Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites
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Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites
Smith, Wally; Lewi, Hannah; vom Lehn, Dirk; Cooke, Steven
Taylor & Francis Ltd
11/2019
498
Dura
Inglês
9781138581296
15 a 20 dias
1120
Descrição não disponível.
FRAMING INTERVIEWS; Interview with Seb Chan, ACMI; Interview with Dave Patten, Science Museum London; Interview with Rory Hyde, V&A Museum; Interview with Keir Winesmith, SFMOMA; PART 1. THE EMERGING GLOBAL DIGITAL GLAM SECTOR; Digitizations, users and curatorial agency within complex global machinic jurisdictions; The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum; The distributed museum is already here-it's just not very evenly distributed; Speculative Collections and the Emancipatory Library; Chinese Museums' Digital Heritage Profile: An Evaluation of Digital Technology Adoption in Cultural Heritage Institutions; Hacking heritage: understanding the limits of online access; From Planned Oblivion to Digital Exposition: The Digital Museum of Afro-Brazilian Heritage; Shared Digital Experiences Supporting Collaborative Meaning-Making at Heritage Sites; PART 2. ANIMATING THE ARCHIVE; Neither A Beginning Nor An End: Applying An Ethics of Care to Digitizing Archival Collections in South Asia; Digital Archives in Africa and the Endangered Archives Programme Graeme Counsel; The Alan Vaughan-Richards Archive: recovering tropical modernism in Lagos; Museum Crowdsourcing-Detecting the Limits: eMunch.no and the Digitisation of Letters Addressed to Edvard Munch; Digital and hybrid archives: a case study of the William J Mitchell collection; Preserving Chinese Shadow Puppetry Culture Through Digitisation; Be Engaged: Facilitating Creative Re-use at the Netherlands Institute for Sound and Vision; Cultural Antinomies, Creative Complicities: Agan Harahap's Digital Hoaxes; PART 3. DESIGNING ENGAGED EXPERIENCE; On Virtual Auras: The Cultural Heritage Object in the Age of 3D Digital Reproduction; Configuring Slow Technology Through Social and Embodied Interaction: Making Time for Reflection in Augmenter Reality Museum Experiences with Young Visitors; Exhibition Design and Professional Theories: the Development of an Astronomy Exhibition; Meeting the Challenge of the Immoveable: Experiencing Mogao Grottoes Cave 45 With Immersive Technology; Immersive Engagement: Designing and Testing a Virtual IRS Exhibition; Hemispheres: transdisciplinary architectures and museum-university collaboration; Digital Media and Human-Centred Design; Unlocking the Glass Case; The law of feeling: experiments in a Yolngu museology; Henry VR: designing affect-oriented virtual reality exhibitions for art museums; Website as publishing platform; From the Shelf onto the Net: First Reflections on the O'Donnell Marginalia Project; Interpreting the Future; PART 4. LOCATING IN PLACE; What Could Have Bean? A Digital Construction of Charles Bean's Australian War Memorial; Succession: A Generative Approach to Digital Collections; Rephotography and the Situating of Then-and-Now; Hospicio Cabanas: Seeing World Heritage Through Google's Eyes; The Experience of Using Digital Walking Tours to Explore Urban Histories; Traces-Olion: Creating a Bilingual 'Subtlemob' for National Museum Wales; Investigating 'Ordinary' Landscapes: Using Visual Research Methods to Understand Heritage Digital Technologies and Sense of Place; Massive Digital Community Archives in Colombia: An International Partnership Towards Peace; Mapping an Archive of Emotions: Place, Memory and the Affective Histories of Perth's Riverscape; Afterword
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
National Library;GLAM Sector;New;Cultural Heritage Institutions;Digital;Exhibition Design;Practices;Digital Heritage;Galleries;Creative Re-use;Libraries;Endangered Archives Programme;Archives;SFMOMA;Museums;Augmented Reality;Heritage sites;Mogao Grottoes;International;Australian War Memorial;Lewi;Port Melbourne;Smith;Street View;Cooke;Mona;vom Lehn;Immersive Visualisation;Design;Networked Images;Use;Cave Temples;Media;Digital Repositories;Culture;Public Engagement;Post-digital;VR Headset;Global;Smart Phone;GLAM;Official War Art Scheme;Conservation;Collection Management Systems;Practice;Digital Exhibition;Technology;Visual Aid;Technologies;Transformation;Innovation;Innovative;digital technology;museum studies;curatorship;digital practice;innovative cultural thinkers;cultural institutions
FRAMING INTERVIEWS; Interview with Seb Chan, ACMI; Interview with Dave Patten, Science Museum London; Interview with Rory Hyde, V&A Museum; Interview with Keir Winesmith, SFMOMA; PART 1. THE EMERGING GLOBAL DIGITAL GLAM SECTOR; Digitizations, users and curatorial agency within complex global machinic jurisdictions; The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum; The distributed museum is already here-it's just not very evenly distributed; Speculative Collections and the Emancipatory Library; Chinese Museums' Digital Heritage Profile: An Evaluation of Digital Technology Adoption in Cultural Heritage Institutions; Hacking heritage: understanding the limits of online access; From Planned Oblivion to Digital Exposition: The Digital Museum of Afro-Brazilian Heritage; Shared Digital Experiences Supporting Collaborative Meaning-Making at Heritage Sites; PART 2. ANIMATING THE ARCHIVE; Neither A Beginning Nor An End: Applying An Ethics of Care to Digitizing Archival Collections in South Asia; Digital Archives in Africa and the Endangered Archives Programme Graeme Counsel; The Alan Vaughan-Richards Archive: recovering tropical modernism in Lagos; Museum Crowdsourcing-Detecting the Limits: eMunch.no and the Digitisation of Letters Addressed to Edvard Munch; Digital and hybrid archives: a case study of the William J Mitchell collection; Preserving Chinese Shadow Puppetry Culture Through Digitisation; Be Engaged: Facilitating Creative Re-use at the Netherlands Institute for Sound and Vision; Cultural Antinomies, Creative Complicities: Agan Harahap's Digital Hoaxes; PART 3. DESIGNING ENGAGED EXPERIENCE; On Virtual Auras: The Cultural Heritage Object in the Age of 3D Digital Reproduction; Configuring Slow Technology Through Social and Embodied Interaction: Making Time for Reflection in Augmenter Reality Museum Experiences with Young Visitors; Exhibition Design and Professional Theories: the Development of an Astronomy Exhibition; Meeting the Challenge of the Immoveable: Experiencing Mogao Grottoes Cave 45 With Immersive Technology; Immersive Engagement: Designing and Testing a Virtual IRS Exhibition; Hemispheres: transdisciplinary architectures and museum-university collaboration; Digital Media and Human-Centred Design; Unlocking the Glass Case; The law of feeling: experiments in a Yolngu museology; Henry VR: designing affect-oriented virtual reality exhibitions for art museums; Website as publishing platform; From the Shelf onto the Net: First Reflections on the O'Donnell Marginalia Project; Interpreting the Future; PART 4. LOCATING IN PLACE; What Could Have Bean? A Digital Construction of Charles Bean's Australian War Memorial; Succession: A Generative Approach to Digital Collections; Rephotography and the Situating of Then-and-Now; Hospicio Cabanas: Seeing World Heritage Through Google's Eyes; The Experience of Using Digital Walking Tours to Explore Urban Histories; Traces-Olion: Creating a Bilingual 'Subtlemob' for National Museum Wales; Investigating 'Ordinary' Landscapes: Using Visual Research Methods to Understand Heritage Digital Technologies and Sense of Place; Massive Digital Community Archives in Colombia: An International Partnership Towards Peace; Mapping an Archive of Emotions: Place, Memory and the Affective Histories of Perth's Riverscape; Afterword
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
National Library;GLAM Sector;New;Cultural Heritage Institutions;Digital;Exhibition Design;Practices;Digital Heritage;Galleries;Creative Re-use;Libraries;Endangered Archives Programme;Archives;SFMOMA;Museums;Augmented Reality;Heritage sites;Mogao Grottoes;International;Australian War Memorial;Lewi;Port Melbourne;Smith;Street View;Cooke;Mona;vom Lehn;Immersive Visualisation;Design;Networked Images;Use;Cave Temples;Media;Digital Repositories;Culture;Public Engagement;Post-digital;VR Headset;Global;Smart Phone;GLAM;Official War Art Scheme;Conservation;Collection Management Systems;Practice;Digital Exhibition;Technology;Visual Aid;Technologies;Transformation;Innovation;Innovative;digital technology;museum studies;curatorship;digital practice;innovative cultural thinkers;cultural institutions
