"In the past several months, many museums have begun using live video chat as a way to enhance and foster new online discussions and interactions between museum educators and the public. One of the most popular tools has been Google Hangouts which is part of the Google+ social network. It allows for up to 10 users to video chat together and gives them the ability to broadcast the video stream live to a large audience and even record the session for future viewing. The recorded video, which is archived on the museum’s G+ page and YouTube channel, can be shared on various social networks. In addition, the videos collect (limited) analytics information so museums can track the attention it receives. Users who express interest in a museum video session ahead of time can be alerted when it is about to begin via Google+ email messaging."
Basta un tocco sul touchpad, posizionato sull'asta dei GoogleGlass, per accedere alle informazioni su uno dei reperti simbolo dell'antica civiltà egizia, la statua di Ramesse II, tradotte automaticamente in Lis da un attore virtuale sulla superficie degli innovativi occhiali di Google. Con un comando vocale si può sospendere e avviare la traduzione, scattare una fotografia, o registrare un video da condividere con gli amici sui social network.
Lo scopo di ‘Community Mapping’ è avviare un processo di scambio fra competenze e di convergenza fra abitanti, dove sia la comunità stessa a riconoscere e mappare le proprie sapienze come risorsa culturale per la convivenza, la trasformazione del territorio e la città intera.
‘Community Mapping’ è composto da cicli laboratoriali, che utilizzano strumenti creativi differenti sia nel processo e sia nelle restituzioni pubbliche con lo scopo di realizzare una mappatura di comunità in divenire.
Il primo ciclo di ‘Community Mapping’ si sviluppa tra maggio e dicembre 2013, con un laboratorio di mappatura audiovisiva del quartiere Giambellino-Lorenteggio. Tale laboratorio si propone di raccontare la polifonia interculturale del territorio, attraverso la composizione di percorsi audiovisivi e paesaggi sonori.
Al termine del laboratorio, i partecipanti sono invitati ad elaborare un prodotto audiovisivo e sonoro fruibile ai cittadini e a presentarlo al territorio all’interno di un evento cittadino.
"DPLA is the work of people who understand that design is not just icing on the digital cake, but a significant (even decisive) factor in how we engage with content in the first place. They have made available an application program interface (API) for the site, which is a very useful thing indeed, according to my source in the geek community. With the API, users can create new tools for sorting and presenting the library’s materials. Combine it with a geolocation API, for example, and you could put together an application displaying the available photographs of the street you are on, organized decade by decade".
Museums and galleries should be using new technologies and media to teach, engage and immerse visitors in the art they are viewing, says Local Projects founder Jake Barton.
Speaking at Wired 2012 about the future of cities, Barton explained how he was given the opportunity to help the Cleveland Museum of Art achieve this using touchscreens, live cameras and video, turning visitors into the curators of their own experience in the process.
Robin Good: Web of Stories is a free web site service which collects and organizes great people recounting key memories in video. Web of Stories also provides an opportunity for anyone to record, upload and share their own story in a video clip.
Telling stories, to help others understand an idea or comprehend what your product / service is all about, is increasingly being recognized as one of the best approaches to convey information in a mode that can be easily followed and absorbed.
P.S.: Web of Stories has lots of interesting clips, but nonetheless the opportunity for viewers to vote and rate such videos, navigation and access to the collection best parts remains yet an area in which major imporvements can be done.
2. Your social media person has to be a good writer.
3a. ‘Likes’ and followers matter
3b. Caveat: If your likes go up and your engagement numbers also don’t go up (number of active comments and conversations), that’s a problem.
4. Talk to people.
5a. Make it genuine.
5b. A confession: I’m hyper-aware about the number of messages being sent out from each channel every day. Probably too much so. People don’t mind if you post several times on Facebook in a day, as long as those posts are spread out a little bit, but I’m very sensitive about it.
5c. What is doing it right? Paying attention to Twitter, what’s trending nationally, internationally (to a certain extent, don’t talk about pop stars in scandals), and within your sphere.
5d. The argument for different voices is a consistent argument.
Social media is a hard sell for heritage professionals not already engaged in on-line activities for their personal life, especially so for Twitter. One reason to consider social media is its ability to reach new audiences and build a following to create buzz. For this, Twitter is ideal because of its instant access and user demographics. ...
This exhibition celebrates the diversity of a culture that has withstood the impact of colonisation for nearly two hundred years.
It reveals a history of Victoria that has been hidden, even denied, for over 170 years.
Koori Voices tells the stories of Aboriginal people since the arrival of the British in the 1830s. It also looks at the impact of colonisation and the way in which Aboriginal people have struggled to maintain their culture.
Some stories speak of brutality, oppression and hardship. Other stories recall the struggles and joys of daily life.
For her first solo exhibition at The Museum of Modern Art, New York–based artist Martha Rosler presents her work Meta-Monumental Garage Sale, a large-scale version of the classic American garage sale, in which Museum visitors can browse and buy second-hand goods organized, displayed, and sold by the artist. The installation fills MoMA’s Marron Atrium with strange and everyday objects donated by the artist, MoMA staff, and the general public, creating a lively space for exchange between Rosler and her customers as they haggle over prices.
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