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Curator responsibilities[edit] In smaller organizations, a curator may have sole responsibility for the acquisition and care of objects. The curator will make decisions regarding what objects to take, oversee their potential and documentations, conduct research based on the collection and history that provides proper packaging of art for transportation, and shares that research with the public and community through exhibitions and publications. In very small volunteer-based museums, such as local historical societies, a curator may be the only paid staff member. In larger institutions, the curator's primary function is as a subject specialist, with the expectation that he or she will conduct original research on objects and guide the organization in its collecting. In Scotland, the term "curator" is also used to mean the guardian of a child. More recently, advances in new technologies have led to a further widening of the role of curator. Education and training[edit] See also[edit] Related:  curationVocabulaireCuration and art

CURATING THE FUTURE | Nation Performing Arts Convention Like e-mail in the ‘90s and the web at the dawn of the new millennium, artists and organizations—as a matter of business—have had to adapt to these new modes of communication and integrate these tools into their operations. Web 2.0 and social platforms like Digg and Delicious, YouTube, Flickr, and Facebook have pushed the electronic envelope even further up the learning curve. Along comes Twitter, and the real-time revolution is on—just as mobile technologies have gone viral. The speed of new development presents challenges—for technologists and luddites alike. But whether you’re a traditionalist or a ‘new mediaist,’ [1] future audiences are growing up with these technologies, [2] and eventually, the arts, like every living thing, must adapt or die. Social media is where the jobs will be. New jobs mean new roles and new responsibilities. “Managing communities is much more complex than traditional outreach,” Levy added. You can Retweet, favorite, or copy urls, but it’s not the same.

Le curator est-il un veilleur Petit rapport d’étonnement pour commencer l’année en douceur… "Curator" et "curation" sont les deux termes qui montent sur le web ces derniers mois. Schématiquement l’idée est la suivante : la sélection de l’information sur les réseaux numériques est de moins en moins algorithmique, et de plus en plus humaine. Comme la veille ?... Ce qui est magique sur le web (entre autre) c’est sa propension à exploiter de nouvelles terminologies, à appeler un chat un « lol cat », ou encore un modérateur un « community manager » (et la liste est longue). Selon Wikipedia (version anglaise, puisque ce terme est anglo-saxon) un curator est un spécialiste de la gestion de contenus, responsable de la gestion de collections (au sens de collections bibliographiques ou encore artistiques). Le terme étant rapidement posé, voici les interrogations, les étonnements, que l’identification formelle de cette pratique engendre : au final, un curator n’est-il pas un veilleur ? Un veilleur curationne au quotidien

Content Curators Are The New Superheros Of The Web Yesterday, the ever-churning machine that is the Internet pumped out more unfiltered digital data. Yesterday, 250 million photos were uploaded to Facebook, 864,000 hours of video were uploaded to YouTube, and 294 BILLION emails were sent. And that's not counting all the check-ins, friend requests, Yelp reviews and Amazon posts, and pins on Pintrest. The volume of information being created is growing faster than your software is able to sort it out. As a result, you're often unable to determine the difference between a fake LinkedIn friend request, and a picture from your best friend in college of his new baby. What's happened is the web has gotten better at making data. While devices struggle to separate spam from friends, critical information from nonsense, and signal from noise, the amount of data coming at us is increasingly mind-boggling. In 2010 we frolicked, Googled, waded, and drowned in 1.2 zettabytes of digital bits and bytes. 1. How will curation evolve?

Is the Role of the Curator Evolving? Increasingly, the curatorial role is focused on audience engagement and collaboration, rather than specialized knowledge. There has been a lot of chatter in recent years about the “death of the curator.” But is the role of the curator really dead, or is it just evolving? Once a position that glorified specialized knowledge on niche-like topics, this role is expanding, becoming user-friendly and reaching beyond the walls of institutions. Why is the role of curator changing? There are many factors that have influenced this change in recent years – an emphasis on education in museums and the arts, advances in technology, racial demographic changes, the coming-of-age of the millennial generation – to name a few. How does one become a twenty-first-century curator? Traditionally, a curator was required to obtain undergraduate and graduate degrees (and sometimes, a Ph.D.) that allowed them to specialize in a particular area. What’s next? Has the curatorial role changed at your institution?

La troisième frontière du Web » Article » OWNI, Digital Journalism PDG de Pearltrees et auteur du blog Cratyle, Patrice Lamothe expose dans ce billet les différentes phase de développement du Web. Parti d'un micro-démocratie où "chacun disposait de tous les attributs d'un média", le réseau semble actuellement en mesure de franchir une frontière : celle qui vise à permettre à chacun d'être un média complet... PDG de Pearltrees et auteur du blog Cratyle, Patrice Lamothe expose dans ce billet les différentes phase de développement du Web. Chacun sent que le Web entre aujourd’hui dans une nouvelle phase de son développement. Les tentatives de synthèse fleurissent, mais ne semblent pas suffire à rendre compte des évolutions en cours. Peut-être trouvera-t-on d’ailleurs inutile de vouloir décrire les évolutions d’ensemble du Web? Le succès des nouveautés techniques y dépend de l’écosystème de produits existants. Je crois pourtant que la nature décentralisée du Web offre un moyen de comprendre son orientation. C’est cette piste que je voudrais explorer ici.

Infobésité / Surcharge informationnelle Un article de Wikipédia, l'encyclopédie libre. Surcharge informationnelle au niveau d'un panneau d'affichage. La surcharge informationnelle, surinformation ou infobésité[1] (terme francisé d'invention québécoise, issu de l'anglais, information overload) est un concept désignant l'excès d'informations reçues par une personne qu'elle ne peut traiter ou supporter sans porter préjudice à elle-même ou à son activité. Causes générales[modifier | modifier le code] Ce concept peut recouvrir plusieurs concepts de surcharge[3] : surcharge cognitivesurcharge sensoriellesurcharge communicationnellesurcharge de connaissances Effets néfastes[modifier | modifier le code] Stratégie de communication[modifier | modifier le code] La surinformation peut être une stratégie délibérée de communication. Histoire[modifier | modifier le code] Citations[modifier | modifier le code] « Les courriels sont la cause d'une crise de production dans les entreprises… C'est le cancer silencieux des sociétés[trad 1],[14]. »

Beth Kanter's Blog Bruce Nauman | RELATED THEMES : The role of the curator | Tate The role of the curator ‘After a time, you train yourself that once the work is out of the studio, it’s up to somebody else how it gets shown and where it gets shown. You can’t spend all your time being responsible for how the work goes out in the world, so you do have to let go.’ - Bruce Nauman, interview with Tony Oursler, Please Pay Attention Please: Bruce Nauman’s Words, Janet Kraynak (ed.), 2002,The MIT Press / Cambridge, MA / London, England, 2003 p. 381 The ‘somebody else’ who is usually primarily responsible for how and where a work of art is shown is the curator. The Curator and the Artist Artists working with less traditional forms of art - including video and installation are increasingly realising the importance of providing detailed information to curators to ensure that aspects such as size, placement, and technical specifications for works of installation art, are understood. - VIDEO: Tate Curator Jessica Morgan discussing the artist’s role in planning an installation

Curation - The Third Web Frontier Posted by Guest Writer - January 8, 2011 Here is a guest article by Partice Lamothe - CEO of Pearltrees (Pearltrees is a consulting client of SVW.) This is a lightly edited version of "La troisième frontière du Web" that appeared in the magazine OWNI - Digital Journalism - March 2010. By Patrice Lamothe Everyone realizes that the web is entering a new phase in its development. One indication of this transition is the proliferation of attempts to explain the changes that are occurring. Although these explanations are both pertinent and intriguing, none of them offers an analytical matrix for assessing the developments that are now underway. The "real time web," for example, is one of the clearest and most influential trends right now. In contrast, other explanations are far too broad to serve any useful purpose. The "Web 2.0″ concept, despite its limitations, demonstrates the relationship among innovations as varied as Wikipedia, You-Tube and blogs. The founding principles 1st frontier...

Sérendipité Un article de Wikipédia, l'encyclopédie libre. Dans les pays anglo-saxons, les Serendipity shops sont des boutiques où l'on trouve des idées inattendues de cadeaux. En France, le concept de sérendipité, adopté dans les années 1980[1] prend parfois un sens très large de « rôle du hasard dans les découvertes[2] ». Alain Peyrefitte avait fait un usage sans rapport du Serendip de Louis de Mailly en 1976, dans Le Mal français. Sa généralisation a fait l'objet de mises en cause, le hasard intervenant toujours, par définition, dans une découverte ou une invention. Parmi les nombreux exemples de découvertes et inventions liées au hasard, on peut citer : le four à micro-ondes, la pénicilline, le Post-it, le téflon, le Velcro. L'existence de la sérendipité est un argument fréquent dans le débat public pour défendre des options d'organisations interdisciplinaires contre la tendance à la spécialisation croissante des champs qui résulte de l'approfondissement des recherches. - Le Viagra : 1941. 2.

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