Digital Museums and Diverse Cultural Knowledges: Moving Past the Traditional Catalog

Srinivasan, Ramesh; Boast, Robin; Furner, Jonathan; Becvar, Katherine

doi:10.1080/01972240903028714

Cited by 99 publications

(64 citation statements)

References 28 publications

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“…De esta forma, las redes sociales están siendo ya utilizadas por los museos para ampliar su difusión y dar a conocer sus actividades (Kidd, 2011), un uso que no deja de ser una manifestación clara de lo que se conoce como "museo 2.0" (Srinivasan et al, 2009). Simon (2010) define al "museo 2.0" (o "museo social") como aquel que pretende expandir la experiencia de los visitantes más allá del espacio físico para transformarse en una plataforma de creación, debate y negociación entre centro, comisarios, artistas y visitantes.…”

Section: Introductionunclassified

La comunicación de los museos de arte en Facebook: comparación entre las principales instituciones internacionales y españolas

Losada-Díaz¹,

Capriotti²

2015

Pacla

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La comunicación de los museos de arte en Facebook -José Carlos Losada-Díaz y otro Palabras claveComunicación estratégica, relaciones públicas, redes sociales, Facebook, museos, museo social, museo 2.0. (Fuente: Tesauro de la Unesco). The Communication of Art Museums in Facebook: Comparison of Key International and Spanish Institutions AbstractSocial networks have reached a very significant presence in the communication of organizations and are changing the way they disseminate information and interact with their audiences. Museums are also using these communication platforms, approaching the idea of "social museum" or "Museum 2.0". In this sense, the main objective of this article is to evaluate the presence and activity on Facebook (the largest social network) of the most visited art museums in Spain and worldwide. The results of this paper indicate that Spanish museums are in a similar situation and, in some respects, better than international museums, although it is true that there is still ample room for improvement in the extent to which it is not exploring the capacity enough for dialogue of these technological tools.

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Section: Introductionunclassified

La comunicación de los museos de arte en Facebook: comparación entre las principales instituciones internacionales y españolas

Losada-Díaz¹,

Capriotti²

2015

Pacla

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“…A propensity to perceive the role of technology as a decisive factor has been documented in the earlier studies in all individual ALM fields (e.g. Carrozzino & Bergamasco, 2010;Casey & Savastinuk, 2007;Flinn, 2010;Jimerson, 2004;Kelly et al, 2009;Srinivasan et al, 2009). The tendency is especially typical in the ALM literature (e.g.…”

Section: Discussionmentioning

confidence: 62%

“…At the same time, some of the proponents of digital information technologies have heralded the Internet age (Usherwood et al, 2005a) as their end. Even if it is probably too hasty to doom the ALMs altogether, also many ALM professionals have acknowledged the impact and convergence of technologies and cultural changes such as the raise of user orientation (Holmberg et al, 2009;Ridolfo et al, 2010;Srinivasan et al, 2009) and a consequent need to change some of the traditional tenets of the institutions. The relative significance of physical collections at the libraries has been recognised to diminish (Baker, 2007).…”

Section: Introductionmentioning

confidence: 99%

Archives, Libraries and Museums in the Contemporary Society: Perspectives of the Professionals

Huvila

2014

iConference 2014 Proceedings

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The aim of this study is to investigate how ALM professionals conceptualise the common role of archives, libraries and museums (ALMs) in the contemporary society. There is only a little earlier empirical research on the topic. This study is based on a quantitative analysis of the results of a web survey of 131 ALM professionals. The analysis shows that the views of the respondents epitomise diverging and contradictory ideas of the role of the institutions. The findings underline the need to discuss and define the future of the ALMs on a profound level of their societal role with a clear emphasis of its theoretical underpinnings. The diverse of opinions and number of mostly practice-oriented visions can be helpful in shaping and reshaping the role of the institutions. At the same time, it is apparent that they do not have the required theoretical depth to function as a common ground for explicating the role of ALMs in the contemporary society.

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“…Even though there is a risk of dramatization, trivialization, and Disneyfication resulting from technologies (Balloffet, Courvoisier, & Lagier, 2014), ICTs can GAMING AND MUSEUM 59 create effective narrative environments (Macleod, Hanks & Hale, 2012), facilitating the communication of the historical value of the exhibits through storytelling, thematization, spatialization, and scenarization (Mencarelli et al, 2010). At last, in Internet era, more attention has been paid to the role of social media and their application in the museum sector from one-way to multi-way communication strategies (Srinivasan, Boast, Furner, & Becvar, 2009;Chae & Kim, 2010;López, Margapoti, Maragliano, & Bove, 2010;Fletcher & Lee, 2012;Marakos, 2014;Gronemann, Kristiansen, & Drotner, 2015;Pulh & Mencarelli, 2015).…”

Section: Theoretical Backgroundmentioning

confidence: 99%

Gaming and Museum

Izzo¹

2017

UCPA

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The purpose of this research paper is to investigate the state of the art of gaming applications in museums in order to reach audience development and community engagement. After analysing the main challenges concerning the innovation of the museum sector, this review tries to build a theoretical framework linking changes in audiences, museum role, and strategies for visitor involvement to support cultural institutions in achieving their mission and maximizing value creation. The research methodology employs a qualitative exploratory multi-case study. The key concept that emerges from the study, is that the museum is comparing with a variety of audiences in constant evolution, with respect to which is necessary to identify correct and appropriate arrangements for dialogue, declining languages, and tools of mediation in keeping with museum dissemination objectives. Moreover, a museum, to be able to communicate in an appropriate way, must first know how to listen to all its visitors, even (or especially) those of a younger age, often not attracted by history and art but generally gamers who, if appropriately involved, could ultimately represent its visitors of the future. The study aims to be a tool for reflection for cultural institutions which want to revitalize their offering system. Keywords: gaming, museum, audience engagement, audience development, cultural heritage Just 40 years after their birth, video games have become one of the main creative and entertainment industries in the world. No wonder a projected turnover of more than $100 billion in 2017 (Report Newzoo), for years now has passed cinema, music, and books for business volumes. A recent report on cultural and creative industries in England shows how the sector "IT, software and games" in 2014 has generated indirect economic value than "movie, television, music, publishing, design, fashion, and architecture" put together.We are talking, therefore, of a sector of huge importance worldwide, which is able to produce wealth and generate high economic value. It is not, therefore, something confined to a marginal and minority audience (teenagers), as a superficial approach might suggest, but rather of a growing business, which has moreover gradually expanded its range of users, also in unpredictable directions. Now, it makes this necessary initial clarification, and it seems appropriate to ask about what is, or could be, the link between the world of video games and that of museums. In the first instance, it should be noted that not only there are many museums whose collections are composed essentially of video games but also some museums, caliber (for example) of the MOMA (The Museum of Modern Art), have interpreted these productions as a true artistic expression, to the point of them become an integral part of its permanent collections. In other cases, video games have been the subject of temporary exhibitions, such as one called "The Art of Video Game", created in 2012 by the SAAM, the Smithsonian American Art Museum in Washington. Corresponding auth...

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Digital Museums and Diverse Cultural Knowledges: Moving Past the Traditional Catalog

Cited by 99 publications

References 28 publications

La comunicación de los museos de arte en Facebook: comparación entre las principales instituciones internacionales y españolas

La comunicación de los museos de arte en Facebook: comparación entre las principales instituciones internacionales y españolas

Archives, Libraries and Museums in the Contemporary Society: Perspectives of the Professionals

Gaming and Museum

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