Museums and Digital Culture: New perspectives and research

This richly illustrated book offers new perspectives and research on how digital culture is transforming museums in the 21st century, as they strive to keep pace with emerging technologies driving cultural and social change, played out not only in today’s pervasive networked environment of the Internet and Web, but in everyday life, from home to work and on city streets. In a world where digital culture has redefined human information behavior as life in code and digits, increasingly it dominates human activity and communication. These developments have radically changed the expectations of the museum visitor, real and virtual, the work of museum professionals and, most prominently, the nature of museum exhibitions, while digital art and life in a digitally saturated world is changing our ways of seeing, doing, our senses and aesthetics. Overall, this book creates a new picture of the 21st-century museum field. As museums become shared spaces with their communities, local, national and global and move from collection-centered to user-/visitor-centered institutions, they are assuming new roles and responsibilities tied to new goals for engaging their audience, conveying meaning through collections, creating learning experiences and importantly, connecting to daily digital life and culture integral to the museum ecosystem. Our studies of recent exhibitions at museums leading change are used to exemplify new directions, while they point to a reimagined vision for museums of the future at the heart of which is the integration of digital culture and visitor experience and participation in real and virtual space

Tula Giannini e Jonathan P. Bowen (ed.) – Museums and Digital Culture: New Perspectives and Research

O livro Museums and Digital Culture: New Perspectives and Research debruça-se sobre a cultura digital, as práticas artísticas digitais e o seu impacto nos museus no século XXI, traçando o desenvolvimento da cultura digital desde os anos de 1940 até ao presente. Sob múltiplos pontos de vista, esta publicação reflecte sobre o crescente e preponderante papel dos meios digitais na sociedade e o consequente impacto nos diferentes aspectos da prática museal. Os temas abordados visam responder a alg..

Campus Art Museums in the 21st Century: A Conversation

In the summer of 2012, the authors of this study brought together a group of campus art museum directors and outside experts to 'think out loud' about the changes already occurring at campus museums and where new opportunities and roles may be emerging. We hope the resulting paper will further the field's larger, continuing exploration of its roles and potentials through dialogue, research, and experimentation -- an exploration that contributes to the continued healthy evolution of campus art museum practice

Demographic Transformation and the Future of Museums

In 2009 the Center for the Future of Museums commissioned Betty Farrell to produce a report to explore in more detail the demographic trends in American society and their implications for museums. The report identifies, synthesizes, and interprets existing research on demographics, cultural consumer attitudes, museum diversity practices, and related topics. It is meant to help the museum field explore the future of museums in a "majority minority" society. Topics of inquiry include national demographic projections for the next 25 years with a focus on the shifting racial and ethnic composition of the United States; current patterns of museum attendance (and cultural participation more generally) by race, ethnicity, cultural origin and other relevant factors; culturally/ethnically specific attitudes towards museums, including perceptual and behavioral barriers to museum attendance; ways that museums currently reach out to diverse audiences; specific models and best practices; and larger trends in societal attitudes towards racial and other classifications

Embedding civil engagement in museums

Initiatives over the last decade on both sides of the Atlantic and beyond have sought to reposition museums at the heart of their communities as agents for civil engagement. This paper explores the principles involved in making the role possible, using the example of urban history museums. It argues that this will take time, commitment and careful planning, and will impact on every aspect of the museum's activities. It is an essential task however, reflecting the direction museums should be taking in society in the 21st century, but will only be achieved if there is a change of culture across the profession

Museums as disseminators of niche knowledge: Universality in accessibility for all

Accessibility has faced several challenges within audiovisual translation Studies and gained great opportunities for its establishment as a methodologically and theoretically well-founded discipline. Initially conceived as a set of services and practices that provides access to audiovisual media content for persons with sensory impairment, today accessibility can be viewed as a concept involving more and more universality thanks to its contribution to the dissemination of audiovisual products on the topic of marginalisation. Against this theoretical backdrop, accessibility is scrutinised from the perspective of aesthetics of migration and minorities within the field of the visual arts in museum settings. These aesthetic narrative forms act as modalities that encourage the diffusion of ‘niche’ knowledge, where processes of translation and interpretation provide access to all knowledge as counter discourse. Within this framework, the ways in which language is used can be considered the beginning of a type of local grammar in English as lingua franca for interlingual translation and subtitling, both of which ensure access to knowledge for all citizens as a human rights principle and regardless of cultural and social differences. Accessibility is thus gaining momentum as an agent for the democratisation and transparency of information against media discourse distortions and oversimplifications

Contemporary Art and Historical Archives: Collaborations and Convergences in a Digital Multicultural Age

Literature illuminating the relationship between contemporary art and historical archives around the turn of the twenty-first century and how these interactions inform the evolution of archives in a digital multicultural age is the topic of this review. The literature reveals the extent to which art has been a means for members of marginalized groups to address their representation in historical archives, and also a means for archives to connect with a broader audience. Collaborations between artists and historical archives add new dimension to the debate about the nature of the archive as a creation in and of itself, and in turn the question of whether participatory culture may be a necessary component in achieving more complete representation of all segments of the community. Types of relationships explored in this review include: the questioning of and re-imagining of the archive by artists, particularly those from marginalized groups; the blending of art and digital archives; and how such collaborations have informed the mission and practical concerns of archives. As digitization leads to increasing convergence of previously distinct cultural heritage collections and enthusiasm for participatory platforms accelerates, interactions between individual artists, people from marginalized communities, and GLAM (galleries, libraries, archives and museums) will continue to evolve and expand. From this literature review emerge observations about prior collaborations from around the world as they inform future developments

Objects, subjects, bits and bytes: learning from the digital collections of the National Museums

This paper is concerned with online museum education, exploring the themes of user-centredness, digitization, authority and control. Taking as its starting point the shift of focus in museum policy from the collection to the user-learner, it suggests that this movement from object to subject – this ‘de-centring’ of the cultural institution – is further complicated by a fundamental change in the nature of the object, as a result of digitization programmes which transform material, ‘possessible’ artefacts into volatile amalgams of bits and bytes. The ability of users to take, manipulate, re-distribute and re-describe digital objects is, we suggest, a primary source of their educational value. It is also, however, a source of difficulty for institutions as they come to terms with the changing patterns of ownership, participation and knowledge production we are experiencing as we move further into the digital age