A general trend of museums and cultural heritage institutions besides digitizing their collections is to involve the public more and at various levels. Technology plays an increasingly important role in this involvement. Developments we have observed in museum experience design, include trends towards 1) dialogical engagement of the public; 2) addressing crowds as audiences; 3) the use of Internet of Things (IoT) and Do-It-Yourself (DIY) technology in museums; and 4) designing for museum systems and institutional ecologies instead of for individual museums only. In this one-day workshop we especially focus on exploring the implications of museums reaching out to crowds beyond their local communities, and of museums increasingly becoming part of connected museum systems and large institutional ecosystems. By means of a tangible game we will brainstorm about future opportunities and challenges, cluster and evaluate them, and suggest future work.
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This introductory chapter contextualises and reflects critically on theemerging trends characterising the evolving social role advocated by museums insociety, with an emphasis on museum experiences as vehicles for change or trans-formation. It looks at transformation by adopting a systemic perspective, anchoredin the transformative potential of the experiences that museums offer to visitors, andthen zooming out to turn attention towards the way recent changes in the socio-political and cultural context reverberated in structural and functional changes insidethe museum and connected institutions and communities. The chapter is structuredalong a series of questions, starting by unpacking a rationale for transformativeexperiences and why they are worthy of attention at this particular moment (Why),then focusing on what we mean by transformative experiences in the context ofmuseums (What), on particularities of design approaches and supporting technolo-gies for crafting transformative experiences (How), and closing with reflections onthe meaning and significance of it all, for the museum, the visitor, diverse audiencegroups and society as a whole (For whom and For what). The final part of the Intro-duction then reviews these themes once again, narrating how they are woven in thebook narrative.
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The museum world is rapidly changing from being collection-centred to being community-centred and for the public. Apart from broadening access to collections through, for example, digitisation initiatives, new ways of involving the public more meaningfully and at various levels have emerged. Experiences inside museums have become more engaging, by extending the experience beyond the physical visit, or by involving the public in various forms of crowdsourced stewardship of collections. In this book, we explore the design implications that go along with these developments, all concerned with diversifying and making the engagement of the public in museum experiences more rewarding. We focus on the design implications associated with museums reaching out to crowds beyond their local communities, on experimenting with novel technologies and on conceiving experiences embedded in connected museum systems and large institutional ecosystems. By looking at and reflecting on trends, we attempt to sketch a picture of how future museums will change and, particularly, how they will relate to their public as a result of responding to or embracing these trends.
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In this paper we discuss the general approach and choices we made in developing a prototype of a social media monitor. The main goal of the museum monitor is to offer museum professionals and researchers better insight in the effects of their own social media usage and compare this with other actors in the cultural heritage sector. It gives researchers the opportunity to consider communication within the sector as whole. In the research project “Museum Compass” we have developed a prototype of a social media monitor, which contains data of current and historic online activities on Facebook, Twitter, YouTube, Foursquare and Flickr of all registered Dutch museums. We discuss – mostly in a practical sense – our approach for developing the monitor and give a few examples as a result of its usage.
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The online presence of organizations is long gone from being just a web page. Social media have enabled easy and inexpensive interaction between millions of individuals and communities. This has not gone unnoticed by cultural heritage institutes. The question is what all these social media activities bring. Even if an institute knows what it tries to achieve online, the metrics often consist of confusing accumulation of statistics, across several systems and reveal little about online user behaviour, engagement and satisfaction. In the research project Museum Compass a prototype of a social media monitor is developed, which will contain data of current and historic online activities on Facebook, Twitter, YouTube, Foursquare and Flickr of all registered Dutch museums. The first version of this monitor has been developed, and we believe that this is a good moment to discuss – mostly in a practical sense – our general approach and preliminary results.
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This publication gives an account of the Public Annotation of Cultural Heritage research project (PACE) conducted at the Crossmedialab. The project was carried out between 1 January 2008 and 31 December 2009, and was funded by the Ministry of Education, Culture, and Science. Three members of the Dutch Association of Science Centres (Vereniging Science Centra) actively participated in the execution of the project: the Utrecht University Museum, the National Museum of Natural History (Naturalis), and Museon. In addition, two more knowledge institutes participated: Novay and the Utrecht University of Applied Sciences. BMC Consultancy and Manage¬ment also took part in the project. This broad consortium has enabled us to base the project on both knowledge and experience from a practical and scientific perspective. The purpose of the PACE project was to examine the ways in which social tagging could be deployed as a tool to enrich collections, improve their acces¬sibility and to increase visitor group involvement. The museums’ guiding question for the project was: ‘When is it useful to deploy social tagging as a tool for the benefit of museums and what kind of effect can be expected from such deployment?’ For the Crossmedialab the PACE project presented a unique opportunity to conduct concrete research into the highly interesting phenomenon of social tagging with parties and experts in the field.
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The energy management systems industry in the built environment is currently an important topic. Buildings use about 40% of the total global energy worldwide. Therefore, the energy management system’s sector is one of the most influential sectors to realize changes and transformation of energy use. New data science technologies used in building energy management systems might not only bring many technical challenges, but also they raise significant educational challenges for professionals who work in the field of energy management systems. Learning and educational issues are mainly due to the transformation of professional practices and networks, emerging technologies, and a big shift in how people work, communicate, and share their knowledge across the professional and academic sectors. In this study, we have investigated three different companies active in the building services sector to identify the main motivation and barriers to knowledge adoption, transfer, and exchange between different professionals in the energy management sector and explore the technologies that have been used in this field using the boundary-crossing framework. The results of our study show the importance of understanding professional learning networks in the building services sector. Additionally, the role of learning culture, incentive structure, and technologies behind the educational system of each organization are explained. Boundary-crossing helps to analyze the barriers and challenges in the educational setting and how new educational technologies can be embedded. Based on our results, future studies with a bigger sample and deeper analysis of technologies are needed to have a better understanding of current educational problems.
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It is time for science and politics to take real responsibility for the "iatrogenesis" (pathogenic effect) of technology, instead of blindly investing in new disruptive technology. Even though the close link between technology and the economy seems to "force" it. Monocultures are both not natural, and they are fragile; if things go wrong like with Corona, the necessary items are by definition in the wrong place, because there are no more self-sufficient systems anywhere. Repetition - copy/paste - that results from upscaling is also repetition of side effects, such as decreasing diversity. Nature is colourful, full of variety, and is home to the most diverse species. Exact repetition is nonexistent. People are also colorful, diverse and unique
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Recent collection display practices signal what has been described as a “comeback” for the integration of broad-ranging object categories in which the boundaries between these previously separated objects resolve.Mixing objects from different object categories can take many forms, and occurs not only at the level of the objects themselves, but also at institutional levels. For categories such as painting, drawing, and applied arts, or the subcategories within, such as Renaissance drawings, porcelain, or twentieth-century art, are akin to the divisions in curatorial departments, galleries, or exhibition spaces and the people that work within them. Also, museums that were initially not “disciplined” have been re-staged to reflect the originally mixed display, such as the Bode Museum, Berlin. Moreover, even in homogenous collections, a mixing of value and status becomes possible when chronology, subject matter, style, or school are not the guiding principle. Such display strategies of mixing therefore typically create new connections and enable collections of varying values, periods, and object categories to merge and their individual artifacts to meet in new and meaningful ways
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(‘Co’-)Designing for healthy behaviour greatly benefits from integrating insights about individual behaviour and systemic influences. This study reports our experiences in using insights about individual and systemic determinants of behaviour to inform a large co-design project. To do so, we used two design tools that encourage focusing on individual determinants (Behavioural Lenses Approach) and social / systemic aspects of behaviour (Socionas). We performed a qualitative analysis to identify 1) when and how the team applied the design tools, and 2) how the tools supported or obstructed the design process. The results show that both tools had their distinctive uses during the process. Both tools improved the co-design process by deepening the conversations and underpinnings of the prototypes. Using the Behavioural Lenses under the guidance of a behavioural expert proved most beneficial. Furthermore, the Socionas showed the most potential when interacting with stakeholders, i.c. parents and PPTs.
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