Keynote speach at Hands On! Children's museum conference - 2009

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This document discusses the role of technology in children's museums. It begins by asking why technology should be used, what role it can play, and how it can be implemented. Potential reasons for using technology include expanding visitor experiences through space, time and access to intangible heritage. Technology can be both a means and an end, and involve cutting-edge tech or human mediation. Innovators in the field include private companies, new media art centers, and museum laboratories. The fundamental question remains why technology has a place in children's museums in the era of ubiquitous computing.

Multimediations !
Overview, new trends and practices in Europe and Japan
November 4th, 2009

Creating Cultural Capital

HO!E The fundamental questions

• WHY technology in children’s
museums?

• WHAT role will this tool play in my
museum?

• HOW can I use technology?

• WHO is innovating in the field?

Creating Cultural Capital

technology in children’s museums?

Creating Cultural Capital

HO!E Because it’s spectacular! WHY

4
Creating Cultural Capital National Museum of Emerging Science and Innovation (Miraikan),

HO!E Widens the possible experiences in museums WHY

Creating Cultural Capital Crosswalk at Technopolis, Mechelen, Belgium

HO!E Expand the museum experience in space WHY

Creating Cultural Capital Museum of National Antiquities of Sweden

HO!E Expand the museum experience in time WHY

Creating Cultural Capital RiSuPia, Panasonic Digital Museum, Tokyo

HO!E Win access to intangible heritage WHY

Creating Cultural Capital Abbaye de Cluny

role will technology play in my museum?

Tokyo University Digital Museum
Creating Cultural Capital

HO!E Technology is a means WHAT

Creating Cultural Capital National Museum of Ethnology (Minpaku), Osaka

HO!E Technology is the purpose WHAT

Creating Cultural Capital Shigureden Museum, Kyoto

can I use technology?

The National Museum of New Zealand Te Papa Tongarewa (© Gibson International)
Creating Cultural Capital

HO!E Cutting-edge technology or human mediation? HOW

Visite gestuelle par Levent Beskardes

MAC/VAL, Vitry-sur-Seine

Creating Cultural Capital

HO!E Cutting-edge technology or human mediation? HOW

« Creating Cultural Electronica Center, Linz
Geo City », Ars Capital Miraikan, Tokyo

HO!E What kind of visitor interaction? HOW

Creating Cultural Capital Tepco Electric Energy Museum,

is innovating?

Creating Cultural Capital Tmema (Golan Levin & Zachary Lieberman) with Ars Electronica Futurelab

HO!E Private companies WHO

18
Shigureden
Creating Cultural Capital Museum, Kyoto RiSuPia, Panasonic Digital Museum, Tokyo

HO!E New media art centers WHO

SATO Masahiko + KIRIYAMA Takashi ''Arithmetik Garden''
Masasuke (KIRIYAMA Lab.) + ISHIKAWA Masaya (TOPICS), SATO Masahiko
''Dot Man, Line Man''

Creating CulturalCommunication
Inter Capital Center (NTT), « Funky Pixels », Ars Electronica Center, Linz

HO!E Museum laboratories WHO

Creating Cultural Capital Louvre-DNP Museum Lab, Tokyo

HO!E At the end of the day, the question is always WHY?

WHY?

…does technology have its place in a
children’s museum?

Creating Cultural Capital

HO!E Museums in the era of ‘ubiquitous computing’

Ars Electronica Center,
Creating Cultural Capital Linz Le Cube, Issy-les-Moulineaux

Ameline Coulombier
Lordculture

Questions?
email: acoulombier@lordculture.com
www.lordculture.com

Creating Cultural Capital

The document discusses how museums are using mobile devices to enhance the visitor experience both onsite and offsite, providing examples of apps and digital experiences that expand access to collections, events, and education programs. It also examines some of the opportunities and challenges involved in adapting museum practices to new technologies and media, from guiding tours and exhibitions to co-creation with visitors and new models of engagement. The presentation concludes by noting the role of mobile devices in transforming museums and cultural institutions.

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Cultural ring, future internet culture and people

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This document discusses using an "Internet for Culture and People" to connect cultural centers and share cultural events. It describes the Cultural Ring project, which connected local theaters using an IP network and equipped them as audiovisual studios. The project helped share opera performances, increasing audiences. Ongoing challenges include organizing vast cultural repositories and engaging more people. Open living labs are proposed as a way to involve citizens in user-driven cultural innovation. Europeana is discussed as a potential European cultural laboratory.

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1. The document discusses using living labs to promote culture and learning across Europe. 2. It proposes creating an open cultural network between cities, research institutions, and cultural organizations to experiment with digital culture and new cultural industries. 3. Key projects mentioned include the Cultural Ring, which connected local theaters for cultural sharing, and INDICATE, a digital heritage infrastructure project linking institutions.

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Rachel Charlotte Smith and Ole Sejer Iversen, Centre for Participatory IT (PIT), Aarhus University, Denmark: Emerging Spaces for Participant Innovation in Museums Nodem, CultureKick Research Seminar: Collaboration, partnership and participation – exploring methods for innovations in museums and cultural institutions http://www.nodem.org/nodem-actions/culture-kick/activities/research-seminar-oslo-2-2013/

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B05 pier giacomo_sola_creative_museum

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The Creative Museum Project is a three-year learning partnership launched under the Erasmus+ Programme that brings together museums, makers, and creative industries. The project aims to encourage visitor engagement with collections in new ways by testing how these organizations engage with each other and share best practices. This includes hosting maker-in-residencies and publishing guidelines for creative practices. The goal is to help museums develop new programs, partnerships, and opportunities for audiences to experiment. Creativity in this context refers to the ability to transcend traditional ideas and rules to create originality through making and doing.

This document discusses making digital cultural heritage more engaging by focusing on curiosity, connections, and storytelling. It proposes a project called "A Transnational History of Europe" that would create a virtual exhibit combining expert narratives with objects from various cultural heritage institutions. The exhibit would highlight European stories that question borders and show movements across contexts. Experts and users would bring different perspectives into dialogue to develop a common language around cultural heritage objects and texts. The goal is to stimulate exploration and engagement with digital collections.

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This document summarizes a research project exploring digital art and how to connect private and public art collections online. The project aims to 1) understand how private collectors currently organize online databases and if they can connect with public collections, 2) determine the technical, organizational, and art history efforts needed to connect these collections into a richer database, and 3) develop ways to distribute the interrelated content through an interface while respecting intellectual property. The project is looking for experts in metadata, information retrieval, graphical user interfaces, business models, and platform development to help achieve these goals.

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Culture Mondo Network Asia-Pacific Secretariat

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Technology in the Mindful Museum

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Writer and commentator Adam Gopnik has described the mindful museum as a place that is primarily about the objects it contains while also recognizing that it should not seek to explain what cannot be explained. “And that means simply that wall labels and explanatory text of all kinds should be as modest and invisible as conceivable,” he said in the first annual Eva Holtby Lecture on Contemporary Culture at Toronto’s Royal Ontario Museum just months before the ROM opened its Michael Lee-Chin Crystal addition in June 2007. How should museums interpret Gopnik’s view in today’s world of flat screens and wireless networks and one where most museum and gallery visitors can receive instant information via their cell phones, Blackberrys and iPods. And where does that leave the ROM as it grapples with technology solutions for providing context and interpretation in its powerful new gallery spaces? Created by Brian Porter for the 2008 Technology in the Arts: Canada Conference.

Totematons by Denisa Kera (bb #28)

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A Totematon is an artifact which explores the relationship between traditional artisan techniques and custom made open source hardware (OSHW). In this talk, Denisa presents a prototype totematon in the form of a traditional Kyoto windchime made by a local artisan and connected to Chernobyl Geiger tubes with custom made PCB from Tokyo based inMojo team of hackers and makers with electronic components from Shenzhen markets. These radiation chimes react to elevated radiation levels, but more importantly they extend old rituals of protection from evil spirits. The prototype explores the concept of totem hardware, of technologies dispersing evil spirits and geopolitical fears, which can create new collective identities based on hacker and maker cultures refusing present geopolitical divisions and reminding us of our common non-human ancestry by creating powerful new techno-totemic myths.

Daniel Pletinckx a SCE 2012

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Daniel Pletinckx gave a presentation on smart historical cities and digital cultural heritage. He discussed projects in Bologna, Cologne, and Amsterdam that used 3D modeling and virtual reconstructions to tell stories about the cities' histories. He also described the Ename archaeological park project, which reconstructed 16 periods of the city's evolution over 1000 years. Pletinckx argued that technology allows history to be experienced outside of museums and that cities themselves can become museums through augmented reality, virtual reconstructions, and location-based storytelling.

Libraries, Archives, Museums discussion - MCN 2015

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This document summarizes a discussion between representatives from different libraries, archives, and museums (LAMs) about key issues at the intersection of their institutions. They touched on how physical and online spaces differ, the challenge of reaching both scholarly and broad audiences, efforts to harmonize data between LAMs, and the importance of visualization and user experience, especially around linked data. Common areas of focus included object collections, cataloging practices, and image delivery standards like IIIF. The discussion aimed to identify both points of divergence and collaboration between cultural heritage institutions.

Lose weight

AamerAhmed11

The document discusses how museums can reimagine themselves for the future by embracing new technologies and engaging younger audiences. It provides examples of museums using augmented and virtual reality to provide immersive digital experiences that bring visitors closer to the artwork. This allows more people to experience the museums from anywhere. The document also suggests that museums focus on interactive, hands-on, and visual experiences that appeal to younger visitors and keep them engaged by making the exhibits feel relevant and shareable on social media. Reaching out to local youth and reconsidering opening times are also recommended to attract new, younger audiences.

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The document summarizes Instant Multimedia (IMM), an approach developed by HOC-LAB to create concise multimedia applications for communicating cultural heritage information. IMM applications take 1-4 weeks to produce at a cost of around €6,000 and are interactive and accessible through multiple channels. An example IMM application called 1001stories is described that tells stories on various cultural topics. Research indicates IMM can increase interest in and understanding of cultural institutions and their collections. IMM has also been used successfully in educational programs for schools.

2015 jogjakarta why museums do what they do

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The Recurated Museum: II. Museums, Identity, & Community

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This document discusses the meSch project, which uses physical interaction and personalized digital content to enhance visitors' engagement with cultural heritage at museums. It describes two types of meSch applications, including one fully integrated into an exhibition. The document also discusses how meSch can support a do-it-yourself approach for cultural heritage professionals and provide unique experiences for visitors both onsite and online. It provides an example implementation of meSch at the Hub Kockelkorn Museon involving replicas that represent different perspectives of a historical event for visitors to interact with.

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Keynote speach at Hands On! Children's museum conference - 2009

1. Multimediations ! Overview, new trends and practices in Europe and Japan November 4th, 2009 Creating Cultural Capital

2. HO!E The fundamental questions • WHY technology in children’s museums? • WHAT role will this tool play in my museum? • HOW can I use technology? • WHO is innovating in the field? Creating Cultural Capital

3. technology in children’s museums? Creating Cultural Capital

4. HO!E Because it’s spectacular! WHY 4 Creating Cultural Capital National Museum of Emerging Science and Innovation (Miraikan),

5. HO!E Widens the possible experiences in museums WHY Creating Cultural Capital Crosswalk at Technopolis, Mechelen, Belgium

6. HO!E Expand the museum experience in space WHY Creating Cultural Capital Museum of National Antiquities of Sweden

7. HO!E Expand the museum experience in time WHY Creating Cultural Capital RiSuPia, Panasonic Digital Museum, Tokyo

8. HO!E Win access to intangible heritage WHY Creating Cultural Capital Abbaye de Cluny

9. role will technology play in my museum? Tokyo University Digital Museum Creating Cultural Capital

10. HO!E Technology is a means WHAT Creating Cultural Capital National Museum of Ethnology (Minpaku), Osaka

11. HO!E Technology is the purpose WHAT Creating Cultural Capital Shigureden Museum, Kyoto

12. HO!E Technology is the purpose WHAT Creating Cultural Capital Shigureden Museum, Kyoto

13. can I use technology? The National Museum of New Zealand Te Papa Tongarewa (© Gibson International) Creating Cultural Capital

14. HO!E Cutting-edge technology or human mediation? HOW Visite gestuelle par Levent Beskardes MAC/VAL, Vitry-sur-Seine Creating Cultural Capital

15. HO!E Cutting-edge technology or human mediation? HOW « Creating Cultural Electronica Center, Linz Geo City », Ars Capital Miraikan, Tokyo

16. HO!E What kind of visitor interaction? HOW Creating Cultural Capital Tepco Electric Energy Museum,

17. is innovating? Creating Cultural Capital Tmema (Golan Levin & Zachary Lieberman) with Ars Electronica Futurelab

18. HO!E Private companies WHO 18 Shigureden Creating Cultural Capital Museum, Kyoto RiSuPia, Panasonic Digital Museum, Tokyo

19. HO!E New media art centers WHO SATO Masahiko + KIRIYAMA Takashi ''Arithmetik Garden'' Masasuke (KIRIYAMA Lab.) + ISHIKAWA Masaya (TOPICS), SATO Masahiko ''Dot Man, Line Man'' Creating CulturalCommunication Inter Capital Center (NTT), « Funky Pixels », Ars Electronica Center, Linz

20. HO!E Museum laboratories WHO Creating Cultural Capital Louvre-DNP Museum Lab, Tokyo

21. HO!E At the end of the day, the question is always WHY? WHY? …does technology have its place in a children’s museum? Creating Cultural Capital

22. HO!E Museums in the era of ‘ubiquitous computing’ Ars Electronica Center, Creating Cultural Capital Linz Le Cube, Issy-les-Moulineaux

23. Ameline Coulombier Lordculture Questions? email: acoulombier@lordculture.com www.lordculture.com Creating Cultural Capital

Keynote speach at Hands On! Children's museum conference - 2009

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Keynote speach at Hands On! Children's museum conference - 2009