Info_seeking. Technology as a Means for Engagement. Posted on behalf of Heather Barto, student, Masters in Museum Studies Program at As a new student in the museum studies program at , I was fortunate enough to attend the March 16 DC Art Science Evening Rendezvous. This was an exceptionally educational and informative discussion from a diverse group of panelists. Currently studying technology in museums with JD Talasek, I was interested in technology as a means for engagement and also as medium for artists. The Coral Reef Project was such an effective and productive use of technology to engage the community. I was able to view the exhibit and found it impactful from an art and environmental standpoint. How have other museums or community involvement projects used social media to engage participants as well as provide awareness? I also thought that Alberto Gaitán's use of technology in multimedia art was an interesting way to involve social media.
Thoughts from Museums and the Web 2011 | Thinking about exhibits. Our Mobile “Untours” or “Detours” workshop went really well, I think. We had an overflow crowd. They actually brought in extra tables and chairs. Nobody walked out early and all of our small group discussions ran the full length of time we allotted them. Each of the facilitators spoke briefly on some project that embodied for them a possible mobile “detour”. You can get the whole list at the MuseumMobile wiki. It was very interesting to see how quickly very disparate groups could ideate outside the box when there was a good focus. Other learnings: Museum people seem to have an insatiable appetite for case studies. Like this: Like Loading... Collection management systems: Museums and the Web 2011.
Museums and archives manage information about their collections, facilitate interdepartmental communication, and make collections available to the public using collection management software. Here’s a rundown of the collection management systems being exhibited at Museums and the Web 2011… Introduction The earliest museum automation traces to the late 1960′s, when the Met used mainframe IBMs to give museum staff access to collection information. Collection management systems were designed around the needs of back-office staff who were continually editing data records about museum objects. Many are stale, ugly, yet highly functional legacy systems that run on old Windows PCs, saving data on a server which the museum keeps in a broom closet.
Since the late 1990′s and the growth of the Internet, collection management software had a new job: to also make collections available to museum users (“the museum without walls”). The newest revolution is in mobile devices. Vendors and their products. ALiVE - Applied Laboratory For Interactive Visualization And Embodiment. Five Ways to Integrate Social Media Into Your Nonprofit’s Website.
[tweetmeme] Integrating your nonprofit’s Web 1.0 and Web 2.0 campaigns is essential for success in online communications and fundraising. Rather that keeping them separate, once they are merged to compliment one another, your nonprofit’s ROI begins to grow exponentially. To begin, here are five ways to integrate social media into your nonprofit’s website: 1) Add social networking icons to your homepage.
Increasingly supporters expect to find social networking icons on your nonprofit’s homepage. Many people even go to your website with the sole intention of finding quick links to your nonprofit’s communities on social networking sites and not finding them can be quite frustrating. National Peace Corps Association ::www.peacecorpsconnect.org 2) Embed Twitter and Facebook widgets into your homepage. Both Twitter and Facebook offer widgets that simply require you to copy and paste a small piece of code into to your website.
The Sierra Club :: www.sierracluub.org Like this: Like Loading... Museumsocialmedia [licensed for non-commercial use only] / Example Social Media Policies and Plans. Museumsocialmedia [licensed for non-commercial use only] / Museum Social Media "In-Reach" This wiki is a companion to the paper, "Social Media and Organizational Change," written for Museums and the Web 2011 by Dana Allen-Greil (Smithsonian), Susan Edwards (Getty), Jack Ludden (Getty), and Eric Johnson (Monticello). In order to help the wider community as we all grapple with these issues, we have established a wiki for sharing social media policies and guidelines for staff. We invite others to add to this wiki so that it may become a resource for the field.
Please share your experiences, advice, questions, success stories, and resources related to implementing social media in museums. Example Social Media Policies and Plans Resources: Papers, presentations, posts, and moreCommunity: Let us know what interests you. Online Scholarly Cataloguing (Getty Foundation) “The collection catalogue is dead, long live the catalogue!” This humorous headline in Tyler Green’s Modern Art Notes from February 2009 encapsulates a conundrum faced by many fine art museums today: How can they harness the powers of the internet to present in–depth knowledge about art works in their collections while at the same time create more flexible, economic and creative ways of doing so?
Can current formats of print dissemination be updated to allow for broader access and potentially innovative ways of sharing art historical research with the public? The Getty’s Online Scholarly Catalogue Initiative, a joint effort by the Getty Foundation and the J. Paul Getty Museum, is a program that aims to transform how museums disseminate scholarly information about their permanent collections to make it available through web–based digital formats. “Collection catalogues have clearly reached a high level of sophistication. Read the Interim Report. Resources.
Museum's Devices vs Visitors' Devices. Where your Strategy stands today? | conference.archimuse.com. Museums and the Web: Grounding Digital Information Trends. Grounding Digital Information Trends. Information 2.0 and Beyond: Where are we, where are we going? Mixing Realities to Connect People, Places, and Exhibits Using Mobile... Pew Research Center's Internet & American Life Project Presentations Channel.
Pew Research Center's Internet & American Life Project. Pew Research Center for the People and the Press. Why Reinvent The Wheel Over And Over Again? How an Offline Platform Stimulates Online Innovation | conference.archimuse.com.
Mobile. Augmented reality. Nsumer classification for the UK - Mosaic UK - Experian. Behind every customer is an individual. Mosaic means you can start treating them that way. It gives you the intelligence you need to reach the right people with the right message at the right time – every time. Being relevant and effective across all channels – from traditional offline to digital TV and online display – the Mosaic consumer classification enables accurate and consistent targeting, offering endless possibilities. Already know Mosaic? You may be interested in: New to Mosaic? Mosaic is a powerful cross-channel consumer classification system built for today's multi-channel world. In this section you can find out what Mosaic is, how Mosaic is built and why Mosaic is the common currency segmentation for all marketing channels. Mosaic provides real-world insight that represents real customers and enables you to speak to the right person at the right time and place, through the channels they use, with the right message for them.
Explore all of our Mosaic-related resource, including: Why Angry Birds is so successful and popular: a cognitive teardown of the user experience. The usual question: Over the past 30+ years as a consultant in the field generally known as human factors engineering (aka usability engineering), I have been asked by hundreds of clients why users don’t find their company’s software engaging. The answer to this persistent question is complex but never truly elusive. This question yields to experience and professional usability analysis.
The unusual question: Surprisingly, it is a rare client indeed who asks the opposing question: why is an interface so engaging that users cannot stop interacting with it? This is a difficult question because it requires cognitive reverse engineering to determine what interaction attributes a successful interface embodies that result in a psychologically engaging user experience. This question pops up when products become massively successful based on their user experience design – think iPhone, iPad, Google Instant Search, Nintendo Wii, Microsoft Kinect. Angry Birds is full of these little mysteries. HCIL - Online Technical Reports. Museum Metadata Exchange. Museum of Old and New Art. Online & Offline Come Together at MONA | Social Rabbit. Good afternoon, Social Rabbit here with your guide to the world of social media.
Last week I visited MONA – the Museum of Old and New Art in Hobart, Tasmania (Tasmania for the non-Aussie’s reading this is an island off the mainland of Australia). I was really really impressed with the way they incorporated the digital world into a real life experience. When we arrived at the museum we were given an iPod touch each and some headphones, as below – FYI it was FREE to go into the museum.
As I walked around the museum, rather than there being a description of the exhibit next to it, I just clicked on the iPod and got the information on the item, as below. I could also get ideas, which were odd facts or info, artwank – which was the more arty rationale behind the idea or about the artist and Gonzo which was silly facts, such as about a Damien Hirst painting that arrived with a blank canvas and tins of paint for the museum to paint the canvas themselves! CURATORIAL. Curated by Chris Cutler In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music).
A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of 'music'. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. >>Transcript.