Multimedia technology as a presentation and archival tool for teaching history/social science

This project was created to provide teachers with a model multimedia project that demonstrates the use of multimedia as both a presentation tool and an archival instrument. It provides teachers with a simple guide to help them teach students how to use multimedia as a productivity tool in the classroom. This outline gives a step by step format that guides teachers and students through the development and presentation process. In addition, an evaluation rubric is provided that offers teachers a concise means to monitor student learning

The countryside in urbanized Flanders: towards a flexible definition for a dynamic policy

The countryside, the rural area, the open space, … many definitions are used for rural Flanders. Everyone makes its own interpretation of the countryside, considering it as a place for living, working or recreating. The countryside is more than just a geographical area: it is an aggregate of physical, social, economic and cultural functions, strongly interrelated with each other. According to international and European definitions of rural areas there would be almost no rural area in Flanders. These international definitions are all developed to be used for analysis and policy within their specific context. They are not really applicable to Flanders because of the historical specificity of its spatial structure. Flanders is characterized by a giant urbanization pressure on its countryside while internationally rural depopulation is a point of interest. To date, for every single rural policy initiative – like the implementation of the European Rural Development Policy – Flanders used a specifically adapted definition, based on existing data or previously made delineations. To overcome this oversupply of definitions and delineations, the Flemish government funded a research project to obtain a clear and flexible definition of the Flemish countryside and a dynamic method to support Flemish rural policy aims. First, an analysis of the currently used definitions of the countryside in Flanders was made. It is clear that, depending on the perspective or the policy context, another definition of the countryside comes into view. The comparative study showed that, according to the used criteria, the area percentage of Flanders that is rural, varies between 9 and 93 per cent. Second, dynamic sets of criteria were developed, facilitating a flexible definition of the countryside, according to the policy aims concerned. This research part was focused on 6 policy themes, like ‘construction, maintenance and management of local (transport) infrastructures’ and ‘provision of (minimum) services (education, culture, health care, …)’. For each theme a dynamic set of criteria or indicators was constructed. These indicators make it possible to show where a policy theme manifests itself and/or where policy interventions are possible or needed. In this way every set of criteria makes up a new definition of rural Flanders. This method is dynamic; new data or insights can easily be incorporated and new criteria sets can be developed if other policy aims come into view. The developed method can contribute to a more region-oriented and theme-specific rural policy and funding mechanism

Venturing into the Virtual: An Analysis of Virtual Museums and Creation of UMACF Southwestern Basketry Virtual Exhibit

The prevalence of virtual museums has grown in recent years and this relatively new exhibition format has presented the museum field with opportunities for growth. In an effort to explore the virtual sphere as an effective avenue for museum growth and change, I conduct an analysis of what virtual museums are, the challenges they pose, and the benefits they can provide to museum education. Case studies of University of California Chico, University of New Mexico, University of Arizona, and University of Nevada Reno’s virtual exhibition of materials from each university’s anthropology collections serves to further the exploration of the efficacy of virtual museums. Informed by the critical analysis of virtual museums and the case studies, I created a prototype draft for a virtual exhibit of baskets from the University of Montana Anthropological Curation Facility. This project serves to showcase the potential of virtual museums to increase accessibility and engage visitors for a more interactive learning experience

Culture IS> development

Sumario: Las instituciones evolucionan con el tiempo, como lo hacen los humanos, e inevitablemente desarrollan un personalidad que surge de lo que una vez fueron y quisieron llegar a ser - y de hecho, lo que la realidad permitía. Este ha sido el caso de los Centros Culturales de la Agencia Española de Cooperación Internacional para el Desarrollo (AECID). Su evolución también les ha dotado de una singular personalidad. El tiempo los ha dejado con líneas de arrugas reveladoras; y ahora, al igual que con personas al llegar a la madurez, los Centros pueden dar un paso atrás y observarse a sí mismos en el espejo y ver quiénes son y en qué se han convertido. Los centros no sólo cumplen el propósito de promover la cultura española sino que pretenden ayudar a los creadores y a la industria cultural a nivel local, formando parte del tejido mismo del país donde están ubicados, y convirtiéndose en un centro para desarrollo. La pandemia de COVID-19 ha tenido un impacto devastador para el sector cultural en todo el mundo. El cierre durante largos periodos de tiempo, la restricción de aforos y las limitaciones a la movilidad han provocado graves pérdidas en museos, galerías, centros culturales y salas de cine; la cancelación masiva de espectáculos ha tenido el mismo efecto en el ámbito de las artes escénicas y la música, dejando sin trabajo a miles de profesionales. Sin embargo, se ha dado la paradoja de que la cultura ha sido también uno de los servicios más solicitados para combatir las secuelas negativas de los confinamientos y la fatiga pandémica

Virtual Heritage: new technologies for edutainment

Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience. As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity

Oral Literature in the Digital Age

Thanks to ever-greater digital connectivity, interest in oral traditions has grown beyond that of researcher and research subject to include a widening pool of global users. When new publics consume, manipulate and connect with field recordings and digital cultural archives, their involvement raises important practical and ethical questions. This volume explores the political repercussions of studying marginalised languages; the role of online tools in ensuring responsible access to sensitive cultural materials; and ways of ensuring that when digital documents are created, they are not fossilized as a consequence of being archived. Fieldwork reports by linguists and anthropologists in three continents provide concrete examples of overcoming barriers—ethical, practical and conceptual—in digital documentation projects. Oral Literature in the Digital Age is an essential guide and handbook for ethnographers, field linguists, community activists, curators, archivists, librarians, and all who connect with indigenous communities in order to document and preserve oral traditions

Shaking Heritage

Any moment the earth can shake, but we do not know when or where. If it happens, our Heritage might be in danger. Shaking Heritage addresses the topic of the seismic vulnerability of museum collections. It develops a way to assess the seismic risks for movable Heritage, proposing a synthetic method to rate the vulnerable settings. It discusses the necessity of integrating museography and anti-seismic solutions for museums and exhibitions, and studies exhibit solutions that would improve the seismic safety of collections and setups. It stresses the necessity of constructing shared guidelines and policies for the safety of the movable Heritage. Shaking Heritage is a step forward in acknowledging the importance of the anti-seismic culture among museum institutions and researchers