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.
"...After seeing these exhibitions I’ve been pondering how digital media is used in the galleries. I’ve been considering how we can increase the use of digital media in the galleries to engage our visitors and bring the objects to life. These two exhibitions are examples of this type of digital media. A way to make the average physical visit to the museum more interesting (Howard’s article calling museums boring still haunts me I suppose)... what interesting digital media is currently in-galleries and what might be coming soon. Here is a short and certainly not comprehensive, list of what I have gathered.
1) Gesture Based Computing 2) Reactive Digital Walls 3) Immersive Multimedia 4) Participatory Digital 5) Augmented Reality 6) 3D Interactive Application
"Les médiations mises en oeuvres sont originales, et constituent un pari risqué et imparfait, mais qui donne à réfléchir sur les difficultés et les impératifs d'une démocratisation souvent inaccessible."
The Museum of London (MoL) has confirmed that it will make 17 posts redundant in order to address a deficit to its operating budget.
The museum needs to reduce its budget by £1m before April 2014 and said that shrinking its workforce was the only realistic way to cut year-on-year fixed costs.
The redundancies will hit a range of functions and levels across the organisation. The museum said it plans to axe all of its dedicated oral historian posts and focus on “digital collecting”.
MoL will also cut its specialist community collaboration team and plans to embed community work throughout the organisation rather than in a specific department.
A spokesman from MoL said: “Our approach to community collaboration and inclusion, and to collecting oral history is changing.
"Community work will be embedded in how we work across the organisation rather than a delivered through a specialist team. A new approach to community work will be developed within the context of our strategic plan and audience development strategy.
“With regards to oral history, due to pressures on its resources the museum has decided at this point to focus on digital collecting and move away from direct life stories recording. Therefore the delivery of the digitised oral history collection will be added to the responsibilities of the digital curator.”
"This past Tuesday I attended a panel discussion titled Will Gaming Change the Way We Learn? (full video above) sponsored by Zócalo Public Square and held at the Museum of Contemporary Art, Los Angeles. (And kudos to MOCA, Zócalo is fairly awesome and it’s nice to see them convening in a museum space.) More and more museums, as well as schools and other educational institutions, are becoming interested in the educational potential of games. Full disclosure – it was games that sparked my initial interest in digital education. Several years ago, while in grad school, I began reading about the work of Jane McGonigal, Director of Game Research and Development at the Institute for the Future. McGonigal maintains that games are powerful instigators of motivation and happiness for people, which is why folks will dedicate hours upon hours to mastering games. This feature of gaming, termed “stickiness”, is what has caught the interest of many educators. After all, anyone playing a game has to learn a lot – all the rules of the game, all the strategies, all the secret spaces."
Anne Coulié says: “The classic method relies on written reports, publications which contain very few illustrations. So it’s obviously a big help, using these 3D images which contain complete photographic coverage of each object. We can blow each minute detail up as large as we want so we can examine things in more detail -even than when handling a vase for example, there are things we might not have noticed. It’s a very useful tool, this 3D imagery, when classifying styles. I mean through comparing works we try to reconstruct the people who made them and get a solid, living image of their workshop.”