Tecno-scenari
Coordinamento: Renzo Carlucci
Sperimentazioni e contaminazioni tra nuove tecnologie, cultura e risorse territoriali. Spazio libero per la creatività, l’innovazione e la conoscenza come serbatoio per lo sviluppo di teorie e prodotti che legano il reale al virtuale.
Instability of the imaginary and media power between old new cultural industries
There is a strong perception of insecurity in Italy because of various more or less recent phenomena such as terrorism, immigration, unemployment, and then again, an economic crisis, a pandemic and an unexpected war that never seem to end. Events responsible for serious social instability that, if not well imagined, communicated, and managed distributes cultural and political power to old and new consumer products (re)transforming society into a spectacle perhaps already seen. Faced with this, no institution seems to have the right tools and an adequate political-economic plan to re-establish an acceptable level of social security, or at least to make citizens perceive this. Urban sociology in these cases speaks of ‘social disorganisation’ and this is often followed by ‘individual disorganisation’. The evolution of society, the new electronic and digital media, the phenomenon of globalisation, political-economic changes and the constant and daily representation of crime and violence by the mass media, have strongly influenced human interactions, radically changing the way people relate and communicate, construct and perceive their identity and reality. It is these processes that characterise social transformations and the growth of human egoism, ‘where individuals, in order for violence to be effective, act strategically by striking each other in emotionally favourable conditions’ (Collins, 2014).
What Big Data Is and How Can We Use It
In recent years, we have witnessed an exponential growth of the amount of data we are generating. As an example, consider the numbers depicted in Figure 1, that shows what happens in one minute in Internet, for both the years 2016 and 2017. In a single minute, approximately 150 million email are sent, 350 thousand new tweets appear in Twitter, and 40 thousand posts in Instagram, both in 2016 and in 2017. But the figure allows us also to see the impressive growth, in a single year, of some statistics: the search queries in Google raised from 2.4 to 3.5 million, video views in Youtube jumped from 2.78 to 4.1 million, and Uber Rides almost triplicated, from approximately 1300 to 3800. WhatsApp messages exchanged went from 20 to 29 million. There is an explosion of data, and the natural question is whether we can use it to improve our daily lives. We already witnessed some examples in which we can exploit the data: Google Maps has real time information about traffic data, and suggests us the fastest route available according to this info. Amazon knows what we bought, i.e., what we like, and can suggest us similar items based on shopping preferences of people that have similar tastes. Apple (and other companies) can recognize our friends in the pictures, that are geolocalized thanks to the built-in GPS in our smartphones, and helps us in retrieving and organizing them. We choose restaurants and hotels based on the feedback of thousands of customers in Tripadvisor. Big Data is already in our lives. In the following section, we will try to provide a better picture of what Big Data is. Then, the natural question become “How can we use it?”
Communicating archaeology to everyone.
Cultural Heritage does not represent a value in itself, but it rather embodies a relational value: an archaeological site, for instance, is whatever value the civil society and the community of reference give to it. The communication of the meaning of our heritage to the public of is hence a duty that belongs to the professionals of Cultural Heritage: archaeologists at Poggio del Molino (Populonia, Italy), in a global archaeology approach, have sought to open the research to the public using digital technologies, thus making operations open and accessible to everybody, on and off site.
Kunstmatrix: online platforms to support the art market
What are the real ef fects of this global crisis on art galleries and all of the art market players today? Is it prolonging their online activity by the use of platform and digital tools? What we were expecting was perhaps a normal resumption of offline activity and a slow abandonment of digital, but it’s not like that. Art companies that once were in competition with each other are beginning to create new f orms of collaboration. Digital platf orms are not seen as an enemy of the offline anymore. Indeed, many protagonists of the art industry are using them as engine tools to promote their offline activity and as a new path to have trasparency, amplify the knowledge of art and get new targets. This is confirmed by the Art Market Reports 2020 highlighting how challenges in the art market are often supported by technology. It’s not a coincidence that technology is always been a very versatile medium with a f luid and creative component that is able to raise awareness and amplify the perception of users. Online platforms are increasingly being used by artists, art galleries and auction houses as stagecraft solutions to create virtual exhibitions of their artworks. Kunstmatrix it’s a clear example of this digitalisation process. Kunstmatrix is an online platform, founded in Berlin in 2010 by the architect Crhistoph Lauterbach, that builds connections and publishes works of art in order to create 3d exhibition spaces to impress art lovers and collectors. It has grown exponentially during the lockdown and its targets have diversified and amplified: day by day, it increases its collaboration with artists, art galleries, art fair to support their activity. Even more, the company starts working with profiles and figures that it didn’t expect to reach, such as embassies, universities and schools. We decide to interview Christoph Lauterbach, co-founder and Ceo of Kunstmatrix, in order to know more about its current online dynamics and how it approaches with the art leaders.
*UrbanSensing: listening to the digital city
*UrbanSensing is a two year funded European Union project, it involves six European Partners, that all contribute their specific expertise and skills in the fields of the project. The project will bring a new product to the urban design, city planning and urban management market: a platform extracting patterns of use and citizens’ perceptions related or concerning city spaces, through robust analysis of User Generated Content (UGC) shared by the city users and inhabitants over social networks and digital media. The platform will allow to analyze users’ perceptions related to specific geographic areas and understand how population reacts to new urban policies within participatory mechanisms.
Three ideas for further reflection from ICCPR 2018
This article discusses some thought-provoking papers presented at the ICCPR2018. It looks first at the use of digital technologies in the art sector, with regard to data visualization and open data policies, identifying a huge untapped potential. Secondly, it opens up a space for reflection on the very notion of arts marketing both as a practice and as an academic field, proposing a renewed emphasis on audience enrichment. Finally, it takes into consideration the vexed question of defining cultural value presenting an exploratory research conducted in Australia using contingent value methodology to include also a measurement of cultural value among non-users.
Towards more open information : digital media as moral, civic and multicultural environments
In the new information society ,living in a global space, ideas, technologies, people, products are intended to move from one place to another, but remaining interconnected within an ambient where cultures increasingly more dynamic contact What emerges now is the need to enhance the identity, the differences between individuals and this is only possible through the comparison and exchange with the other, as an opportunity for learning and of encounter. The development pervasive media influences and approaches our daily experience to the global world, understood as a space mediated, new, defined by relationships themselves, where they build the frames of our civilization. It is precisely starting from the social and moral responsibility to which the media are called in a multicultural democratic society which would constitute a responsible information and quality as a foundation of democracy and a common good.
Big-Data to understand touristic and cultural dynamics: a fractal framework.
The Big-Data revolution has been immediately accepted in several industries, in particular the military and defense industries, by various economic and social actors, usually linked to multinational corporations, as a fresh source of innovation. In the cultural sector, these new technologies acceptance has been less common met some oppositions. These oppositions have been mainly due to a general lack of competences on the new technologies and on advanced data analysis by most of the actors in this sector. Lacking the needed competences, these actors have often been unable to grasp the opportunities that Big-Data could have opened to them. In this paper, we propose to highlight the main results and main positive effects coming out from the first stages of Big-Data utilization in the Cultural Heritage sector using a fractal model.
Corporate Museums and design: Web communication strategies
Abstract The content of this article is the analysis of Web communication strategies used by corporate museums. The main goal of the research is to analyze the Italian corporate museum’s communication in order to first review the digital identity and the reach and engage operations used by them. Through several indicators, the study highlights both strengths and weaknesses of the online strategies used by those samples, which have been selected among Museimpresa partner museums operating in the commodities sector of design.
Reflections on the use of the territorial data and GIS in tourism: the Italian case
This paper focuses mainly on issues related to digital tourism with connection to the italian context, in an attempt to show the potentiality offered by the GIS for the development of the tourism sector. For this reason, it will be reported exemplifying cases, of which features and purposes will be highlighted. The digitisation represents a new challenge for the tourist offer in Italy. Some studies and proposals promoted by TD Lab (2014) and by the association ItaliaDecide (2014) have highlighted the need for innovation in the italian tourism sector. The digitisation of tourist services therefore offers the opportunity to reaffirm the competitiveness of an industry with enormous potentiality and resources, but that shows signs of criticality and stagnation. Before examining aspects closely related to digital, it will focus on the concept of tourism and its recent developments. The latter in fact, depend on the growing segmentation of demand, pivoted on the search for new experiences and authentic by the tourist. From this perspective it is seen how the tourist promotion is closely connected with the practices of cultural enhancement and marketing strategies, linked to digital communication.
Before Web-Marketing. Digital research for cities and cultural institutions
1. Cultural sites Online Visibility Online visibility of a a cultural site can be considered a strong indicator of the institutional ability to activate the cultural heritage. Hand in hand with the spread of the Internet and its penetration into everyday social practices of millions of people, the search for contents relating to a travel destination or a specific monument, has gradually shifted in terms of strategic influence from traditional channels – such as print media, television broadcasts, word of mouth – to online information resources (websites, blogs, forums, social networks). This holds particularly true for Culture and Tourism search, generally conducted by people with medium-high education levels and some experience in the use of Internet. The spread of smartphones and the increased connectivity accelerate such trends, so that an ever growing number of people plan their trips via websites or mobile applications. A study on The Impact of Online Content on the European Tourism [1] highlighted a positive correlation between the presence on the internet, resulting in greater availability of data and information accessible online and the ability to some destinations to attract increasing flows of visitors: Destinations that make greater use of the internet in reaching customers have performed better than their peers in recent years. These destinations have gained market share from competitors, even after accounting for some other factors. Developed markets which have seen the largest gains in market share all have relatively high internet penetration, making good use of online channels to reach customers. Theory […] suggests that this is largely due to improved information flow supporting the market. Greece, Italy and Spain all have low internet penetration and only Italy has experienced any notable gains in market share over recent years (Oxford Economics 2013, p. 17).
A Babel for Children
Reflection moves from the analysis on today’s relations between the art field and science. The dialogue between the two cultures, focused on reciprocity and the plurality of explanatory codes, it tries the emergence of a third culture, founded on knowledge consilience. The epistemological premise on the discussion of the person’s development is enriched by contributions of neuroaesthetics and psychoneuroimmunology. The latest scientific fact highlights how exposure to an “enriched environment” prenatally determine the trajectories of the individual and influences the development of those skills and adaptive behavior needed to have a healthy psychological growth. The art and cultural participation, essential cofactors of this enrichment, rise to powerful motor of modulation of the epigenesis of behavior and embryological processes of maturation. Recent disquisition on the perception of the nature dichotomous of aesthetic object guides us in understanding how is essential to our becoming intentional culture subjects experiencing art since the early stages of life . The interaction between art and science is currently experiencing its environmental enrichment, thanks to the contribution of the cultural industries that not only are interpreters of this interaction, but also a vehicle for new motives of investigation and knowledge.
The experience of the image in digital media. Reflections on today’s cognitive forms.
A red icon on a blue coloured background. Notification: Tom has shared a picture on your timeline. A ringtone and vibration, the phone’s screen lights up, a message appears: Richard has sent you a picture. The quantity of images that people each second of every day take and spread digitally is an unmeasurable phenomenon. Due to its extraordinary contribution, it is like counting the grains of sand in a desert. Together with the certainly interesting numerical-quantitative data, reflection on the growing meaning of these social activities of taking and sharing images (for the individual as well as the community), is needed. This introduction first of all provides a snapshot of today. A huge number of reports from the most important research institutes tell us about the growing number of uploaded as well as shared images on social networks. (Nielsen, Ericson Consumer Lab, etc.). The reports suggest, more or less intentionally, “how” the analysed data appears in the social contexts by telling us the “quantum” of a given percentage. The “how”, that is the communicative nature of the contemporary digital image, raises many doubts and provides the focus for much research today. The productive growth of images helped by the devices’ dematerialization – a topic worthy of a separate publication – doesn’t just appear as mere quantitative data. It also indicates the cultural, communicative and social growth of activities and processes more and more relevant today. Product together with action.
The future art of storytelling: Future Fabulating in Madeira Island
Introduction The practice of predicting the future has a long history, ranging from personal consultation in the patterns of coffee grounds to global computational projections derived from vast sums of data. The longing for a vision of the future offering some certitude seems to cross cultural boundaries. Engineer Alan Kay stated that […]
Social media against travel authenticity
Introduction One fifth of the human population uses social networks and one third of world travelers access them during their vacations, especially to share experiences, info and pictures of the places that they are visiting, and to look up information concerning the local area and the available services. (link: http://www.babelemagazine.com/2015/02/04/vacanze-disconnected-impossibili-per-i-social-addicted/ ) Data […]
The Booking Challenge: Tourism and the Sharing Economy
Today, the Internet plays a key role in the tourism sector. Contemporary travelers use the Web during all phases of traveling process: before the departure for inspiration, research, and booking; during the travel for local services and information; and after the journey in order to share impressions and give suggestions to other travelers and communities. From a practitioner’s viewpoint, this contribution offers an insight into online tourism market, trying to emphasize how the sharing economy model could shape the future trends and habits of tourists and professional operators.
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The advent of the Digital Era and, subsequently, of Media Culture has not only changed the way we think, act and interact with the world but also interfered with our more basic motor skills and the way our body operates in the outside world. Digital or not, the ability to move our body and see how others are able to do so is simply to be able to feel, to experience a tangible reality and not to be divorced from physical contact, being that a sensory or visual one. We just need to remember to learn how to do things and recognize the world as we used to do as children, through touch. Perhaps it would be better to go back to using our senses as interface, even with the invention of Google glasses.
American Museums versus Italian Museums online: are they so dissimilar?
Not unlike Italy, the cultural institutions of the United States are part of a prism returning different shades of quality in managing new digital tools. Let us take social media as an example for all: when asked to specify the issues they most frequently encountered in managing online communication, the American professionals gave answers amazingly similar to those of their Italian counterparts. What they pointed out were lack of time – often deriving from chronicle budget deficits to hire new staff, and low to non-existent digital awareness in their colleagues, making it difficult to manage the workflow efficiently in order to achieve better quality content.
How web presence strategy can help museums to be a digital breeding ground for innovative communication
This article aims to understand if an efficient museums’ online presence can strategically impact on and improve their promotion and the way they are perceived by potential visitors. Visitors can engage and support a museum more if they feel like they had a part in providing feedback or have ownership in something because the feedback they gave was implemented. Through digital strategies, used as a bridge to get in touch with people from all over the world, cultural institutions can engage the audience in a deeper emotional way.
The Art of Augmenting Reality
Over the last few years, we have been witness to the emergence of the use of the virtual in public space. The manifestation of the virtual and the interplay of it with the real are changing the concept of public space and the perception of art that is now being presented in it. The integration process of the virtual into the real is also clearly affecting the way in which cultural institutions are now presenting and meditating art, as well as how this process is bringing the demand for new and innovate ways to link the virtual to the real.
Grounding a new meaning of performative museum on the paradigm of Natural Interaction
This contribution aims at outlining a theoretical framework for the interpretation of some recent trends in museum exhibition design, based on the technological paradigm of Natural Human Computer Interaction. Performance and performativity from the perspective of performance studies are employed as references to propose a new definition of “performative museum”. Here the discourse is formulated mainly through interactive movement-based technologies and emphasis is placed on bodily experiences and expressions, on processuality and on the accomplishment of performative acts, aimed at specific communicative goals.
Immagini e Web: percorsi della memoria 2.0. Per una nuova versione Web dell’Archivio fotografico dell’Arcidiocesi di Gorizia
Il Web sta diventando sempre più il luogo di asset informativi di grande rilevanza scientifica e culturale, che non hanno alcuna controparte fisica e richiedono un’adeguata rappresentazione e un management efficace. “Percorsi della memoria” è il titolo del progetto di valorizzazione storico-culturale promosso nel 2006 dall’Istituto di Storia sociale e religiosa di Gorizia (ISSR): un’estesa indagine volta al reperimento di materiale fotografico d’interesse e un’accurata opera di catalogazione hanno consentito di mettere insieme un significativo archivio digitale, corredato da una ricca base di dati descrittiva. Questo studio dopo aver affrontato alcune questioni teoriche e metodologiche riguardanti l’indicizzazione dell’immagine, illustra in dettaglio gli aspetti teorici, metodologici e operativi dei componenti dell’interfaccia.
Nuovi materiali per la cultura
Il design è sempre più considerato un’attività strategica che crea valore aggiunto nella produzione industriale e che senza dubbio ha contribuito fortemente a determinare il successo dei prodotti del Made in Italy.
Il futuro del libro
Stampa o file digitali, papiro o preziosi codici miniati: la rivoluzione della condivisione del sapere è sempre partita dal supporto dei contenuti e dall’accessibilità degli stessi.
Mobile technologies: new ways to access tourism, culture and cities
The use of mobile devices and related technologies offers a great opportunity for cultural institutions to enhance and support visitors’ experience. Smartphones and tablets allow users to access contents ubiquitously using high-performance computing, embedded tools, fast wireless connectivity, and wider touchscreens, providing several novel solutions to engage visitors in a deeper level of interactivity and social networking.
Gioconda 2.0: politiche per l’accesso e l’uso delle immagini di beni culturali in pubblico dominio
La digitalizzazione delle immagini e la rete internet offrono oggi nuove opportunità attraverso soluzioni tecniche innovative, che possono ampliare fortemente l’accesso e soprattutto l’uso e il riuso dei contenuti digitali delle collezioni museali. Questo articolo offre una panoramica sui nuovi modelli di accesso e riuso delle immagini digitalizzate dei beni culturali in pubblico dominio, proponendo alcune politiche per la valorizzazione del patrimonio culturale nell’era digitale.
Città polifoniche. Visualizzazione di User Generated Content geo-localizzati a supporto della comprensione dei fenomeni urbani
In un mondo sempre più denso di informazioni, che si riempie di sensori e di tracce digitali; in città i cui spazi, flussi, persone e dati si intrecciano quotidianamente, come osservare, interpretare e restituire le dinamiche intangibili che circondano e pervadono quelle fisiche? Città polifoniche esplora le potenzialità di utilizzare l’analisi e la restituzione visiva di User Generated Contented geo-localizzati, ovvero delle informazioni digitali condivise dai cittadini e legate a luoghi specifici, come strumento per individuare relazioni significative tra spazi urbanii, usi, e percezioni, a supporto della reale comprensione dei fenomeni urbani contemporanei. Dopo una sistematica ricognizione dello stato dell’arte in materia e l’analisi dei casi studio più interessanti, si introdurranno due progetti di ricerca in corso: Maps of Babel e Visualizing the Crisis, e si analizzerà in particolare il ruolo della visualizzazione dinamica dei dati come strumento in grado non solo di fornire molteplici viste sui fenomeni urbani complessi, ma di includere un livello analitico ed interpretativo dei dati stessi. Si individueranno inoltre diversi scenari per possibili applicazioni virtuose dei metodi e delle techiche presentati, in termini di supporto a processi di decision making e pianificazione strategica alla scala del territorio.
Le nuove frontiere della produzione: la digital fabrication
Lo sviluppo tecnologico e la diffusione dei digital fabricators – macchine che consentono di fabbricare oggetti tridimensionali da file digitali in un unico processo, simile alla stampa – ha reso negli ultimi tempi più sottile la distinzione tra prototipo usato per affinare il design e oggetto finito. C’è quindi chi prospetta un futuro prossimo in cui qualunque oggetto di consumo potrà essere acquistato in foma di file e prodotto on demand. Partendo dal caso di un piccolo e pioneristico servizio italiano di digital fabrication, questo articolo illustrerà in una rapida carrelata gli elementi che sostengono questa previsione e il suo potenziale innovativo.
Architettura dell’informazione e design museale
Più che una disciplina a sé stante, l’architettura dell’informazione costituisce un sapere di confine che si muove in modo complesso fra discipline più classiche come la bilblioteconomia, la linguistica e l’architettura, e discipline più nuove come la scienza e la teoria dell’informazione, l’ergonomia, l’information retrieval. L’architettura dell’informazione è un settore strategico nel design non solo di prodotti specifici (come siti web, intranet, software) ma anche nel design dei servizi e più in generale in tutti quei casi in cui l’usabilità e la trovabilità dell’informazione costituiscono fattori chiave per l’esperienza d’uso (user o customer experience). Ecco che anche il museo – in quanto spazio informativo condiviso, luogo di interazione in cui si vive un’esperienza – si intreccia fortemente con i temi dell’architettura dell’informazione, e ne costituisce senz’altro un importante campo di applicazione.
Gestire l’informazione per gestire il patrimonio: il caso della Regione Lombardia
Il sistema italiano dei beni culturali sta attraversando una fase di profondo rinnovamento. Il concetto di bene culturale, come entità singola di particolare interesse, è stato superato dall’idea di patrimonio diffuso come territorio punteggiato di numerosi beni collegati tra loro. In questo scenario, in cui le amministrazioni incaricate della tutela non dispongono di strumenti adeguati, le tecnologie Web dimostrano caratteristiche interessanti e promettono di agevolare le attività di questi attori e di facilitarne le relazioni. Il nostro studio intende analizzare i limiti e le potenzialità dell’uso di Internet per la gestione del patrimonio diffuso attraverso l’analisi delle pratiche di knowledge management della Regione Lombardia.
NIPPON-multimedia. A successful example of multichannel communication in Lugano
The increasing number of technologies and devices (including iPhone, iPad and alike) provides new perspectives for the use of multimedia applications in the broad field of Cultural Heritage, in a moment in which small, fast and low-budget projects are often preferable and where user experiences have evolved, corresponding to different user profiles, needs, situations and purposes. Users, in fact, no longer sit in front of a computer at home, but they access multimedia information all the time, circumstances and venues, choosing – among many devices available – the most suitable ones. This paper shows a successful example of multichannel communication in Lugano (Switzerland), and recounts the background and the collaboration among the Università della Svizzera italiana and the City of Lugano for the development of a culture oriented multi-channel communication, focusing on the real-life example “NIPPON”, four exhibitions and numerous events through the culture of Japan, taking place in Lugano from October 2010 to February 2011.
L’economia videoludica italiana: Indie alla riscossa
Giocano quasi tutti i giovani. E ora iniziano anche a giocare gli adulti, grazie all’innovazione di contenuti e di piattaforma dell’offerta. I videogiochi sono una quota importante del consumo culturale italiano, che fa una concorrenza serrata al cinema, il consumo culturale più diffuso. La scena produttiva, tuttavia, mostra dati meno confortanti: le produzioni di maggior successo sono straniere e gli italiani che vogliono emergere vanno all’estero. Piuttosto vivace, invece, la scena Indie cui sono offerte nuove possibilità grazie ai nuovi sistemi di distribuzione digitale.
La digitalizzazione del Patrimonio Librario Italiano. L’accordo Google-MiBAC
Il 10 Marzo 2010 è stato annunciato l’accordo di cooperazione tra Google e il Ministero per i Beni e le Attività Culturali (MiBAC) per la digitalizzazione e messa in rete, nei prossimi anni, di circa un milione di libri non coperti da Copyright conservati nelle Biblioteche Nazionali di Roma e Firenze. Il presente contributo vuole offrire una riflessione sul recente accordo Google-MiBAC, cercando di spiegare quali sono le condizioni che hanno portato all’accordo e quali sono le potenziali opportunità e criticità nella sfida alla digitalizzazione del patrimonio culturale italiano.
Gli studi sugli utenti per la qualità dei servizi web culturali europei: il Manuale Minerva e la valutazione del prototipo di Europeana
I progetti di creazione e gestione di piattaforme digitali di ambìto culturale solo raramente affrontano la questione cruciale delle effettive esigenze e dei comportamenti degli utenti finali. Il manuale MINERVA per l’interazione con gli utenti ha inteso presentare lo stato dell’arte del web culturale nella attuale fase di passaggio da un web delle istituzioni al web degli utenti, fornendo inoltre un quadro sistematizzato delle metodologie per la valutazione degli utenti digitali. Una recente esperienza di analisi di un campione importante di utenti a livello europeo, di cui in questo contributo si da sintetico conto, è stato lo studio sul prototipo del portale Europeana, condotto in Scozia, Italia, Bulgaria e Paesi Bassi.
Musei e tecnologie virtuali
Da tempo i musei hanno recepito l’avvento delle cosiddette tecnologie della virtualità, ma non sempre ciò ha coinciso con un reale processo di innovazione dei modi dell’esporre contemporaneo. Da una breve panoramica di sperimentazioni recenti emerge come gli artifici tecnologici possano davvero essere strumenti al servizio della museografia, ma a volte arrivino a contendere la scena alle collezioni e ai reperti stessi. Dal canto suo, il pubblico se ne lascia sedurre ma, se non sono radicati nel progetto comunicativo museale, altrettanto facilmente se ne stanca.
Pratiche di social media per l’innovazione urbana
Le città della società della conoscenza si caratterizzano per nuovi tipi di relazioni e dipendenze che hanno dato vita a network urbani come rete di scambio di beni e servizi. Tali network hanno spesso trasformato le morfologie e le identità delle città, divenute il teatro per eccellenza di un sistema globalizzato e delle sue conseguenze. L’origine di questi network risiede in ciò che Manuel Castells ha definito come space of flows ossia i flussi di capitali che viaggiano tra diversi spazi, ed il processo d’integrazione europea, che ha sviluppato la collaborazione tra gli stati-nazione sopratutto attraverso connessioni tra le città di rilevanza
Nuove tecnologie per nuovi musei. Dai social network alle soluzioni RFID
Il museo vive se comunica in modo efficace l’insieme delle conoscenze che ha prodotto nel tempo, relativamente alle testimonianze storiche ed artistiche che compongono le sue collezioni; le tecnologie informatiche, sotto questo profilo, hanno fornito un grande impulso alle attività di comunicazione del museo, in particolare in tempi recenti con l’affermarsi, da un lato, dei siti di social network (fuori dei confini fisici del museo) e, dall’altro, della tecnologia RFID (entro i confini del museo). Le potenzialità di questa tecnologia ed alcune sue interessanti sperimentazioni in ambito museale sono presentate e commentate in questo articolo.
L’arte partecipata di Second Life
Con l’avvento dei social network e dei mondi virtuali si sta facendo strada un nuovo approccio alla creatività e all’arte, che progressivamente sta mettendo in discussione alcune presunte certezze in campo estetico. Si comincia a insinuare il dubbio che la cultura artistica non debba essere esclusivamente appannaggio di un’élite e si iniziano a legittimare le sperimentazioni di chi elabora nuovi modelli, generati dal basso.
Un ritratto mediatico del quartiere Liberties di DublinoA mediated portrait of the Dublin Liberties
Il progetto “The Media Portrait of the Liberties” è composto da una raccolta di molteplici racconti brevi, che racchiudono informazioni di carattere storico, sulla comunità del quartiere Liberties di Dublino. Queste unità mediali svelano “un senso dello spazio” e sono state progettate con l’intento di essere diffuse tra il pubblico come se il pubblico stesse girovagando per le strade del quartiere. Lo sviluppo concettuale del progetto è iniziato con la raccolta di informazioni sul quartiere e i suoi abitanti attraverso l’osservazione e la realizzazione di interviste etnografiche, e si è evoluto quando il direttore del progetto ha intrapreso una collaborazione con Maireen Johnston.
I contributi dei visitatori come patrimonio culturale: il design per la partecipazione
Visitors’ contributions as cultural heritage: designing for participation
Abstract
In this article, we approach the setting up of two public exhibitions and, in this sense, our goal is to offer the necessary tools in order to facilitate and support the contributions of the visitors to the exhibitions themselves. The philosophy at the base of our work considers the role of technology as an instrument able to increase the stock of experiences of each person, going beyond the mere provision of information and allowing users to create the content of an exhibition.
In first paragraph, we will illustrate how interaction design could be implemented within the museum and exhibition sectors; in paragraph 2, we will contextualize this reflection within the analysis of museums’ audiences while in the third paragraph two case histories related to the approach of user-centred design are described. Finally, we will discuss the results of showed data individuating further research developments.
Abstract
In questo articolo affronteremo il nostro approccio all’allestimento di due mostre pubbliche, nell’ambito delle quali il nostro obiettivo è stato quello di offrire gli strumenti adatti per facilitare e supportare i contributi personali dei visitatori alle mostre stesse. La filosofia alla base del nostro lavoro, considera il ruolo della tecnologia come in grado di accrescere il patrimonio delle esperienze di ogni singola persona, andando oltre la mera messa a disposizione delle informazioni, e permettendo ai fruitori di creare il contenuto di un’esposizione.
Interazioni tra media per un museo virtuale
Cross-media Interaction for the Virtual Museum
Silence of the Lands è un museo virtuale localizzato a Boulder, in Colorado sul silenzio della natura. Il progetto, basato su tecniche di “locative and tangibile computing”, promuove un modello di realtà virtuale che rafforza il ruolo attivo e propositivo delle comunità locali nella salvaguardia e rinnovamento della quiete naturale, quale importante fattore del patrimonio ambientale. Silence of the Land is a virtual museum, located in Boulder (Colorado), about the silence of nature. The project, based on “locative and tangible computing” techniques, promotes a virtual reality model that strengthens the active role of local communities in the protection and restoration of natural quiet, as an important factor of the Natural Heritage.
