gmail and Tupperware utilizing these marketing strategies effectively. The conclusion emphasizes getting customers involved to allow marketing efforts to spread organically.
The document discusses buzz marketing, also known as word-of-mouth marketing. It notes that buzz marketing relies on positive conversations between customers, employees, and investors to promote brands in an organic way. While difficult to control, buzz marketing can be an effective way to increase brand awareness, build relationships with customers, and influence purchase decisions through social media platforms. The document also provides examples of companies that have successfully utilized buzz marketing strategies.
Shenzhen is known as 'Hardware Central' and for a reason: everything a hardware hacker dreams of is there! One of the many assets of the area includes Hua Qiang Bei, known as the biggest electronics market in the world. It's quite a maze and that's why HAXLR8R is giving you an overview of the area - this should help you find your way!
Your presentations, content marketing, and social media marketing need great visuals to succeed. Skeptical? Check out these impressive statistics on the power of visuals. All of these facts come from "The Power of Visual Storytelling: How to Use Visuals, Videos, and Social Media to Market Your Brand," a book by Ekaterina Walter and Jessica Gioglio. Check it out for more information on the visual revolution.
Also, to read the blog post associated with this presentation, visit the Official SlideShare blog: http://blog.slideshare.net/
If you need help with your visuals, email Ethos3 at start@ethos3.com.
Ethos3 is a presentation design agency with premier PowerPoint and presentation designers. We can create the perfect presentation for you: http://www.ethos3.com/contact/
Online Exhibit Tools: Google Cultural Institute vs. Omeka and Other Open Sour...UCD Library
Presentation given by Daniel Montes, Library Assistant in the UCD Library Research Services Unit, at the 2017 CONUL Annual Conference held in Athlone, Ireland on May 31, 2017.
Generate UK Digital Marketing Strategy seminar 2012 Generate UK
slides from the various presentations at the Generate UK Digital Marketing Strategy seminar held in October 2012 at The Donnington Grove Hotel in Newbury.
The document discusses the concepts of buzz marketing, word-of-mouth marketing, and viral marketing. It outlines 5 myths of buzz marketing, provides tips for word-of-mouth marketing, and identifies 3 factors that can ignite public interest. Examples are given of Gmail and Tupperware utilizing these marketing strategies effectively. The conclusion emphasizes getting customers involved to allow marketing efforts to spread organically.
The document discusses buzz marketing, also known as word-of-mouth marketing. It notes that buzz marketing relies on positive conversations between customers, employees, and investors to promote brands in an organic way. While difficult to control, buzz marketing can be an effective way to increase brand awareness, build relationships with customers, and influence purchase decisions through social media platforms. The document also provides examples of companies that have successfully utilized buzz marketing strategies.
Shenzhen is known as 'Hardware Central' and for a reason: everything a hardware hacker dreams of is there! One of the many assets of the area includes Hua Qiang Bei, known as the biggest electronics market in the world. It's quite a maze and that's why HAXLR8R is giving you an overview of the area - this should help you find your way!
Your presentations, content marketing, and social media marketing need great visuals to succeed. Skeptical? Check out these impressive statistics on the power of visuals. All of these facts come from "The Power of Visual Storytelling: How to Use Visuals, Videos, and Social Media to Market Your Brand," a book by Ekaterina Walter and Jessica Gioglio. Check it out for more information on the visual revolution.
Also, to read the blog post associated with this presentation, visit the Official SlideShare blog: http://blog.slideshare.net/
If you need help with your visuals, email Ethos3 at start@ethos3.com.
Ethos3 is a presentation design agency with premier PowerPoint and presentation designers. We can create the perfect presentation for you: http://www.ethos3.com/contact/
Online Exhibit Tools: Google Cultural Institute vs. Omeka and Other Open Sour...UCD Library
Presentation given by Daniel Montes, Library Assistant in the UCD Library Research Services Unit, at the 2017 CONUL Annual Conference held in Athlone, Ireland on May 31, 2017.
‘Online exhibit tools: Google Cultural Institute vs Omeka and other open sour...CONUL Conference
This document compares the online exhibit tools Google Arts & Culture (GAC) and Omeka. It summarizes their key differences, including that GAC is not open source and invitation only, while Omeka is open source and free to use. It evaluates them against functional requirements like layout customization, multimedia handling, and user interaction features. While GAC exhibits attract casual users, Omeka provides more customization and engagement of other users. The document concludes by recommending libraries embrace interoperable, metadata-driven tools to create sustainable online exhibit models.
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
The document discusses the Appleton Compassion Project, which involved over 10,500 K-12 student artworks and statements. Skyline was tasked with creating an online exhibit to showcase the project. They built a virtual exhibit on the Microsoft Azure platform using tools like PivotViewer and Deep Zoom. This allowed visitors to search for and view high-resolution artwork and read accompanying statements online or through mobile apps. The Azure platform was cost-effective and scalable for hosting the large number of artworks and statements.
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Creative Re-Use of Cultural Heritage: Europeana CreativeMax Kaiser
This document summarizes the Europeana Creative project, which aimed to promote reuse of cultural heritage content through various initiatives. It describes the project goals of providing a critical mass of reusable digital content and infrastructure like Europeana Labs. It outlines the project details including partners, budget, and timeline. It also summarizes the key activities of developing a content reuse framework, running pilots in different themes, and hosting challenge events to incubate viable projects between cultural institutions and creative industries.
This document provides an overview of a presentation on mobile interpretation and experience design at Balboa Park. It discusses moving from traditional audio tours to audience-led mobile content and experiences. The presentation covers theory, such as considering the target audience and their questions, and practice, like identifying key messages and choosing appropriate content modalities and voices. It also provides examples of mobile interpretation projects and resources for continuing discussion.
No List Available. Rescuing Libyan Museums from Africom’s Oblivious: The Jama...Pilar Gonzalo
This document discusses rescuing Libyan museums from obscurity by improving online information about them. It aims to complement the website of the International Council of African Museums (AFRICOM) by compiling data on museums in Libya, mapping their locations, and standardizing information about the Jamahiriya Museum of Tripoli as an example. The research methodology relies on Web 2.0 tools to gather information where traditional sources lack data. Key issues addressed include limited internet infrastructure in Africa, Libya's political situation, and the need to deter illegal art trafficking by increasing accessibility of information on Libyan cultural heritage institutions.
DH2013: Christine Sauter – Results of the task forcedhlab
This document summarizes the initial findings of the Europeana Network's User Generated Content (UGC) Task Force. It describes the task force's motivation to understand how Europeana can better support UGC integration across its network. Phase 1 involved a short survey of UGC activities within the GLAM community. Preliminary analysis found many projects involving transcription, tagging, and discussion. Phase 2 will conduct more in-depth interviews with 4 partners implementing UGC, including the National Archives of Estonia and The House of Alijn, to understand their approaches and challenges in more detail. The task force aims to provide recommendations on Europeana's role in stimulating cross-network UGC projects.
Mobile Learning in Museums presented at MMiT Birmingham 21 Sep 09Martin Bazley
The document provides several examples of how mobile technologies have been used in museum and cultural heritage settings to enhance visitor experiences and engagement:
1) The Collect! app at London Zoo allowed visitors to scan barcodes to access additional multimedia content on exhibits. It found this encouraged more interaction and social sharing.
2) The Gidder project had students use mobile phones to blog and label artworks during a museum visit, facilitating group interpretation and discussion.
3) The Myartspace service provided phones to students on museum trips, allowing them to document their visit and discussions to reinforce learning.
Online exhibitions can:
- Provide access to collections for people who cannot visit in person by giving glimpses of real world exhibitions online.
- Reach new audiences and provide marketing and engagement benefits.
- Showcase items not normally on display and reveal hidden treasures in intimate new ways for people to interact with collections.
Example of Islandora and Omeka usage at University of Toronto Libraries. Use case: Fisher Rare Book Library.
Kelli Babcock, Digital Initiatives Librarian - kelli.babcock@utoronto.ca
Leslie Barnes, Digital Scholarship Librarian - leslie.barnes@utoronto.ca
Embracing Library 2.0 and Web 2.0 for Quality Library ServiceFe Angela Verzosa
lecture delivered at the Conference on "Emerging Landscape, Mindscape and Netscape of the Philippine Books, Information Science and Technology for Quality Services," sponsored by Davao Colleges and Universities Network and Mindanao Alliance of Educators in Library and Information Science, held on Aug 13-15, 2008 at Philippine Women College, Davao City, Philippines
MOVIO: Interactive digital storytelling for mediation and valorisation of cul...Sam Habibi Minelli
One of the main goals of the GLAMs (Galleries,
Libraries, Archives, and Museums) is the promotion
and dissemination of knowledge and culture.
They accomplish their mission thanks to knowledge
dissemination activities that include, among others,
temporary and permanent exhibitions and
performances that follow codified models, whose goal is
to expose citizens to the national and international
cultural and artistic heritage. For more information about AthenaPlus project, visit: http://www.athenaplus.eu/index.php
2 characteristics of the virtual museum correct080309Ofra Keinan
A virtual museum is a museum that houses collections in digital form and exhibits them online. Most virtual museums are associated with physical museums and provide digital access to their collections. They allow visitors to access exhibits via computer from anywhere through their website. As technology has advanced, more cultural institutions have created virtual museums and digital exhibits to increase access to collections and engage wider audiences online. Virtual museums come in many forms from personal websites to large institutional sites that replicate full museum experiences digitally.
This 3 sentence summary provides the high level information from the document:
The document is a draft presentation for the Bridging Worlds 2008 conference in Singapore that will discuss the Aarhus Public Libraries' challenges in opening up databases, rethinking library space, and mashing up people, as well as things they have learned and future challenges. The presentation will cover topics like a new library media space, integrated search that sorts by relevance, rethinking library space with digital posters and interactive floors, and co-creating with users through literature, news, and music labs.
The document summarizes the National Museums Online Learning Project, a 3-year digital learning project funded by the UK Treasury and involving 9 UK national museums. The project aims to increase use of the museums' digital collections through resources like WebQuests and Creative Journeys for schools and lifelong learners. It also includes a federated search across the 9 museum collections to provide a better user experience when exploring the learning resources. Key challenges include building engaged online communities and balancing curatorial control with more open user-generated content.
The document discusses using interactive PowerPoint templates as an alternative to traditional linear presentations to allow students to demonstrate their knowledge. It provides examples of interactive templates like a virtual museum and describes the advantages as simplifying integration of technology, keeping focus on content over software skills, and providing motivation. Step-by-step instructions are given for using a museum template including adding pictures and linking slides to allow nonlinear navigation of information.
This document provides an overview of digital learning and how to create effective online learning resources. It discusses using digital tools to support face-to-face learning and how learner-created projects can promote ownership of learning. Key elements of online resources are described, including images, activities, and videos. The importance of user testing is emphasized through frameworks like the W6, which considers who the resource is for, what it offers, how it will be used, when, where, and why. An iterative process of testing, revising, and retesting content and design is recommended to create useful digital learning resources.
‘Online exhibit tools: Google Cultural Institute vs Omeka and other open sour...CONUL Conference
This document compares the online exhibit tools Google Arts & Culture (GAC) and Omeka. It summarizes their key differences, including that GAC is not open source and invitation only, while Omeka is open source and free to use. It evaluates them against functional requirements like layout customization, multimedia handling, and user interaction features. While GAC exhibits attract casual users, Omeka provides more customization and engagement of other users. The document concludes by recommending libraries embrace interoperable, metadata-driven tools to create sustainable online exhibit models.
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
The document discusses the Appleton Compassion Project, which involved over 10,500 K-12 student artworks and statements. Skyline was tasked with creating an online exhibit to showcase the project. They built a virtual exhibit on the Microsoft Azure platform using tools like PivotViewer and Deep Zoom. This allowed visitors to search for and view high-resolution artwork and read accompanying statements online or through mobile apps. The Azure platform was cost-effective and scalable for hosting the large number of artworks and statements.
Creative Re-Use of Cultural Heritage: Europeana CreativeMax Kaiser
The document discusses the Europeana Creative project, which aims to increase reuse of cultural heritage content available through Europeana. It provides details on the project structure and goals of key work packages focused on developing Europeana Labs as a space for content reuse, technical infrastructure to support reuse, business models, pilots of reuse applications, and challenges to incubate new projects. Examples of pilots and challenges are described for history education, natural history education, social networks, tourism, and design. Lessons learned emphasize the need for high quality, reusable content and engaging with communities.
Creative Re-Use of Cultural Heritage: Europeana CreativeMax Kaiser
This document summarizes the Europeana Creative project, which aimed to promote reuse of cultural heritage content through various initiatives. It describes the project goals of providing a critical mass of reusable digital content and infrastructure like Europeana Labs. It outlines the project details including partners, budget, and timeline. It also summarizes the key activities of developing a content reuse framework, running pilots in different themes, and hosting challenge events to incubate viable projects between cultural institutions and creative industries.
This document provides an overview of a presentation on mobile interpretation and experience design at Balboa Park. It discusses moving from traditional audio tours to audience-led mobile content and experiences. The presentation covers theory, such as considering the target audience and their questions, and practice, like identifying key messages and choosing appropriate content modalities and voices. It also provides examples of mobile interpretation projects and resources for continuing discussion.
No List Available. Rescuing Libyan Museums from Africom’s Oblivious: The Jama...Pilar Gonzalo
This document discusses rescuing Libyan museums from obscurity by improving online information about them. It aims to complement the website of the International Council of African Museums (AFRICOM) by compiling data on museums in Libya, mapping their locations, and standardizing information about the Jamahiriya Museum of Tripoli as an example. The research methodology relies on Web 2.0 tools to gather information where traditional sources lack data. Key issues addressed include limited internet infrastructure in Africa, Libya's political situation, and the need to deter illegal art trafficking by increasing accessibility of information on Libyan cultural heritage institutions.
DH2013: Christine Sauter – Results of the task forcedhlab
This document summarizes the initial findings of the Europeana Network's User Generated Content (UGC) Task Force. It describes the task force's motivation to understand how Europeana can better support UGC integration across its network. Phase 1 involved a short survey of UGC activities within the GLAM community. Preliminary analysis found many projects involving transcription, tagging, and discussion. Phase 2 will conduct more in-depth interviews with 4 partners implementing UGC, including the National Archives of Estonia and The House of Alijn, to understand their approaches and challenges in more detail. The task force aims to provide recommendations on Europeana's role in stimulating cross-network UGC projects.
Mobile Learning in Museums presented at MMiT Birmingham 21 Sep 09Martin Bazley
The document provides several examples of how mobile technologies have been used in museum and cultural heritage settings to enhance visitor experiences and engagement:
1) The Collect! app at London Zoo allowed visitors to scan barcodes to access additional multimedia content on exhibits. It found this encouraged more interaction and social sharing.
2) The Gidder project had students use mobile phones to blog and label artworks during a museum visit, facilitating group interpretation and discussion.
3) The Myartspace service provided phones to students on museum trips, allowing them to document their visit and discussions to reinforce learning.
Online exhibitions can:
- Provide access to collections for people who cannot visit in person by giving glimpses of real world exhibitions online.
- Reach new audiences and provide marketing and engagement benefits.
- Showcase items not normally on display and reveal hidden treasures in intimate new ways for people to interact with collections.
Example of Islandora and Omeka usage at University of Toronto Libraries. Use case: Fisher Rare Book Library.
Kelli Babcock, Digital Initiatives Librarian - kelli.babcock@utoronto.ca
Leslie Barnes, Digital Scholarship Librarian - leslie.barnes@utoronto.ca
Embracing Library 2.0 and Web 2.0 for Quality Library ServiceFe Angela Verzosa
lecture delivered at the Conference on "Emerging Landscape, Mindscape and Netscape of the Philippine Books, Information Science and Technology for Quality Services," sponsored by Davao Colleges and Universities Network and Mindanao Alliance of Educators in Library and Information Science, held on Aug 13-15, 2008 at Philippine Women College, Davao City, Philippines
MOVIO: Interactive digital storytelling for mediation and valorisation of cul...Sam Habibi Minelli
One of the main goals of the GLAMs (Galleries,
Libraries, Archives, and Museums) is the promotion
and dissemination of knowledge and culture.
They accomplish their mission thanks to knowledge
dissemination activities that include, among others,
temporary and permanent exhibitions and
performances that follow codified models, whose goal is
to expose citizens to the national and international
cultural and artistic heritage. For more information about AthenaPlus project, visit: http://www.athenaplus.eu/index.php
2 characteristics of the virtual museum correct080309Ofra Keinan
A virtual museum is a museum that houses collections in digital form and exhibits them online. Most virtual museums are associated with physical museums and provide digital access to their collections. They allow visitors to access exhibits via computer from anywhere through their website. As technology has advanced, more cultural institutions have created virtual museums and digital exhibits to increase access to collections and engage wider audiences online. Virtual museums come in many forms from personal websites to large institutional sites that replicate full museum experiences digitally.
This 3 sentence summary provides the high level information from the document:
The document is a draft presentation for the Bridging Worlds 2008 conference in Singapore that will discuss the Aarhus Public Libraries' challenges in opening up databases, rethinking library space, and mashing up people, as well as things they have learned and future challenges. The presentation will cover topics like a new library media space, integrated search that sorts by relevance, rethinking library space with digital posters and interactive floors, and co-creating with users through literature, news, and music labs.
The document summarizes the National Museums Online Learning Project, a 3-year digital learning project funded by the UK Treasury and involving 9 UK national museums. The project aims to increase use of the museums' digital collections through resources like WebQuests and Creative Journeys for schools and lifelong learners. It also includes a federated search across the 9 museum collections to provide a better user experience when exploring the learning resources. Key challenges include building engaged online communities and balancing curatorial control with more open user-generated content.
The document discusses using interactive PowerPoint templates as an alternative to traditional linear presentations to allow students to demonstrate their knowledge. It provides examples of interactive templates like a virtual museum and describes the advantages as simplifying integration of technology, keeping focus on content over software skills, and providing motivation. Step-by-step instructions are given for using a museum template including adding pictures and linking slides to allow nonlinear navigation of information.
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will look at some of these issues from the Fitzwilliam’s point of view why do we call some things online exhibitions but not others, although the content may be very similar is it an online exhibition because it is object based? online gallery in which to put an online exhibition – space in which a series of images is arranged for viewer labels and interpretive text but can also be much more – dynamic hyperlinked environment online exhibitions – subset of online resources value of the notion of an “online exhibition” – carrying through concept from physical to digital environment can be useful but also restrictive
example of something which shares a lot of the characteristics of an online exhibition but which we have chosen not to call an exhibition
podcasts are used for marketing (and developed by the marketing dept at the Fitzwilliam) but some are essentially small exhibitions in themselves or guides to exhibitions in the Museum could be argued that they are online exhibitions using video and audio rather than just images and text
produced by Duan Wu, an architect working on a PhD at Cambridge
move through the virtual space of the gallery into the representational space of the painting. Pieter Breughel the younger A Village Festival, With a Theatrical Performance and a Procession in Honour of St Hubert and St Anthony 1632
how helpful is the virtual exhibition does it really allow you to do more than is possible in a flat space more distracting than engaging, when viewed as part of a learning experience?
how helpful is the virtual exhibition does it really allow you to do more than is possible in a flat space create your own narrative experience, which sticks in the memory but cannot move so quickly between various elements of the resource more distracting than engaging, when viewed as part of a learning experience? unless spending a great deal of money will always be inferior in presentation to virtual gaming worlds
website survey conducted Dec 09 to March 09 not a large sample and wary about drawing too many conclusions over 18% respondents said they used the website to view online exhibitions or other online resources
problems of navigation most have a very linear concept of “exhibition” moving from one image to the next
introduced a template for online exhibitions around 2004 micro-site, maintaining the same type of navigational structure but moving from Fitzwilliam’s main navigation bar to a dedicated navigation bar
variations but sticking to the basic style relatively easy to create
several of the online exhibitions accompany small-scale gallery exhibitions, particularly of prints and drawings
from visitors’ point of view, we’ve found that online exhibitions are effective both as a marketing tool, encouraging visits and as a follow-up very close connection between use of the website and visiting the museum much less use as an at distance learning tool
presents information in a way that adds to and goes beyond just a basic catalogue record
results presented as thumbnail experimented with a number of different variations of results screen, some including captions would like to add more options to refine search by date and country of origin – but that is asking more of an already overstretched IT dept
individual catalogue record presented in the context of the online exhibition
illuminated manuscripts and bound volumes are prime examples fragile material that can only be displayed in a very limited way within a case
simple mouse rollover to switch between images of different states of a print or between images of a print under different lighting conditions to demonstrate the use of particular techniques and effects such as embossing, textile and woodgrain effects, mica sparkle and burnishing
Utamaro interactive – case study Insect book 1788 Shell book 1789 Flower book 1790