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ICOM Moscow 2014 with audio - The Virtual Museum

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The Virtual Museum and how it may be defined - according to the V-Must project

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ICOM Moscow 2014 with audio - The Virtual Museum

  1. 1. ON DEFINING THE VIRTUAL MUSEUM: A V-MUST RESEARCH PROJECT Susan Hazan (PhD) V-Must, Science and Technology for Archaeological Research Center, The Cyprus Institute
  2. 2. THE VIRTUAL MUSEUM
  3. 3. Our presentation summarizes initial, theoretical work carried out by V-Must, a Network of Excellence, funded by the European Commission in its efforts to rethink the concept of virtual museums (VM), in light of developing emerging digital technologies. The Network has been active in identifying, and mapping the tools and services that define and support VMs in the heritage sector. http://www.v-must.net/library/publications
  4. 4. “LE MUSÉE IMAGINAIRE” BY ANDRÉ MALRAUX The Museum without Walls Artist Dennis Adams Remakes Andre Malraux’s “Imaginary Museum” in a New Video
  5. 5. The Digital Footprint of the Museum
  6. 6. The move from 'old' to 'new' media Technology rather content From traditional print distribution and terrestrial television To webcasting, podcasting and electronic peer to peer communications The term 'new museology' is invoked to suggest changes in institutional ideologies.
  7. 7. The use of the terms that invoke the illusion of ‘newness’, therefore, may set up false expectations, especially when electronic environments are perceived as a solution for archaic and inefficient systems.
  8. 8. Responsive Architecture The Responsive Museum What kinds of implications will this have on the visit?
  9. 9. Responsive Architecture The Responsive Museum What kinds of implications will this have on the visit?
  10. 10. Reclaiming - Re-territorising the museum as a space to be owned by the community. The Responsive Museum - Ownership
  11. 11. Web 2.0 Museum, a term coined by Nina Simon in her popular blog and seminal publication The new museologist now curates the digital interaction of museum from the inclusive perspective of the community. The Responsive Museum – The Community
  12. 12. Web 2.0 Museum, a term coined by Nina Simon in her popular blog and seminal publication The new museologist now curates the digital interaction of museum from the inclusive perspective of the community. The Responsive Museum – The Community
  13. 13. British Museum’s online collections As there are currently 2,074,288 objects available in Endpoint, the British Museum’s online database with 766,576 with one or more images When objects are associated with their semantic attribute this helps us improve our understanding, and knowledge of objects and events even further. The Responsive Museum – Semantic Web
  14. 14. British Museum’s online collections As there are currently 2,074,288 objects available in Endpoint, the British Museum’s online database with 766,576 with one or more images When objects are associated with their semantic attribute this helps us improve our understanding, and knowledge of objects and events even further. The Responsive Museum – Semantic Web
  15. 15. Qualities of the Virtual Museum - Engagement
  16. 16. Qualities of the Virtual Museum - Preservation
  17. 17. Qualities of the Virtual Museum - Preservation
  18. 18. Qualities of the Virtual Museum - Preservation
  19. 19. Qualities of the Virtual Museum - Preservation
  20. 20. Qualities of the Virtual Museum - Preservation
  21. 21. Qualities of the Virtual Museum - Trust
  22. 22. Taking over the stewardship of cultural heritage on behalf of society, the museum then assumes full responsibilities to collect, conserve and display culture, and to make it available and accessible to the public as exhibitions. Accessibility is key here, and we argue that the VM is just as committed to intellectual accessibility as the physical museum is. Qualities of the Virtual Museum - Accessibility
  23. 23. The Immersive experience Ron Arad, 2012, The Israel Museum, Jerusalem Qualities of the Virtual Museum - Immersion
  24. 24. Qualities of the Virtual Museum - Immersion The Immersive experience Ron Arad, 2012, The Israel Museum, Jerusalem
  25. 25. The Immersive experience The Immersive experience Second Life Qualities of the Virtual Museum - Immersion
  26. 26. The Immersive experience The Immersive experience Second Life Qualities of the Virtual Museum - Immersion
  27. 27. The Immersive experience The Immersive experience Second Life Qualities of the Virtual Museum - Immersion
  28. 28. The United Nations Educational, Scientific and Cultural Organization (UNESCO) seeks to encourage the identification, protection and preservation of cultural and natural heritage around the world considered to be of outstanding value to humanity. This is embodied in an international treaty called the Convention concerning the Protection of the World Cultural and Natural Heritage , adopted by UNESCO in 1972. . Definition – Cultural Heritage
  29. 29. Definition – The Museum, ICOM According to the ICOM Statutes, adopted during the 21st General Conference in Vienna, Austria, in 2007: A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment. http://icom.museum/the-vision/museum-definition/
  30. 30. Definition – The Museum, ICOM According to the ICOM Statutes, adopted during the 21st General Conference in Vienna, Austria, in 2007: A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment. http://icom.museum/the-vision/museum-definition/
  31. 31. Definition – Intangible Heritage Giovanni Pinna, Chairman of ICOM-Italy, and Member of the ICOM Executive Council defined the intangible museum as: Peoples’ learned processes along with the knowledge, skills and creativity that inform and are developed by them, the products they create, and the resources, spaces and other aspects of social and natural context necessary to their sustainability; these processes provide living communities with a sense of continuity with previous generations and are important to cultural identity, as well as to the safeguarding of cultural diversity and the creativity of humanity (Pinna 2003: 3)xvii.
  32. 32. Definition – Intangible Heritage Giovanni Pinna, Chairman of ICOM-Italy, and Member of the ICOM Executive Council defined the intangible museum as: Peoples’ learned processes along with the knowledge, skills and creativity that inform and are developed by them, the products they create, and the resources, spaces and other aspects of social and natural context necessary to their sustainability; these processes provide living communities with a sense of continuity with previous generations and are important to cultural identity, as well as to the safeguarding of cultural diversity and the creativity of humanity (Pinna 2003: 3)xvii.
  33. 33. Definition - Intangible and Digital Heritage In the July of 2004, the 20th General Assembly of ICOM association amended the statutes in Barcelona, Spain, to include in the museum definition: Cultural centres and other entities that facilitate the preservation, continuation and management of tangible or intangible heritage resources (living heritage and digital creative activity). (ICOM Statutes amended by the 20th General Assembly of ICOM, clause viii).
  34. 34. Definition - Intangible and Digital Heritage In the July of 2004, the 20th General Assembly of ICOM association amended the statutes in Barcelona, Spain, to include in the museum definition: Cultural centres and other entities that facilitate the preservation, continuation and management of tangible or intangible heritage resources (living heritage and digital creative activity). (ICOM Statutes amended by the 20th General Assembly of ICOM, clause viii).
  35. 35. Definition - Intangible and Digital Heritage In the July of 2004, the 20th General Assembly of ICOM association amended the statutes in Barcelona, Spain, to include in the museum definition: Cultural centres and other entities that facilitate the preservation, continuation and management of tangible or intangible heritage resources (living heritage and digital creative activity). (ICOM Statutes amended by the 20th General Assembly of ICOM, clause viii).
  36. 36. Moreover, a virtual museum can refer to the mobile or World Wide Web offerings of traditional museums (e.g., displaying digital representations of its collections or exhibits); or can be born digital content such as net art, virtual reality and digital art. Often, discussed in conjunction with other cultural institutions, a museum by definition, is essentially separate from its sister institutions such as a library or an archive. Virtual museums are usually, but not exclusively delivered electronically when they are denoted as online museums, hypermuseum, digital museum, cybermuseums or web museums. https://en.wikipedia.org/wiki/Virtual_museum Qualities of the Virtual Museum - Types
  37. 37. Moreover, a virtual museum can refer to the mobile or World Wide Web offerings of traditional museums (e.g., displaying digital representations of its collections or exhibits); or can be born digital content such as net art, virtual reality and digital art. Often, discussed in conjunction with other cultural institutions, a museum by definition, is essentially separate from its sister institutions such as a library or an archive. Virtual museums are usually, but not exclusively delivered electronically when they are denoted as online museums, hypermuseum, digital museum, cybermuseums or web museums. https://en.wikipedia.org/wiki/Virtual_museum Qualities of the Virtual Museum - Types
  38. 38. A virtual museum is a digital entity that draws on the characteristics of a museum, in order to complement, enhance, or augment the museum experience through personalization, interactivity and richness of content. Virtual museums can perform as the digital footprint of a physical museum, or can act independently, while maintaining the authoritative status as bestowed by ICOM in its definition of a museum. In tandem with the ICOM mission of a physical museum, the virtual museum is also committed to public access; to both the knowledge systems imbedded in the collections and the systematic, and coherent organization of their display, as well as to their long-term preservation. Definitions – The Virtual Museum
  39. 39. A virtual museum is a digital entity that draws on the characteristics of a museum, in order to complement, enhance, or augment the museum experience through personalization, interactivity and richness of content. Virtual museums can perform as the digital footprint of a physical museum, or can act independently, while maintaining the authoritative status as bestowed by ICOM in its definition of a museum. In tandem with the ICOM mission of a physical museum, the virtual museum is also committed to public access; to both the knowledge systems imbedded in the collections and the systematic, and coherent organization of their display, as well as to their long-term preservation. Definitions – The Virtual Museum
  40. 40. A virtual museum is a digital entity that draws on the characteristics of a museum, in order to complement, enhance, or augment the museum experience through personalization, interactivity and richness of content. Virtual museums can perform as the digital footprint of a physical museum, or can act independently, while maintaining the authoritative status as bestowed by ICOM in its definition of a museum. In tandem with the ICOM mission of a physical museum, the virtual museum is also committed to public access; to both the knowledge systems imbedded in the collections and the systematic, and coherent organization of their display, as well as to their long-term preservation. Definitions – The Virtual Museum
  41. 41. VM allows almost anything - and can digitally "materialize" almost everything. It is up to the curator or perhaps the "digital curator" (a hybrid between a dreamer, a social scientist, an art historian and a computer expert) to explore and fully benefit from the new (social, cognitive and cultural) space VM is enabling a voyage into a new, and yet unexplored world... Conclusion
  42. 42. VM allows almost anything - and can digitally "materialize" almost everything. It is up to the curator or perhaps the "digital curator" (a hybrid between a dreamer, a social scientist, an art historian and a computer expert) to explore and fully benefit from the new (social, cognitive and cultural) space VM is enabling a voyage into a new, and yet unexplored world... Conclusion
  43. 43. Susan.hazan@gmail.com https://en.wikipedia.org/wiki/Virtual_museum

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