Articoli taggati con ‘new technologies’
Treasure Hunt as a strategic tool for audience development
“To the Congregation of the Oratory in Naples 250 ducati and for you, Dionisio Lazzari, at completion 1000 ducati as this much you have spent for marbles, mother of pearl, precious stones and more and in labor to build the steps with the pedestals for the High Altar of the church. 9 September 1654” This is the transcript of an old credit certificate (Bancale) and its reason of payment, one of the documents preserved in one of the biggest archived collection of bank items that exists in the world and that dates back to 1573 up to our days, it is held in the Historical Archive of the Banco di Napoli [1]. For many years this Archive has been frequented by archivists, students and researchers of economic and financial history, a magical place however, difficult to access, example of a lack of knowledge that characterizes the urban experience of Naples. An inaccessible place, just like madhouses, prisons and factories during modern times, finally retired and refurbished, with the construction of common use goods. At 9:30 am of 10 June 2017, a group of people equipped with smartphones gathered outside the Historical Archive of the Banco di Napoli to participate in the first digital Treasure Hunt of the Bank.
“Open by vocation”: The Museum Salinas 2.0 and the sicilian anomaly in a social key
The archaeolgical museum Antonio Salinas in Palermo, closed for repairs, from a year up to the present has revamped his image thanks to social media and the adhesion to some campaigns as #invasionidigitali – #digitalinvasion, TN – and #museumweek, finding a way to renew the museum’s reputation. Through the analysis of the Museum’s communication strategies, this paper seeks to identify some solutions with the aim to inspire other institutions to adopt cultural web marketing strategies. The Museum Salinas: a 2.0 anomaly in the Sicilian panorama Introductory considerations are essential to understand the meaning of the revolution that we are going to introduce here. The Archaeological Museum Antonio Salinas in Palermo, one of the most important archaeological museum for vastness and prestige of the collection (with masterpieces of the Punic – Phoenician era, Classical Greek era, Etruscan, from ancient Rome and from Sicilian history from prehistory to the Middle Ages [10]) is, for all intents and purposes, a case of study of social museum and the intent of who writes is to present it as a virtuous example of cultural communication strategies.
Nudging, Gamification and Paternalism
Paternalism assumes an authority that tries to influence the behavior of people under its guidance in order to improve the wellbeing of the latter. This can be implemented by more or less strict regulations limiting the set of alternatives to choose from and thus reducing the freedom of choice. Alternatively, “libertarian paternalism” does not constrain the freedom of choice but takes advantage of the imperfections in decision-making abilities to push people to make choices that are good for themselves. This kind of pushing people is called “nudging” and a means of pushing people this way is called a “nudge.” Those who get nudged are sometimes called “nudgees,” and “nudgers” are those who “nudge.” When it comes to paternalism then the nudger is an authority, the State, the parents, etc. While, in principle, paternalism proper is coercive, nudging leaves the nudgee’s set of alternatives unchanged. Thus, nudging is a means to achieve the authority’s ends without, in principle, restricting the freedom of choice of decision makers, but make the decision makers decide what the authority is in fact aiming for. Paternalism based on nudging is also referred to as “soft paternalism.” Whitman and Rizzo (2007) elaborate on the warning of a “slippery slope” that leads from soft paternalism to “hard paternalism,” a non-libertarian paternalism implying regulations, legal constraints, and a reduction of freedom of choice, and thus represents a threat to their libertarian worldview. They write “soft paternalism – even if initially modest and non-intrusive – has the potential to pave the way for harder paternalism, including some policies of which the new paternalists themselves would disapprove. We conclude that policymaking based on new paternalist reasoning ought to be considered with much greater trepidation than its advocates suggest” (Whitman and Rizzo 2007: 413).
Does movie poetics dream of territories?
A concept we can not avoid in our days talking about culture and the direction we’re heading towards is globalization. It stretches itself out like an umbrella surrounding cultural phenome-na in a way not experienced before, and its creations make us wonder about our cinema lan-guages. In the global movie market certain national movie industries like the US one are more dominant than others. One might question if there is a kind of ‘cultural homogenization pro-cess’ behind? Still, there is a language emphasizing the local, there are movies that give us tales and stories about the site-specific grounded into their own cities. This article focuses upon these movies, relying on some basic theories within Cultural Semiotics by Jurij Lotman. Per-haps it is possible to see some kind of interaction and connection between these different kinds of movies, or perhaps they are two separate languages living in their own spheres?
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 […]
From the mirror to the screen: some videoart’s intuitions
After first experimentations of visual effects the video could generate, it became an introspective way to make art. An external device can show the artist to the artist, this is the point. So everything changed.
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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.
Managing change and intimacy in the present
Heraclitus is often cited as the source of the quote, “The only constant in life is change.” This seems to ring true now, more than ever, as advances in technology rapidly change our cultures: the ways we communicate and express ourselves, the availability of information and resources, and even how we spend our time each day. Of course, change is not new and we are not the first to experience it. As Michele Trimarchi illustrates in “Staging the Change?” our ancestors’ lives were radically altered with technological advances in farming, machinery and communications systems. How people react to and manage these changes can define their identity, both in the present and their place in history, over time. Artists and arts consumers run the gamut in their response to change: many chase the avant-garde while others, like J.S. Bach, pursue perfection of one form long after their contemporaries have moved on to newer modes.
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.
