Rilene Joseph College Research FAU Period 5Ms. Richardson
The document discusses admissions, majors, and scholarships at Florida Atlantic University (FAU). For admissions, it provides details on tuition costs, acceptance rates, SAT/ACT scores, housing, and student life. It describes the nursing major, including requirements and coursework. For scholarships, it outlines personal expenses, study abroad funding, deadlines, financial aid, and eligibility requirements. The conclusion encourages embracing opportunities at FAU to accomplish goals and empower communities.
The Autism Alliance of Michigan is teaming up with local museums and attractions to offer sensory friendly experiences for families and individuals on the autism spectrum during the month of April for National Autism Awareness Month.
Special events, accommodations, and activities will be offered on the following dates and locations:
April 2nd-10AM-2PM Charles H. Wright Museum of African American History
April 9th-9AM-5:30PM Henry Ford Museum
April 16th(TBA) Detroit Institute of Arts
April 23rd(TBA) Michigan Science Center
April 30th(TBA) Greenfield Village (Day Out with Thomas), Giant Screen Experience
These cultural institutions are working with AAoM and one another to create universal symbols, language and accommodations for families to be able to enjoy and understand across locations and visits. Each venue will offer ‘chill zones’ or quiet spaces for children who are overwhelmed, and options for lights, sounds, and communication to be more accommodating.
AAoM is working with these institutions to allow inclusive, welcoming and safe spaces for individuals with autism and their families:
Autism Safety Training for staff will be provided to prepare museum staff to interact effectively with individuals with autism to help keep them safe.
AAoM is helping to develop Sensory Friendly Maps for these venues to prepare families for the sights, sounds, smells, and exhibits that they can touch or interact with AAoM is creating social narratives for these venues and assisting with sensory friendly shows and activities that will be offered throughout the month of April.
If you have been hesitant to bring your child to some of Detroit’s Cultural Treasures in the past, please join the Autism Alliance of Michigan and our MiNavigator Team who will be out every Saturday in April to welcome and visit with your family!
For more information please monitor AAoM’s web site at www.autismallianceofmichigan.org or contact Kat Nelson at (877) 463-AAOM.
Sensing Happiness talk for Accessible Bristol 31 March 2015Acuity Design
A talk linking physical and digital design in terms of cognitive accessibility, senses, behavioural design and happiness.
Using examples from Alastair Somerville's work experience and showing how 5 different people and groups are exploring and creating new ways of thinking about design for all.
Augmented reality (AR) is a term for a live direct or an indirect view of a physical, real-world environment whose elements are augmented by computer-generated sensory input, such as sound or graphics.
MOCA provides a beautiful space that brings in diverse visitors but could better accommodate those with disabilities. It gets the wide entryway right but movies are loud and distracting, lighting is intense, and there are many crowded displays. The virtual tour highlights areas to improve like making movies less overwhelming, reducing clutter, and ensuring clear signage and text for all visitors.
The Posterior Parietal Cortex (PPC) is located in the parietal lobe of the brain. It is involved in sensing and monitoring body parts as well as integrating information from different sensory areas. Studies have shown that lesions to the PPC in rats do not disrupt their ability to avoid certain areas, suggesting it is not crucial for processing spatial cues. Other research found that the PPC encodes selected motor plans autonomously and prospectively. Transcranial magnetic stimulation over the left PPC was found to prolong the latency of contralateral saccades and convergence eye movements, indicating its role in initiating certain eye movements. Damage to the PPC can cause apraxia, where a person has trouble
Measuring Visitor Perceptions of the Exhibition EnvironmentRegan Forrest
This document proposes a model for characterizing exhibition environments based on visitor perceptions of atmosphere. It involves surveying visitors using 30 semantic differential scales measuring four factors: vibrancy, spatiality, modernity, and order. A pilot study applied this model in four galleries, finding differences in scores. The author suggests this approach provides an easy, content-neutral way to evaluate and compare exhibition spaces from the visitor perspective. It could help designers and may correlate with visitor cognitive and affective engagement. More testing is needed in different exhibition types.
Rilene Joseph College Research FAU Period 5Ms. Richardson
The document discusses admissions, majors, and scholarships at Florida Atlantic University (FAU). For admissions, it provides details on tuition costs, acceptance rates, SAT/ACT scores, housing, and student life. It describes the nursing major, including requirements and coursework. For scholarships, it outlines personal expenses, study abroad funding, deadlines, financial aid, and eligibility requirements. The conclusion encourages embracing opportunities at FAU to accomplish goals and empower communities.
The Autism Alliance of Michigan is teaming up with local museums and attractions to offer sensory friendly experiences for families and individuals on the autism spectrum during the month of April for National Autism Awareness Month.
Special events, accommodations, and activities will be offered on the following dates and locations:
April 2nd-10AM-2PM Charles H. Wright Museum of African American History
April 9th-9AM-5:30PM Henry Ford Museum
April 16th(TBA) Detroit Institute of Arts
April 23rd(TBA) Michigan Science Center
April 30th(TBA) Greenfield Village (Day Out with Thomas), Giant Screen Experience
These cultural institutions are working with AAoM and one another to create universal symbols, language and accommodations for families to be able to enjoy and understand across locations and visits. Each venue will offer ‘chill zones’ or quiet spaces for children who are overwhelmed, and options for lights, sounds, and communication to be more accommodating.
AAoM is working with these institutions to allow inclusive, welcoming and safe spaces for individuals with autism and their families:
Autism Safety Training for staff will be provided to prepare museum staff to interact effectively with individuals with autism to help keep them safe.
AAoM is helping to develop Sensory Friendly Maps for these venues to prepare families for the sights, sounds, smells, and exhibits that they can touch or interact with AAoM is creating social narratives for these venues and assisting with sensory friendly shows and activities that will be offered throughout the month of April.
If you have been hesitant to bring your child to some of Detroit’s Cultural Treasures in the past, please join the Autism Alliance of Michigan and our MiNavigator Team who will be out every Saturday in April to welcome and visit with your family!
For more information please monitor AAoM’s web site at www.autismallianceofmichigan.org or contact Kat Nelson at (877) 463-AAOM.
Sensing Happiness talk for Accessible Bristol 31 March 2015Acuity Design
A talk linking physical and digital design in terms of cognitive accessibility, senses, behavioural design and happiness.
Using examples from Alastair Somerville's work experience and showing how 5 different people and groups are exploring and creating new ways of thinking about design for all.
Augmented reality (AR) is a term for a live direct or an indirect view of a physical, real-world environment whose elements are augmented by computer-generated sensory input, such as sound or graphics.
MOCA provides a beautiful space that brings in diverse visitors but could better accommodate those with disabilities. It gets the wide entryway right but movies are loud and distracting, lighting is intense, and there are many crowded displays. The virtual tour highlights areas to improve like making movies less overwhelming, reducing clutter, and ensuring clear signage and text for all visitors.
The Posterior Parietal Cortex (PPC) is located in the parietal lobe of the brain. It is involved in sensing and monitoring body parts as well as integrating information from different sensory areas. Studies have shown that lesions to the PPC in rats do not disrupt their ability to avoid certain areas, suggesting it is not crucial for processing spatial cues. Other research found that the PPC encodes selected motor plans autonomously and prospectively. Transcranial magnetic stimulation over the left PPC was found to prolong the latency of contralateral saccades and convergence eye movements, indicating its role in initiating certain eye movements. Damage to the PPC can cause apraxia, where a person has trouble
Measuring Visitor Perceptions of the Exhibition EnvironmentRegan Forrest
This document proposes a model for characterizing exhibition environments based on visitor perceptions of atmosphere. It involves surveying visitors using 30 semantic differential scales measuring four factors: vibrancy, spatiality, modernity, and order. A pilot study applied this model in four galleries, finding differences in scores. The author suggests this approach provides an easy, content-neutral way to evaluate and compare exhibition spaces from the visitor perspective. It could help designers and may correlate with visitor cognitive and affective engagement. More testing is needed in different exhibition types.
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.
Design Factors in the Museum Visitor ExperienceRegan Forrest
This document provides an overview of a PhD research project examining design factors that influence the museum visitor experience. The project will take a three-phase, mixed methods approach. Phase 1 involves qualitative data collection through accompanied visits and think-aloud interviews to understand how visitors perceive exhibition environments. Phase 2 will develop a quantitative instrument to measure environmental perceptions. Phase 3 will study the relationship between perceived atmospheres and visitor outcomes using the survey instrument and observation. The research aims to understand how design elements like spatiality and information rate shape the visitor experience and influence attention and learning. Preliminary thematic analysis of Phase 1 data identified key themes around objects, information, environment, and personal reflection.
The document discusses plans for a children's museum in Mumbai, India. It proposes locating the museum in the R-City mall and dedicates space for a ticketing area, waiting area, climbing structure, activity areas for different age groups, a cardboard playroom, color room, exhibit space, cafeteria, auditorium for digital puppetry, and museum shop. Some of the activities mentioned include history of shadow puppets in India, elements of creativity, and factors of creative thinking. The museum aims to allow children to imagine, explore, and rediscover themselves through hands-on experiences.
Museum Experience as defined by John Falk & Lynn Dierking 2013Reinwardt Academie
This document discusses factors that influence a museum visitor's experience from three contexts: personal, social, and physical.
The personal context includes the visitor's motivations, interests, prior knowledge, and emotional connection to the content. The social context considers how learning is often a social process, and how interactions with other visitors and museum staff shape the experience.
The physical context examines elements of the museum environment like signage, wayfinding, exhibition design, interactive elements, and amenities that affect the visitor's experience from their initial planning to interacting with the exhibits and other areas of the museum.
This document discusses how brands can leverage sensory experiences and metaphors to create more impactful and memorable marketing. It recommends four techniques: 1) using "mirror neurons" to create vicarious experiences that activate the senses; 2) aligning different senses through "cross-modal design" to make experiences more engaging; 3) treating people as "synesthetes" by connecting different senses to reinforce messaging; and 4) expressing brand values through tangible "sensory metaphors" to communicate on an intuitive level. The goal is to tap into people's innate sensory expertise to generate powerful experiences that change how audiences feel.
The document provides a case study of the Faculty of Fine Arts at Jamia Millia Islamia university in New Delhi, India. It describes the various departments within the faculty including painting, sculpture, applied arts, art education, graphic arts, and art history. It provides floor plans and descriptions of the classrooms, studios, workshops, and other facilities. Some merits noted are natural lighting, display areas, and services like fire extinguishers. Some demerits include lack of provisions for handicapped access and lack of sinks in some areas. In summary, the document analyzes and describes the facilities and layout of the Faculty of Fine Arts at Jamia Millia Islamia university.
Workshop writing text for digital media in museumsErfgoed 2.0
This document provides an overview of a presentation on writing text for digital media in museums. The presentation covers:
- Getting introductions from attendees and learning about their challenges and expectations.
- Examples of using old and new media in museums and the purposes of text.
- Tips for writing concisely for online readers with short attention spans.
- Exercises on writing tweets about museum objects and adapting text for different media.
- Discussion of cross-media and trans-media approaches to engage audiences across platforms.
- Breakout groups where attendees analyze exhibitions and propose text adaptations for various media.
- Feedback and discussion of challenges and successes from the group work.
The document discusses augmented reality, defining it as relating virtual environments to real environments to improve people's interaction with the real world by providing information not directly perceptible to the senses. It notes that for augmented reality to work properly, the real camera perspective must be precisely mapped to the virtual environment. The document explores using augmented reality to provide "contents" to museums by giving voice to cultural heritage exhibits through interactive links and references that highlight context and relationships. However, it notes that technology can be fragile and aims to inspire wonder over providing strict information.
Transmedia: The Digital Opportunities in ContextCorey Timpson
Transmedia storytelling: bringing the static to life and accomplishing several strategic objectives with 360° experience design. CMA 2017 presentation.
- Digital storytelling enhances traditional storytelling by allowing for interactivity, co-creation, non-linear structures, and cross-platform storytelling. It enables audience participation and engagement.
- For museums, digital storytelling can help them become more socially relevant by starting conversations about important issues and questions in society. It allows the museum to listen as well as share stories.
- The key is not the "digital" aspect, but using various media to make storytelling more engaging for audiences. Storytelling remains the most important element.
Class 1 - Introduction to the Semiotics of Digital Interactions.
Originally run at University of Tartu for Undergraduates and up.
Audience: anyone with an interest in the meaning and philosophy behind our interaction with the technological world around us.
4 hypotheses
Social learning is inter-active but Culture is also materially embedded or embodied.
To teach and disseminate immersive Digital History and Virtual Heritage, interaction and the learning that results from that interaction is crucial (see Mosaker, 2001).
To improve interaction, examine games and why they are so successful; academic literature suggests games are best examples of interactive digital engagement (references in Champion, 2008 et al.).
Game-based interaction has to be modified for Digital heritage-virtual heritage.
The document discusses how museums can provide access, flexibility, experience, and community. It provides examples of museums that are accessible to people of all ages, abilities, and backgrounds. It also gives examples of museums that are flexible and co-produced with public participation, engagement and feedback. Museums can create memorable personal experiences for visitors and enhance their sense of community. The use of technology, public spaces, social media, and measuring feedback can further these goals.
Digital storytelling allows for new forms of nonlinear, contextual narratives across multiple media platforms. Stories can take fractal paths as audiences participate in cocreating and sharing content. While some online stories are fleeting, context and communities help form coherent narratives. Effective digital storytelling considers the audience experience, engages fan participation, and integrates personal stories across platforms to bring people together.
The Participatory Museum - Long PresentationNina Simon
This is a long version of an overview presentation on visitor participation in museums and cultural institutions. First presented in Taichung, Taiwan on August 12, 2010.
Luke Robert Mason is a researcher in technology and cyberculture and the director of Virtual Futures. He has organized conferences on topics related to emerging technologies and their impact on humanity. Some of his past work includes performances exploring transhuman aesthetics and a presentation at TEDxWarwick on the permeation of technology in everyday life.
The Interactive culture in the XXI centuryFabio Viola
What does it mean culture today? Where, how, why the younger generations are producing and consuming "culture"? Instagram, Wattpad, videogames are models and rivals of museums and theaters today? Slides from the Fabio Viola's talk at the European Commission meeting in Prague about the Future of Heritage.
This document discusses the concept of the participatory museum, where visitors can create, share, and connect with each other around content. It advocates for museums to become platforms that celebrate diverse voices and encourage collaboration. Participatory engagement techniques discussed include making content personal, scaffolding social experiences, designing for thoughtful responses, offering multiple points of engagement, and connecting to familiar frameworks. Case studies from various museums are presented that demonstrate implementing these techniques successfully.
The document discusses digital storytelling and how to develop and share big ideas. It suggests that a big idea is defined by its vision, mission, and relationship to its audience. A big idea can shift paradigms and should be summarized in one sentence that encompasses why the organization exists and who it exists for. The document also discusses how a big idea can be developed through an ideation process and can happen through gaining support and participation from an audience in a process of change.
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.
Design Factors in the Museum Visitor ExperienceRegan Forrest
This document provides an overview of a PhD research project examining design factors that influence the museum visitor experience. The project will take a three-phase, mixed methods approach. Phase 1 involves qualitative data collection through accompanied visits and think-aloud interviews to understand how visitors perceive exhibition environments. Phase 2 will develop a quantitative instrument to measure environmental perceptions. Phase 3 will study the relationship between perceived atmospheres and visitor outcomes using the survey instrument and observation. The research aims to understand how design elements like spatiality and information rate shape the visitor experience and influence attention and learning. Preliminary thematic analysis of Phase 1 data identified key themes around objects, information, environment, and personal reflection.
The document discusses plans for a children's museum in Mumbai, India. It proposes locating the museum in the R-City mall and dedicates space for a ticketing area, waiting area, climbing structure, activity areas for different age groups, a cardboard playroom, color room, exhibit space, cafeteria, auditorium for digital puppetry, and museum shop. Some of the activities mentioned include history of shadow puppets in India, elements of creativity, and factors of creative thinking. The museum aims to allow children to imagine, explore, and rediscover themselves through hands-on experiences.
Museum Experience as defined by John Falk & Lynn Dierking 2013Reinwardt Academie
This document discusses factors that influence a museum visitor's experience from three contexts: personal, social, and physical.
The personal context includes the visitor's motivations, interests, prior knowledge, and emotional connection to the content. The social context considers how learning is often a social process, and how interactions with other visitors and museum staff shape the experience.
The physical context examines elements of the museum environment like signage, wayfinding, exhibition design, interactive elements, and amenities that affect the visitor's experience from their initial planning to interacting with the exhibits and other areas of the museum.
This document discusses how brands can leverage sensory experiences and metaphors to create more impactful and memorable marketing. It recommends four techniques: 1) using "mirror neurons" to create vicarious experiences that activate the senses; 2) aligning different senses through "cross-modal design" to make experiences more engaging; 3) treating people as "synesthetes" by connecting different senses to reinforce messaging; and 4) expressing brand values through tangible "sensory metaphors" to communicate on an intuitive level. The goal is to tap into people's innate sensory expertise to generate powerful experiences that change how audiences feel.
The document provides a case study of the Faculty of Fine Arts at Jamia Millia Islamia university in New Delhi, India. It describes the various departments within the faculty including painting, sculpture, applied arts, art education, graphic arts, and art history. It provides floor plans and descriptions of the classrooms, studios, workshops, and other facilities. Some merits noted are natural lighting, display areas, and services like fire extinguishers. Some demerits include lack of provisions for handicapped access and lack of sinks in some areas. In summary, the document analyzes and describes the facilities and layout of the Faculty of Fine Arts at Jamia Millia Islamia university.
Workshop writing text for digital media in museumsErfgoed 2.0
This document provides an overview of a presentation on writing text for digital media in museums. The presentation covers:
- Getting introductions from attendees and learning about their challenges and expectations.
- Examples of using old and new media in museums and the purposes of text.
- Tips for writing concisely for online readers with short attention spans.
- Exercises on writing tweets about museum objects and adapting text for different media.
- Discussion of cross-media and trans-media approaches to engage audiences across platforms.
- Breakout groups where attendees analyze exhibitions and propose text adaptations for various media.
- Feedback and discussion of challenges and successes from the group work.
The document discusses augmented reality, defining it as relating virtual environments to real environments to improve people's interaction with the real world by providing information not directly perceptible to the senses. It notes that for augmented reality to work properly, the real camera perspective must be precisely mapped to the virtual environment. The document explores using augmented reality to provide "contents" to museums by giving voice to cultural heritage exhibits through interactive links and references that highlight context and relationships. However, it notes that technology can be fragile and aims to inspire wonder over providing strict information.
Transmedia: The Digital Opportunities in ContextCorey Timpson
Transmedia storytelling: bringing the static to life and accomplishing several strategic objectives with 360° experience design. CMA 2017 presentation.
- Digital storytelling enhances traditional storytelling by allowing for interactivity, co-creation, non-linear structures, and cross-platform storytelling. It enables audience participation and engagement.
- For museums, digital storytelling can help them become more socially relevant by starting conversations about important issues and questions in society. It allows the museum to listen as well as share stories.
- The key is not the "digital" aspect, but using various media to make storytelling more engaging for audiences. Storytelling remains the most important element.
Class 1 - Introduction to the Semiotics of Digital Interactions.
Originally run at University of Tartu for Undergraduates and up.
Audience: anyone with an interest in the meaning and philosophy behind our interaction with the technological world around us.
4 hypotheses
Social learning is inter-active but Culture is also materially embedded or embodied.
To teach and disseminate immersive Digital History and Virtual Heritage, interaction and the learning that results from that interaction is crucial (see Mosaker, 2001).
To improve interaction, examine games and why they are so successful; academic literature suggests games are best examples of interactive digital engagement (references in Champion, 2008 et al.).
Game-based interaction has to be modified for Digital heritage-virtual heritage.
The document discusses how museums can provide access, flexibility, experience, and community. It provides examples of museums that are accessible to people of all ages, abilities, and backgrounds. It also gives examples of museums that are flexible and co-produced with public participation, engagement and feedback. Museums can create memorable personal experiences for visitors and enhance their sense of community. The use of technology, public spaces, social media, and measuring feedback can further these goals.
Digital storytelling allows for new forms of nonlinear, contextual narratives across multiple media platforms. Stories can take fractal paths as audiences participate in cocreating and sharing content. While some online stories are fleeting, context and communities help form coherent narratives. Effective digital storytelling considers the audience experience, engages fan participation, and integrates personal stories across platforms to bring people together.
The Participatory Museum - Long PresentationNina Simon
This is a long version of an overview presentation on visitor participation in museums and cultural institutions. First presented in Taichung, Taiwan on August 12, 2010.
Luke Robert Mason is a researcher in technology and cyberculture and the director of Virtual Futures. He has organized conferences on topics related to emerging technologies and their impact on humanity. Some of his past work includes performances exploring transhuman aesthetics and a presentation at TEDxWarwick on the permeation of technology in everyday life.
The Interactive culture in the XXI centuryFabio Viola
What does it mean culture today? Where, how, why the younger generations are producing and consuming "culture"? Instagram, Wattpad, videogames are models and rivals of museums and theaters today? Slides from the Fabio Viola's talk at the European Commission meeting in Prague about the Future of Heritage.
This document discusses the concept of the participatory museum, where visitors can create, share, and connect with each other around content. It advocates for museums to become platforms that celebrate diverse voices and encourage collaboration. Participatory engagement techniques discussed include making content personal, scaffolding social experiences, designing for thoughtful responses, offering multiple points of engagement, and connecting to familiar frameworks. Case studies from various museums are presented that demonstrate implementing these techniques successfully.
The document discusses digital storytelling and how to develop and share big ideas. It suggests that a big idea is defined by its vision, mission, and relationship to its audience. A big idea can shift paradigms and should be summarized in one sentence that encompasses why the organization exists and who it exists for. The document also discusses how a big idea can be developed through an ideation process and can happen through gaining support and participation from an audience in a process of change.
1. Virtual heritage utilizes virtual reality and mixed reality to represent cultural artifacts and spaces. However, interaction design studies and consideration of end-users are often lacking.
2. Cultural presence refers to a visitor's sense of being in a foreign time or place when experiencing virtual environments related to different cultures. However, virtual places can be highly static and lack meaningful interactions.
3. Evaluating virtual heritage projects poses challenges regarding preservation of content over time and platforms, as well as training staff and users. Museums and cultural institutions are still developing strategies for utilizing augmented, virtual and mixed reality technologies.
Art is Open Source at Visualize: materials and links
Some links and resources explored at the Visualize talk and workshop in Lecce, Italy, June 2014
more info here:
http://www.artisopensource.net/network/artisopensource/2014/04/17/micro-histories-of-cities-and-ubiquitous-commons-at-visualize-in-lecce/
Story, Sci-Fi & Transmedia to develop Corporate Technology Strategies.Hubbub Media
This document discusses using science fiction and transmedia storytelling to develop corporate technology strategies and visions of the future. It provides examples of how sci-fi concepts and speculative fiction have been used to explore philosophical ideas and future technologies. The document also discusses using experience design, transmedia structures and storytelling to engage audiences across multiple platforms and media. The goal is to help companies and organizations envision and communicate future experiences in an immersive, interactive way.
The Recurated Museum: V. Collections Communication & StorytellingChristopher Morse
Slides from the fifth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
Musea in een Digitale Cultuur. Conferentie op 21 mei 2010 te Brussel. Organisatie FARO, Vlaams Steunpunt voor Cultureel Erfgoed vzw. Gert Nulens is senior onderzoeker bij IBBT-SMIT (Vrije Universiteit Brussel) Op de conferentie stond hij stil bij de vraag welke financieringsmodellen mogelijk zijn voor de omgang met digitaal cultureel erfgoed.
Musea in een Digitale Cultuur. Conferentie op 21 mei 2010 te Brussel. Organisatie FARO, Vlaams Steunpunt voor Cultureel Erfgoed vzw. Marco Streefkerk is senior medewerker bij Digitaal Erfgoed Nederland (DEN). Op de conferentie stond hij stil bij business modellering in de digitaal erfgoedsector
Musea in een Digitale Cultuur. Conferentie op 21 mei 2010 te Brussel. Organisatie FARO, Vlaams Steunpunt voor Cultureel Erfgoed vzw. Marianne Peereboom is manager digitalisering en sprak over de digitaliseringsstrategie van het Van Gogh Museum
Musea in een Digitale Cultuur. Conferentie op 21 mei 2010 te Brussel. Organisatie FARO, Vlaams Steunpunt voor Cultureel Erfgoed vzw. Harry Verwayen is business development manager bij Europeana. Op de conferentie legde hij uit wat Europeana is en wat de relevantie ervan is voor de Vlaamse museumsector.
Musea in een Digitale Cultuur. Conferentie op 21 mei 2010 te Brussel. Organisatie FARO, Vlaams Steunpunt voor Cultureel Erfgoed vzw. Annemarie van Eekeren is hoofd educatie en sprak over de projecten Amsterdam-Oost en Buurtwinkels
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
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This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
1. museums in a digital culture DR. ROSS PARRY Department of Museum Studies University of Leicester UK Technologies for Cultural Heritage: Leonardo and Beyond Oxford, 1-2 October 2008 Museums in a Digital Culture FARO Department for Culture, Youth, Sports and Media Agency for Arts and Heritage Brussels - 22 May 2010
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3. ‘ Much of our imaginary and our political and social practices are conditioned and organised by and through the electronic communications system.’ Manuel Castells, ‘Museums in the information era: cultural connectors of time and space’. ICOM News, special issue Vol. 54, No. 3 (2001), 4-7.
6. museum gallery ICT museum gallery ICT 1. OUTSIDE (1950s-60s) 2. PERIPHERAL 1970s)
7. museum gallery ICT museum gallery ICT museum gallery ICT` web 1. OUTSIDE (1950s-60s) 2. PERIPHERAL 1970s) 3. CONTAINED (1980s-90s)
8. museum gallery ICT museum gallery ICT museum gallery ICT` museum gallery ICT web web 1. OUTSIDE (1950s-60s) 2. PERIPHERAL 1970s) 3. CONTAINED (1980s-90s) 4. DISCRETE (1990s)
9. museum gallery ICT museum gallery ICT museum gallery ICT` museum gallery ICT museum gallery web web web 1. OUTSIDE (1950s-60s) 2. PERIPHERAL 1970s) 3. CONTAINED (1980s-90s) 4. DISCRETE (1990s) 5. INTEGRATED (today)
10. museum gallery ICT museum gallery ICT museum gallery ICT` museum gallery ICT museum gallery museum gallery web web web web 1. OUTSIDE (1950s-60s) 2. PERIPHERAL 1970s) 3. CONTAINED (1980s-90s) 4. DISCRETE (1990s) 5. INTEGRATED (today) 6. EMBEDDED (emerging)
11. museum gallery ICT museum gallery ICT museum gallery ICT` museum gallery ICT museum gallery museum gallery web web web web museum 1. OUTSIDE (1950s-60s) 2. PERIPHERAL 1970s) 3. CONTAINED (1980s-90s) 4. DISCRETE (1990s) 5. INTEGRATED (today) 6. EMBEDDED (emerging) 7. INNATE (next?) media
35. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social
36. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory
37. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives
38. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives
39. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives contributing to narratives planned and initiated narration
40. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration
41. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration staged and evolving narrativity
42. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration staged and evolving narrativity fragmented and transient narrativity
43. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration staged and evolving narrativity fragmented and transient narrativity owned and ‘inside’ (collected)
44. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration staged and evolving narrativity fragmented and transient narrativity owned and ‘inside’ (collected) shared and ‘outside’ (ubiquitous)
45. constructive interpretive communicative performative lead narratives distributed hyper-linked addressed hyper-textual linked narratives situated semantic social sensory live narratives authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration staged and evolving narrativity fragmented and transient narrativity owned and ‘inside’ (collected) shared and ‘outside’ (ubiquitous) time constrained and event-bound
46. constructive interpretive communicative performative distributed hyper-linked addressed hyper-textual situated semantic social sensory authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration staged and evolving narrativity fragmented and transient narrativity owned and ‘inside’ (collected) shared and ‘outside’ (ubiquitous) time constrained and event-bound ‘ always on’ and ‘on demand’ lead narratives linked narratives live narratives
47. constructive interpretive communicative performative situated semantic social sensory authoring and building narratives contributing to narratives planned and initiated narration unplanned / unseen narration staged and evolving narrativity fragmented and transient narrativity owned and ‘inside’ (collected) shared and ‘outside’ (ubiquitous) time constrained and event-bound ‘ always on’ and ‘on demand’ lead narratives live narratives