Recent Bookmarks and Annotations
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Mobile Learning Institute on 2009-11-20
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Overview (What did they learn?) on 2009-11-18
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Melbourne Museum: Virtual Exhibition on 2009-09-30
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uBoost on 2009-09-30
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YouTube - 21st Century Skills Culture at High Tech High on 2009-09-29
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MW98: PAPERS on 2009-09-29
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Mark Hines on 2009-09-29
Although has interesting points, the fact that it is dated speaks volumes about the need for this field to build a sustainable presence - way too many exhibits are gone (online ones)
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y. Over the years museums have changed
a great deal. Today, while museums are diverse, as are their aims,
it can safely be said that they are primarily in the business of
dissemination of information rather than artifacts. The advantage
to thinking in terms of informat
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. Usually this is
as another avenue for education and communication. In this sense,
there is nothing particularly revolutionary about the Web. It's
a bit
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he most profound change will lie with our generic
expectations about the interface itself. We will come to think
of interface design as a kind of ar
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If this proves true, it may become a significant reason for museums
to experiment with innovative interfaces. Currently, such efforts
are often considered simply "bells and whistles," which,
if anything, complicate rather than enhance communication.
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Mark Hines on 2009-09-29
does age have an effect n how people expect to view the exhibit?
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ut it is here that the designer, Louis Mazza, extends
the experience by re-mixing the audio in a way that calls attention
to the mix, just as Thater's "mixing" of the rgb channels
of the video projector calls attention to the technological and constructed
underpinnings of the normally transparent, narrative experience. It's
a fine line between presenting the
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ng
its resources and making them increasingly accessible online. Digitizing
assets is not dissimilar to the historical function of the museum
to preserve artifacts. As this process becomes more and more
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Mark Hines on 2009-09-29
interesting metaphor of the new curator role
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The Institute for Contemporary Art in London
has what it calls "Curatours,"
which "explore ideas and themes across web sites. Each Curatour
explores a different theme and is curated by a specialist within
the field." To date there are only two curatours and they are
approaching a year old, so it is not clear whether ICA intends to
continue the program. Artist Jake Tilson's
Colour-Color "focuses
upon the use of colour on the Internet
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Mark Hines on 2009-09-29
this is a pretty cool idea
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The interesting question is not how do these sites match up with
museum sites or as virtual museums, but rather, what do traditional
museums have that these sites don't or couldn't?
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One of the best known sites for new media did not even have a permanent
public home until last year. However,
Ars Electronica's "Festival of Art, Technology and Society" has been a significant force
for almost 20 years and in recent years has had extensive Web presence.
Similarly, the annunal conference for the
International
Society for Electronic Arts (ISEA) hosts a Web site with a juried
set of links to artists' work. The venerable
SIGGRAPH conference has an online art gallery. E
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interactive explorations, short films, animations, games, experiments,
media hoaxes.... and who knows what else."
(14).
Razorfish has two efforts.
The Blue Dot "curated" by Craig M. Kanarick, which takes as its challenge to
"prove tha
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Mark Hines on 2009-09-29
the article is dated so a bunch of the links don't work
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disk
drive or communications link will contain machine-to-machine communication,
not human-to-human. When we reach a world in which the average piece
of information is never looked at by a human, we will need to know
how to evaluate everything automatically to decide what should get
the precious resource of human attention.(16)
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Mark Hines on 2009-09-29
of course the evolution of metadata and xml, etc will make this easier
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hulgin's Desktip IS is symptomatic
of this approach. Desktop IS is both a "work" by
Shulgin and a group effort open to anyone. The "call"
is worth quoting in its entirety.
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Mark Hines on 2009-09-29
this site shows a pic of a mac classic desktop from os 6!
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he entire project is an evolving investigation into
the possibilities of multi-dimensional on-line environments and
will be one model for what many think of as a "virtual museum."
I use this term with hesitation but acknowledge that it has become
common to think of an online representation as something virtual,
meaning unreal, and is a result of thinking in terms of multimedia
CD-ROM and other forms of digital delivery that have become current
but are not necessarily applicable to a networked environment like
the Internet.
My definition of virtual would be closer to "universal,"
meaning a museum of the possible. In the end "unreal"
and "universal" may mean the same thing in that the term
"universe" is a metaphor for what we can't
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Mark Hines on 2009-09-29
this predated the second life movement for museum space.
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Archives & Museum Informatics: Museums and the Web 2007: Papers: Urban, R., et al., A Second Life for Your Museum: 3D Multi-User Virtual Environments and Museums on 2009-09-29
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eloped museum spaces currently outnumber those created by
real-life museums (see Taylor, 1995). These experiments in a new medium
can tell us a lot about what ‘real-life’ museums should consider,
as well as how we might want to inform and re-merge with our physical
resources. SL museums
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rea networks, migrating
to full on-line-based networks in 1997 with the launch of Ultima Online.
Participation in massively multi-player on-line games (MMOGs) grew rapidly
as domestic access to broadband increased, and by mid-2006 exceeded 13
million subscriptions to various MMOG envir
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Museums have also been concerned about accurate representations of their
collections, sites or spaces in virtual worlds (Johnson, 2005; Tolva,
2005). However, a very different focus is needed if the goal of a MUVE
is social interaction and not authentic modeling of virtual artifacts
(Di Blas, 2003; 200
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rofessional activities, even
though they are not officially employees or students of the museum; “Volunteers
are...involved participants rather than consumers” (Orr, 2006;
Stebbins, 1992). F
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or all locations self-identifying as either a "museum" (43
locations) or a "gallery" (102 locations). By combining the
results of this search with on-line lists of favorite museums and galleries
in SL – some publicly available, such as in Wikipedia, and some
not, e.g. SL note cards passed around to residents in-world – we
produced a list of more than 15
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Mark Hines on 2009-09-29
I did a quick search in sl and found 100
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This section presents nine characteristics tha
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n RL metaphor by displaying artifacts on walls
or in cases in rooms, there is no explicit need to do so. In a world
where the sun always shines, there is no reason not to display artifacts
in the open air or even floating in mid-air. Since SL avatars are able
to fly, museums in SL can take innovative approaches to displaying artifacts
that maximize vertical space as well as horizontal. With
no need to worry a
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as the exhibits themselves. The developers of some SL
museums, such as the Second Louvre Museum, work very hard to create a
setting that duplicates, at least partially, an RL museum or location.
Such an approach, however, raises the question of whether the setting
is more important than the artifacts
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visitors return to a previously visited
museum in SL, they may find the museum completely different. Even visitors
accustomed to RL museums’ changing collections and rotating galleries
may be unnerved by the way virtual buildings can so easily change their
shape or size from one visit to the next.
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d Atmospheric Administration (NOAA), displayed
in the Science Center on Info Island II. Given the nature of the available
technology, the concept of media richness takes on all new meanings for
on-line museum visitors and raises visitor expectations when visiting
museums in SL.
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The International Spaceflight Museum, for instance, has a regular
lecture series covering topics ra
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Mars missions. Presentations are extremely well-attended and well-publicized
in-world and in RL. Special events and similar activities can be powerful
tools for building a strong community of regular visitors who feel intimately
involved in the museum’s activitie
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difficult to recreate an entire location exactly,
given the technological limitations of building in SL.
Replicated environments such as Paris 1900 or Casablanca must therefore
focus on extracting key elements from the RL location and then re-positioning
them in SL to convey the look and feel of the origi
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ifficulties
if they wish to use non-player characters to add realism, and may enforce
certain rules (e.g. flying is not allowed in Paris 1900)
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but
also the nature of interacting with individuals in SL, combined with
the typical SL citizens’ reluctance to give out information about
their RL identities, makes it very difficult for museum professionals
to administer surveys or conduct needs assessments in SL (and indeed
raises the question of
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With the exception of one participant, all of the
museum owners interviewed were doing so in the context of serious leisure. Some
found the prospect of creating virtual architecture compelling, while
others saw o
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Most builders acknowledged that their activities are
still very much in the experimental stage.
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The development
of synchronous and social activities, such as lectures, collaborative
builds, and accepting feedback from visitors, is a hallmark of SL museums. As
one participant noted, “If you build it they will come once; if
they build it, they keep coming back.”
SL museum builders also noted the more interactive
na
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Top News - Librarians: Bing has to find niche on 2009-09-16
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Technology Integration Matrix on 2009-09-15
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National School Reform Faculty on 2009-09-07
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