Comment placer la technologie au service de la collection d’un musée en apportant une dimension sensorielle assistant la didactique ? Pour cela, je veux inviter le public à interagir dans les musées mais différemment, plus seulement avec un écran mais avec l’espace. Dans un lieu où toucher est trop souvent interdit comment peut-on s’imprégner d’une œuvre et la replacer dans son contexte d’origine ? Vivre une nouvelle expérience qui va nous faire entretenir un nouveau rapport avec l’art et/ou les objets exposés. Et si nous pouvions voir sans regarder ? Dans une société où plus de 80% des informations quotidiennes sont visuelles, comment sensibiliser le public aux autres sens que la vue ?
from march 29th to april 1st
slott gallery will be at grand palais during the art paris art fair in the “limited series” section, art paris art fair’s platform to showcase contemporary european design!
du 29 mars au 1er avril 2012
la Galerie Slott sera présente à « Séries Limitées », la nouvelle plateforme dédiée au design contemporain européen, lors de la prochaine édition de Art Paris au Grand Palais du 29 mars au 1er avril 2012 !
> artparis.fr
> http://www.exquisedesign.com
02 - Erichir l'experience du Musee par le biais d'interactions nouvelles, Mat...Nicolas Guyon
Comment placer la technologie au service de la collection d’un musée en apportant une dimension sensorielle assistant la didactique ? Pour cela, je veux inviter le public à interagir dans les musées mais différemment, plus seulement avec un écran mais avec l’espace. Dans un lieu où toucher est trop souvent interdit comment peut-on s’imprégner d’une œuvre et la replacer dans son contexte d’origine ? Vivre une nouvelle expérience qui va nous faire entretenir un nouveau rapport avec l’art et/ou les objets exposés. Et si nous pouvions voir sans regarder ? Dans une société où plus de 80% des informations quotidiennes sont visuelles, comment sensibiliser le public aux autres sens que la vue ?
01 - Erichir l'experience du Musee par le biais d'interactions nouvelles, Rec...Nicolas Guyon
Comment placer la technologie au service de la collection d’un musée en apportant une dimension sensorielle assistant la didactique ? Pour cela, je veux inviter le public à interagir dans les musées mais différemment, plus seulement avec un écran mais avec l’espace. Dans un lieu où toucher est trop souvent interdit comment peut-on s’imprégner d’une œuvre et la replacer dans son contexte d’origine ? Vivre une nouvelle expérience qui va nous faire entretenir un nouveau rapport avec l’art et/ou les objets exposés. Et si nous pouvions voir sans regarder ? Dans une société où plus de 80% des informations quotidiennes sont visuelles, comment sensibiliser le public aux autres sens que la vue ?
présentation pour la journée Rencontre web2.0<>musées #webmus
Réflexions sur la comptabilité entre l'esprit du web 2.0 et les institutions culturelles
The document discusses how museums can survive and succeed in the digital world. It argues that museums should not view digital strategies as separate, but should have an overall strategy that incorporates how modern audiences experience culture. A museum's mission statement, policies, staff, services, business model, communications, facilities, and culture all need to support this overall strategy and be relevant to how people engage with information today. By focusing on serving today's digital, mobile, and socially connected consumers and making the most of opportunities in the digital space, museums can remain great cultural institutions for current and future audiences.
Beyond the Digital Guide: cultural objects, gallery spaces and mobile devicesrdp5
This presentation reports upon the findings of a one-day workshop hosted by CRASSH (University of Leicester) 28 November 2013, chaired by Dr Ross Parry and Alex Moseley from the University of Leicester.
12 experts in experience, museum, mobile and digital design were set the task of identifying how the gallery environment and the proximity of museum collections to the visitor affect the design of in-gallery mobile media applications.
Framing its conclusions with the concept of the 'Postdigital Museum', the group concluded that:
Designing with mobile proximate to thecollection means:
- scale becomes meaningful
- opportunities for embodied experience emerge
- touch is possible
- physical collaboration and interaction between visitors becomes possible
When designing with mobile, being in-gallery means:
- more control over staging and framing
- acknowledging the visitor’s commitment to a visit event.
More generally, mobile design in the postdigital museum
means:
- creative blends and augmentations of digital and physical;
- and a different physical relationship with (and new metaphors for) mobile devices
from march 29th to april 1st
slott gallery will be at grand palais during the art paris art fair in the “limited series” section, art paris art fair’s platform to showcase contemporary european design!
du 29 mars au 1er avril 2012
la Galerie Slott sera présente à « Séries Limitées », la nouvelle plateforme dédiée au design contemporain européen, lors de la prochaine édition de Art Paris au Grand Palais du 29 mars au 1er avril 2012 !
> artparis.fr
> http://www.exquisedesign.com
02 - Erichir l'experience du Musee par le biais d'interactions nouvelles, Mat...Nicolas Guyon
Comment placer la technologie au service de la collection d’un musée en apportant une dimension sensorielle assistant la didactique ? Pour cela, je veux inviter le public à interagir dans les musées mais différemment, plus seulement avec un écran mais avec l’espace. Dans un lieu où toucher est trop souvent interdit comment peut-on s’imprégner d’une œuvre et la replacer dans son contexte d’origine ? Vivre une nouvelle expérience qui va nous faire entretenir un nouveau rapport avec l’art et/ou les objets exposés. Et si nous pouvions voir sans regarder ? Dans une société où plus de 80% des informations quotidiennes sont visuelles, comment sensibiliser le public aux autres sens que la vue ?
01 - Erichir l'experience du Musee par le biais d'interactions nouvelles, Rec...Nicolas Guyon
Comment placer la technologie au service de la collection d’un musée en apportant une dimension sensorielle assistant la didactique ? Pour cela, je veux inviter le public à interagir dans les musées mais différemment, plus seulement avec un écran mais avec l’espace. Dans un lieu où toucher est trop souvent interdit comment peut-on s’imprégner d’une œuvre et la replacer dans son contexte d’origine ? Vivre une nouvelle expérience qui va nous faire entretenir un nouveau rapport avec l’art et/ou les objets exposés. Et si nous pouvions voir sans regarder ? Dans une société où plus de 80% des informations quotidiennes sont visuelles, comment sensibiliser le public aux autres sens que la vue ?
présentation pour la journée Rencontre web2.0<>musées #webmus
Réflexions sur la comptabilité entre l'esprit du web 2.0 et les institutions culturelles
The document discusses how museums can survive and succeed in the digital world. It argues that museums should not view digital strategies as separate, but should have an overall strategy that incorporates how modern audiences experience culture. A museum's mission statement, policies, staff, services, business model, communications, facilities, and culture all need to support this overall strategy and be relevant to how people engage with information today. By focusing on serving today's digital, mobile, and socially connected consumers and making the most of opportunities in the digital space, museums can remain great cultural institutions for current and future audiences.
Beyond the Digital Guide: cultural objects, gallery spaces and mobile devicesrdp5
This presentation reports upon the findings of a one-day workshop hosted by CRASSH (University of Leicester) 28 November 2013, chaired by Dr Ross Parry and Alex Moseley from the University of Leicester.
12 experts in experience, museum, mobile and digital design were set the task of identifying how the gallery environment and the proximity of museum collections to the visitor affect the design of in-gallery mobile media applications.
Framing its conclusions with the concept of the 'Postdigital Museum', the group concluded that:
Designing with mobile proximate to thecollection means:
- scale becomes meaningful
- opportunities for embodied experience emerge
- touch is possible
- physical collaboration and interaction between visitors becomes possible
When designing with mobile, being in-gallery means:
- more control over staging and framing
- acknowledging the visitor’s commitment to a visit event.
More generally, mobile design in the postdigital museum
means:
- creative blends and augmentations of digital and physical;
- and a different physical relationship with (and new metaphors for) mobile devices
Update and forward plan for ENUMERATE - Digitisation intelligence for EuropeNicholas Poole
The document summarizes an ENUMERATE workshop discussing the purpose and findings of the ENUMERATE Thematic Network. Some key findings from the ENUMERATE surveys included a disparity between digitization strategies and action among cultural heritage institutions in Europe, with around 20% of collections digitized so far. The network achieved its objectives of building a community of practice, developing a valid survey methodology, conducting coordinated surveys, and creating an open data platform for digitization intelligence. Going forward, the network aims to sustain its efforts by embedding the methodology in ongoing national and European data gathering initiatives.
Museomix - 2015 Canadian Museum Association ConferenceAna-Laura Baz
What is Museomix? Why museums should host one? And how can you organize a Museomix?
This presentation was done at the 2015 Canadian Museum Association conference, Banff (Alberta) by Ana-Laura Baz, digital project manager at Musée de la civilisation (Québec).
CT/ACE Collections Management Traineeship ProgrammeNicholas Poole
An introduction to the joint Arts Council England/Collections Trust Collections Management Traineeship Programme for employers and prospective candidates.
Collections Trust Skills Seminar - 'Going Digital'Nicholas Poole
This document summarizes a presentation about digital strategies for museums. It discusses where digital initiatives fit within a museum's overall structure and mission, benchmarking digital progress, sharing collections online, planning for sustainability, and funding digital projects. The presentation emphasizes starting small with quick wins, using standards, and embracing participation and engagement. It provides resources for online collections, analytics, funding sources, and professional networks to support museums' digital work.
"Les jeux de l’Agora; les enjeux du musée du 21ème siècle", intervention au séminaire, Muséologie, muséographie et nouvelles formes d’adresse au public 2008/2009, à IRI / Centre Pompidou, à Paris, 11 février 2009, par Nancy Proctor, Smithsonian American Art Museum ProctorN@si.edu http://MuseumMobile.info
The Collections Trust is piloting a new concept called 'Investors in Collections'. Designed to be compatible with the UK Museum Accreditation Scheme and the American Alliance of Museums 'Continuum of Excellence', Investors in Collections provides a way for museums to demonstrate their commitment to achieving excellence in their Collections Management.
The way forward for Englands Public LibrariesNicholas Poole
Short Slideshare highlighting the four challenges facing Central and Local Government in developing a thriving library sector and how they can be solved
Intervention donnée devant le Master d'ingénierie culturelle & communication à l'Université Versailles Saint Quentin par Flore R.
Présentation en compagnie de Nicolas Loubet (@NicolasLoubet) et Marion Sabourdt (@fuzyraptor).
The document discusses the role and responsibilities of museums. It presents different perspectives on whether the primary duty is to collect and preserve objects, create welcoming experiences, tell stories and connect objects, or provide an authoritative record. It argues that museums should weave stories and objects together to help people understand the world. The focus should be on making connections between collections to help people like Tomasz learn and ensuring he has access to the important cultural resources museums preserve.
On A New Threshold: Experiments In Gaming, Retail And Performance Design To S...rdp5
Dr Ross PARRY (Senior Lecturer, School of Museum Studies, University of Leicester, UK)
Dr Ruth PAGE (Reader, School of English, University of Leicester, UK)
Alex MOSELEY (Educational Designer, Course Design & Development Team, University of Leicester, UK)
Dr Erik KRISTIANSEN (Assistant Professor in Performance Design & DREAM, Department of Communication, Business and Information Technologies, Roskilde University, Denmark)
Even as museums continue to push content out to the network and support experiences at a distance, the threshold to the physical museum endures as a highly visible and symbolic space, where trust and expectations are built, protocols established and affordances noticed. But, today, are these threshold spaces still fit for purpose? Is the use of media within these spaces appropriate for modern modes of visiting? Are the informational metaphors (such as the architectural plan) sensitive to today’s media literacies? Does visitor connectivity suggest new types of encounter? And does visitors’ experience of playing, buying, discovering and learning in other parts of their lives point to alternative means of scaffolding the museum threshold event? Drawing upon the work of two connected research projects (in the UK and Denmark) this paper shows how museum threshold media might be influenced usefully by other sectors that (arguably) have more evolved concepts and practices around ‘threshold’, ‘orientation’ and ‘initiation’ – specifically retail, gaming and performance. The paper will also explain how three experimental media interventions (using these new conceptual lenses) were tested within three real museum contexts – the Petrie Museum of Egyptian Archaeology (London), New Walk Museum and Art Gallery (Leicester) and Chatsworth House (Bakewell, Derbyshire). Finally, the paper concludes by rethinking the idea of museum ‘threshold’ (defined, instead, by intention and action rather than physical parameters, perhaps more by time rather than space), and ends by reflecting upon the influence that the web is having on the conceptualisation, strategic use and design of our physical museum entrances.
This document outlines a social media strategy for the Bangkok Planetarium to increase visitors. It recommends engaging target audiences like students and families through Facebook campaigns, ads, videos and blog posts on science-related topics. Check-in rewards and partner promotions are suggested to drive location-based marketing. Goals include boosting website traffic 10% in 2 months and reaching 20,000 monthly visitors within a year through relationship building across online channels.
The document outlines the methodology used in a master's thesis on museum franchising. It involved a literature review from management, marketing, and arts management disciplines. Three case studies were analyzed: the Guggenheim, Louvre, and CaixaForum franchising models. A theoretical framework and best practices for museum franchising were developed based on the literature review and case studies. The framework identified key elements of franchising models like trademarks, products, know-how, and assistance. It also outlined considerations for when franchising may be suitable and a 5-step process for implementation. 40 best practices were identified related to general management, marketing, branding, and experience branding recommendations.
The document discusses the potential uses of QR codes in museums and education. It provides examples of how QR codes are currently being used, such as linking to websites, sending SMS messages, and adding supplemental content. It also describes a workshop where participants discussed whether QR codes will be a lasting technology ("fab") or a short-lived fad for museums. Participants engaged in activities to explore using and creating QR codes and voted on their predicted longevity and priority for the technology in cultural institutions.
Le challenge des nouveaux médias dans nos stratégies de marketing muséalDRUBAY Diane
Le challenge des nouveaux médias dans nos stratégies de marketing muséal.
Présentation à l'ESCP le 22 février 2010.
Les élèves souhaitaient en savoir plus sur le métier de consultante en communication muséale en ligne...
Improving modern art articles on wikipedia, a partnership between Wikimédia F...Sylvain Machefert
Présentation à la pré-conférence IFLA sur les bibliothèques de musées d'un partenariat mené entre Wikimédia France et le centre Pompidou pour améliorer les articles d'art moderne sur Wikipédia.
Update and forward plan for ENUMERATE - Digitisation intelligence for EuropeNicholas Poole
The document summarizes an ENUMERATE workshop discussing the purpose and findings of the ENUMERATE Thematic Network. Some key findings from the ENUMERATE surveys included a disparity between digitization strategies and action among cultural heritage institutions in Europe, with around 20% of collections digitized so far. The network achieved its objectives of building a community of practice, developing a valid survey methodology, conducting coordinated surveys, and creating an open data platform for digitization intelligence. Going forward, the network aims to sustain its efforts by embedding the methodology in ongoing national and European data gathering initiatives.
Museomix - 2015 Canadian Museum Association ConferenceAna-Laura Baz
What is Museomix? Why museums should host one? And how can you organize a Museomix?
This presentation was done at the 2015 Canadian Museum Association conference, Banff (Alberta) by Ana-Laura Baz, digital project manager at Musée de la civilisation (Québec).
CT/ACE Collections Management Traineeship ProgrammeNicholas Poole
An introduction to the joint Arts Council England/Collections Trust Collections Management Traineeship Programme for employers and prospective candidates.
Collections Trust Skills Seminar - 'Going Digital'Nicholas Poole
This document summarizes a presentation about digital strategies for museums. It discusses where digital initiatives fit within a museum's overall structure and mission, benchmarking digital progress, sharing collections online, planning for sustainability, and funding digital projects. The presentation emphasizes starting small with quick wins, using standards, and embracing participation and engagement. It provides resources for online collections, analytics, funding sources, and professional networks to support museums' digital work.
"Les jeux de l’Agora; les enjeux du musée du 21ème siècle", intervention au séminaire, Muséologie, muséographie et nouvelles formes d’adresse au public 2008/2009, à IRI / Centre Pompidou, à Paris, 11 février 2009, par Nancy Proctor, Smithsonian American Art Museum ProctorN@si.edu http://MuseumMobile.info
The Collections Trust is piloting a new concept called 'Investors in Collections'. Designed to be compatible with the UK Museum Accreditation Scheme and the American Alliance of Museums 'Continuum of Excellence', Investors in Collections provides a way for museums to demonstrate their commitment to achieving excellence in their Collections Management.
The way forward for Englands Public LibrariesNicholas Poole
Short Slideshare highlighting the four challenges facing Central and Local Government in developing a thriving library sector and how they can be solved
Intervention donnée devant le Master d'ingénierie culturelle & communication à l'Université Versailles Saint Quentin par Flore R.
Présentation en compagnie de Nicolas Loubet (@NicolasLoubet) et Marion Sabourdt (@fuzyraptor).
The document discusses the role and responsibilities of museums. It presents different perspectives on whether the primary duty is to collect and preserve objects, create welcoming experiences, tell stories and connect objects, or provide an authoritative record. It argues that museums should weave stories and objects together to help people understand the world. The focus should be on making connections between collections to help people like Tomasz learn and ensuring he has access to the important cultural resources museums preserve.
On A New Threshold: Experiments In Gaming, Retail And Performance Design To S...rdp5
Dr Ross PARRY (Senior Lecturer, School of Museum Studies, University of Leicester, UK)
Dr Ruth PAGE (Reader, School of English, University of Leicester, UK)
Alex MOSELEY (Educational Designer, Course Design & Development Team, University of Leicester, UK)
Dr Erik KRISTIANSEN (Assistant Professor in Performance Design & DREAM, Department of Communication, Business and Information Technologies, Roskilde University, Denmark)
Even as museums continue to push content out to the network and support experiences at a distance, the threshold to the physical museum endures as a highly visible and symbolic space, where trust and expectations are built, protocols established and affordances noticed. But, today, are these threshold spaces still fit for purpose? Is the use of media within these spaces appropriate for modern modes of visiting? Are the informational metaphors (such as the architectural plan) sensitive to today’s media literacies? Does visitor connectivity suggest new types of encounter? And does visitors’ experience of playing, buying, discovering and learning in other parts of their lives point to alternative means of scaffolding the museum threshold event? Drawing upon the work of two connected research projects (in the UK and Denmark) this paper shows how museum threshold media might be influenced usefully by other sectors that (arguably) have more evolved concepts and practices around ‘threshold’, ‘orientation’ and ‘initiation’ – specifically retail, gaming and performance. The paper will also explain how three experimental media interventions (using these new conceptual lenses) were tested within three real museum contexts – the Petrie Museum of Egyptian Archaeology (London), New Walk Museum and Art Gallery (Leicester) and Chatsworth House (Bakewell, Derbyshire). Finally, the paper concludes by rethinking the idea of museum ‘threshold’ (defined, instead, by intention and action rather than physical parameters, perhaps more by time rather than space), and ends by reflecting upon the influence that the web is having on the conceptualisation, strategic use and design of our physical museum entrances.
This document outlines a social media strategy for the Bangkok Planetarium to increase visitors. It recommends engaging target audiences like students and families through Facebook campaigns, ads, videos and blog posts on science-related topics. Check-in rewards and partner promotions are suggested to drive location-based marketing. Goals include boosting website traffic 10% in 2 months and reaching 20,000 monthly visitors within a year through relationship building across online channels.
The document outlines the methodology used in a master's thesis on museum franchising. It involved a literature review from management, marketing, and arts management disciplines. Three case studies were analyzed: the Guggenheim, Louvre, and CaixaForum franchising models. A theoretical framework and best practices for museum franchising were developed based on the literature review and case studies. The framework identified key elements of franchising models like trademarks, products, know-how, and assistance. It also outlined considerations for when franchising may be suitable and a 5-step process for implementation. 40 best practices were identified related to general management, marketing, branding, and experience branding recommendations.
The document discusses the potential uses of QR codes in museums and education. It provides examples of how QR codes are currently being used, such as linking to websites, sending SMS messages, and adding supplemental content. It also describes a workshop where participants discussed whether QR codes will be a lasting technology ("fab") or a short-lived fad for museums. Participants engaged in activities to explore using and creating QR codes and voted on their predicted longevity and priority for the technology in cultural institutions.
Le challenge des nouveaux médias dans nos stratégies de marketing muséalDRUBAY Diane
Le challenge des nouveaux médias dans nos stratégies de marketing muséal.
Présentation à l'ESCP le 22 février 2010.
Les élèves souhaitaient en savoir plus sur le métier de consultante en communication muséale en ligne...
Improving modern art articles on wikipedia, a partnership between Wikimédia F...Sylvain Machefert
Présentation à la pré-conférence IFLA sur les bibliothèques de musées d'un partenariat mené entre Wikimédia France et le centre Pompidou pour améliorer les articles d'art moderne sur Wikipédia.
Lettre Veralbane n°29 - Janvier 2015. Sujets abordés : Musée National Picasso - Paris / Musée Mohammed VI
d'Art Moderne et Contemporain - Rabat - Maroc / Nos récentes réalisations : Arc de Triomphe
Exposition Antoine Schneck ”Soldats Inconnus” Commissariat Musée de l’Armée
Pilotage et réalisation CMN
Eclairage réalisé par Veralbane
Remix ta culture - Semaine culturelles des générations à La Salle - 2018Annie Chénier
REMIX ta culture, développé par cpour.ca et Living Lab en innovation ouverte (LLio), propose un jeu ludique et novateur permettant aux participants de se familiariser avec le langage de la culture numérique et de vivre une première expérience de cocréation.
3. Sommaire
Partie I : Ma problématique Partie IV : Les interfaces tangibles
p06 p38
p10 p40
p12 p42
p44
Partie II : Le Musée
Partie V : Les tendances
p16
p18 p48
p20 p50
p22 p52
p54
Partie III : La visite au sein du Musée
Partie VI : Le projet
p26
p28 p58
p30 p60
p32 p62
03
21. Cadre supérieur 62
Diplômé du supérieur 57
Plus de 3100 euros/mois 54
Ensemble de la population 33
900 à 1500 euros/mois 24
Ouvrier 18
Non-diplômé 14
% d’individus qui se sont rendus au Musée dans l’année
Source : CREDOC, «Conditions de vie et Aspirations des Français», 2005
21
27. 86%
Le pourcentage de visiteurs qui se sont rendus au Musée accompagnés
Source : CREDOC, «Fréquentation et image des Musées au début 2005», 2005
27
54. Décomposition et compréhension du son et du toucher
Pitch
Surprenant/Banal Qualité Vitesse
Parlé/Non parlé
Base Durée/Répétition
Amplitude
Familier/Inconnu Agréable/Désagréable
Naturel/Synthétique Typologie Résonance
Composition Spatialité Position
Mouvement/Déplacement
Propagation/Forme
Environnement
Mélodie
Image Musicalité
Son
Harmonie
Rythme
Emotion Métaphore
Compréhension
Information
Qui
Action
Construction Pourquoi
Objet Comment Où
Création
Spatialisation
Interactivité
Dynamique/Figée
54
55. Surprenant/Banal Texture
Qualité
Agréable/Désagréable
Travaillé/Non travaillé Base Densité
Dureté
Familier/Inconnu Rugueux/Lisse
Elasticité
Naturel/Synthétique Typologie
Composition Spatialité Poids
Chaleur
Environnement
Harmonie
Surface
Image Musicalité
Toucher
Sonorité
Résonance
Emotion Métaphore
Compréhension
Usage
Qui
Objet
Construction Pourquoi
Comment Où
Création
Déformation
Interactivité
55
58. Pistes et réflexions
V Problèmes ?
On n’y voit rien.
Pourquoi ?
Laisser sa trace, son point de vue sur une
oeuvre.
Pourquoi ?
Une image vaut mille mots.
Comment ?
Comment ?
Problèmes ?
58
59. Poursuivre l’exposition aux frontières du
Musée.
Pourquoi ?
De l’espace intelligent qui se configure
et se reconfigure en fonction de chacun.
Pourquoi ?
Problème ?
Problèmes ?
59