Tate Online Strategy 2010–12. Uppsattsmall - gupea_2077_26817_1.pdf. UK Museums on the Web (UKMW12) Invalid quantity. Please enter a quantity of 1 or more. The quantity you chose exceeds the quantity available. Please enter your name. Please enter an email address. Please enter a valid email address. Please enter your message or comments. Please enter the code as shown on the image. Please select the date you would like to attend. Please enter a valid email address in the To: field. Please enter a subject for your message. Please enter a message. You can only send this invitations to 10 email addresses at a time. $$$$ is not a properly formatted colour. Please limit your message to $$$$ characters. $$$$ is not a valid email address. Please enter a promotional code.
Sold Out Pending You have exceeded the time limit and your reservation has been released. The purpose of this time limit is to ensure that registration is available to as many people as possible. This option is not available anymore. Please read and accept the waiver. All fields marked with * are required. US Zipcodes need to be 5 digits. Should museums be using social media more creatively? It’s one thing to manage your profiles on the proliferating social networking and sharing sites as an individual, but as an institution it’s quite another. So, we ask ourselves this question at Tate social media HQ all the time. We’d like to know how you see it. When you’re on Facebook, Twitter, YouTube Flickr, Foursquare, Google+ (or whatever’s new this month!)
, as yourself, you you tend to know what you’re there for. When you’re there representing an institution, however, it’s much harder to define exactly why you’re there – and what your fans or followers want from you being there! Even when you ask, of course, different people want different things at different times. Behind the logo or building facade avatar, cultural institutions can’t quite interact directly as individuals, but they do not function exactly like corporate brands either, the other big users in the space.
So how do we balance it? We do a weekend weather forecast using a work from the collection each week. Microsoft Word - cultural_impact_final.doc - cultural_impact_final.pdf. Microsoft Word - digital_preservation.doc - digital_preservation.pdf. Tate Digital Strategy: UK Museums and the Web 2012. Museum Identity Ltd - high-quality conferences, study days, publications, for professionals. British Museum - Augmented Reality: Beyond the Hype by Shelley Mannion, Digital Learning Programmes Manager, The British Museum Augmented Reality (AR) is a hot topic in the museum community. It is a frequently used buzz word in conferences and meeting rooms. It is widely discussed, but not well understood.
Since that original debate, several museums have tackled the challenge of creating AR applications that deliver value for museum visitors. Among the forerunners are the Stedelijk Museum in Amsterdam which used AR to install artworks in a local park (ARTours), and the San Francisco Exploratorium which turned an evening event into a surreal AR playground (Get Surreal). What is AR? Our museum data may not be crucial to survival, but it is essential to the visitor’s experience. How are museums using AR? 1) Outdoor guides and explorers2) Interpretive mediation3) New media art and sculpture4) Virtual exhibitions • Virtual reconstruction. . • Multiple views on the same gallery space or narrative. London's V&A Museum Embraces the Digital Age With New Games Design Residency | Artinfo.
The Victoria and Albert Museum have collaborated with the University of Abertay in Dundee to create a new residency for a games designer, developing work inspired by the museum’s collections, with an emphasis on Britain in the 1500 – 1900 period. This is the first time the museum has opened up the residency program to a games designer. Currently, the V&A has three Residency Studios, two for multi-disciplinary work and a third for ceramics. “Games design is a growing industry in the UK and Britain is now one of the leaders in the world in this field. It is a highly skilled form of design that requires both creative and scientific skills. The V&A’s first games design residency is an exciting opportunity for the Museum to recognize and support this form of design and will offer a games designer access to specialist expertise as well as use of the V&A’s extraordinary collections as creative inspiration to produce new work,” said Ruth Lloyd, V&A Residency Coordinator.
La réalité augmentée entre au musée. Les expériences du British Museum Shelley Mannion, responsable des programmes d’apprentissage numérique au British Museum, a publié deux articles sur la réalité augmentée et sur les expériences qu'elle a menées au sein de la célèbre institution londonienne. Le premier article, en anglais, publié sur Museum iD, relate les projets exploratoires de réalité augmentée utilisée dans un contexte d'éducation muséale. On y définit d'abord la réalité augmentée comme la possibilité de voir ou d'entendre, dans un contexte donné, une information pertinente superposée à ce que l'on voit dans le monde réel. On présente dans cet article une intéressante classification des types d'interactions offertes par les outils de cette nouvelle technologie.
On en explique aussi, brièvement, les aspects techniques des codes QR, des marqueurs de RA, ces derniers plus esthétiques et acceptables dans une exposition muséale, de la géolocalisation, utilisée plus facilement hors les murs. What is Augmented Reality? The Future of Digital Interpretation: Gallery Objects as Service Avatars. Fiona Romeo and Lawrence Chiles, National Maritime Museum, UK Abstract This paper outlines how digital technology in physical spaces can offer a seamless experience centred firmly on the object. Museums could reveal more of their collections by producing dense displays of objects with limited fixed interpretation but with hooks into deep digital services and invitations to participate. As computer vision brings the possibility to refine this interaction and make it more magical, the object itself can be a “service avatar”: all of the evocative power of an object, used to access digital experiences.
Keywords: archives, collections, objects, interaction, interpretation, augmented reality, mobile In 2011, the National Maritime Museum (Museum) was transformed by the Sammy Ofer Wing, a capital-build project that doubled the usable volume of the Museum’s south-west wing and sensitively introduced a contemporary aesthetic. 1. Collection website. A Museum Guide to Digital Rights Management | Find Resources | CHIN's Professional Exchange. The documentation of the results of an audit lead naturally into the second part of the workflow of IP rights management: how rights are recorded and how effectively they can be called into action when needed. 3.3.1.
Current Practice For the survey of Canadian museums undertaken as part of this Guide, institutions were asked whether they held consistent records (and in what medium) for the following seven categories of rights-related information: copyright status; rightsholder contact; rightsholder correspondence; permissions granted to reproduce work without further contact; license agreements; licensed-use reporting; and rights and reproductions workflow. While less than three-quarters of the 17 survey respondents reported that they have "consistent records" on the copyright status of their works, 88% keep rightsholders' contact information and also document correspondence, and 82% have consistent records of permissions granted them and license agreements with third parties. 3.3.1.1. Microsoft Word - DC1 11 12710 MUSEUMS POLICY - finalised after PROOF - READING.DOC - pdf_version_of_final_museums_policy.pdf. Agostino_FINAL27Jan2012 - 10_Agostino_FINAL27Jan2012.pdf. Report_FINAL01 - resource_139.pdf.
Syllabus: Digital Imaging for Museums: Policy and Practice. Digital Imaging For MuseumsPolicy and Practice Dr. Robert Leopold National Anthropological Archives and Human Studies Film Archives National Museum of Natural History Smithsonian Institution 301.238.1311 leopold@si.eduanthropology.si.edu/leopold About the course This course is designed for museum professionals who expect to manage a digital imaging project or program. Requirements, grading, office hours READINGS.
TERM PAPERS: There are three options: 1) a critical, comparative study of two or more imaging programs not represented in the class readings (which will generally require that you interview imaging program personnel); 2) a mock grant proposal to fund an imaging program at a cultural heritage organization, based on a needs-assessment interview with key administrative staff; 3) a final project that applies classroom readings and lectures to present and/or future employment or professional goals.
A precis of the term paper is due June 10. Office hours are by appointment only. Maintaining world-leading national museums and galleries, and supporting the museum sector - Policies. Issue 3 of the world’s top 5 most-visited museums are based in England, and nearly 40 million people visit our national museums and galleries each year. Our national museums and galleries are truly world-leading. They are important centres for scholarship and research, as well as being hugely popular visitor attractions, enriching people’s lives and educating in equal measure.
Beyond our national museums, which are funded directly by the Department for Culture, Media and Sport (DCMS), England has a huge network of specialist and regional museums, run by charities, local authorities and educational establishments. Actions We are maintaining world-leading museums and galleries, and supporting the wider museum sector, by: We are working to improve the collections and exhibitions in museums and galleries by: We are helping to ensure potentially sensitive objects are handled appropriately by: Background. “Can I Use This?” How Museum and Library Image Policies Undermine Education. By Dr. Beth Harris & Dr. Steven Zucker Is the discipline of art history (together with museums and libraries) squandering the digital revolution? We’re not the only ones with this concern. Just last week James Cuno wrote a short article, “How Art History is Failing the Internet” and WIlliam Noel tweeted, “Calling on all other great libraries; follow @britishlibrary‘s example.
Free your images!” What we lost Although eight years have passed since Eastman Kodak announced that it would stop manufacturing slide projectors, we have built only a fragmented system for distributing high-quality digital images—one that is failing our students, our discipline and the public. Ten years ago, to prepare for class, we went to the slide library, chatted with colleagues, and pulled slides. The eco-system todayNo other discipline would accept the ridiculous fragmentation outlined below: ARTstor: high-resolution images (and generally reliable metadata) are behind a paywall. Google+ Comments. Museum governance. The British Museum is a non-departmental public body sponsored by the Department for Culture, Media and Sport through a three year funding agreement. Its aim is to hold for the benefit and education of humanity a collection representative of world cultures and to ensure that the collection is housed in safety, conserved, curated, researched and exhibited.
The Museum is governed by a board of 25 trustees in accordance with the British Museum Act of 1963 and the Museums and Galleries Act of 1992. Trustee appointments are governed by the regulatory framework set out in the code of practice on public appointments issued by the Office of the Commissioner for Public Appointments. The Board is responsible for the general management and control of the Museum through the adoption of its Annual Plan and overarching strategy and for the appointment of the Director. A full range of policies covering every area of Museum activity has been adopted by its Board of Trustees. British Museum policies. Digital pro bono: time for cultural giants to offer their services | Culture professionals network | Guardian Professional. A few months ago, I read an article about Indianapolis Museum of Art's 'web sprint'. The sprint involved the museum's digital team leaving their office and taking up residence in a co-working space, with the task of redesigning the museum's website, Art Babble, in a 24-hour period.
After reading the article, I wrote a blog post in which I asked: wouldn't it be cool if the big national museums – Tate, V&A, the British Museum etc – donated their digital teams to regional museums for 24 hours every couple of months? The post sparked an interesting conversation on Twitter, in which someone commentated that what I was suggesting could be called pro bono. Pro bono, or pro bono publico to use the full Latin phrase, is the term used to describe professional work done in a voluntary capacity for the public good. Should cultural giants offer pro bono services? This model could inform how these organisations disseminate information to medium-size and small grassroots organisations. Creative_media_policy.pdf. National Art Library collection development policy: documentary materials.
Contents Introduction Context Aim and scope of the NAL's development of documentary materials Co-operation Selection The NAL and the V&A Level of works collected Chronological and geographical range Languages Collecting strengths - Introduction Access to learning collections Core subject collections Formats Retention and de-accessioning 1. Introduction The Victoria and Albert Museum holds one of the world’s major libraries for the study of art, craft and design. For the applied and decorative arts it has few peers. Books and ‘library-type materials’ are housed in various parts of the V&A. This policy governs only the documentary materials acquired and managed by the National Art Library. 2. The present policy takes account of three developments that condition the environment in which the library functions: (i) Amalgamation: the NAL was merged with the Department of Prints, Drawings and Paintings in 2001. 3. 4. London is rich in libraries for the study of art, craft and design. 5. 6. 7. 8.