ArtMaps: A Technology for Looking at Tate’s Collection

Giannachi, Gabriella; Sinker, Rebecca; Stack, John; Locatelli, C.; Carletti, Laura; Price, Dominic; McAuley, Derek; Coughlan, Tim; Benford, Steve

doi:10.1162/leon_a_01078

Cited by 3 publications

(5 citation statements)

References 8 publications

(9 reference statements)

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“…Crowdsourcing can also be used to reflect experiences and knowledge back to the visitor. The Art Maps project (Giannachi et al , 2017) enabled audiences to link art and artists with the local area by creating walking routes that featured relevant, crowdsourced waypoints. Importantly, all these crowdsourced interventions present the data back to visitors in some form, whether making archival tags visible as with (Geismar and Mohns, 2011) or by embedding the data into the experience as per (Giannachi et al , 2017).…”

Section: Reviewing Data Use In Museums and Galleriesmentioning

confidence: 99%

“…The Art Maps project (Giannachi et al , 2017) enabled audiences to link art and artists with the local area by creating walking routes that featured relevant, crowdsourced waypoints. Importantly, all these crowdsourced interventions present the data back to visitors in some form, whether making archival tags visible as with (Geismar and Mohns, 2011) or by embedding the data into the experience as per (Giannachi et al , 2017). Reflecting data back to visitors can directly impact the ways they navigate physical space and interact with content, using data from visitors’ own movements to plot foot traffic and minimize exhibit congestion (Chiu et al , 2017), or it can motivate visitor engagement, for example through gamification and competition for virtual resources (Mallavarapu et al , 2019).…”

Section: Reviewing Data Use In Museums and Galleriesmentioning

confidence: 99%

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Data-inspired co-design for museum and gallery visitor experiences

Darzentas

Cameron

Wagner

et al. 2022

AIEDAM

Self Cite

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The capture and analysis of diverse data is widely recognized as being vital to the design of new products and services across the digital economy. We focus on its use to inspire the co-design of visitor experiences in museums as a distinctive case that reveals opportunities and challenges for the use of personal data. We present a portfolio of data-inspired visiting experiences that emerged from a 3-year Research Through Design process. These include the overlay of virtual models on physical exhibits, a smartphone app for creating personalized tours as gifts, visualizations of emotional responses to exhibits, and the data-driven use of ideation cards. We reflect across our portfolio to articulate the diverse ways in which data can inspire design through the use of ambiguity, visualization, and inter-personalization; how data inspire co-design through the process of co-ideation, co-creation, and co-interpretation; and how its use must negotiate the challenges of privacy, ownership, and transparency. By adopting a human perspective on data, we are able to chart out the complex and rich information that can inform design activities and contribute to datasets that can drive creativity support systems.

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Section: Reviewing Data Use In Museums and Galleriesmentioning

confidence: 99%

Section: Reviewing Data Use In Museums and Galleriesmentioning

confidence: 99%

Data-inspired co-design for museum and gallery visitor experiences

Darzentas

Cameron

Wagner

et al. 2022

AIEDAM

Self Cite

View full text Add to dashboard Cite

show abstract

“…For their part, Bautista and Balsamo highlight the active, participatory potentials of augmented reality (especially augmented reality games) and "geocaching" -the activity of using global positioning system-(GPS-) enabled devices to discover physical objects linked to particular physical locations -as examples that extend the possibilities of mobile digital experience. Research-led initiatives such as the Tate's ArtMaps and ArtCasting projects serve as cases in point that illustrate continuing innovation in this particular area, while more broadly raising implications for thinking about museums and their role as open platforms for public engagement (Stack, 2013a;Giannachi et al, 2017;Artcasting, 2017).…”

Section: Distributed Museologymentioning

confidence: 99%

The Routledge Handbook of Museums, Media and Communication

Drotner¹,

Dziekan

Parry

et al. 2018

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Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground.Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments.The Routledge Handbook of Museums, Media and Communication will appeal to students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today's world.

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“…Distance also enhanced by significant investments in stararchitects' projects of impressive retail stores where each floor represent a hierarchic level in the customer-brand relationship (Daye, 2009), and the staff is trained to interact with them by avoiding an excessive friendly attitude that is not always appreciated by the luxury consumer (Amatulli & Guido, 2012;Fassnacht & Scharwey, 2015). Yet, this strategy has been at odds with the desires of Millennials for distinctive products, memorable experiences, brand authenticity, and the creation of a relationship with brands based on a two-way communication (Giannachi et al, 2014).…”

Section: Luxury Fashion Brands Exclusivity Vs Consumer Engagementmentioning

confidence: 99%

“…Moreover, engagement is also considered as part of the process to generate brand resonance, the most desirable status for a brand and a potential provider for a deep and strong bond with the consumer (Keller, 2001). However, engagement should be considered not as a simple interactive feature of the experience provided (Keller, 2008), but as a tool to provide meaning (Kim & Kim, 2014), as a two-way inclusive communication between brand and consumer that might lead to generate benefits for both the parts involved, such as new knowledge, and brands' values (Giannachi et al, 2014).…”

Section: Luxury Fashion Brands Exclusivity Vs Consumer Engagementmentioning

confidence: 99%

Gucci Inclusivity is the New Exclusivity

Grassi¹,

Wigley²

2018

ijcf

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Gucci Inclusivity is the Exclusivity High-street brands are aiming to generate inclusivity through the co-creation of their products; whereas luxury fashion brands have to seek inclusivity without endangering luxury product features, such as craftsmanship. Moreover, luxury brands are still experiencing difficulty in creating a relationship with the consumer fearing to lose control and the allure of exclusivity. However, it is possible to identify a successful example of attempted inclusivity among luxury fashion brands: Gucci S.p.A. This paper aims to analyse Gucci's attempt to generate inclusivity through different activities that are not compromising the perceived exclusivity of the product, but on the contrary, they are an opportunity of brand value generation. Data were collected through one semi-structured interview with the Gucci's CMO, two semistructured interviews with 2 nd-year university students of fashion marketing, and one focus group with four final-year university students of fashion marketing. All data were analysed by applying thematic analysis, and the themes of engagement, and brand experience. Findings suggest that Gucci's new exclusive inclusivity strategy incorporates a series of educational activities for selected groups of Higher Education students that provide an authentic insight into the brand. The evidence says that the strategy is appealing to Millennials and may be successful on the market.

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ArtMaps: A Technology for Looking at Tate’s Collection

Cited by 3 publications

References 8 publications

Data-inspired co-design for museum and gallery visitor experiences

Data-inspired co-design for museum and gallery visitor experiences

The Routledge Handbook of Museums, Media and Communication

Gucci Inclusivity is the New Exclusivity

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