scholarly journals Digitization of cultural heritage ViMuseo.fi project. Description of PhD project

1970 ◽  
pp. 125 ◽  
Author(s):  
Magdalena Laine-Zamojska

In this text I will present my doctoral research on the digitization of cultural heritage, which I am conducting at the Department of Art and Cultural Studies, University of Jyväskylä (Finland). The supervisors are Professor of Museology Janne Vilkuna (main supervisor) and Professor of Digital Culture Raine Koskimaa (second supervisor) from the Department of Art and Culture Studies, University of Jyväskylä. The research is scheduled to be conducted between 2008 and 2012. The goals of the research are (1) to investigate the possibilities for new media in presenting cultural heritage in small museums in Finland; (2) to analyze the cooperation between the researcher, graphic designers and programmers; and (3) to construct the tool to create multimedia presentations. The possible implementation of the research results is also discussed. 

Archivaria ◽  
2022 ◽  
pp. 6-47
Author(s):  
Colin Post

Artists have long engaged with digital and networked technologies in critical and creative ways to explore both new art forms and novel ways of disseminating artworks. Net-based artworks are often created with the intent to circulate outside traditional institutional spaces, and many are shared via artist-run platforms that involve curatorial practices distinct from those of museums or commercial galleries. This article focuses on a particular artist-run platform called Paper-Thin, characterizing the activities involved in managing the platform as digital curation in a polysemous sense – as both the curation of digital artworks and the stewardship of digital information in a complex technological ecosystem. While scholars and cultural heritage professionals have developed innovative preservation strategies for digital and new media artworks housed in institutional collections, the ongoing care of artworks shared through networked alternative spaces is largely carried out co-operatively by the artists and curators of these platforms. Drawing on Howard Becker’s sociological theory of art worlds as networks of co-operative actors, this article describes the patterns of co-operative work involved in creating, exhibiting, and then caring for Net-based art. The article outlines the importance, for cultural heritage professionals, of understanding the digital-curation practices of artists, as these artist-run networked platforms demonstrate emergent approaches to the stewardship of digital culture that move beyond a custodial paradigm.


1999 ◽  
Vol 15 (3) ◽  
pp. 196-205 ◽  
Author(s):  
Rosario Martínez-Arias ◽  
Fernando Silva ◽  
Ma Teresa Díaz-Hidalgo ◽  
Generós Ortet ◽  
Micaela Moro

Summary: This paper presents the results obtained in Spain with The Interpersonal Adjective Scales of J.S. Wiggins (1995) concerning the variables' structure. There are two Spanish versions of IAS, developed by two independent research groups who were not aware of each other's work. One of these versions was published as an assessment test in 1996. Results from the other group have remained unpublished to date. The set of results presented here compares three sources of data: the original American manual (from Wiggins and collaborators), the Spanish manual (already published), and the new IAS (our own research). Results can be considered satisfactory since, broadly speaking, the inner structure of the original instrument is well replicated in the Spanish version.


Author(s):  
Admink Admink

In the article, the author analyzes the modern model of the phenomenon of a monument of history and culture. The author notes that, as carriers of social information, monuments are considered the most popular phenomena that implement the «memory» function in them. If we pay attention to the equivalents of the word «memory» in other languages, then there is no need for further argumentation for this view. Taking into account that the expression “monument of history and culture” itself has a special paradigm of analysis, there is an initial need to analyze the concept of «memory». The author analyzing the correlation of the concept of «abide» with the concepts of «monument», «monument» reveals the general aspects of this phenomenon. The purpose of the article is to attribute the monument of history and culture to the category of cultural heritage. The initial goal of the science of the study of monuments, which began its formation in the late 80s of the last century in post-Soviet countries, especially in Moscow and Leningrad, was initiated by scientists P. Boyarsky, A. Kulemzin, A. Dyachkov, etc., namely the theoretical the study of the scientific essence of this phenomenon. The author noted that since the second half of the last century, historical and cultural monuments have become the object of research in many sciences, such as philosophy, sociology, history, the study of art and culture, pedagogy, philology, natural science, etc. Key words: abide, historical and cultural monument, cultural heritage, memory. Аналізується сучасна модель феномена пам’ятка історії і культури. Автор зазначає, що як носії соціальної інформації пам’ятки вважаються найбільш популярними явищами, які реалізують у них функцію «пам’яті». Якщо звернути увагу на еквіваленти слова «пам’ять» в інших мовах, то немає необхідності в подальшій аргументації для цього погляду. Беручи до уваги, що саме слово «пам’ятка історії і культури» має особливу парадигму аналізу, існує необхідність аналізу поняття «пам’яті». Автор аналізуючи співвідношення поняття «Абиде» з поняттями «пам’ятник», «монумент» виявляє загальні аспекти цього явище. Мета статті – відносити пам’ятку історії і культури до категорію культурної спадщини. Початкова мета науки про вивчення пам’яток почала своє становлення наприкінці 80-х роках минулого століття в пострадянських країнах, особливо в Москві та Ленінграді з ініціативи вчених П. Боярського, А. Кулезмін, А. Дьячков та ін.. Автор зауважив, що починаючи з другої половини минулого століття пам’ятки історії і культури стали об’єктом досліджень багатьох наук, зокрема таких як філософія, соціологія, історія мистецтва та культури, педагогіка, філологія, природознавство. Ключові слова: Абиде, пам’ятка історії та культури, культурна спадщина, пам’ять.


2014 ◽  
Vol 22 (2) ◽  
pp. 309-320
Author(s):  
Caroline Stockman ◽  
Fred Truyen

This paper aims to explore the nature of digital culture research, and the fitting methodology. Although it is still felt to be a novelty, it is not so different from the more general domain of Cultural Studies. The aim of research for both domains is meaning, or the challenge to understand the dynamics of the encoding and decoding process. Both domains endorse a wide variety of subjects, although typically the concrete methodology of Cultural Studies still remains restricted to qualitative approaches. The question of quantitative data and their analysis is highlighted in digital culture, and we should consider both its opportunities and limitations for the research at hand. In our reflection, Cultural Studies research emerges as a performative enterprise, and this is one of its unique distinctions as a research domain.


2021 ◽  
Vol 50 (2) ◽  
pp. 35-49
Author(s):  
Emma Duester

Abstract The ability to publish and provide access to cultural resources via free, open source digital platforms is empowering Vietnamese cultural professionals to promote their culture to local and international audiences. Digitization projects now include the use of 3D, VR, and AR digital technologies for the purpose of being published on digital platforms. This is creating an emergent digital culture in Vietnam, with an increasing amount of available resources online. Digitization projects are now used to preserve cultural heritage as well as to present and promote contemporary art and culture. This reflects a change in practices amongst cultural professionals in Hanoi, in terms of how digital technologies are used and the value placed on making cultural resources publicly accessible online. However, as new content, knowledge, and voices are able to participate in the online discourse on art and culture, the question remains as to whether this digital transition is creating greater equality and inclusion in the cultural sector or if it is exacerbating already existing forms of digital cultural colonialism. This paper presents findings from 50 interviews with cultural professionals working in the cultural sector in Hanoi about their digitization projects and digital work practices, the developments in digitization in Hanoi’s cultural sector over the past five years, how cultural professionals are utilizing the opportunities afforded by digital technologies for cultural preservation and promotion, as well as the challenges they face in carrying out digitization projects.


2014 ◽  
Vol 2 (1) ◽  
pp. 2-12 ◽  
Author(s):  
Sabina Misoch

This paper deals with the phenomenon of so-called (note) card stories on YouTube. Card stories can be described as self-disclosing videos or confessions, using a new frame for telling one’s own story audio-visually to the public by combining ‘old’ (hand-written messages) and ‘new’ media (video, computer mediated communication). In 2012/13, a qualitative and exploratory study with a sample of 25 card story videos on YouTube was conducted. The content and visual analysis revealed (1) that these videos are bound to a very specific frame of presentation, (2) that they deal with specific topics, and (3) that the presenter does not remain (visually) anonymous. These findings question previous research results that stressed a strong correlation between online self-disclosure and (visual) anonymity; further, the findings show that this special frame of textual confessions via video supports deep self-disclosures.


Linguaculture ◽  
2020 ◽  
Vol 11 (2) ◽  
pp. 13-26
Author(s):  
Adrian Poruciuc

The present article is based on the material of a keynote presentation that was delivered at the International Conference From Runes to the New Media and Digital Books, which took place at Alexandru Ioan Cuza University of Iaşi on 30-31 May, 2019. In order to make that material more coherent, the author of that presentation will add supplementary clues and comments, all meant to sustain the idea that the Old Germanic runes – although commonly considered to be just alphabetic signs – have peculiar features that resemble the ones of much earlier historical scripts, and even of prehistoric ones, such as the now much discussed Danube Script. The issues and illustrations of this paper may be of interest not only for linguistic and cultural studies, but also for the domain of European history.


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