Traveling While Black

The history of African American travel is one of the great untold American stories. We seek a Level I Start-Up Grant to support the collaboration between humanities scholars and interactive designers to develop a choice-driven, exploratory game that places players directly in the shoes of African American travelers of the past. Through the game mechanics, players will explore the nature of prejudice, how it manifests, and the discrimination African Americans had to endure during the pre-civil rights era. The game will engage students and allow them to make strategic decisions, developing problem solving and systems thinking skills. Players will gain a rich and complex understanding of this important period in our nation’s history that continues to have contemporary resonance. The learning experience within the game will be augmented by the other platforms--documentary film, web series and digital cultural mapping--that make up the Traveling While Black (TWB) transmedia project

Fascinating museological audiences, or the cinematic appeal

This review of Elisa Mandelli’s book The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions (2019) explains how, according to the author, several viewing dispositifs, understood as a rather flexible assemblage of elements, are increasingly being used in museums to combine education with entertainment. Thus, museums are becoming “cinematic spaces” with an ideological perspective. Mandelli’s approach to the projection technologies of moving images in museological venues is not only chronological but also phenomenological. A three-way interest is recognizable in the alignment of chapters, encompassing the educational value of the dispositifs, their artistic nature, and the experiential factor. As the book provides an interesting overview of two fields that usually are not taken together and contains an assortment of case studies described in detail, it should make a good addition to the fields of Museum and Film Studies.info:eu-repo/semantics/publishedVersio

Fascinating Museological Audiences, or the Cinematic Appeal

This review of Mandelli’s book The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions (2019) explains how, according to Mandelli, several viewing dispositifs, understood as a rather flexible assemblage of elements, are increasingly being used in museums to combine education with entertainment. Thus, museums are becoming “cinematic spaces” with an ideological perspective. Mandelli’s approach to the projection technologies of moving images in museological venues is not only chronological but also phenomenological. A three-way interest is recognizable in the alignment of chapters, encompassing the educational value of the dispositifs, their artistic nature, and the experiential factor. As the book provides an interesting overview of two fields that usually are not taken together and contains an assortment of case studies described in detail, it should make a good addition to the fields of Museum and Fil

Be Your Own Curator with the CHIP Tour Wizard [pdf]

Web 2.0 enables increased access to the museum digital collection. More and more, users will spend time preparing their visits to the museums and reflecting on them after the visits. In this context, the CHIP (Cultural Heritage Information Personalization) project offers tools to the users to be their own curator, e.g. planning a personalized museum tour, discovering interesting artworks they want to see in a 'virtual' or a 'real' tour and quickly finding their ways in the museum. In this paper we present the new additions to the CHIP tools, which target the above functionality - a Web-based Tour Preparation Wizard and an export of a personalized tour to an interactive Mobile Guide used in the physical museum space. In addition, the user interactions during a real museum visit are stored and synchronized with the user model, which is maintained at the museum Web site

Be Your Own Curator with the CHIP Tour Wizard [html]

Web 2.0 enables increased access to the museum digital collection. More and more, users will spend time preparing their visits to the museums and reflecting on them after the visits. In this context, the CHIP (Cultural Heritage Information Personalization) project offers tools to the users to be their own curator, e.g. planning a personalized museum tour, discovering interesting artworks they want to see in a 'virtual' or a 'real' tour and quickly finding their ways in the museum. In this paper we present the new additions to the CHIP tools, which target the above functionality - a Web-based Tour Preparation Wizard and an export of a personalized tour to an interactive Mobile Guide used in the physical museum space. In addition, the user interactions during a real museum visit are stored and synchronized with the user model, which is maintained at the museum Web site

The Virtual Museums of Caen : a case study on modes of representation of digital historical content

In the early 19th Century much of the Strath of Kildonan was cleared of its people who were replaced by sheep farming. This pattern was repeated across the Scottish Highlands. In 2013 Timespan, Helmsdale Heritage and Arts Centre, hosted a program of activities to mark the 200th anniversary of the Clearances. The centrepiece of these activities was a community excavation of the Caen township in the Strath of Kildonan. Based upon the evidence of that excavation a digital model of the township was created using the Virtual Time Travel Platform. The Virtual World of Caen can be explored as part of an installation in Timespans storytelling room. Visitors can experience what life would have been like in the Strath of Kildonan in 1813. This paper reports how the model has been deployed in different settings and on various digital platforms. These include showcasing the model at the Helmsdale Highland Games where visitors could explore the township of the past on stereo head mounted displays, or a Virtual Museum website that welcomes visitors from around the globe, as well as using Google Cardboard to allow visitors to explore Caen today, the virtual reconstruction of Caen simultaneously whilst on the site.Postprin

Global Portal Through Architectural Experience

Traveling around the world is often an exclusive experience that is not possible for many people within our communities. It is important that everyone has an opportunity to see the world through a variety of experiences. These experiences are often exciting, educational adventures that shape the way we perceive the world. Through qualitative and case study research methods, this project will analyze the following question. How can a space within the urban context explore these extents of nature and culture through immersive technologies and architectural spaces

Creating Cosmopolitan Past:Local and Transitional Influences in Memory Work in Schindler’s Factory in Kraków, Poland

This article tests the limits of cosmopolitan memory. It spotlights a unique case study, the permanent exhibition in Schindler's Factory in Kraków, shaped by a group of local curators and politicians, as well as representatives of foreign memorial institutions and supranational NGOs. The thrust to create a cosmopolitan narrative came from Polish curators, but their vision was curbed by both a local politician and the head of a global NGO. The version of cosmopolitanism offered in Kraków engaged with contemporary Polish problems. However, it ignored Polish antiSemitism and perpetration. The article reveals how in practice the cosmopolitan message is shaped, what propels it forward and what limits its horizons.</p

Reflections by EMA and other experts

No abstract available

Remember the 70%: sustaining 'core' museum audiences

This paper uses the UK as a case study to explore the urgent need for museums to develop strategies for the retention of 'core' museum audiences – the well-educated professionals and their families and friends who currently represent around 70% of museum attendance. It is a 'provocation' in four parts: the failure of museums to attract enough of this audience; an out-of-date display model and mind-set; the need for museums to rebrand themselves as social and leisure destinations; and a call for museums to acknowledge through their actions that their relationship with their audiences has changed. The failure of museums to react adequately to incremental change in western society since the end of the Second World War sits at the heart of the paper. Their response in the past has invariably been piecemeal, but what is required now is root and branch change. The alternative is that many museums will not survive