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Museum Informatics explores the sociotechnical issues that arise when people, information, and technology interact in museums. It is designed specifically to address the many challenges faced by museums, museum professionals, and museum visitors in the information society. It examines not only applications of new technologies in museums, but how advances in information science and technology have changed the very nature of museums, both what it is to work in one, and what it is to visit one. To explore these issues, Museum Informatics offers a selection of contributed chapters, written by leading museum researchers and practitioners, each covering significant themes or concepts fundamental to the study of museum informatics and providing practical examples and detailed case studies useful for museum researchers and professionals. In this way, Museum Informatics offers a fresh perspective on the sociotechnical interactions that occur between people, information, and technology in museums, presented in a format accessible to multiple audiences, including researchers, students, museum professionals, and museum visitors.
Suzanne Keene's pioneering book shows how museums and other cultural organizations fit into the new world of information and electronic communications and, most importantly, how they can take advantage of what it has to offer. By using new technology museums can build knowledge bases around information about collections. A collection object can be the central link for information about past and present, places, people and concepts, technologies, ways of working and evidence of the natural world. 'Digital Collections' explains how this vision can be realized. Sound, video and animations can be digitized and developed as a central resource that can be drawn on for many varied access routes: via the World Wide Web; CD ROMs; through on-gallery screens, and other future products still in development. These technological capabilities raise many compelling issues that need to be understood in order to successfully develop information collections. In this book Suzanne Keene reviews these issues clearly and comprehensively. Her accompanying Click-Through Guide provides the latest news and links to Internet information. Suzanne Keene is a senior manager of museum collections and information at the Science Museum, London. She led the UK LASSI project to select a collections information system for UK museums. This, with her experience in directing information technology and multimedia projects, means that she is accustomed to translating the highly technical concepts of information technology into high level issues for senior and strategic management.
Seminar paper from the year 2003 in the subject Engineering - Industrial Engineering and Management, grade: 1,0 (A), Linköping University (Institute for technology), course: Information Systems, language: English, abstract: In almost every part of modern life we have contact with different information systems. In the last few decades the computer became a more and more important medium for collecting, structuring and providing of information. A relative new invention is the possibility to locate a certain device in the physical space. It was originally developed for military purposes, but comes now to a broader application in the private and public sector. As a rather specific but never the less significant example we would like to present a connection of computing in one of its latest appearances and the possibility of locating devices connected to a totally new kind of information system. We would like to introduce the use of handheld computers for the use of a push/pull information system in the context of an exhibition or museum. Automation technologies were introduced to museums in the early 1960s. Projects like SELGEM (Self Generating Master) involved several museums and supported data entry to track collection information. Large scale computer use by museums was not feasible at that time because early computers were expensive and required space for installation. But that would change quickly. In 1968 Hewlett-Packard released its first programmable calculators. The early machines, such as the HP-9100, weighed 40 pounds and might be considered the first desktop computers. While Texas Instruments is credited with inventing the first pocket calculator in 1967, Hewlett-Packard developed the first programmable pocket calculator in 1974. After a NASA mission, the pocket HP-65 was promoted as having served "as a backup for Apollo's on-board computer." In ten years programmable computers had evolved from filling rooms to fitting in pockets. While pocket computers may have found immediate use in museum offices, evidence of pocket computers enhancing the visitor experience was not found. The use of hand helds in museum exhibitions seems to have been inspired by the early personal digital assistants (PDAs) such as the Zaurus, Psion, and Newton. In 1993 two young men formed a company, Visible Interactive, around their modification of the Apple Newton they called iGo. Promoting it as the “world’s first interactive audio tour” their idea was to provide museum visitors with an enhanced personal experience through the accessibility of multimedia, text, and audio while walking through an exhibit space. [...]
This present collection deals with the application of modern information technology, especially semantic web technologies, to the problems of representing cultural content in real and virtual museums. The Semantic Web is the attempt to make the World Wide Web's enormous mass of information more accessible to humans by using forms of representation which are semantically transparent and therefore 'understandable' to machines assisting human users when they access the web. The fascinating perspectives for museology which result from the new semantic techniques are dealt with in the present book.
An essential resource for all museum professionals as well as trustees, architects, designers, and government agencies involved with the dynamic world of museums and galleries.
This collection of essays takes up the question of the cultural meaning of the information and communications technology that makes these new ways of engaging with art and history possible.
Michael Buckland offers an examination of information systems that is comparative rather than narrowly technical in approach. With careful attention to different meanings of information, Buckland examines the nature of retrieval-based information systems such as archives, databases, libraries, and museums, and their relationships to their social context. The introductory material examines difficulties of definition and terminology in relation to information systems. There is a systematic overview of the concepts and processes involved in the provision and use of information systems. Buckland's attention to unusual examples, to how different aspects interact with each other, and to how information systems are influenced by their contents and their context yields interesting insights and conclusions which force reconsideration of common assumptions in information science. This volume, with its subject index and bibliography, provides for students and professionals a valuable and readable introduction to this rapidly expanding field.
Why has it taken so long to make computers work for the museum sector? And why are museums still having some of the same conversations about digital technology that they began back in the late 1960s? Does there continue to be a basic ‘incompatibility’ between the practice of the museum and the functions of the computer that explains this disconnect? Drawing upon an impressive range of professional and theoretical sources, this book offers one of the first substantial histories of museum computing. Its ambitious narrative attempts to explain a series of essential tensions between curatorship and the digital realm. Ultimately, it reveals how through the emergence of standards, increased coordination, and celebration (rather than fearing) of the ‘virtual’, the sector has experienced a broadening of participation, a widening of creative horizons and, ultimately, has helped to define a new cultural role for museums. Having confronted and understood its past, what emerges is a museum transformed – rescripted, re calibrated, rewritten, reorganised.
The central purpose of this collection of essays is to make a creative addition to the debates surrounding the cultural heritage domain. In the 21st century the world faces epochal changes which affect every part of society, including the arenas in which cultural heritage is made, held, collected, curated, exhibited, or simply exists. The book is about these changes; about the decentring of culture and cultural heritage away from institutional structures towards the individual; about the questions which the advent of digital technologies is demanding that we ask and answer in relation to how we understand, collect and make available Europe’s cultural heritage. Cultural heritage has enormous potential in terms of its contribution to improving the quality of life for people, understanding the past, assisting territorial cohesion, driving economic growth, opening up employment opportunities and supporting wider developments such as improvements in education and in artistic careers. Given that spectrum of possible benefits to society, the range of studies that follow here are intended to be a resource and stimulus to help inform not just professionals in the sector but all those with an interest in cultural heritage.