Ameland, a Dutch Wadden Sea island, is blessed with many historical buildings, such as captains’ houses, which make up picturesque townscapes. Together with the attractions of sandy beaches, these quaint villages attract hundreds of thousands of visitors each year. Ameland also has the ambitious goal to become self-sufficient in renewable energy. Our (practical) aim is to support local stakeholders with the design of energy transition strategies that take account of heritage values.Theoretically, we rely on a layered framework, where meanings and values of individual buildings, townscapes, landscapes, local historical narratives, as well as economic and social values can find a place. In our project, we encountered value conflicts and will discuss how these conflicts can be resolved. In this respect, we refer to the concept of a value hierarchy.We investigate heritage values held by inhabitants of Ameland. What aspects of their built environment do they value in particular? How are specific building types, historical townscapes and landscapes evaluated? What impact of energy measures and scenarios do they find acceptable? To this end, we developed an online questionnaire, which was distributed by local stakeholders. We found a range of heritage and sustainability values held by the inhabitants and stakeholders of Ameland. In the discussion section we will return to the conflicting values in the Ameland case. We find that the presence of heritage values leads to the specification of conditions for the application of energy measures; these should be as invisible as possible. Thus, to combine the values of heritage and sustainability, setting norms and requirements for the implementation of new energy measures is advisable.
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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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In this paper we investigate laypersons’ valuation of historic buildings, their experiences of thermal comfort in those buildings and contrast this with their views on the appropriateness of energy efficiency measures. This paper presents four case studies of medieval churches in Groningen, Netherlands. Valuation studies is used to investigate the values that are attached to historic buildings by various stakeholders. We apply the ‘heritage as a spatial vector’ approach, to position heritage in relation to developments in society and the landscape. Our theoretical contribution lies in the combination of heritage approaches and valuation studies. We conclude that for a more balanced assessment of historic buildings, laypersons’ valuations should be further integrated in heritage studies.
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The Internet’s dominant role in recent years has caused a change in the relationship between media producers, suppliers and consumers in the traditional media landscape. The cultural sector must therefore decide what to do with today’s digital media in response to the general public’s changing role, and for the purpose of improving accessibility. The use of multiple media resources and particularly resources like the Internet and mobile telephony seems to be inevitable. The only question that remains is: how? This paper addresses this question by focussing on social tagging and storytelling, and reports the results of an empirical study on tagging behaviour using the social tagging platform (see also Van Vliet et al., 2010).
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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 international Wadden Sea is an estuarine tidal area along the North Sea coasts of The Netherlands, Germany and Denmark. It is characteristic for regions with sandy coasts and a medium tidal range. Fifty barrier islands separate the Wadden Sea from the North Sea, and an offshore transition zone to the North Sea. The tidal flats of the Wadden Sea form the largest unbroken stretchof mudflats worldwide. The present form of the Wadden Sea is still mainly the result of natural forces, although since the Middle Ages man has changed the Wadden Sea landscape by building dykes and reclaiming land. The Wadden Sea is an important nursery area for fish, a foraging and resting habitat for seals, and a foraging habitat for migrating waders. The Wadden Sea, including large parts of the islands, is a fully nature protected area and designated as a natural World Heritage site in 2009 (Wolff, 2013). The research group Marine Wetlands Studies at Stenden University is focusing on the sustainable development of tourism in the area. Current research has the purpose to get insight in to the effects of the World Heritage Status, in particular the natural values of the area, on future tourism development.
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Van Gogh has inspired the world for more than a century now with his unique art focusing on rural life, society and landscapes. He was born, raised and educated in different parts of the province of North-Brabant. As a witness of the consequences of the industrial revolution in his homeland, he voiced his concerns in art and writing. Now, roughly 150 years later, Van Gogh’s vision is inspiring local stakeholders to review and rethink the big societal challenges of our age. What started as a way to attract tourism to Brabant with Van Gogh stories and heritage, has transformed into movement that is reshaping and repainting Brabant with leisure as a key driver. Through a very local case study, this presentation illustrates how cultural heritage and leisure can be leveraged in the interest of our common future.
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The report from Inholland University is dedicated to the impacts of data-driven practices on non-journalistic media production and creative industries. It explores trends, showcases advancements, and highlights opportunities and threats in this dynamic landscape. Examining various stakeholders' perspectives provides actionable insights for navigating challenges and leveraging opportunities. Through curated showcases and analyses, the report underscores the transformative potential of data-driven work while addressing concerns such as copyright issues and AI's role in replacing human artists. The findings culminate in a comprehensive overview that guides informed decision-making in the creative industry.
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Many visitor studies make social background variables the central point of departure to explain participation patterns. How the past is 'staged', however, also has an influence on those to whom it appeals. This relational perspective calls for new conceptual tools to grasp empirical reality. Inspired by the historical philosophy of Georg Simmel and the literary theory of Mikhail Bakhtin a number of concepts which enable us to grasp the subtle relationship between museum presentations and visitors are presented. Bakhtin's notion of chronotopy serves as a key concept. By linking museum presentations and visitor perceptions with each other, it is also possible to identify certain tendencies within the contemporary museum landscape.
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