Block 1.2: Building connectivities through institutions & discussion.
Emily Oswald (University of Oslo, Norway): “See where this is?” A local history museum’s Facebook concept and the use of historical photographs for reminiscing on social media.
Which facebook posts got the most likes, shares, and commentsswissedsocial
We looked at the official Facebook pages of all participants of the program "Swiss Academia and the Social media Landscape" to find out which posts created the most interest among their community in July 2012.
Which facebook posts got the most likes, shares, and commentsswissedsocial
We looked at the official Facebook pages of all participants of the program "Swiss Academia and the Social media Landscape" to find out which posts created the most interest among their community in July 2012.
Artwork-centred sociality in museums and galleriesMarcus Winter
The concept of object-centred sociality (Engeström, 2005) is well established on the Web and has been transferred to physical museums and galleries to explain how visitors engage with each other around social objects (Simon, 2010). While designers of Web-based museum experiences have a wide range of well-established tools at their disposal to support object centred sociality and user generated content, curators of physical exhibitions typically rely on feedback boards and visitor books to foster engagement and encourage interpretation.
Ubiquitous annotation, described by Hansen (2006) as attaching digital information to physical objects and places, offers a way to go beyond the limitations of physical feedback boards. It enables unobtrusive, in-situ annotation of specific artworks and results in digital content that can be readily re-used and re-mediated. Recent efforts to employ ubiquitous annotation in museums include a bespoke system by Hsu & Liao (2011), iPad based object labels by Gray et al. (2012) and a platform involving custom mobile devices by Seirafi & Seirafi (2012). Adoption of these systems requires substantial commitment from host organisations in the form of financial investment, custom development and change of work practices. Furthermore, visitor interaction with these systems is problematic due to usability problems with static touchpoints that cannot display state information or interaction feedback.
The project is developing a light-weight, generic ubiquitous annotation platform that makes artwork-centred commenting and rating feasible even for smaller, low-budget arts organisations. It enables visitors to browse and create comments and ratings using their mobile phone. The project is developing novel dynamic touchpoints that address many of the usability problems associated with static touchpoints. For curators, the system provides an analytics backend to maintain editorial control, re-use contributed content and analyse engagement levels with a view to enhancing the visitor experience. The project is at an early stage and seeks discussions with researchers and museums professionals to inform the design and research.
Janson Hews - The importance of the student voice within Museums - Museums Au...Janson Hews
Working together with students as co-creators of exhibitions and content in the Museum can produce a rich source of creativity, critical thinking and ultimately an ‘other’ voice for the public to hear about issues facing them and wider society.
In today’s increasingly participatory Museum environment there is the need to be more inclusive of audience voices. In particular, is the importance of championing the student voice and the opportunities that exist for greater collaboration. Students need to feel that they have a voice in order to participate and engage in the complex world around them. Museums, through their exhibitions and programs have the opportunity to more effectively collaborate with students and education stakeholders and provide them with a platform to express their feelings and aspirations in a critical and creative way. The Powerhouse Museum has enjoyed a long history of student-based exhibition which have gone on to become permanent fixtures, such as the annual DesignTECH exhibition, showcasing the best of the state’s Major Design Projects. The Museum is working more extensively to provide the public with an ‘other’ voice not always heard in public forums, such as evidenced with the recent 2012 Koori Art Expressions exhibition, in which students from years K-12 have produced artworks in response to this year’s NAIDOC theme – The Tent Embassy.
The reason why this initiative is significant is that the education audience are key Museum stakeholders, which in many instances are an untapped resource of creativity and critical thinking which can be harnessed through working together more effectively. The motivation to further champion this student voice is recognising the transformative role of students as future agents of change, through fostering these critical and creative skills.
Many people say not to work with animals or children however this presenter disagrees altogether with the latter. This presentation will provide delegates with an insight into what has worked at the Museum in collaborating with students and education stakeholders to produce exhibitions and content as well as highlight some of the challenges which exist.
Presentation for the UXiLibs 2016
“Speak, friend, and enter” – Labyrinths, symbolic spaces, and gated communities in university libraries
“‘What does it mean by speak, friend, and enter?’ asked Merry. ‘That is plain enough’, said Gimli. ‘If you are a friend speak the password, and the doors will open, and you can enter.’”
Library spaces can work as gated communities, labyrinths, and access deniers: They hinder users in navigating through the information architecture built of rooms, shelves and books. If a user hasn’t enough library experience, he/she will get lost within the library building. But for those who succeed, library spaces often are symbolic spaces. They appropriate the spaces: they understand and modify the social and material environment by for instance choosing a favourite (work)place and (re-)arranging the furniture. They develop a feeling of belonging and ownership over ‘their spaces’.
Using a mix of methods of user experience research and ethnography like participant observation, interviews, and mental maps, I conducted a comparative case study among university libraries in Europe. My presentation will illustrate some of the results and trace the used methods along examples from the data material. The aim is to give an insight in possibilities to investigate and improve library spaces.
The purpose of museums is to enable all visitors to enjoy its collections and to learn. Although programs for visitors with visual impairment have appeared in developed countries, it does not seem that much has been done to integrate this group into the museum audience. Museum staff had to consider the different learning needs of visitors and consult with members of the community to gain a better understanding of what needs to be changed in order to make their museum accessible to visitors with different abilities. However, it has also been suggested that inclusive practices can be achieved through the use of Universal Design. According to McGinnis (2007), Universal Design means that exhibitions and programs would have to be designed so that everyone was able to use them. This article aims to analyze the accessibility of museums in Skopje to visitors with visual impairments, with a particular focus on how they can become more inclusive.
Understanding culture and society
Chapter 1 The social science and the three faces of the social
lesson 1 Key observation
Lesson 2 The social science
Objective
question
what is social science
herbert spencer survival of the fittest
emile dukheim suicide
Block 1.1: Building connectivities through institutions.
Franziska Mucha (University of Glasgow, United Kingdom): Crowds, communities and co-creativity: Users’ motivations for crowdsourcing cultural heritage digital.
More Related Content
Similar to “See where this is?” A local history museum’s Facebook concept and the use of historical photographs for reminiscing on social media.
Artwork-centred sociality in museums and galleriesMarcus Winter
The concept of object-centred sociality (Engeström, 2005) is well established on the Web and has been transferred to physical museums and galleries to explain how visitors engage with each other around social objects (Simon, 2010). While designers of Web-based museum experiences have a wide range of well-established tools at their disposal to support object centred sociality and user generated content, curators of physical exhibitions typically rely on feedback boards and visitor books to foster engagement and encourage interpretation.
Ubiquitous annotation, described by Hansen (2006) as attaching digital information to physical objects and places, offers a way to go beyond the limitations of physical feedback boards. It enables unobtrusive, in-situ annotation of specific artworks and results in digital content that can be readily re-used and re-mediated. Recent efforts to employ ubiquitous annotation in museums include a bespoke system by Hsu & Liao (2011), iPad based object labels by Gray et al. (2012) and a platform involving custom mobile devices by Seirafi & Seirafi (2012). Adoption of these systems requires substantial commitment from host organisations in the form of financial investment, custom development and change of work practices. Furthermore, visitor interaction with these systems is problematic due to usability problems with static touchpoints that cannot display state information or interaction feedback.
The project is developing a light-weight, generic ubiquitous annotation platform that makes artwork-centred commenting and rating feasible even for smaller, low-budget arts organisations. It enables visitors to browse and create comments and ratings using their mobile phone. The project is developing novel dynamic touchpoints that address many of the usability problems associated with static touchpoints. For curators, the system provides an analytics backend to maintain editorial control, re-use contributed content and analyse engagement levels with a view to enhancing the visitor experience. The project is at an early stage and seeks discussions with researchers and museums professionals to inform the design and research.
Janson Hews - The importance of the student voice within Museums - Museums Au...Janson Hews
Working together with students as co-creators of exhibitions and content in the Museum can produce a rich source of creativity, critical thinking and ultimately an ‘other’ voice for the public to hear about issues facing them and wider society.
In today’s increasingly participatory Museum environment there is the need to be more inclusive of audience voices. In particular, is the importance of championing the student voice and the opportunities that exist for greater collaboration. Students need to feel that they have a voice in order to participate and engage in the complex world around them. Museums, through their exhibitions and programs have the opportunity to more effectively collaborate with students and education stakeholders and provide them with a platform to express their feelings and aspirations in a critical and creative way. The Powerhouse Museum has enjoyed a long history of student-based exhibition which have gone on to become permanent fixtures, such as the annual DesignTECH exhibition, showcasing the best of the state’s Major Design Projects. The Museum is working more extensively to provide the public with an ‘other’ voice not always heard in public forums, such as evidenced with the recent 2012 Koori Art Expressions exhibition, in which students from years K-12 have produced artworks in response to this year’s NAIDOC theme – The Tent Embassy.
The reason why this initiative is significant is that the education audience are key Museum stakeholders, which in many instances are an untapped resource of creativity and critical thinking which can be harnessed through working together more effectively. The motivation to further champion this student voice is recognising the transformative role of students as future agents of change, through fostering these critical and creative skills.
Many people say not to work with animals or children however this presenter disagrees altogether with the latter. This presentation will provide delegates with an insight into what has worked at the Museum in collaborating with students and education stakeholders to produce exhibitions and content as well as highlight some of the challenges which exist.
Presentation for the UXiLibs 2016
“Speak, friend, and enter” – Labyrinths, symbolic spaces, and gated communities in university libraries
“‘What does it mean by speak, friend, and enter?’ asked Merry. ‘That is plain enough’, said Gimli. ‘If you are a friend speak the password, and the doors will open, and you can enter.’”
Library spaces can work as gated communities, labyrinths, and access deniers: They hinder users in navigating through the information architecture built of rooms, shelves and books. If a user hasn’t enough library experience, he/she will get lost within the library building. But for those who succeed, library spaces often are symbolic spaces. They appropriate the spaces: they understand and modify the social and material environment by for instance choosing a favourite (work)place and (re-)arranging the furniture. They develop a feeling of belonging and ownership over ‘their spaces’.
Using a mix of methods of user experience research and ethnography like participant observation, interviews, and mental maps, I conducted a comparative case study among university libraries in Europe. My presentation will illustrate some of the results and trace the used methods along examples from the data material. The aim is to give an insight in possibilities to investigate and improve library spaces.
The purpose of museums is to enable all visitors to enjoy its collections and to learn. Although programs for visitors with visual impairment have appeared in developed countries, it does not seem that much has been done to integrate this group into the museum audience. Museum staff had to consider the different learning needs of visitors and consult with members of the community to gain a better understanding of what needs to be changed in order to make their museum accessible to visitors with different abilities. However, it has also been suggested that inclusive practices can be achieved through the use of Universal Design. According to McGinnis (2007), Universal Design means that exhibitions and programs would have to be designed so that everyone was able to use them. This article aims to analyze the accessibility of museums in Skopje to visitors with visual impairments, with a particular focus on how they can become more inclusive.
Understanding culture and society
Chapter 1 The social science and the three faces of the social
lesson 1 Key observation
Lesson 2 The social science
Objective
question
what is social science
herbert spencer survival of the fittest
emile dukheim suicide
Block 1.1: Building connectivities through institutions.
Franziska Mucha (University of Glasgow, United Kingdom): Crowds, communities and co-creativity: Users’ motivations for crowdsourcing cultural heritage digital.
Block 1.1: Building connectivities through institutions.
Susanne Boersma & Elisabeth Tietmeyer (Stiftung Preußischer Kulturbesitz, Germany): Collaboration and incorporation of vulnerable groups in professional participatory memory work.
Block 2.1: Connectivities built by people and groups.
Asnath Paula Kambunga & Rachel Charlotte Smith (Aarhus University, Denmark): Future memory making: Prototyping (post-) colonial imaginations with Namibian youth.
Block 2.1: Connectivities built by people and groups.
Anne Chahine (Aarhus University, Denmark): Future memory making: Co-creating (post-) colonial imaginations with youth from Greenland and Denmark.
Block 2.1: Connectivities built by people and groups.
Eleni-Aikaterini Moraitopoulou (Ashoka, United Kingdom): Young people’s engagement in public memory work for envisioning possible futures: A study inside the Ashoka Changemaker schools in Europe.
Block 2.1: Connectivities built by people and groups.
Myrto Theocharidou (Cyprus University of Technology, Cyprus): Uses of digital cultural heritage databases maintained by memory forming institutions.
Block 2.2: Connectivities built by people and groups
Özge Çelikaslan (Karlsruhe University of Arts and Design, Germany): Politics of memory in the case of collective counter-archive practices.
Block 2.2: Connectivities built by people and groups.
Dahlia Mahmoud & Elisabeth Stoney (Zayed University, Abu Dhabi): Community, creative practice and sharing marginal narratives.
Block 2.2: Connectivities built by people and groups
Špela Ledinek Lozej (Institute of Slovenian Ethnology, Slovenia): Collaborative inventory – participatory linking of cultural heritage collections in the Slovenian-Italian cross-border region.
Block 3.1: Connectivities built by memory modalities.
Quoc-Tan Tran (University of Hamburg, Germany):
Memory modalities in diverse types of memory institutions.
Block 3.1: Connectivities built by memory modalities.
Angeliki Tzouganatou (University of Hamburg, Germany):
Internet ecologies of open knowledge as future memory modalities.
Block 3.2: Connectivities built by memory modalities.
Sandra Trostel (Independent filmmaker, digital storyteller):
Documentary film as a freely available cultural asset – a case study on the project “All creatures welcome”.
Block 3.2: Connectivities built by memory modalities.
Susanna Ånäs (Open Knowledge Foundation Finland and Wikimedia, Finland): Wikidocumentaries – A wiki for small history.
Block 3.2: Connectivities built by memory modalities.
Sónia Vespeira de Almeida & Sónia Ferreira (FCSH‐Universidade Nova de Lisboa, Portugal): Portuguese exiles in Europe. Uses of the past and participatory memory.
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“See where this is?” A local history museum’s Facebook concept and the use of historical photographs for reminiscing on social media.
1. “See where this is?”
A local history museum’s Facebook concept
and the use of historical photographs for
reminiscing on social media
Emily Oswald, PhD Research Fellow
Department of Education, University of Oslo
POEM Opening Conference
13 December 2018