Museums Mull Public Use of Online Art Images. MOOCs and Museums | Edgital. Video by Dave Cormier, coiner of the term “MOOC”. I just participated in my first Massive Online Open Course (MOOC) – the University of Edinburgh’s E-Learning and Digital Culture. While the content was interesting, if somewhat more theoretical than I was looking for, the experience itself was the educational payoff. Forty thousand students enrolled for the course (and it felt like every one of them replied to the discussion thread I experimentally requested email me all responses – I was cleaning out my inbox for weeks!). I don’t know how many completed the course. Full disclosure: I didn’t since it turned out not to be quite what I was after. But one of the beauties of MOOCs for the student is a low barrier to enrollment. The whole experience has gotten me thinking about the possibilities for museums to offer MOOCs.
Okay – there is one, and it’s the one that generally plagues us: opportunity cost. What’s Really Involved in Creating a MOOC Full disclosure again – the C.H. Like this: Dot Dash 3 Lets Artists Build Virtual Galleries to Sell Real Art (and GIFs Too) New art-tech venture Dot Dash 3 (the word art in Morse code includes three dots and three dashes), is something like a video game for art collectors. The new technology creates a virtual exhibition space that allows you to visualize artwork in 3D space without ever leaving your desk. The site is ostensibly for art sales, although the potential to create virtual exhibitions could, if the idea catches on (usually a big if in the world of online art ventures), make the technology commonplace on the websites of art institutions everywhere. The new virtual reality exhibition space (for lack of a better phrase for it) is the brainchild of Larisa Leventon, a former portfolio manager at Steve Cohen’s SAC Capital.
With two degrees from MIT and a Ph.D. in applied mathematics from Brown, she doesn’t seem like your typical art world entrepreneur. However, her time in Cambridge included plenty of art history, and she spent some time taking RISD courses while at Brown. Museum Turns NYC Pay Phones Into 90s Time Capsules. This article titled “Why ebooks are a different genre from print” was written by Stuart Kelly, for guardian.co.uk on Tuesday 26th March 2013 08.21 UTC Most readers, I think, will by now have seen the “Medieval Helpdesk” sketch from Norweigan TV, where an exasperated monk requires assistance to start working with a new-fangled and daunting “book”. It’s fun – if loopily anachronistic, the codex having been around since the 1st century AD.
But it does rest on a presumption that I’m increasingly beginning to question: that technological changes to the way we read affect only the secondary, cosmetic and non-essential aspects of reading. There is a kind of bookish dualism at work. The text is the soul, and the book – or scroll, or vellum, or clay tablet or knotted rope in the case of quipu – is the perishable body. In this way of thinking, the ebook is the book, only unshackled from paper, ink and stitching.
This segues into my second contention. Selling memories: museum education and consumerism | Sci-Ed. Hello there! If you enjoy the content on Sci-Ed, consider subscribing for future posts via email or RSS feed. Update: Thank you all for sharing your museum experiences via comments and tweeter! Reader Brian Gratwicke shared another clever ad campaign (this time from Vancouver’s Aquarium) “If frogs go extinct, you’ll notice“.
Readers: please continue to submit your museum experiences (good OR bad) via comments or twitter! A whale’s heart goes for a ride. Photo by Vancouver Science World and Rethink Communications. A few months ago, the science blogosphere was ablaze with an ad campaign from the a science museum in Vancouver. As we mentioned in earlier blog posts, many adults visit museums after they are persuaded by their children. This ad counts on the voluntary participation of Vancouver seagulls. When is it honorable to use advertising as subterfuge for the cause of science and education?
Besides trying to attract donors and sponsors, museums also try to raise funds by selling tickets. Vienna museum invites nudists to see Naked Men. Brooklyn Museum Tests A Democratic Model. Are Blockbuster Exhibitions Damaging Art? | Spear's WMS. The rush to the box office. Exhibitions Museums Attendance USA Museums are feeding an addiction for shows that put works of art at risk and allow visitors no time to reflect By Blake Gopnik. Attendance, Issue 245, April 2013Published online: 28 March 2013 Crowd control outside New York’s Museum of Modern Art In Tokyo, 758,266 people rush to see the treasures of Holland’s Mauritshuis museum; in New York, 605,586 people view the photos of Cindy Sherman, by Cindy Sherman; 487,716 Parisians consider the American genius of Edward Hopper—these are just a few of the staggering attendance figures for recent exhibitions.
Unless we’re seeing symptoms of florid illness. Almost a quarter of a century ago, Francis Haskell, the late and very great historian of taste, warned in a famous essay that exhibitions “are now replacing museums as the principal vehicles for the transmission of visual culture”, and went on to launch a jeremiad against the change. Submit a comment All comments are moderated.
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