Museums in the new mediascape: transmedia, participation, ethics
TL;DR: In this paper, a contemporary survey of new media in the museums sector is presented, and the question of the museum as media is addressed in the context of the Museum as Media as Media (MAM) paradigm.
Abstract: In Museums in the New Mediascape: Transmedia, Participation, Ethics, Jenny Kidd offers a contemporary survey of new media in the museums sector, and addresses the question of the ‘museum as media’ ...
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TL;DR: In this article, the authors present the design of guided tours that offer satisfying experiences at heritage sites, including cultural heritage museums and cultural heritage sites. But, they do not discuss the role of tourists in the design and management of these tours.
Abstract: Cultural heritage has become a primary means for attracting visitors to cities, and a source of revenue through the design of guided tours that offer satisfying experiences at heritage sites. The a...
27 citations
Cites background from "Museums in the new mediascape: tran..."
...This is also analysed in the context of museums and heritage buildings (Kidd, 2016), emphasizing the importance of participatory activities, discussion and social interaction during the guided tour....
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01 Oct 2015
TL;DR: In this article, the authors explore how museum online games encourage and activate affective encounters in players, and present two case studies wherein appeals to empathy can be scrutinized: Ngā Mōrehu - The Survivors from Te Papa Museum in Wellington, New Zealand, and Over The Top from the Canadian War Museum in Ottawa, Canada.
Abstract: This article explores how museum online games encourage and activate affective encounters in players. Video game theory has much to say about affect and empathy as ways into the narrative worlds constructed in games, and this literature is revisited here with respect to museums’ games in particular. The article questions the extent to which ‘gaming for affect’ is a defensible museological and curatorial strategy, and at what point it tips into simple ‘emotioneering’. It presents two case studies wherein appeals to empathy can be scrutinized: Ngā Mōrehu – The Survivors from Te Papa Museum in Wellington, New Zealand, and Over The Top from the Canadian War Museum in Ottawa, Canada. Both games encourage players to adopt a first person perspective within environments characterized by challenge and despair. Their choice as case studies here is deliberate and strategic; they represent two distinct approaches to game design and raise questions about the technical, educational, and curatorial parameters of gaming for affect. What kinds of narrative worlds should museums seek to construct? What kinds of experiences do visitors expect – and crave – within these encounters? Finally, what is the relationship between the games, users’ experiences of them, and the larger narratives museums construct across multiple sites and media?
25 citations
TL;DR: In recent years memory studies scholars have begun to focus on how silence is an integral part of processes of remembering as discussed by the authors, and they would expect museums to be at the heart of such processes.
Abstract: In recent years memory studies scholars have begun to focus on how silence is an integral part of processes of remembering. As places of memory we would expect museums to be at the heart of such de...
24 citations
TL;DR: The authors examines public discourse that visitors produce as part of their visit to a heritage museum, in the form of texts written on notes in response to the museum's questions, and theorizes visitors' inscriptional activities in terms of current views of participation and the public sphere.
Abstract: This article examines public discourse that visitors produce as part of their visit to a heritage museum. With the turn to the “new museum” of the 21st century, with its extensive reliance on new media, mediation, and an interactive-participatory agenda, museums are community generators that invite and display public participation. The article inquires ethnographically into the settings offered by a new and large Jewish heritage museum in Philadelphia, for the pursuit of “ordinary” people's participatory discursive practices. The article then asks how visitors actually pursue their participation discursively, in the form of texts written on notes in response to the museum's questions. Finally, visitors' inscriptional activities are theorized in terms of current views of participation and the public sphere.
22 citations
Cites background from "Museums in the new mediascape: tran..."
...Transitioning from study of participatory discourse “in the media” to mediating spaces and apparatuses in museums is productive because both institutions essentially rely on communication and mediation (for a communicative view of museums see Dicks, 2000; Hooper-Greenhill, 2000; Karp, 1992; Kidd, 2014; Pruulmann-Vengerfeldt & Runnel, 2011)....
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References
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TL;DR: In this article, the authors present the design of guided tours that offer satisfying experiences at heritage sites, including cultural heritage museums and cultural heritage sites. But, they do not discuss the role of tourists in the design and management of these tours.
Abstract: Cultural heritage has become a primary means for attracting visitors to cities, and a source of revenue through the design of guided tours that offer satisfying experiences at heritage sites. The a...
27 citations
01 Oct 2015
TL;DR: In this article, the authors explore how museum online games encourage and activate affective encounters in players, and present two case studies wherein appeals to empathy can be scrutinized: Ngā Mōrehu - The Survivors from Te Papa Museum in Wellington, New Zealand, and Over The Top from the Canadian War Museum in Ottawa, Canada.
Abstract: This article explores how museum online games encourage and activate affective encounters in players. Video game theory has much to say about affect and empathy as ways into the narrative worlds constructed in games, and this literature is revisited here with respect to museums’ games in particular. The article questions the extent to which ‘gaming for affect’ is a defensible museological and curatorial strategy, and at what point it tips into simple ‘emotioneering’. It presents two case studies wherein appeals to empathy can be scrutinized: Ngā Mōrehu – The Survivors from Te Papa Museum in Wellington, New Zealand, and Over The Top from the Canadian War Museum in Ottawa, Canada. Both games encourage players to adopt a first person perspective within environments characterized by challenge and despair. Their choice as case studies here is deliberate and strategic; they represent two distinct approaches to game design and raise questions about the technical, educational, and curatorial parameters of gaming for affect. What kinds of narrative worlds should museums seek to construct? What kinds of experiences do visitors expect – and crave – within these encounters? Finally, what is the relationship between the games, users’ experiences of them, and the larger narratives museums construct across multiple sites and media?
25 citations
TL;DR: In recent years memory studies scholars have begun to focus on how silence is an integral part of processes of remembering as discussed by the authors, and they would expect museums to be at the heart of such processes.
Abstract: In recent years memory studies scholars have begun to focus on how silence is an integral part of processes of remembering. As places of memory we would expect museums to be at the heart of such de...
24 citations
TL;DR: The authors examines public discourse that visitors produce as part of their visit to a heritage museum, in the form of texts written on notes in response to the museum's questions, and theorizes visitors' inscriptional activities in terms of current views of participation and the public sphere.
Abstract: This article examines public discourse that visitors produce as part of their visit to a heritage museum. With the turn to the “new museum” of the 21st century, with its extensive reliance on new media, mediation, and an interactive-participatory agenda, museums are community generators that invite and display public participation. The article inquires ethnographically into the settings offered by a new and large Jewish heritage museum in Philadelphia, for the pursuit of “ordinary” people's participatory discursive practices. The article then asks how visitors actually pursue their participation discursively, in the form of texts written on notes in response to the museum's questions. Finally, visitors' inscriptional activities are theorized in terms of current views of participation and the public sphere.
22 citations