Forthcoming: “The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites” edited by Hannah Lewi, Wally Smith, Dirk vom Lehn, & Steve Cooke #museums #technology #design #digitalization #interactivity

Announcement, book, interaction, interactivity, museums, Museums, Technology

#digitalization #experience #interaction #interactivity #museums #participation #technology 

The publication of “The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites” edited by Hannah Lewi, Wally Smith, Dirk vom Lehn, & Steve Cooke has been announced for November 15th, 2019. The book includes interviews by Seb Chan (ACMI), Dave Patten (Science Museum London), Rory Hyde (Victoria & Albert Museum, London), and Keir Winesmith (SFMOMA) as well as chapters covering four broad themes: “THE EMERGING GLOBAL DIGITAL GLAM SECTOR”, “ANIMATING THE ARCHIVE”, “DESIGNING ENGAGED EXPERIENCE”, and “LOCATING IN PLACE”.

More information about the Handbook can be accessed on the publisher’s website by clicking the image below (apologies for the steep price!).

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New Practices in Digital Media design in Galleries, Libraries, Archives, Museums and Heritage Sites Hannah Lewi, Wally Smith, Steven Cooke, Dirk vom Lehn
 

FRAMING INTERVIEWS

Interview with Seb Chan, ACMI Seb Chan, Hannah Lewi and Wally Smith
Interview with Dave Patten, Science Museum London David Patten, Dirk vom Lehn and Wally Smith
Interview with Rory Hyde, V&A Museum Rory Hyde, Dirk vom Lehn and Wally Smith
Interview with Keir Winesmith, SFMOMA Keir Winesmith, Hannah Lewi and Wally Smith
 

PART 1. THE EMERGING GLOBAL DIGITAL GLAM SECTOR

Digitizations, users and curatorial agency within complex global machinic jurisdictions Fiona Cameron
The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum Andrew Dewdney
The distributed museum is already here–it’s just not very evenly distributed Ed Rodley
Speculative Collections and the Emancipatory Library Bethany Nowviskie
Chinese Museums’ Digital Heritage Profile: An Evaluation of Digital Technology Adoption in Cultural Heritage Institutions Andrew White and Eugene Ch’ng
Hacking heritage: understanding the limits of online access Tim Sherratt
From Planned Oblivion to Digital Exposition: The Digital Museum of Afro-Brazilian Heritage Livio Sansone
Shared  Digital  Experiences Supporting  Collaborative    Meaning-Making  at  Heritage  Sites Sara  Perry,  Maria  Roussou,  Sophia  S.  Mirashrafi,  Akrivi  Katifori,  and  Sierra  McKinney
 

PART 2. ANIMATING THE ARCHIVE

Neither A Beginning Nor An End: Applying An Ethics of Care to Digitizing Archival Collections in South Asia Michelle Caswell and Marika Cifor
Digital Archives in Africa and the Endangered Archives Programme Graeme Counsel
The Alan Vaughan-Richards Archive: recovering tropical modernism in Lagos. Ola Uduku
Museum Crowdsourcing—Detecting the Limits: eMunch.no and the Digitisation of Letters Addressed to Edvard Munch Joanna Iranowska
Digital and hybrid archives: a case study of the William J Mitchell collection Thomas Kvan, Peter Neish and Naomi Mullumby
Preserving Chinese Shadow Puppetry Culture Through Digitisation Tin-Kai Chen
Be Engaged: Facilitating Creative Re-use at the Netherlands Institute for Sound and Vision Gregory Markus, Maarten Brinkerink, Brigitte Jansen
Cultural Antinomies, Creative Complicities: Agan Harahap’s Digital Hoaxes Alexandra Moschovi and Alexander Supartono
 

PART 3. DESIGNING ENGAGED EXPERIENCE

On Virtual Auras: The Cultural Heritage Object in the Age of 3D Digital Reproduction John Hindmarch, Melissa Terras and Steve Robson
Configuring Slow Technology Through Social and Embodied Interaction: Making Time for Reflection in Augmented Reality Museum Experiences with Young Visitors Areti Galani and Rachel Clarke
Exhibition Design and Professional Theories: the Development of an Astronomy Exhibition Dirk vom Lehn, Kate Sang, Richard Glassborow and Louise King
Meeting the Challenge of the Immoveable: Experiencing Mogao Grottoes Cave 45 With Immersive Technology Jeffrey Levin, Robert, Checchi, Lori Wong, Garson Yu and Edwin Baker
Immersive Engagement: Designing and Testing a Virtual Indian Residential School Exhibition Adam Muller
Hemispheres: transdisciplinary architectures and museum-university collaboration Sarah Kenderdine
Human-Centred Design in Digital Media Indigo Hanlee
Unlocking the Glass Case Peter Higgins
The law of feeling: experiments in a Yolngu museology Paul Gurrumuruway and Jennifer Deger
Henry VR: designing affect-oriented virtual reality exhibitions for art museums Paula Dredge, Anne Gerard-Austin, Simon Ives and Andrew Yip
Website as publishing platform Tim Jones and David Simpson
From Shelf to Web: First Reflections on the O’Donnell Marginalia Project Julia Kuehns
Interpreting the Future Tony Holzner
 

PART 4. LOCATING IN PLACE

What Could Have Bean? A Digital Construction of Charles Bean’s Australian War Memorial Anthea Gunn
Succession: A Generative Approach to Digital Collections Mitchell Whitelaw
Rephotography and the Situating of Then-and-Now Hannah Lewi and Andrew Murray
Hospicio Cabañas: Seeing World Heritage Through Google’s Eyes Cristina Garduno Freeman
The Experience of Using Digital Walking Tours to Explore Urban Histories Wally Smith, Dirk vom Lehn, Hannah Lewi, Katie Best and Dora Constantinidis
Traces—Olion: Creating a Bilingual ‘Subtlemob’ for National Museum Wales Sara Huws, Alison John, Jenny Kidd
Investigating ‘Ordinary’ Landscapes: Using Visual Research Methods to Understand Heritage Digital Technologies and Sense of Place Steven Cooke and Dora Constantinidis
Massive Digital Community Archives in Colombia: An International Partnership Towards Peace Diego Merizalde and Jon Voss
Mapping an Archive of Emotions: Place, Memory and the Affective Histories of Perth’s Riverscape Alicia Marchant
 

Afterword

 

Andrea Witcomb

 

 

#digitalization #experience #interaction #interactivity #museums #participation

Robots and Interaction

interactivity, interactivity, museums, Robots

A couple of years ago I visited Laurel Riek at the computer-lab in Cambridge. Laurel introduced me to some of the stunning humanoid robots she was experimenting with. One application for those robots, she said, could be homes for the elderly or homes where people live on their own; those robots could keep these ‘singles’ company.

At a recent meeting of the Digital Sociology Study Group (British Sociological Association) I met Ciara Garattini (@LifeDeathTech) who runs a blog called Life, Death and Technology. On the blog you’ll find a curious collection of items from a link to a photography collection by David Lynch to a notes on a Seminar on Death at Columbia University.

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The item that drew my interest was an art installation by Dan Chen, “A Robot that Comforts you at Death’. Like the robots I encountered at the lab in Cambridge this robot is designed to replace human intimacy with technology. Although Chen said he had no plan to commercialise the robot the deployment of these kinds of technologies seems attractive.

Related work has been undertaken in robotics, where for example, Kobayashi and colleagues (2011) developed robots “that provide assisted care, such as serving tea to the elderly in care facilities. They (2011) also experimented with a robotic wheelchair that automatically moves alongside the caregiver. The motivation for the development of such a device is to facilitate easy communication between the person sitting in the wheelchair and the caregiver. At the same time, the caregiver who now can walk alongside the moving wheelchair is not so much seen as the person caring for the wheelchair user but as someone who is with the wheelchair user.

The development of technologies like the robotic wheelchair demonstrates a growing concern in robotics and human-computer interaction to develop technologies that facilitate and support social interaction between people. Another example for technologies designed to enhance cooperation and interaction can be found in museums. For long, technology designers have focused on enhancing the experience of exhibits for the individual viewer or spectator; examples for such ‘individualising’ technologies are audio-guides and PDAs as well as many touch-screen systems. Fairly recently however, technologies have been deployed and experimented with in museums that facilitate cooperation, interaction and discussion. At the Tate Britain the exhibition of Constables landscape paintings was augmented by a large-scale projection that allowed multiple visitors to real the X-Ray image underneath one of the paintings and discover features that Constable had hidden by painting them over with bushes and treas.

In a very way, and this brings us back to the use of robots in museums, Yamazaki and colleagues (2009) deployed a robot in a major art museum in Japan. The robot was designed to draw visitors attention to particular features of a painting and encourage them to examine those features. The robot thereby monitored visitors’ responses to the information it was giving and produce subsequent actions in alignment with the actions of the visitors.

We therefore see two parallel development that might be worthwhile observing over the coming years as they might dovetail as robotics and human-computer interaction take further notice of sociological research of the organisation of interaction: first, there is the development of robots, robotic devices and other interfaces that facilitate interaction of individuals with technology. And second, there are developments that attempt to situate technologies like robots, gesture interface, and the like within social situations. These novel systems and devices are designed with particular care to fit in emerging social interaction, rather than interrupting it.