Slides from the fourth 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.
Cross-Media Information Spaces and Architectures (CISA)Beat Signer
Research on cross-media information spaces and architectures covering interactive paper, personal information management, data physicalisation, document engineering, gesture recognition, presentation tools, next generation user interfaces and other topics.
Educational Personalized Contents in a Web Environment: The Virtual Museum N...Giuseppe Naccarato
This chapter presents a system called Virtual Museum Net of Magna Graecia, part of a Cultural Heritage
project supported by the Regional Operational Programme 2000-2006 to promote archaeological patrimony of Calabria, a region of southern Italy. In particular, the Virtual Museum Net offers personalized learning paths though an intelligent match between a user’s preferences, needs, and requests and
Calabrian Cultural Heritage data from museums, archaeological sites and libraries, including maps,
images, movies, historical writings, and architectural reconstructions.The system provides educational
contents and recommendations on the basis of a thematic search or a map, and the user can select both
the contents to visualize and the level of detail. In this way, the educational quality, the users’ entertainment, and the learning process are improved by the virtual experience.
Cross-Media Information Spaces and Architectures (CISA)Beat Signer
Research on cross-media information spaces and architectures covering interactive paper, personal information management, data physicalisation, document engineering, gesture recognition, presentation tools, next generation user interfaces and other topics.
Educational Personalized Contents in a Web Environment: The Virtual Museum N...Giuseppe Naccarato
This chapter presents a system called Virtual Museum Net of Magna Graecia, part of a Cultural Heritage
project supported by the Regional Operational Programme 2000-2006 to promote archaeological patrimony of Calabria, a region of southern Italy. In particular, the Virtual Museum Net offers personalized learning paths though an intelligent match between a user’s preferences, needs, and requests and
Calabrian Cultural Heritage data from museums, archaeological sites and libraries, including maps,
images, movies, historical writings, and architectural reconstructions.The system provides educational
contents and recommendations on the basis of a thematic search or a map, and the user can select both
the contents to visualize and the level of detail. In this way, the educational quality, the users’ entertainment, and the learning process are improved by the virtual experience.
This presentation was provided by Gerald Benoit of Simmons College during the NISO webinar, Enabling Discovery and Retrieval of Non-Traditional and Granular Content, held on June 7, 2017
This is the presentation of the Juan Cruz-Benito’s PhD “On data-driven systems analyzing, supporting and enhancing users’ interaction and experience” that was defended on September 3rd, 2018 in the Faculty of Sciences at University of Salamanca Spain. This PhD was graded with the maximum qualification “Sobresaliente Cum Laude”.
A Rubric for Assessing the UX of Online Museum Collections: Preliminary Findi...craigmmacdonald
The increasing popularity of the Web and the proliferation of mobile technologies have had a tremendous impact on museums. The deployment of new technology into physical museum spaces has greatly enhanced the in-person museum experience, but efforts to improve the virtual museum experience have been less successful. This lightning talk describes our preliminary efforts to develop and validate a user experience (UX) assessment rubric for online museum collections. Drawing from existing research and current interface design and usability best practices, this rubric provides a set of criteria for assessing the extent to which an online museum collection provides a positive user experience for online visitors. Future research directions will be presented alongside the results from an initial pilot study.
Presented at the 2014 Museums and the Web conference in Baltimore, MD.
This presentation was provided by Gerald Benoit of Simmons College during the NISO webinar, Enabling Discovery and Retrieval of Non-Traditional and Granular Content, held on June 7, 2017
This is the presentation of the Juan Cruz-Benito’s PhD “On data-driven systems analyzing, supporting and enhancing users’ interaction and experience” that was defended on September 3rd, 2018 in the Faculty of Sciences at University of Salamanca Spain. This PhD was graded with the maximum qualification “Sobresaliente Cum Laude”.
A Rubric for Assessing the UX of Online Museum Collections: Preliminary Findi...craigmmacdonald
The increasing popularity of the Web and the proliferation of mobile technologies have had a tremendous impact on museums. The deployment of new technology into physical museum spaces has greatly enhanced the in-person museum experience, but efforts to improve the virtual museum experience have been less successful. This lightning talk describes our preliminary efforts to develop and validate a user experience (UX) assessment rubric for online museum collections. Drawing from existing research and current interface design and usability best practices, this rubric provides a set of criteria for assessing the extent to which an online museum collection provides a positive user experience for online visitors. Future research directions will be presented alongside the results from an initial pilot study.
Presented at the 2014 Museums and the Web conference in Baltimore, MD.
Citizen Experiences in Cultural Heritage Archives: a Data JourneyEnrico Daga
Digital archives of memory institutions are typically concerned with the cataloguing of artefacts of artistic, historical, and cultural value. Recently, new forms of citizen participation in cultural heritage have emerged, producing a wealth of material spanning from visitors’ experiential feedback on exhibitions and cultural artefacts to digitally mediated interactions like the ones happening on social media platforms. In this talk, I will touch upon the problems of integrating citizen experiences in cultural heritage archives. I argue for good reasons for institutions to archive people’s responses to cultural objects, and then look at the impact that this has on the data infrastructures. I argue that a knowledge organisation system for “data journeys” can help in disentangling problems that include issues of distribution, authoritativeness, interdependence, privacy, and rights management.
Citizen Experiences in Cultural Heritage Archives: a Data JourneyEnrico Daga
Digital archives of memory institutions are typically concerned with the cataloguing of artefacts of artistic, historical, and cultural value. Recently, new forms of citizen participation in cultural heritage have emerged, producing a wealth of material spanning from visitors’ experiential feedback on exhibitions and cultural artefacts to digitally mediated interactions like the ones happening on social media platforms. In this talk, I will touch upon the problems of integrating citizen experiences in cultural heritage archives. I argue for good reasons for institutions to archive people’s responses to cultural objects, and then look at the impact that this has on the data infrastructures. I argue that a knowledge organisation system for “data journeys” can help in disentangling problems that include issues of distribution, authoritativeness, interdependence, privacy, and rights management.
From Digital Records to Digital Cultural Landscapes. Beyond Digital Library b...4Science
In a Digital Library environment, we can define Digital cultural landscapes as “virtual ecosystems” in which digital cultural heritage subsets are related with entities such as people, places, events, fonds, etc., according to different visions and interpretations, in a pluralism generating new knowledge and opening up new perspectives. These virtual ecosystems today can be easily structured by cultural institutions, using a popular application such as DSpace, the world's most widely used open source Digital Asset Management System.
Extending the DSpace data model and enriching the platform with new features allows, indeed, to go beyond the traditional boundaries of the Digital libraries, structuring a complex system of relationships between entities, to be explored through networks, structured paths and viewers, building new narratives thanks to interdisciplinarity and the coexistence of different domains (Galleries, Libraries, Archives, Museums and even more).
Digital Libraries represent today, at least in the Humanities, the main tools not only for recomposing cultural information, but also for producing new knowledge, provided, however, that they are not mere lists of items grouped into collections, but become tools allowing the definition of relationships on different scales and according to different variability dimensions, in order to reconstruct real digital cultural landscapes within which, for example, a document can be explored and analyzed in relation to other documents and to all the information helping to define its context, or rather its different contexts (historical, geographical, cultural, etc.).
Moreover, since Digital Library requirements are getting complex and complex, to fulfil the needs of the cultural heritage domain, we enhanced our solutions based on DSpace, developing a IIIF ecosystem built on top of three add-ons, the IIIF Image Viewer Mirador, the Document Viewer (for visualizing PDF files within
Mirador) and the OCR module (for extracting text from images and indexing it).
Nowadays a Digital Library should be able to tell its content in different ways to different audiences. Therefore, we will illustrate what we implemented in DSpace, in order to enhance the storytelling and communication capabilities of the Digital Library.
Slides from the ninth 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.
Slides from the eighth 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.
The Recurated Museum: VII. Museum Exhibition Design through UXChristopher Morse
Slides from the seventh 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.
Slides from the sixth 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.
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.
The Recurated Museum: III. Digital Collections, Exhibits, & EducationChristopher Morse
Slides from the third 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.
The Recurated Museum: II. Museums, Identity, & CommunityChristopher Morse
Slides from the second 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.
The Recurated Museum: I. Museums as Producers of MeaningChristopher Morse
Slides from the first session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
2. How can digital exhibitions be curated and set-up to encompass/include all types of
learners? Consider how the digital format can be advantageous or problematic.
Do you think virtual museums work as a complementary to real-life museums or could
they eventually even replace real-life museums altogether?
Problem for Social
/ Kinetic learner
Context of Digital
Experience
Quizzes, interactive
activities
Virtual museum is
complementary
Virtual museum can
augment, not replace
Quality of material
object is hard to
transmit
Community
Platform
3. Exhibition without objects
focus on experience and story
Immersive learning visceral experience
driven by ideas and questions instead of objects
(Jones, 2017)
How would you imagine a museum experience without any objects?
Have you experienced a museum without a collection or without any objects on display?
4. Interpretative Tools
Digital media
Immersive spaces
Interactives
Dialogues with docents
Theatre
Maker spaces and crafting stations
Wall text
Lighting and sound design
Games and simulations
(Jones, 2017)
5. 1. We need objects now more than ever.
2. We don’t need objects unless we do something
with them.
3. We may not need the ones collected
4. We don’t all need the same ones
5. We need to restore the links between objects
and places.
6. We need a different model for access.
(Tisdale, 2011)
6. Do we still need curators?
"Today's curator is a subject expert who facilitates the process of
creating a collective history by convening the conversation, asking
interesting questions, suggesting trusted sources and methods for
exploration, gently guiding the discussion, and checking for factual
errors."
(Tisdale, 2011)
7. Assessing the user experience (UX)
of online museum collections:
Perspectives from design and
museum professionals
Studies show that online museum collections are
among the least popular features of a museum
website, which many museums attribute to a lack
of interest. While it’s certainly possible that a
large segment of the population is simply
uninterested in viewing museum objects through
a computer screen, it is also possible that a large
number of people want to find and view museum
objects digitally but have been discouraged from
doing so due to the poor user experience (UX) of
existing online-collection interfaces.
(MacDonald, 2015)
10. User Experience Design
UX is a consequence of a user’s internal state (predispositions,
expectations, needs, motivation, mood, etc.), the characteristics of
the designed system (e.g. complexity, purpose, usability,
functionality, etc.) and the context (or the environment) within
which the interaction occurs (e.g. organisational/social setting,
meaningfulness of the activity, voluntariness of use, etc.).
(Hassenzahl & Tractinsky, 2006)
11. VISCERAL
DESIGN
Perceptible qualities of an object
BEHAVIORAL
DESIGN
Practical and functional qualities of an object
REFLECTIVE
DESIGN
Conscious rationalization or intellectualization of an
object.
Norman’s Three Levels of Emotional Design
(Norman, 2004)
17. VISCERAL
DESIGN
Will people want to use the collection?
Strength of
Visual Content
Visual Aesthetics
● Role of artwork in the collection
● Balance of visual and textual content
● Quality of visual content
● Harmony of color, graphics, typography
● Consistency of non-interactive elements
● Affective responses that are universally positive
18. Will people be able to use the collection?BEHAVIORAL
DESIGN
System Reliability
& Performance
Usefulness of
Metadata
Interface Usability
Support for Casual
and Expert Users
● Level of technical errors in the interface
● Ability to accomplish user goals (e.g. finding an image)
● Length of load times to view pages/images
● Breadth and depth of metadata
● Ability for metadata to support search and filter
● Use of metadata to support innovative discovery
● Intuitiveness of use and required learning curve
● Unnecessary complexity or inefficient simplicity
● Seamless interaction between user and collection
● General functionality (casual users)
● Obtrusiveness of advanced features (advanced users)
● Seamlessness of transition between browse and research
19. Will people want to come back to use the collection?REFLECTIVE
DESIGN
Uniqueness of
Virtual Experience
Openness
Integration of
Social Features
Personalization
of Experiences
● Difference between virtual and in-person experience
● Opportunity for new insights and perspectives
● Extension beyond the in-person museum experience
● Level of personal control over content
● Description of copyright
● Content shareability
● Extent of virtual community
● Integration of social tools within the collection
● Multiplicity of communication options
● Personalizability
● Robustness of personalization features
● Empowerment of co-creation
20.
21.
22. Strength of
Visual Content
● Role of artwork in the
collection
● Balance of visual and
textual content
● Quality of visual content
Support for
Casual and Expert Users
● General functionality
● Obtrusiveness of
advanced features
● Transition between
browsing and research
Openness
● Level of personal control
over content
● Description of copyright
● Content shareability
23. Integration of
Social Features
● Virtual community
● Social tools within the
collection
● Multiplicity of
communication options
Uniqueness of
Virtual Experience
● Virtual vs. in-person
● Opportunity for new
insights
● Extension beyond the in-
person visit
25. A Collections Management System (CMS)
for a physical or born digital collection is
comprised of a database, metadata, a
general interface, a graphical user
interface, and an application
programming interface.
Purvis, 2017
27. Functions of CMS
Object Entry and
Acquisition
Cataloging
Location and Movement
Control
Object
Exit
Loans
Retrospective
Documentation
(Purvis, 2017)
29. Digital processes offer a means to increase the return on
resources in meaningful, measurable ways. These (...) may reduce
the overall human interaction with original objects face-to-face or
may enhance them [VR, 3D print, hologram]. Digitisation is a
balancing act between conservation, engagement, and
commercialization, … .
Purvis, 2017
32. Digital preservation is the active
management of digital content over
time to ensure ongoing access.
Library of Congress
33. While museums only rarely deaccession their
physical collections, digital repositories do not have
the same approach. Generally speaking, digital
storage may be broken down into three lengths of
preservation: short-term, medium-term, and long-
term.
34. Short-term preservation
Continued access to digital objects is desired but does not extend into the future beyond
changes in technology.
Medium-term preservation
Continued access to digital objects is desired beyond changes in technology. Continued
access is required for a determinate length.
Long-term preservation
Continued access to digital objects is desired beyond changes in technology for an
indeterminate length of time.
(Corrado & Sandy, 2017)
36. We digitize our images and sounds and texts
in the expectation that this somehow provides
these objects with immortality. Sadly, we may,
instead, be creating a digital dark age in
which our descendants will know nothing of
our history and the products of our society.
Vint Cerf, Digital Vellum & Archives
37. Software
Software is constantly changing, old versions are routinely forgotten: abandonware.
Hardware
Like software, hardware is subject to trends. Data transfer becomes essential over time.
Physical Media
Physical media can become damaged over time. All physical media have a lifespan.
Data Integrity
Digital assets are vulnerable to corruption: viruses, sabotage, error, transfer, etc.
Data Location
Data may be spread across multiple devices, servers, companies, and countries.
38. Original 1 bit flipped 2 bits flipped 3 bits flipped
Data degradation, Wikipedia
Data Degradation
40. DIGITAL VELLUM
PRESERVING CONTEXT
...a process of taking an X-ray snapshot of the
content, the application, and the operating
system together, with a description of the
machine that it runs on, and preserve that for
long periods of time.
(Kosciejew, 2015)
42. Five Stars of Open Data
OL OL RE
OL RE OF OL RE OF URI OL RE OF URI LD
AVAILABLE ON THE WEB,
OPEN LICENSE
MACHINE-READABLE
STRUCTURED DATA
OPEN FORMAT RATHER
THAN PROPRIETARY
W3C-BASED UNIFORM
RESOURCE IDENTIFIER
LINKED DATA
DATA
43.
44.
45. Assignments
DEADLINE
12.03 Start the discussion
18.03 Read & Annotate
Approaching “Dark Heritage” Through Essential Questions: An Interactive Digital Storytelling Museum
Experience
46. Bibliography
Cerf, V. (n.d.). Digital Vellum and Archives—Dr. Vint Cerf. Retrieved March 08, 2020.
Corrado, E. M., Moulaison, H. L., & Sandy, H. M. (2014). Digital Preservation for Libraries, Archives, and Museums. Rowman & Littlefield.
Hassenzahl, M., & Tractinsky, N. (2006). User experience – a research agenda. Behaviour & Information Technology, 25(2), 91–97.
Kosciejew, M. (2015). Digital Vellum and Other Cures for Bit Rot. Information Management Journal, 49(3), 20–25.
Library of Congress. (n.d.). Digital Preservation (Library of Congress) [Webpage]. Retrieved March 08, 2020.
MacDonald, C. (2015). Assessing the user experience (UX) of online museum collections: Perspectives from design and museum
professionals. MW2015: Museums and the Web 2015.
Norman, D. A. (2004). Emotional design (Vol. 2004). Basic Books. http://portal.acm.org/citation.cfm?doid=985600.966013
Purvis, E. (2017). Digital Collections Management. In A. Hossaini & N. Blankenberg (Eds.), Manual of Digital Museum Planning. Rowman &
Littlefield.
Tisdale, R. (2011). Do History Museums Still Need Objects? American Association for State and Local History, 19–24.
1. We need objects now more than ever.
authenticity
positive correlation Internet use and in-person visit
acquisition/classification to serving the audience
experience-based
2. We don't need objects unless we do something with them.
(environmental) resources
object-centered historical experiences
educational, but also unique, memorable, moving, provocative
3. We may not need the ones we've collected.
artefacts from missing groups in community
less relevant to society as a whole
not diverse enough (racial, ethnic diversity, class and gender) i.e. documenting poverty
4. We don't all need the same ones.
online collections
similar artefacts in other collections
5. We need to restore the links between objects and places.
map historical content (geo-tagged)
where objects come from
6. We need a different model for access.
demand for interactivity
access that comes from smelling, hearing, feeling
7. Do history museums still need curators?
public curates