scholarly journals Into the Space of the Digital Museum

2021 ◽  
Author(s):  
Gabriella Giannachi
Keyword(s):  
Digital Art ◽  
Digital Museum ◽  
Digital Platforms ◽  
Heritage Sites ◽  
Hybrid Space ◽  
Spatial Configurations

This chapter explores the space of the digital museum, by which I refer to the space generated by digital art and the hybrid space produced in the experience of encountering collections through technology. I will showcase a number of artworks and digital platforms showing that digital museums spaces tend to be augmented, performative and relational, operating as microscopes, by bringing visitors closer or even inside artworks, and/or as telescopes, making it possible for visitors to experience remote artworks or heritage sites. These new spaces, I will explain, form deep spaces that can be encountered both inside and outside the museum, constantly renegotiating the visitor’s continuous repositioning of their own presence across different temporalities and spatial configurations.

scholarly journals Active seniors perceived value within digital museum transformation

2018 ◽  
Vol 30 (5) ◽  
pp. 530-553 ◽  
Author(s):  
Christelle Traboulsi ◽  
Moreno Frau ◽  
Francesca Cabiddu
Keyword(s):  
Cultural Heritage ◽  
Theoretical Perspective ◽  
Perceived Value ◽  
Tourism Industry ◽  
Digital Transformation ◽  
Structured Interviews ◽  
Digital Museum ◽  
Content Type ◽  
Heritage Sites ◽  
Immersive Technologies

Purpose The purpose of this paper is to answer fundamental questions on the perceived value of active senior visitors (55+ years old) in the context of cultural heritage sites, when using immersive technologies, conceptualizing technological experience by illustrating an extended space in the pre, during and post phases of visits. Furthermore, it will reveal a better understanding of digital transformation opportunities and risks in the tourism industry and its related sectors regarding active senior travelers and it will further provide some insights and tools that are required to follow. Design/methodology/approach Since the authors are studying a population that is thus far not fluent in the means of digital opportunities, the authors will conduct two semi-structured interviews before and after visits to the museums in order to lower the level of emotional bias responses. Moreover, observations of the participants’ interaction with technological devices will be assessed during their visit. Findings Current findings enrich the theoretical perspective of perceived value. First, they extend our knowledge on the perceived consumers’ value of active senior visitors in the application of immersive technologies pertaining to archeological museums. They also shed new light on the different dimensions of the perceived value (epistemic value, functional value, hedonic value and social value) of active senior visitors concerning museum transformation. Third, they provide an integrative framework for extending the boundaries of the museum technological visit experience, linking the pre-, during-, and post-visit phases. Research limitations/implications Having a longitudinal study that evaluates the same population of seniors over a longer period would enhance our understanding of perception and adoption behavior in non-users. It entails the dimensions that are necessary from a theoretical and managerial point of view, thus contributing to strategic planning for museum managers who are planning on going digital in the coming years aiming at creating further value and satisfaction for their active senior visitors to cultural heritage sites. Originality/value The majority of research concerning technological developments and experiences to date has focused on holistic views studying different stakeholders’ perspectives or on digital natives’ perception regarding museum digital transformation. However, only few studies have evaluated the perceived value of active senior travelers and their overall satisfaction when visiting museums that became digital.

scholarly journals User participation and valuation in digital art platforms: the case of Saatchi Art

2019 ◽  
Vol 53 (6) ◽  
pp. 1125-1151
Author(s):  
Jin Woo Lee ◽  
Soo Hee Lee
Keyword(s):  
Social Influence ◽  
Art Market ◽  
User Participation ◽  
Digital Art ◽  
Intention To Use ◽  
Content Type ◽  
Digital Platforms ◽  
User Comments ◽  
Arts Marketing

PurposeThe purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.Design/methodology/approachThe authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.FindingsThe growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.Research limitations/implicationsThe first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.Practical implicationsThe outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.Originality/valueUser participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.

Towards an inclusive curation of WWI heritage: integrating historical aerial photographs, digital museum applications and landscape markers in “Flanders Fields” (Belgium)

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Birger Stichelbaut ◽  
Gertjan Plets ◽  
Keir Reeves
Keyword(s):  
Cultural Heritage ◽  
Management Strategies ◽  
Heritage Management ◽  
Aerial Photographs ◽  
Past Century ◽  
Digital Museum ◽  
Cultural Heritage Management ◽  
Content Type ◽  
Heritage Sites ◽  
Management Plans

PurposeOver a century of state-sponsored construction of monuments, historic mythmaking and nationalist framings of WWI has ensured that it has become notoriously difficult to present the heritage of the Great War in an inclusive and non-selective way. In this paper the authors present a strategy and technology-driven solutions to overcome the selective heritage curation of modern conflict.Design/methodology/approachBuilding on a suite of tools, applications and cultural heritage management plans developed by the In Flanders Fields Museum (IFFM), this paper explores the challenges of preserving and curating conflict heritage. The authors investigate the philosophy, cultural heritage management strategies and exhibitions used to curate the heritage of the Ypres Salient (Belgium).FindingsThe paper argues that historical aerial photographs integrated in multimedia exhibits present themselves as a fascinating source bringing the landscape within the walls of the museum. Mobile augmented reality (AR) applications developed by the museum go one step beyond and bring museum techniques to the landscape.Research limitations/implicationsThis paper presents a strategy to present, manage and curate the entirety of conflict heritage from the modern period. Faced with growing politicisation and memorialisation of modern conflict, it is extremely important that inclusive heritage management and curation is insured. The reflections on different curatorial techniques used by the IFFM can contribute globally towards a better heritage engagement.Practical implicationsAn innovative and meaningful framework enables a more historically nuanced visitor experience to key heritage sites throughout the Ypres Salient.Social implicationsEnsuring a non-selective heritage experience is especially pressing today. Over the past century canonised and national narratives have prescribed our understanding of the First World War across Europe and beyond.Originality/valueAdopting a critical stance towards the proliferation in AR apps and applying theories from anthropology and phenomenology has been developed combining AR with arboreal landscape relics.

DJ Spooky and Dziga Vertov: Experimental Cinema Meets Digital Art in Exploring the Polar Regions

Films on Ice ◽  
2015 ◽  
Author(s):  
Daria Shembel
Keyword(s):  
Digital Media ◽  
Recent Work ◽  
Digital Art ◽  
Polar Regions ◽  
Digital Platforms ◽  
Dziga Vertov ◽  
Experimental Cinema ◽  
The World ◽  
Multi Media ◽  
Media Project

This chapter by Daria Shembel examines the montage-based filmmaking practice of Soviet director Dziga Vertov, his theory of the Kino-eye, and how Vertov’s principles have been remediated through Paul D. Miller, aka DJ Spooky. Shembel puts this practice in productive tension with the recent work of DJ Spooky, and how Vertov’s proto-digitality techniques greatly inspired contemporary multimedia artist Spooky in his Antarctic and Arctic projects. Paying particular attention to Vertov’s film A Sixth Part of the World (1926), Shembel delineates the parallels between Vertov’s practices and that of DJ Spooky’s multi media project Kino-Glaz/Kino Eye (2009) his Antarctica project The Book of Ice (2001). Shembel argues that Vertov’s practice foreshadows digital platforms and traces the ways in which digital media can be seen as the logical outcome of Vertov’s work.

scholarly journals Geospatial platforms and immersive tools for social cohesion: the 4D narrative of architecture of Australia’s Afghan cameleers

2020 ◽  
Vol 11 (22) ◽  
pp. 74
Author(s):  
Md Mizanur Rashid ◽  
Kaja Antlej
Keyword(s):  
Virtual Reality ◽  
Augmented Reality ◽  
Material Culture ◽  
Social Cohesion ◽  
Cultural Distance ◽  
Open Data ◽  
Archaeological Heritage ◽  
Digital Platforms ◽  
Heritage Sites ◽  
Long Time

<p class="VARAbstract">This paper focuses on examining the scope of virtual architectural archaeology in forms of digital geospatial platforms and immersive tools such as Virtual Reality (VR) and Augmented Reality (AR) to be used for achieving social cohesion, particularly in a multicultural and multi-ethnic society like Australia’s. In the context of the current global and national concern about Muslims and Islam, as well as for the mistrust towards and distance between Muslims and Non-Muslims in Australia, it is imperative to delve deeper into the contribution of early Muslim pioneers, in this case, the Afghan Cameleers, in the social fabric of colonial Australia. Based on the premise that architecture could be a unique and revealing research frame to gain insight into human values, worldview and material culture, the main aim of this paper is to address two key issues using virtual architectural archaeology. Firstly, to demonstrate the application of 4D capturing and component-based modelling with metadata and paradata regarding the past of the lost architectural heritage sites in remote central and western Australia, also counting on assets such as Linked Open Data (LOD) for further dissemination and use. Secondly, to propose a mode to disseminate new knowledge through digital platforms and VR/AR experiences to the GLAM (Galleries, Libraries, Archives, and Museums) audiences and schools regarding the Muslims in Australia. Understanding properly them and their contribution to the Australian society would eventually minimise the cultural distance between Muslims and Non-Muslims in Australia. Greater awareness could mitigate the myth of fear and mistrust regarding Muslims and Islam, widely misunderstood for a long time.</p><p>Highlights:</p><ul><li><p>Architectural-archaeological heritage as a tool for achieving social cohesion and to minimise cultural/social differences between Muslims and non-Muslims in Australia.</p></li><li><p>4D capturing and digital geospatial platforms for contextualising architectural-archaeological heritage in a spatial and chronological way.</p></li><li><p>Gamified and non-gamified Virtual Reality (VR) and Augmented Reality (AR) applications to engage the general public with architectural-archaeological heritage from remote, hard-to-access areas.</p></li></ul>

Facet Theory

1998 ◽  
Vol 3 (1) ◽  
pp. 13-36 ◽  
Author(s):  
Ruth Guttman ◽  
Charles W. Greenbaum
Keyword(s):  
Data Analysis ◽  
Animal Behavior ◽  
Infant Development ◽  
Facet Theory ◽  
Structural Relationships ◽  
Future Challenges ◽  
Spatial Configurations ◽  
Multidimensional Methods ◽  
Definition Of ◽  
Scalogram Analysis

This article gives an overview of Facet Theory, a systematic approach to facilitating theory construction, research design, and data analysis for complex studies, that is particularly appropriate to the behavioral and social sciences. Facet Theory is based on (1) a definitional framework for a universe of observations in the area of study; (2) empirical structures of observations within this framework; (3) a search for correspondence between the definitional system and aspects of the empirical structure for the observations. The development of Facet Theory and Facet Design is reviewed from early scale analysis and the Guttman Scale, leading to the concepts of “mapping sentence,” “universe of content,” “common range,” “content facets,” and nonmetric multidimensional methods of data analysis. In Facet Theory, the definition of the behavioral domain provides a rationale for hypothesizing structural relationships among variables employed in a study. Examples are presented from various areas of research (intelligence, infant development, animal behavior, etc.) to illustrate the methods and results of structural analysis with Smallest Space Analysis (SSA), Multidimensional Scalogram Analysis (MSA), and Partial Order Scalogram Analysis (POSA). The “radex” and “cylindrex” of intelligence tests are shown to be outstanding examples of predicted spatial configurations that have demonstrated the ubiquitous emergence of the same empirical structures in different studies. Further examples are given from studies of spatial abilities, infant development, animal behavior, and others. The use of Facet Theory, with careful construction of theory and design, is shown to provide new insights into existing data; it allows for the diagnosis and discrimination of behavioral traits and makes the generalizability and replication of findings possible, which in turn makes possible the discovery of lawfulness. Achievements, issues, and future challenges of Facet Theory are discussed.

An old friend is better than two new ones? Approaches to market research in the context of digital transformation for the antitrust laws enforcement

2020 ◽  
pp. 37-55 ◽  
Author(s):  
A. E. Shastitko ◽  
O. A. Markova
Keyword(s):  
Business Models ◽  
Rapid Development ◽  
Digital Transformation ◽  
Market Definition ◽  
Type I ◽  
Type Ii ◽  
Digital Platforms ◽  
Advantages And Disadvantages ◽  
Pass Through ◽  
Type Ii Errors

Digital transformation has led to changes in business models of traditional players in the existing markets. What is more, new entrants and new markets appeared, in particular platforms and multisided markets. The emergence and rapid development of platforms are caused primarily by the existence of so called indirect network externalities. Regarding to this, a question arises of whether the existing instruments of competition law enforcement and market analysis are still relevant when analyzing markets with digital platforms? This paper aims at discussing advantages and disadvantages of using various tools to define markets with platforms. In particular, we define the features of the SSNIP test when being applyed to markets with platforms. Furthermore, we analyze adjustment in tests for platform market definition in terms of possible type I and type II errors. All in all, it turns out that to reduce the likelihood of type I and type II errors while applying market definition technique to markets with platforms one should consider the type of platform analyzed: transaction platforms without pass-through and non-transaction matching platforms should be tackled as players in a multisided market, whereas non-transaction platforms should be analyzed as players in several interrelated markets. However, if the platform is allowed to adjust prices, there emerges additional challenge that the regulator and companies may manipulate the results of SSNIP test by applying different models of competition.

The Reconstruction Project of Illumination Devices at the Krasnoselskaya Station of the Moscow Metro

2019 ◽  
pp. 59-66
Author(s):  
Ksenia I. Nechaeva
Keyword(s):  
Cultural Heritage ◽  
Historical Analysis ◽  
Metro Station ◽  
Heritage Sites ◽  
Passenger Transportation ◽  
Fluorescent Lamps ◽  
Current State ◽  
Heritage Site ◽  
Lighting Environment ◽  
Incandescent Lamps

The current state of the Moscow Metro station of the first priority that became operational in 1935 does not allow it to be called a cultural heritage site. This is due to the fact that lighting modernisation carried out by the Moscow Metro was based on fluorescent lamps. Such lamps are more energy efficient compared to incandescent lamps, which were used in original lighting devices specified in the Station Lighting Project developed by architects and designers. However, they significantly changed the station appearance, transforming the originally designed station with entire well visible architectural tectonics?1 from the standpoint of lighting into a simple, flat, unremarkable, and little loaded station of the Moscow Metro./br> This paper describes a method of lighting reconstruction at Krasnoselskaya station by means of original lighting devices that meet modern standards and requirements for cultural heritage sites. The historical analysis on the development of the station lighting environment was conducted during its operation in order to understand what kind of station was conceived by its architects, what changes occurred with its lighting over time, and how it influenced the station appearance and safety of passenger transportation.

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