“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 #TOC #museums #technology #design #digitalization #interactivity

Announcement, Books, exhibitions, interaction, interactivity, interactivity, museums, Museums, Technology, Technology, visitors

#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!).

41Au7tyvoTL GLAM 

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

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!).

41Au7tyvoTL

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

Linotype #media #industry #baltimore

Museums, Technology

I recently had the pleasure to visit the Baltimore Museum of Industry. The museum has a good number of working industrial machines on display. The tour guide shows these machines working in the exhibition. One exhibit that stood out for me was a Linotype that was demonstrated by a gentleman, Mr Ray Loomis, who used to work at one of these extraordinary machines. The Linotype was originally invented and developed by Ottmar Mergenthaler, a German watchmaker. Here’s a video I found on YouTube in which Mr Loomis explains the Linotype.

If you have further interest in the Linotype, the half hour long documentary “Farewell, Eaton Shrdlu” shows the last day of operation of Linotypes at the New York Times.

CFP: ‘Researching audiences in digital mediated and interactive experiences’

interaction, interactivity, museums, Museums, Technology, visitors

Participations: Journal of Audience and Reception Studies

 

Special Issue: ‘Researching audiences in digital mediated and interactive experiences’

Part of the AHRC Funded Project http://affectiveexperiences.com/

Co-editors:

Irida Ntalla (Schools of Arts, Cultural Policy and Management, City University)

& Dirk vom Lehn (Department of Management, King’s College London)

Participations is the online Journal devoted to the broad field of audience and reception studies, and has been running for ten years now, to be found at www.participations.org.  It aims to bring into dialogue work and debate across all fields involved in examining all areas of media and culture.  Participations has pioneered a system of open refereeing for all contributions, designed to encourage open, critical debate among researchers.  This has been widely welcomed by contributors to the Journal.

Call for Papers

New media technologies and digital mediated environments bring histories and events close to audiences by offering a wide range of resources that provide them with opportunities for social, cognitive and emotional participation and engagement. At the heart of the development of new media technologies is “interactivity”, a characteristic ascribed to objects and systems that engage people in ways that go beyond traditional feedback procedures. These technologies facilitate sustained engagement and participation, allow for the communication of information and multimedia content, and often encourage people to produce and curate digital content.

Such interactive technologies and environments have become a familiar feature of many cultural institutions, such as in museums, galleries and science centers. Interactive exhibits, immersive installations, digital interactives, virtual games and online platforms engage cultural audiences in new ways and at the same time challenge the concept of the audience per se and their experiences; for example, they invite visitors not only to view and examine curated content but increasingly involve visitors in the production and curation of it to create personal museum collections, user generated content, etc.

These technological developments therefore challenge the relationship of audiences with artists, curators, museums and heritage sites’ professionals, educationalists as well as exhibition and interactive designers. Their effectiveness as tool for interpreting and representing exhibits and as educational technology is often argued for but also ever so often challenged and criticized. Evaluations of new media technologies in cultural institutions arrive at contradictory findings, some arguing for their ability to increase people’s engagement and participation with content and exhibits whilst others warn that they distract from the original objects and disturb the sacred relationship between visitor and object, user and content. Indeed, research suggests that at times these technologies become the reason for people’s frustration and disorientation in online and physical environments.

This Special Issue will contribute to these discussions about the increasingly complex technological mediation of the relationship between social practices, cultural institutions, their cultural offerings and their audiences. The issue aims to add to debates in a range of disciplines such as audience and visitor studies, marketing, digital humanities, interactive design as well as museum studies and practices. The co-editors invite submissions of papers that investigate the relationships between audience, cultural institutions and content and the ways in which these relationships are being influenced by the increasing pervasiveness of new media technologies. We particularly welcome critical considerations of the concept of the audience and the user as well as of interactivity in cultural institutions and encourage the submission of short articles and reports that reflect professional and practical experience of technology deployed and used in exhibitions.

Amongst others, we hope the contributions will address questions like:

  • what are the issues of interactivity in relation to participation and engagement for online and offline audiences?
  • how does interactivity and interactive technologies in these settings influence the experience of visitors, audiences or users?
  • which are the elements that constitute and influence these experiences?
  • how are interactive technologies used to represent and interpret information, histories and narratives in cultural institutions?
  • what is the relationship of academic research on audiences, interactive media and professional practices?
  • how does a researcher capture interactive audience experiences? Which are the research methods used in the various disciplines?
  • what does “effectiveness” mean for different stakeholders in cultural institutions, and what are suitable research methods to evaluate, assess or measure the “effectiveness” of technology deployed to interpret cultural objects and enhance people’s experience and learning from these objects?
  • how different users such as specialised audience utilise online material, information and personalised collections?

The Special Issue will be constituted of research papers, theoretical and methodological investigations as well as of relevant reviews, short articles and reports by cultural institutions’ professionals, designers and consultants.

 

Deadlines

Paper Submission: 1st November 2013

Acceptance Notice: 19th December 2013

Final Submission: 21st March 2014

Final Publication: End of May 2014

Submission Guidelines

http://www.participations.org/submission_guidelines.htm

Please submit your papers to:

Dirk.vom_lehn@kcl.ac.uk

Irida.Ntalla.1@city.ac.uk