Museum Object Lessons for the Digital Age

Geismar, Haidy

doi:10.2307/j.ctv1xz0wz

Cited by 61 publications

(34 citation statements)

References 5 publications

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“…We do not proceed as translators of one knowledge system (community narratives) into another (curated knowledge); instead we seek to record the community's own translations (through associations between actors). HeritaMus positions itself against the determinism of conceptual and technically established categories, opening up curatorship to community voices (their interpretation and agency, their "vernacular theories", their "local knowledge", etcetera), "decolonizing the database", 34 allowing controversies and uncertainties where once there was an artificially shaped "definitive" definition. 35 It argues that "things" should not be defined exclusively by canonical and disciplinedbased narratives 36 and authoritative epistemologies.…”

Section: The Resultsmentioning

confidence: 99%

“…35 It argues that "things" should not be defined exclusively by canonical and disciplinedbased narratives 36 and authoritative epistemologies. 37 With HeritaMus, knowledge is registered by its holders, the users of the software, who simply create nodes and trace connections, allowing established narratives and unconventional associations to coexist on the same plane. 38 By favouring local topologies, it manages to reduce the resistance of the community of practice.…”

Section: The Resultsmentioning

confidence: 99%

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HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage

Félix¹

2019

transposition

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Once the notions of tangible assets and intangible knowledge become noncontroversial and "heritage" enters a process of generalized recognition, assets and knowledge take different paths. In current heritage practice, "assets" are treated as archival and/or museological items, while "knowledge" is the subject of monographs and scientific papers, or goes untreated and is eventually forgotten. With this separate, differentiated approach, tangible and intangible heritage usually do not intersect.

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Section: The Resultsmentioning

confidence: 99%

Section: The Resultsmentioning

confidence: 99%

HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage

Félix¹

2019

transposition

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“…Research on open access in museums often deals with questions of social inclusion, such as democratic participation (Hooper-Greenhill 2000; Kidd 2014; Simon 2010; Stuedahl 2011), accessibility (Graham 2013;Hetherington 2000), and cultural representation (Marstine 2011; Smith Bautista 2013;Wohlfromm 2006). Closely intertwined are questions of whether and how digital content remains 'authentic' in relation to the original physical objects and how it changes the perception of heritage (Cameron 2007;Geismar 2018;Giaccardi 2012;Levy 2000;Lynch 2000).…”

Section: Impact Of Open Access On Museum Practicesmentioning

confidence: 99%

Museums' Strategies for Opening up to Open Access. German Museums' Utilization Logics for Digital Content

2019

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Museums are expected to safeguard society’s cultural heritage while also making it publicly available to all. Recently, the digital transformation increased political and societal claims on museums to make their digital content openly available. This paper explores museums’ reactions to this claim and looks at how museums currently utilize their digital content. By analysing qualitative interviews with German museum officials we have found museums to follow four different types of strategies which are ‘Societal engagement’, ‘Safeguarding of heritage related knowledge’, ‘Scientific infrastructure’ and ‘marketing ends’. These were embedded in museums’ organizational identity and the prioritising of some of their tasks.

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“…This emphasis is demonstrated by related research and the suggestion that social interaction, particularly for families (Falk and Dierking, 2016), is a significant motivating factor for visitors going to art museums (Davidsson and Jakobsson, 2012;Debenedetti, 2003), alongside leisure, recreation, and the acquisition of knowledge (Falk and Dierking, 2016). The spatial and social character of art museums has also been affected by the gradual incorporation of new and emerging technologies, such as virtual reality (VR) (Duguleană et al, 2019;Geismar, 2018), which is the focus of this article. In 1995, for example, Benjamin Britton developed the VR art installation LASCAUX, which was a reimagining of the cave of Lascaux in France.…”

Section: Introductionmentioning

confidence: 99%

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

Parker

Saker

2020

Convergence

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Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space.

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Museum Object Lessons for the Digital Age

Abstract: Further details about Creative Commons licenses are available at http:// creativecommons.org/ licenses/ ISBN: 978-1-78735-283-4 (Hbk.) ISBN: 978-1-78735-282-7 (Pbk.) ISBN: 978-1-78735-281-0 (PDF) ISBN: 978-1-78735-284-1 (epub) ISBN: 978-1-78735-285-8 (mobi) ISBN: 978-1-78735-286-5 (html)

Cited by 61 publications

References 5 publications

HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage

HeritaMus: A Tool for Collaborative Curation of Tangible and Intangible Heritage

Museums' Strategies for Opening up to Open Access. German Museums' Utilization Logics for Digital Content

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

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