How can museums use Facebook as a tool for engaging people in Cultural history, and is Facebook a good way to get in contact and interact with an audience that normally doesn’t go to museums?

Mirland, Lene & Prinds, Ole: Moesgaard Museum. Travelling words – an interactive installation!

Moesgård Museum’s exhibition Runes – from Graffiti to Gravestone combined play and interactive installations with the traditional presentation of original objects in showcases. This talk is mainly about one of the exhibition’s interactive installations, which served to show that languages constantly change and borrow words from other languages.

Houlberg, Mette: National Gallery of Denmark Making social narratives through digital tables

In 2009 The National Museum of Art in Copenhagen launched a large exhibition with the surrealist artist Wilhelm Freddie. To motivate participation and social interaction two digital tables were placed inside the exhibition presenting a selection of archive material, video clips and contextual information. Based on video recordings of the how the tables were used, this presentation critically reflects upon the deployment of digital tables in the exhibition space.

Skåtun, Torhild: Norsk Telemuseum. Friendship on web and mobile phone.

Educational program age 9-12: The pupils use mobile phones in order to publish their own texts and pictures on a large digital screen. The reflection will revolve around themes such as friendship, emotions and responsibility, harassment, closeness/nearness and distance.

Schwartz, Stephen: Soundtales. Sounds of Bornholm.

A prototype of a digital museum for Danish audio culture Underway: Scandinavia´s first virtual Museum for Audio Culture, with online workshop for user generated audio content, an archive of sound pictures, captured sonic moments, recordings of sounds – and an audio community. This Museum will be a social experiment, involving local communities in focusing on audio that defines their cultural identities.

Hein, Wils, Stedelijk Museum. AR(t) is everywhere.

A reality when using Augmented Reality. Is it changing the museum space itself the moment the collection can be presented outside the white cube? An in depth presentation on the innovative and surprising ARtours project at Stedelijk Museum Amsterdam. Focussing on engaging the audience into new user experiences using AR-technology and re-inventing storytelling.

The Smithsonian Institution – http://www.si.edu – with 137 million physical objects and a vast network of scholars and experts, is the world’s largest museum and research complex-but how must it change to survive in the digital age? Is a fresh veneer of Facebook pages and iPhone apps enough?
Or does the new logic of digital technology change the very nature of what our public institutions can and should accomplish?
Michael will talk about the Smithsonian’s Web and New Media Strategy – http://Smithsonian-webstrategy.wikispaces.com – and the Smithsonian Commons - http://www.si.edu/commons/about – , a new part of the Smithsonian’s digital presence dedicated to catalyzing learning, innovation and creativity through open access to Smithsonian resources, communities, and expertise. The commons concept and the strategy behind it reveal important ideas about reputation, risk, and the changing work of public institutions in the 21st century.

Press play to see Michael Edsons keynote from nodem 2010:

Nodem 2010: Michael Edson from Formidlingsnet on Vimeo.

Slides:

This paper reports research and design work focused on enhancing visitor experience of an open-air museum, Bunratty Folk Park (Ireland). We describe the research and design towards an interactive multi-device installation for Bunratty Folk Park, “Reminisce”, informed by a focus centred on visitors’ activities and their experience of place.

Stuedahl & Mørch: University of Oslo. Community Involvement and Social Networking in a Cultural Heritage Organization.

This paper reports ongoing analysis of collaborative knowledge building in the cultural heritage field. The focus is on how professionals and lay people negotiate labels for categorizing sea faring vessels. We describe how a wikiplatform provides new possibilities for local history community engagement, and how structuring and categorisation becomes an important part of writing
and building archive of local history.

(this workshop has a maximum of 25 participants)

Workshop 2. Triple Design: Competition, chance, simulation and vertigo – embedding game patterns in museum contexts, Gaming has a way of engaging.

This workshop deals with the use of games in museum education. Callois’ Man, Play and Games from 1961 introduced four typologies of play. Using these as a starting point, we explore the qualities of combining game mechanics and museum education and the possibilities herein of engaging audiences and extending the borders of the museum.

(this workshop has a maximum of 25 participants)

Workshop 3. Oncotype: Movements between appearance and disappearance.

The workshop takes as its starting point the space of the cinema. It is a clearly defined space perfectly designed for a specific experience – watching film.

This space represents a way of framing the content within the white screen. The same applies for the white cube of a modern museum. But what happens if these clearly defined spaces burst and form and content suddenly are set to debate between the audience and the content providers. The audience are not just spectators anymore, but selectors and creators of experiences, knowledge and content. In this workshop we would like to ask how far we can go losing the plot and losing the control of the audience?

(this workshop has a maximum of 30 participants)

Workshop 4. Nina Simon: Listening to Visitors.

Want to find out what visitors are really thinking? This workshop will focus on designing feedback mechanisms for visitors to share their comments, stories, and creative expression relative to your institution. We will experiment with techniques for writing better questions and designing more effective physical and online comment stations. You will leave with creative strategies that you can start using right away.

(this workshop has a maximum of 30 participants)

Pecha Kucha (20×20 talks)

Giersing, Sarah & Linde, Sofie, Copenhagen Museum: THE WALL

The Wall is a multi-touch multimedia installation, that brings the museum to where new users are: In the streets. Everybody passing by can explore and interact with the digitized collections, make comments and upload their own images – sharing their views and shaping the interpretation of the city’s past and present.

Laine-Zamojska, Magdalena, University of Jyväskylä: Virtual museum and small museums

How can we help small museums to be more active on the Web? ViMuseo is a tool designed for small museums to create online presentations, promote a better accessibility to cultural heritage and to communicate with their audiences. ViMuseo is a part of a wider research project.

Antila, Kimmo & Pietilä, Timo. Museum Centre Vapriikki /Zonear Industrial Tampere Mobile Tour

How can we present cultural heritage sites to the general public in an interesting way? This presentation discusses ways to bring indoor museum exhibition elements to an urban outdoor environment by employing the user’s personal smart phone as the tour guide.

Sanderhoff, Merete. The National Gallery, Denmark. Free digital image sharing – a pilot project between Danish art museums.

This pilot project is a collaboration between five Danish art museums that has uncovered challenges and perspectives in establishing a free exchange of digital high res images for non-commercial online use. The principles have been tested in a custom built database model inspired by image sharing systems such as Flickr.com.

Wang, Jacob. Odense City Museums. Mapping local history – showcasing the ABM-driven map-oriented website historiskatlas.dk

Odensekortfortalt.dk (2006) was a simple html-and-java based website, showing off interesting locations on historical maps in Odense. Fast forward, 2010, odensekortfortalt.dk morphed into historiskatlas.dk, presenting more than 4000 locations all across the Southern Region of Denmark. 52 archives, libraries and museums now collaboratively share their stories and heritage content online, pinned to one of the 25 interactive maps dating back to 1593.

Wiberg, Nils. Gagarin ltd., Iceland

In the explorative narrative of how an interactive table was researched, developed and designed, the story of the Skrimslaborð will be told. In creating an tangible interactive table for a museum about sea monsters Gagarin set out to design it in a new more malleable material, creating vulnerable use qualities.

Information is traditionally confined on paper or digitally on a screen. Although the miniaturization of computing devices now allows us to carry computers in our pockets, keeping us continually connected to the digital world of information, there is no link between these devices and our interactions with the physical world. I am interested in exploring various ways that can bring intangible, digital information out into the physical world around us. It is like painting the real world with dynamic pixels. Similarly, how we can leverage our knowledge about everyday objects and how we use these objects to interact with the digital space. It is about blending the digital world with the physical world and making the computing in true sense invisible.

Nodem 2010: Pranav Mistry from Formidlingsnet on Vimeo.

Ørstedholm, Marie & Skyggebjerg, Louise: Danish Museum of Science and Technology. Bringing alive early flying with 3D technology.

In an apparently traditional showcase a 3D story visualizing the history of flying suddenly appears as a dreamlike vision above the objects. Our project presentation focuses on the process of creating the installation from the first ambitious ideas to the result, which reflects technical and economic constraints of the project.

Nielsen, Ole Birch: Kulturhistorisk Museum Randers. Rethinking the City Museum.

The digital media brings new possibilities to involve visitors/guests before, during and after a visit at the museum. The presentation will focus on the borderline between the digital and the analog interaction in the museum space, and will relate to projects and exhibitions developed at Museum of Cultural History Randers.

Milekic, Slavko: University of the Arts, Philadelphia. Inside your head.

Dr Milekic will present his current research on using eye- and gaze-tracking in a museum context, as well as the potential use of web cam based gazetracking for museum Web sites. Dr Milekic holds a US patent for an original way of using gaze-tracking for interactions with visual displays.

Madsen, Jacob W. & Lynbech, H.: Danmarks Rockmuseum & Redia AudioFaktor – hands-on music.

AudioFaktor enables users to remix music on a touch screen. It can be used to play with and manipulate existing songs from the Danish popular music history, it can be used for creating new music, making beats etc. – and it requires no musical skills other than curiosity.

Bom, Mette, Heritage Agency of Denmark: 1001 stories about Denmark.

How do we engage users in the stories and places and how do they actually engage? A presentation focusing on user statistics and participation on www.1001fortællinger.dk. I’ll touch briefly on the idea of the website, how we organized content, how we trained experts in writing non-academic texts, how we launched and worked with PR, how we continuously try to engage museums, tourist agencies, and local municipalities in becoming contributing partners, and finally how we try to keep the momentum and keep getting new users, etc. – all in a dialogue with the participants.

Thylstrup, Nanna: University of Copenhagen: EUROPEANA.

Why does digitization of European cultural heritage play a major role in EU’s digital strategies? One of EU’s biggest cultural prestige projects is the Internet portal Europeana, one of the most interesting studies of the economic and political potential of cultural heritage in the digital sphere.
Bolin, Jonas, Swedish National Heritage Board: History on the go.
In early 2010 the Swedish National Heritage Board set out to make 3.5 million objects, items, documents and cultural heritage sites accessible to the general public on the go. What did we do, how did we do it, what where the obstetrical and what are our goals for the future?

James, Andrew: The Royal Commission on the Ancient & Historical Monuments of Scotland: Defending the Past. Cape Wrath. Inside/outside/virtual learning in Northern Scotland.

A remote Scottish community partnered with a national collection to explore the built environment. See how participants used web 2.0 strategies and free online tools to marry accurate survey data with personal interpretive material, and produce a holistic record of a heritage site, redefining boundaries between virtual and real, inside and outside, data-creator and end-user.

Nodem 2010: Fiona Cameron from Formidlingsnet on Vimeo.

Vuokko Harma, University of Sussex: Interaction and
Performativity in Digital Art Exhibitions.

Interactive art increases the levels of visitor participation in museums and galleries. This can create heightened experiences but also feelings of shyness and self-consciousness. This paper looks at the interaction and performativity
in digital art exhibitions.

Chiel Van den Akker, Free University of Amsterdam: Tradition
(re)visited: from place to presence.

Digital reproductions of our cultural heritage represent tradition. In our present day we first and foremost relate ourselves to tradition by representing it, whereas before we first and foremost related ourselves to tradition by
remembering it. Places of memory are exchanged for the presence of representation in a culture driven by information technology.