Digital Museum

AnAppraisaloftheDigitalMuseum

by Hatice Yazici

Visionary_Thinking_Article.pdf

by Simon Tanner

Sensitive environments. Spatial interactive technologies for preserving cultural heritage

by Letizia Bollini

The digital dimension has wasted no time in making its impact felt in the cultural heritage. Many museums have been... more The digital dimension has wasted no time in making its impact felt in the cultural heritage. Many museums have been providing a web-based taste of what they have to offer since back in the nineties: sometimes, this has been no more than a mere exercise in positioning, while others have created simulations of their interiors, achieving a degree of correspondence between the physical and virtual dimensions, and others again have used 3D representation and simulation media (such as VRLM or QuickTime VR). In the first generation of such projects, the focus was on blending in and simulating, while today’s potential for spatial (even before 3D) ostentation has opened the way to new scenarios, whose languages and approaches overwrite the conventional visit to a container of culture. The digital dimension is breaking out of its favourite role (the web) and into the reality of space, shaping it to suit hybrid logics that range from a theatrical rendering of information to triggering proxemic and emotional responses; permeating and overlapping real space, like a layer of knowledge, and directly manipulating the virtual dimension, where it questions physical objects by interacting with a conceptual space. Since traditional models of museum design provide pre-determined, fixed spatial settings, the experience they introduce remains symbolic, narrative and sequential. Compared to this, the new frontiers of digital museum design work on a logic that is closer to the real world, blending the place where the interaction takes place together with the display, so that the visitor’s gestures move away from projection and metaphor and towards simulating physical gestures. Technology is becoming an increasingly transparent tool for involving the observeruser in meta-narratives: potential layers of the cultural tale that explode and/or recompose units of meaning co-ordinated by a unifying act of direction. This new paradigm is matched by a change in perspective: instead of a surface where contact takes place, what is designed now is an interactive event, a performance that is staged to take place in the user-author’s space-time.

Cultura e Internet: il patrimonio culturale siciliano e la sua visibilità sul web

by Elisa Bonacini

StrumentiRes Anno IV | n° 1 | Febbraio 2012; ISSN  2279-6851

Si presentano i risultati dell'indagine sulla visibilità online del patrimonio culturale siciliano (realizzata nel... more Si presentano i risultati dell'indagine sulla visibilità online del patrimonio culturale siciliano (realizzata nel volume "La visibilit@ sul web del patrimonio culturale siciliano. Criticità e prospettive attraverso un survey on-line con Guida multimediale ai musei siciliani sul web"), soffermandosi sulle principali criticità e illustrando le potenzialità non adeguatamente sfruttate della comunicazione culturale sul web.

The Numismatic Collection of the Yale University Art Gallery Goes Online

by Nathan Elkins

published in American Numismatic Society Magazine 2011(1)

Acquisition of high resolution three-dimensional models using free, open-source, photogrammetric software

by Peter Falkingham

Falkingham, P. L.

The 3D digitisation of palaeontological resources is of tremendous use to the field, providing the means to archive,... more The 3D digitisation of palaeontological resources is of tremendous use to the field, providing the means to archive, analyse, and visualise specimens that would otherwise be too large to handle, too valuable to destructively sample, or simply in a different geographic location. Digitisation of a specimen to produce a 3D digital model often requires the use of expensive laser scanning equipment or proprietary digital reconstruction software, making the technique inaccessible to many workers. Presented here is a guide for producing high resolution 3D models from photographs, using freely available open-source software. To demonstrate the accuracy and flexibility of the approach, a number of examples are given, including a small trilobite (~0.04 m), a large mounted elephant skeleton (~3 m), and a very large fossil tree root system (~6 m), illustrating that the method is equally applicable to specimens or even outcrops of all sizes. The digital files of the models produced in this paper are included. The results demonstrate that production of digital models from specimens for research or archival purposes is available to anyone, and it is hoped that an increased use of digitisation techniques will facilitate research and encourage collaboration and dissemination of digital data.

Science Museums on the Web [in Greek]

by Ioannis Vandoulakis

Museology 2 (2004), 80-86

Liarokapis F., Sylaiou S., Basu A., Mourkoussis N., White M., Lister, P.F., ‘An Interactive Visualisation Interface for Virtual Museums’, Proceedings of the 5th International Symposium on Virtual Reality, Archaeology and Cultural Heritage (VAST 2004), Oudenaarde Brussels, Belgium, Chrysanthou Y., Cain K., Silberman N., Niccolucci F., (Eds.), Eurographics Association, pp. 47-56, 6-10 December 2004, ISBN: 3-905673-18-5

by Stella Sylaiou

Cultural institutions, such as museums are particularly interested in making their collections accessible to people... more Cultural institutions, such as museums are particularly interested in making their collections accessible to people with physical disabilities. New technologies, such as Web3D and augmented
reality (AR) can aid museums to respond to this challenge by building virtual museums accessible over the Internet or through kiosks located in accessible places within the museum. In this paper, we propose a prototype user-friendly visualisation interface that uses Web3D and AR techniques to visualise cultural heritage artefacts for virtual museum exhibitions. User interactions within the virtual museum are performed in an effective way with the help of assistive technology, so that users can feel completely related with the virtual museum artefacts and so benefit in terms of education and
entertainment.

Potenzialità economiche della cultura e v@lorizzazione negata in Sicilia

by Elisa Bonacini

paper presented at "Un'altra Siracusa - Primo Incontro: Il 'valore' della cultura per il turismo", Siracusa, Museo Archeologico Paolo Orsi, 21 ottobre 2011

Dopo un inquadramento generale sul potenziale economico inespresso del nostro patrimonio culturale, il contributo... more Dopo un inquadramento generale sul potenziale economico inespresso del nostro patrimonio culturale, il contributo approfondisce il ‘peso’ economico di Internet e l’arretratezza digitale dell’Italia, che corre il rischio di entrare a far parte di un Terzo Mondo Digitale anche a causa di una serie di impedimenti legislativi allo sviluppo. Infine, si anticipano alcuni risultati di una ricerca in c.d.s. (La visibilit@ sul web del patrimonio culturale siciliano: criticità e prospettive attraverso un survey on-line. Con Guida multimediale ai musei siciliani sul web) nella quale si evidenzia come, tranne alcune rare eccezioni, sia ancora scadente la qualità della comunicazione del patrimonio culturale siciliano.

Simona Sanchirico, "Le nuove sale del Museo Archeologico Nazionale di Ferrara. Materiali e contesto"

by Simona Sanchirico

Pubblicato su "Forma Urbis. Itinerari nascosti di Roma antica", settembre 2011, pp. 12-22

Quanto "vale" il sito web di un museo

by Elisa Bonacini

published on "Fizz - Oltre il marketing culturale" - ottobre 2011

L’aumento dei canali di contatto e di comunicazione ha, per un museo, effetti anche di natura strettamente... more L’aumento dei canali di contatto e di comunicazione ha, per un museo, effetti anche di natura strettamente commerciale: l’aumento dell’utenza potenziale e, dunque, della domanda potenziale, può rendere il museo un ‘prodotto’ commercialmente più appetibile dal punto di vista degli investimenti o delle sponsorizzazioni, una ulteriore occasione per i finanziatori di pubblicizzare il proprio marchio o la propria azienda. Attraverso un'analisi 'empirica' dell'utenza remota di alcuni siti web museali italiani e stranieri a confronto, si analizzano criticità e potenzialità dell'uso del web per queste istituzioni museali.

2011 DAS Projekt Beitrag Archaeolet

by Guido Nockemann

Blog-Post @ www.Archaeolet.de about the DAS-project.

German Version

The aim of the DAS-project is the complete digitization of the archaeological collection of the Lippischen Landesmuseum Detmold/Germany to present all objekts/finds in the WWW via the objekt-portal 'museum-digital'.

Das digitale Museum-Das DAS-Projekt im Lippischen Landesmuseum Detmold

by Guido Nockemann

Magazine article (AFAKTOR 4/11, p.36-39) about the DAS-project (Digitization of the archaeological collection of the Lippischen Landesmuseum Detmold/Germany)

Becoming Digital

by Suzanne Keene

Behind the Scenes of the Museum Website.

by Ross Wilson

Museum Management and Curatorship Volume 26, Issue 4, 2011 (373-389)

This article examines the role of online resources hosted by museums as a means to communicate, engender research and... more This article examines the role of online resources hosted by museums as a means to communicate, engender research and reach out to new audiences. A number of scholars have already analysed the online presence of institutions and created an innovative new field of study by critiquing and theorising the emergence of ‘digital heritage’. Building upon these developments, this article examines museum websites from a new perspective, through the markup and programme languages used to deliver the online content to the user. Drawing upon the nascent field of ‘critical code studies’, this article analyses the online exhibition ‘Ancient Cyprus in the British Museum’, to illustrate the value of this approach. This analysis highlights the manner in which the ‘virtual’ visitor experience is structured in a fashion comparable to the ‘real’ visitor experience. Using theories of ‘intertextuality’, this article examines the analogous relationship between the markup and programme languages and wider museum practice.

Education on the Web

by Matthew White

Article written for the Autumn 1999 edition of the Association for State and Local History's History News. Volume 54, No 4.

A little outdated, but the advice still seems sound.

The DAS-Project - Contribution for the "Day of Archaeology 2011"

by Guido Nockemann

My contribution to the "Day of Archaeology 2011"....a short report about my daily work.

A short report about my daily work for the DAS- Project, posted at the "Day of Archaeology 2011.

The... more A short report about my daily work for the DAS- Project, posted at the "Day of Archaeology 2011.

The aim of the DAS-project is the complete digitization of the archaeological collection of the Lippischen Landesmuseum Detmold/Germany to present all objekts/finds in the WWW via the objekt-portal 'museum-digital'.

Museum Art Exhibitions & New Media (abstract)

by Carina Ow

Abstract of MA Design (Space & Communication) thesis.

The standardization of cultural documentation on national and international level

by Nikolas Papadimitriou

in conference proceedings:
M. Tsipopoulou (ed.) Digital Heritage in the New Knowledge Environment: Shared Spaces and Open Paths to Cultural Content. Proceedings of the International Conference held in Athens, 31.10.08-02.11.08 (Athens 2009), 132-136.

Technologies of Seeing the Past: The Curzon Memories App

by Charlotte Crofts

Paper published in the proceedings of the Electronic Visualisation and the Arts, London 2011 http://ewic.bcs.org/content/ConWebDoc/40611

This paper presents a practice research project based at The Curzon Community Cinema, Clevedon, UK. Working closely... more This paper presents a practice research project based at The Curzon Community Cinema, Clevedon, UK. Working closely with the cinema to develop a locative or context-aware heritage application for the iPhone, the project aims to enhance the Curzon’s new Heritage Lottery Funded exhibition, enabling visitors to gain further insight into the building, projection equipment and the history of cinema itself. The paper discusses the iterative design process, evaluates the first iteration and outlines plans for the next iteration, when the project will attempt to move seamlessly from the exterior of the building to inside the cinema.