Oben: Chantal Eschenfelder (Städel Museum, Frankfurt am Main) – The Playable Museum. Gamification und Kunstvermittlung im digitalen Raum
Mit dem Tagungsbeitrag The Playable Museum. Gamification und Kunstvermittlung im digitalen Raum stellen Frau Dr. Eschenfelder und ihr Team den neu entwickelten Prototyp des Games Städel Next Level (Arbeitstitel) vor, der in Zusammenarbeit mit der südkoreanischen Firma Nolgong entstanden ist. Präsentiert werden unterschiedliche Mechaniken der Gamification, das Usability-Konzept sowie das raffinierte und komplexe Storytelling-System, das sich während des Spielverlaufs dramaturgisch verdichtet und die Spielenden in eine fiktive Welt versetzt. Chancen und Risiken der Spielentwicklung im musealen Kontext werden anschließend anhand von einzelnen Fallbeispielen aus dem Entwicklungsprozess diskutiert, so wie auch das enorme Potenzial eines digitalen Games für die Kunstvermittlung. Die Ausgangslage, das Game-Setting, kommt uns vielleicht gar nicht so unbekannt vor: Die Welt ist bedroht durch Klimawandel, Kriege, gesellschaftliche Unruhen. Um zu verstehen, wie das alles kam und vor allem wie wir den Fortbestand der Welt retten können, müssen wir mehr wissen. Es geht darum, die Komplexität dieser Herausforderungen und Probleme zu entschlüsseln, indem wir so viel Wissen um die Welt wie möglich zusammenführen. Nur so lässt sich die Zukunft gestalten.
Und alles beginnt mit einem Blick in die Sterne. Die Konstellation von Sternen, Planeten, Mond und Sonne diente der Orientierung im Rhythmus des Monats und der Jahreszeiten. Es ist der Wunsch, die Welt mithilfe des Universums zu verstehen. Noch heute versprechen sich Physiker*innen von der Erforschung des Universums und seiner Schwarzen Löcher Auskunft über die Zukunft und die Gültigkeit unseres Geschichtsmodells.
Unser Universum im Game ist die Kunst. Dort steht uns dieses Weltwissen noch heute als eine globale Karte der kulturellen Menschheitsgeschichte zur Verfügung: In den Kunstwerken der Vergangenheit liegt der Schlüssel für die Zukunft.
Chantal Eschenfelder studierte Kunstgeschichte, Germanistik und Amerikanistik. Sie war als Projektmanagerin für Kultur und neue Medien im Europabüro der Stadt Köln und als wissenschaftliche Referentin für das Museum Ludwig, das Wallraf-Richartz Museum und das Museum für Angewandte Kunst beim Museumsdienst Köln beschäftigt. Heute leitet sie die Kunstvermittlung im Städel Museum und in der Liebieghaus Skulpturensammlung. Ein wichtiges Ziel ihrer Vermittlungsarbeit ist die Öffnung von Kulturinstitutionen in alle Bereiche der Gesellschaft. Aktuell beschäftigt sie sich mit der Übertragung von Strategien der Kunstvermittlung in den digitalen Raum. Für das Digitorial zur Monet Ausstellung gewann sie mit ihrem Team 2015 den Grimme Online Award. Darüber hinaus berät sie Institutionen im In- und Ausland in Fragen der kulturellen Bildung und der Digitalisierung.
Unten: Silke Hockmann; Christiane Lindner (Badisches Landesmuseum, Karlsruhe) – Creative Exhibitions. Partizipativ Ausstellungserlebnisse in Augmented Reality gestalten
Ausstellungen gestalten können nur Museumsexpertinnen? Von wegen! Die Kultur der Digitalität hat Nutzerinnen zu aktiven Creator*innen gemacht. Die fortschreitende Digitalisierung im Kulturbereich und die Anfertigung von 3D-Digitalisaten eröffnen neue Möglichkeiten der Auseinandersetzung mit Kunst und Kultur. Augmented Reality ermöglicht wiederum, über das bloße Betrachten von Objekten hinauszugehen und neue Interaktionsformen und Partizipation zuzulassen.
Ausgangspunkt des Projektes Creative Exhibitions des Badischen Landesmuseums war daher die Frage: Wie können wir allen Nutzerinnen digitale Museumsobjekte und Werkzeuge zur Verfügung stellen, um eigene Kreativproduktionen zu ermöglichen? Mit der Augmented-Reality-App Creative Exhibitions werden Nutzerinnen selbst zu aktiven Mitgestalterinnen. Sie können aus 3D-Objekten des Museums wählen oder eigene Inhalte hinzufügen, diese beliebig in ihrer Umgebung platzieren und mithilfe von Kreativtools neue Kunstwerke, Ausstellungen oder spielerische Touren entstehen lassen. Die Mixed-Reality Erlebnisse stehen dann vor Ort allen Besucherinnen für Interaktionen zur Verfügung. Sämtliche Werke sind georeferenziert und können für Co-Kreation geöffnet werden, um gegenwartsbezogene Erlebnisse in Korrespondenz mit Museumsexponaten zu erschaffen. Die App fungiert als Framework mit vielfältigen Einsatzmöglichkeiten, welches erst durch die Inhalte der Nutzer*innen lebendig wird.
Der Beitrag reflektiert die Genese des innovativen Projekts, dessen Herausforderungen und Möglichkeiten und beleuchtet den Charakter der ersten nutzer*innengenerierten Inhalte.
Creative Exhibitions wird umgesetzt im Rahmen von dive in. Programm für digitale Interaktion der Kulturstiftung des Bundes, gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien (BKM) im Programm NEUSTART KULTUR, und wird Anfang 2023 für iOS/Android-Geräte sowie unter Open-Source-Lizenz bei GitHub veröffentlicht.
Silke Hockmann leitet das Projekt Creative Exhibitions als Digital Catalyst und ist für die Entwicklung und die inhaltliche Steuerung der mobilen Augmented-Reality-Anwendung verantwortlich. Als Klassische Archäologin sammelte sie in Münster Museumserfahrung, bevor sie 2019 für ein wissenschaftliches Volontariat und die Entwicklung von digitalen und analogen Konzepten an das Badische Landesmuseum wechselte. Zuletzt war sie Use-Case-Managerin im Projekt Creative Museum.
Christiane Lindner ist Digital Catalyst am Badischen Landesmuseum. Als Projektleiterin ist sie für die Entwicklung und die inhaltliche Steuerung der digitalen Partizipationsplattform Creative Museum und der Augmented-Reality-App Creative Exhibitions verantwortlich. Nach Stationen in Wien, London, Amsterdam und Berlin kam sie 2020 ans Badische Landesmuseum und leitete die Umsetzung digitaler Partizipationstools im Projekt Creative Collections.
Unten: Abhinav Mishra (Northumbria University, Newcastle upon Tyne) – Experience Design Insights for Mixed Reality Museum Exhibits. Learnings from Professional Curators, Designers, Artists, and Researchers
Mixed Reality (MR) has not yet seen widespread adoption in museum spaces compared to other popular visitor-facing digital technologies. Previous research highlights MR’s potential to improve visitor engagement, but there is a lack of understanding of human-computer interaction (HCI) design-related challenges faced by museum professionals participating in the design and planning process of such experiences.
The study collects qualitative data in the form of semi-structured interviews from expert curators, designers, artists and researchers in the field and codes them through a grounded theory approach to reveal themes informed by spatiality, narrative, usability and more to characterise critical challenges concerning the design for HCI of on-site MR experiences in museums. At the same time, the study identifies experience design, process, device, and media-related considerations emerging in the practice. The insights include the importance of designing interactions that are grounded in the physical nature of the exhibition space to anchor the narrative and enhance immersion and engagement with visitors. These insights will help frame recommendations for designing effective MR experiences embedded within museum environments.
The proposed presentation will have three parts. The first part will introduce the background of the study and its methodology. The second part will introduce the challenges faced by the participants of the study. The third part will describe the experience design recommendations emerging from the study for on-site MR exhibits in museums.
Abhinav Mishra is a PhD researcher at Northumbria University at Newcastle, investigating the relationship between spatiality and interaction design for mixed reality experiences in museum settings. Educated as an architect and a new media designer, previously he worked as a user experience and interaction designer at Microsoft and Samsung.
Unten: Melanie Wilmink (Yonsei University, Seoul) – The Museum as a Video Game. The Phenomenology of the Virtual Audience
Walter Benjamin’s term “aura” famously describes the feeling of presence experienced by a beholder when standing in front of a unique work of art. For Benjamin, aura is a conceptual distance between the viewer and the thing, where each maintains their unique traces of history, leading to the sensation of shared time and space. As such, the object maintains its own authority, or power to gaze back. Benjamin explains that reproductive technology deteriorates aura by making infinite copies, and while he argues for the democratic potential in this, it is undoubtable that audiences often find the virtual museum experience lacking, which impacts attendance numbers and the quality of art educational experiences. Perhaps what they miss is co-presence—seeing and being seen.
This presentation will examine the phenomenology of viewing in online exhibitions that attempt to generate a sensation of digital presence. Virtual spaces such as Occupy White Walls, Mozilla Hubs, Minecraft and Fortnite create dynamic environments for the display of art, but they also engage sociality through the presence of synchronous avatars, voice and text chat tools, manipulation of the digital environments and objects, participatory actions, and even gamification such as collecting, sharing, and “grinding” for points. Levels of success often vary, but in these case-studies lie seeds for an experiential shift in virtual environments, whereby museums may be able to recreate the intangible pleasure and power of the museum-going experience by releasing the expectations of the physical world and embracing the unique materiality of the digital.
Melanie Wilmink is a Banting Postdoctoral Fellow at Yonsei University (Seoul, South Korea) where she investigates the art of the Korean smart-city. She holds a PhD in Visual Art & Art History from York University (Toronto, Canada), with honours such as the 2014 Elia Scholars Award and a 2015 SSHRC Doctoral Fellowship. Specializing in the spectatorial dynamics of media art environments and art as embodied knowledge-production, her ongoing research emerged through her independent curating practice. Past exhibitions include the Situated Cinema project (Pleasure Dome: 2015), Winter Warmer (Sidewalk Labs Toronto: 2019), and Re[new]All (Sensorium. Centre for Digital Arts & Technology: 2021). She is the co-editor of the anthologies Sculpting Cinema (Pleasure Dome: 2018) and Landscapes of Moving Image (Nevermore Press: 2021) with Solomon Nagler.
Unten: Synatra Smith (Philadelphia Museum of Art) – Sacred Geographic Superimpositions. Reimagining African American Public Art as Enshrined Spaces through Augmented Reality
Through photogrammetry, I have created three-dimensional models of public art by Black artists in Philadelphia organized into an interactive mapping visualization with augmented reality content. Since its inception, Sacred Geographic Superimpositions has expanded into a virtual collage of local public artworks, African sculptures and instruments from the Philadelphia Museum of Art and Temple University Libraries Charles L. Blockson Afro-American Collection, and spiritual and metaphysical items in order to transform each included outdoor sculpture and mural into altars adorned with the latter elements. This project is a spiritual scholarly endeavor to document and celebrate ephemeral Black public art in Philadelphia in a manner that transports them into the ancestral plane of the “transformative archive” to bring scholarly research and data curation out of the academy into a curated space grounded in storytelling and interpretation.
The primary impetus for this project was to bring together the development of specific digital humanities skills, namely photogrammetry, data visualization through mapping, and interactivity through augmented reality, to establish a workflow that could be utilized by small institutions with limited capacity and resources. Additionally, an underlying motivation revolves around sharing this methodology that uses a compination of free open-source and low-cost proprietary tools with a community of Black studies scholars so that it can be employed in other projects being developed by independent researchers and small institutions.
Dr. Synatra Smith is an Afrofuturist cultural preservationist focused on the ways in which Black cultural landscapes transform access to special collections and archives through a Black speculative methodology that utilizes extended reality (XR) and other digital humanities tools. Through her diligent work and commitment to professional excellence, Dr. Smith has been elevated to participate in several leadership opportunities within her institutions and beyond. She currently serves as the co-chair of the Advocates for Black Representation staff working group at the Philadelphia Museum of Art and she is the primary mentor for the LEADING Fellows program at Temple University Libraries hosted through Drexel University. She has also served as a mentor for the Robert F. Smith internship program at the National Museum of African American History and Culture, a co-editor of the Curated Futures Project. A Third Library Is Possible (futures.clir.org) through the Council on Library and Information Resources, and the secretary for the Association of African American Museums Emerging Museum Professionals committee. Outside of her postdoctoral fellowship, Dr. Smith has been consulting as a researcher for the Association of African American Museums to identify strategies for member institutions to use traveling, shared, and collaborative exhibitions to build capacity; the Association for the Study of African American Life and History to document 500 years of Black history in South Florida; the HBCU Library Alliance to explore the challenges and opportunities for member institutions to create access to their special collections and archives through digitization projects; and the Hyattsville Community Development Corporation to write a report contextualizing the historic use of racially restrictive deed covenants to uphold residential segregation in Hyttsville, Maryland. She recently joined the inaugural cohort of the Association of African America Museums-Howard University School of Business Advance Executive Leadership training program and is eager to continue to advocate for the interests of institutions and individuals committed to the preservation of African-derived cultures.
Unten: Mingshi Cui (University of Leicester) – The Potential of Metaverse in Liberating the Narrations of the Displaced Objects
Contextualized in the current trend where different cultural groups who found themselves been underrepresented in museums perceive the application of metaverse as providing them an ideal platform to regain voices in telling their own cultures and histories, this presentation will explore how the capacity and connectivity of digital space could unveil a fuller and richer story of the displaced objects by empowering various agencies to express their different interpretations of the objects’ meanings and values.
Based on an ongoing PhD research project, this presentation will first look at the limitation of the physical space in peeling through the multilayered representational meanings ascribed to the objects by individuals and cultural organizations. It will then explore the potential of metaverse in displaying the biography of the objects which will not only unfold the complexity in the objects’ stories, but also, and more importantly, connect multiple narrations contributed by both the source community and the host museum to deliver a more socially meaningful educational content to the public that allows them to trace the origins of various narrations and to form a deeper understanding of the ever changing international relationships that had resulted in changes in the objects’ physical locations and interpretations. This presentation will suggest that although the contents available in the metaverse are created and delivered in a digital, virtual space, they can actually feed into and propel a more socially meaningful discussion around the displaced objects and intercultural encounters in the physical world.
Mingshi (Michelle) Cui is a PhD candidate at the School of Museum Studies, University of Leicester. Her research project explores the potential of creating a digital representation of object biography for the displaced object that unveils its multi-layered interpretations and values. Her recently published works include The Role of Digital Platform in Enriching the Narration of the Displaced Object (in Mandarin), Digital Platforms as Facilitators of Dialogic Co-Creation of Displaced Object Biographies (co-authored with Dr. Giasemi Vavoula) and Intercultural Dialogues in Third Spaces. A Study of Learning Experiences of Museum Visitors (co-authored with Dr. Juana Du). She also took part in the online symposium Participation and Public Interpretations. How to Navigate Multiple Historical Narratives in Museums organized by Luxembourg Centre for Contemporary and Digital History (C²DH) in December 2021, and online conference Voices of the Future. The Future of Museum Making in China during ICOM 2021 Working Internationally Conference in March 2021 with three other students from the University of Leicester and UCL. Mingshi Cui is currently based in Leicester, UK.
Unten: Paul Clough (TPXimpact, United Kingdom; University of Sheffield) – Ingest, Enrich and Index. Building a Cross-Collection Search Service for Durham’s New Cultural Heritage Site
While world-renowned cultural heritage sites have been working to integrate and digitize collections for years, wider access to new tools and technologies are now making this a reality for organisations of any shape and size.
The Story at Mount Oswald is one such project – where, as part of a new multi-million-pound History Centre, Durham County Council is using digital technologies from Microsoft, including artificial intelligence (AI), to gather, enrich and combine multiple collections into a unified structure that can be accessed 24/7 through a search service.
This presentation provides an overview of the journey undertaken to develop cross-collection search within Durham’s collections and may provide a blueprint for successful digital transformation to others. It will focus on the technology used, the challenges faced, and the benefits digital technologies can bring to heritage, historians, and communities.
This discussion goes beyond technology, to show the social benefit of heritage in Durham going forward. The centre is a major part of Durham’s push for “City of Culture” recognition. Through the digitisation of its collection, there are new ways for the public to engage with, and add to, local history and a shared cultural identity. A cross-collection index is a realistic opportunity for any sized-organisation to digitise. By learning from this project, local authorities can make cultural heritage a pillar of their digital transformation plans in an achievable way, closing the digitisation gap and benefiting the public, the local cultural economy and institutions themselves for long into the future.
Paul Clough is Head of Data Science & AI at Peak Indicators and Professor of Search and Analytics within the Information School at the University of Sheffield. During his time in the Information School, as well as contributing to research and teaching activities, Paul has been head of the Information Retrieval Group, Director of Research, and coordinator of the MSc Data Science programme. With Peak, he has led innovative data and analytics projects helping local authorities and both public and private organisations create more value-add from their data. He’s a strong advocate for AI ethics, serving on the Ethics Advisory Group at MI Garage (supported by Digital Catapult), and writing on the responsible and ethical use of algorithms and data.
Unten: Thibault Usel; Nicola Carboni; Béatrice Joyeux-Prunel (University of Geneva) – Linked Open Data for Horizontal Integration of Exhibition Information
Digital methods can help analyse and visualise artistic circulation across the globe, making evident the impact of specific artworks and the evolution of visual trends. For such work, the many digitised exhibition records and museum repertories provide us with a large number of digital sources to examine art circulation at a global scale. However, the digital analysis of exhibitions suffers from the absence of a shared conceptualisation and a dispersion of information across different sources, described using diverse schemas and presenting very different informational content. This contribution proposes a solution for integrating such distribute information using the Linked Open Data framework.
The proposed model stems from the ontological mapping of Basart, a collaborative database of exhibition catalogues from the nineteenth century to the present day, developed under the aegis of The Artl@s Project. Its global and varying data has guided the development of a CIDOC-CRM model that represents exhibitions as historical activities and testify interactions of agents and objects in space and time.
The contribution will present the developed model and resulting data, demonstrating its ability to share and integrate exhibition information in order to study the multifaceted circulation of art. Its implementation will not only promote wider analysis of the exhibition data in global contexts, but also help foster a decentralised environment, where each institution can retain authority over its collection, sharing the data while escaping the angst of forced centralization and the resulting accommodation to external policies.
Thibault Usel has a Bachelor of Arts in the Study of Religions and a Master Arts in Indian Languages and Culture with a specialisation in Literary Translation, both from the University of Lausanne. He is now concluding a second Bachelor’s in Information Sciences at the Haute École de Gestion of Geneva. Currently, he is completing a stage at the Digital Humanities unit at the University of Geneva, where he worked on data management and data modelling.
Nicola Carboni is a Postdoctoral Fellow at the University of Geneva. Previously Research Fellow for the Swiss Art Research Infrastructure at the University of Zurich and Digital Humanities Fellowship at Villa I Tatti – Harvard University. He completed his PhD in Engineering, on the topic of Knowledge Representation and Visual Heritage, at the CNRS & NTUA where he was also previously appointed Marie Curie Fellow. His research focuses on the use of digital frameworks for the formalization and analysis of tangible and intangible characteristics of visual content.
Béatrice Joyeux-Prunel is a contemporary art historian. She is a Professor at the University of Geneva (Switzerland), Chair of Digital Humanities. She coordinates the Visual Contagions project at the University of Geneva, and the Jean-Monnet IMAGO European Centre of Excellence at the Ecole Normale Supérieure in Paris where she taught contemporary art history from 2006 to 2019. As a specialist in artistic and visual globalisation, her work as a historian combines computational methods with more traditional approaches (art history, social and political history). Béatrice Joyeux-Prunel has published a now classic trilogy on the globalisation of modern art and the avant-garde: Les avant-gardes artistiques. Une histoire transnationale (Gallimard, Folio histoire: 2016; 2018. Volume 1: 1848–1918; Volume 2: 1918 –1945), and Naissance de l‘art contemporain 1945–1970. Une histoire mondiale (CNRS Editions: 2021).
Unten: Béatrice Gauvain (University of Basel) – Digital Strategies for Cultural Heritage Institutions. Generating Visibility and Engagement
Due to the growing pressure of digitization and open access demands, cultural institutions increasingly face the need to extend their presence into digital space. This development was rapidly accelerated during the COVID-19 pandemic.
With the transition into the virtual realm, new and larger networks of information can be generated, which would not be possible within physical boundaries, bringing forth new opportunities for computer-aided mediation and research methodologies. This poses a major challenge, especially for small institutions, which often lack the financial resources and know-how to adopt sustainable digital strategies, particularly concerning data quality, long-term storage, and visibility.
In this contribution, I will present low-effort digital strategies, that can be applied by in-stitutions of any size. The goal is to showcase open source opportunities and applications, while also developing a cohesive institutional strategy, that can be adopted with little available resources. To sustain long-term interest and engagement, I highlight the trend toward democratization and community participation, and advocate for a postdigital view in which the digital is considered as intrinsic in all activities. As a result, regardless of the media employed, a consistent institutional image is created. These approaches improve data quality, enable interoperability, and increase visibility.
Béatrice Gauvain completed her Master’s in Art History and Image Theory at the University of Basel, specializing in the mediality of sacred objects. She collaborated on the exhibition project Das Basler Münster im Wandel at the Museum Kleines Klingental and further pursued her interest in curation when joining the Kunstmuseum Winterthur in 2019. Working closely with the curators, she became aware of the challenges of transitioning collections into the digital space. As PhD candidate and teaching assistant at the Digital Humanities Lab, she focuses on digital collections, in particular knowledge management and curation.
Unten: Jacob Franke (Staatliche Kunstsammlungen Dresden | Dresden State Art Collections) – Framing Future. Das Dresdner Damaskuszimmer in VR und in Zukunft
Die museale Leitfrage, die sich in Bezug auf das Digitale stellt, lautet: Was kann das Digitale dem Analogen hinzufügen? Im Falle des Dresdner Damaskuszimmers, das nach 25-jähriger Restaurierung seit Herbst 2022 im Japanischen Palais in Dresden ausgestellt wird, war diese Frage einfach zu beantworten. Die räumlichen Gegebenheiten ließen es aufgrund mangelnder Raumhöhe nicht zu, das Zimmer in seinem ursprünglichen Aufbau zu präsentieren, sondern erforderten, die Decke inklusive einer Seitenwand um neunzig Grad aufgeklappt und tiefer hängend neben den drei übrigen Wänden zu zeigen. Wir haben deshalb die eigentliche Konfiguration über eine VR-Brille zugänglich gemacht. So konnte eine wirksame Raumerfahrung des Zimmers ermöglicht werden, in dem man nun Platz nehmen und sich umsehen kann, und zugleich ein Grundstein für interaktive Nachnutzungsprojekte des nun einmal existierenden Digitalisats gelegt werden. Der Vortrag gibt Einblick in den Realisierungsprozess des Digitalisats: von der photogrammetrischen Erfassung über die Retypologie der einzelnen Elemente bis hin zur Implementierung via Unreal Engine.
Die Staatlichen Ethnografischen Sammlungen der SKD haben für sich die Losung eines „Museums in Bewegung“ ausgegeben. Der Vortrag plädiert dafür, diese auch in Bezug auf digitale Museumstechnik zum Leitgedanken zu nehmen. Denn allzu oft werden digitale Projekte als abzuschließende Vorgänge behandelt, die auf ein fertiges Endprodukt hinauslaufen. Angesichts sich ständig weiterentwickelnder Technologien bleiben damit dem Digitalen inhärente Potenziale unerschlossen. Die Leitfrage darf sich deshalb gerade nicht auf das beschränken, was das Digitale dem Analogen hinzufügt, sondern muss sich auch auf dasjenige richten, was es dem Analogen in Zukunft hinzufügen können wird.
Jacob Franke ist Digital Curator bei den Staatlichen Kunstsammlungen Dresden. Zuvor ist der studierte Medienwissenschaftler in verschiedenen Funktionen am Institut für Kunst- und Kulturwissenschaften, am Forschungszentrum Laboratorium Aufklärung und am Multimediazentrum an der Friedrich-Schiller-Universität Jena tätig gewesen, wo er bei der Professur für Filmwissenschaft an einer Dissertation arbeitet, die sich der Erschließung einer rezeptionsästhetischen Qualifizierung der Kategorie Film noir widmet. Bei den Staatlichen Kunstsammlungen Dresden ist er vor allem für das digitale Format voices zuständig und befasst sich überdies mit den musealen Nutzungsmöglichkeiten digitaler Medien, insbesondere 3D-Grafik.
Unten: Andrea Geipel (Deutsches Museum, München | Munich) – Vier Jahre VRlab am Deutschen Museum. Implikationen für die Einbindung virtueller Technologien in Museen
Nicht erst seit der COVID-19-Pandemie haben Digitalisierungsmethoden, Augmented (AR) und Virtual Reality (VR) Einzug in Kultureinrichtungen gehalten. Digitale Angebote erweitern das Museumserlebnis für Besuchende – zu Hause ebenso wie vor Ort. Die Einbindung virtueller Technologien stellt Museen aber auch vor neue Herausforderungen, die ich in meinem Vortrag anhand des VRlab am Deutschen Museum beleuchten möchte.
Das im Rahmen des Verbundprojekts museum4punkt0 entstandene VRlab wurde 2018 im Deutschen Museum eröffnet und ermöglichte Besuchenden, ausgewählte Objekte des Museums in virtuellen Welten zu erkunden. Das VRlab diente aber auch als Experimentierfläche, um verschiedene Betriebsformen, Vermittlungskonzepte und technische Entwicklungen direkt und interaktiv zu erproben. In den letzten vier Jahren haben wir Erfahrungen und Evaluationsergebnisse gesammelt. Neben den Erkenntnissen zum Betrieb zählen hierzu auch Implikationen für die Umsetzung von VR-/AR-Angeboten in kleineren Museen und mögliche Evaluationsmethoden. Seit Sommer 2022 hat das VRlab an einem neuen Ort unter dem neuen Namen Proxy wieder-eröffnet. Hier gehen wir neue Wege der Kooperation mit Partnerinnen aus Wirtschaft, Kunst und Forschung, um zu testen, wie neue digitale Vermittlungsangebote nachhaltig in die Museumsarbeit integriert werden können. Die zukünftige Auseinandersetzung mit verschiedensten digitalen Themenfeldern erfordert den engen Austausch zwischen den Institutionen sowie mit externen Partnerinnen. Hierfür testen wir Konzepte wie Digital Residencies, Digital-Wettbewerbe und einen Co-Working-Space auf der Fläche des Proxy.
Im Vortrag gebe ich einen Überblick über die Erfahrungen der letzten Jahre und die Ergebnisse unserer umfassenden Evaluation des VRlab, aus denen sich Implikationen für den Umgang mit neuen digitalen Angeboten für Museen ableiten lassen.
Dr. Andrea Geipel ist stellvertretende Leiterin der Abteilung Deutsches Museum Digital sowie Leiterin des Proxy (vormals VRlab) am Deutschen Museum. Seit 2018 beschäftigt sie sich zentral mit Themen des Digital Storytelling mit speziellem Fokus auf Extended-Reality- Angebote. Sie studierte Sportwissenschaften mit den Schwerpunkten Neuropsychologie und Motor-Control und schloss ihr Studium 2014 ab. Am Munich Center for Technology in Society (Technische Universität München) promovierte sie über den Einfluss von YouTubes Plattformpolitiken auf die Wissenschaftskommunikation. 2020 gründete sie gemeinsam mit Dr. Abhay Adhikari das Online-Kursprogramm „Meaning Making“. Im selben Jahr initiierte sie gemeinsam mit Anke von Heyl und Johannes Sauter den „DigaAMus Award“ für digitale Museumsangebote.
Unten: Markus Reindl (OÖ Landes-Kultur GmbH, Linz) – DFC Francisco Carolinum. Ein Museum im Metaverse
Zur praktischen Erforschung des Umgangs mit einem erst entstehenden Metaverse hat das Linzer Museum Francisco Carolinum bereits im Mai 2021 den permanenten Betrieb eines virtuellen Standorts, des „DFC Francisco Carolinum“, auf der Metaverse Plattform Voxels (vormals Cryptovoxels) aufgenommen. Das Programm des Online-Museums widmet sich genuin digitaler Kunst und zeigt eigens für den Standort entwickelte Ausstellungen. Ebenso wird die virtuelle Präsenz in Organisation und Präsentation als vollwertiger 16. Standort der OÖ Landes-Kultur GmbH geführt. Dadurch wird betont, dass es sich, im Gegensatz zu vor allem in der Frühphase der COVID-19-Pandemie weitverbreiteten digitalen Ersatzprogrammen, um eine ernsthafte und dauerhafte Erweiterung des Ausstellungsprogramms handelt. Digitaler Kunst wird somit ein eigener Standort gewidmet, der in der Präsentation auch ganz andere, sich ständig weiterentwickelnde Möglichkeiten bietet und dabei nicht erst Übersetzungen in einen physischen Raum suchen muss.
Das „DFC Francisco Carolinum“ hat seit seiner Eröffnung 15 Ausstellungen präsentiert und konnte dabei bisher fast 60.000 Besuche verzeichnen. Auf der Plattform Voxels gehört es dadurch seit dem Frühjahr 2022 durchgehend zu den täglich meistbesuchten Orten.
Zu den gezeigten Ausstellungen gehören neben Gruppenausstellungen, etwa einer Schau zu Poesie in der Blockchain mit dem US-amerikanischen Kollektiv theVERSEverse anlässlich des amerikanischen Monats der Poesie, zahlreiche Einzelausstellungen, darunter die vielbeachtete Schau des österreichischen Medienkunststars Peter Kogler.
Der Beitrag präsentiert Konzept und Programm des „DFC Francisco Carolinum“ und berichtet von den Herausforderungen und Erfahrungen eines ständigen Ausstellungsbetriebs im virtuellen Raum.
Markus Reindl ist Kurator für zeitgenössische Kunst in der OÖ Landes-Kultur GmbH in Linz, Schwerpunkt digitale Kunst, und verantwortlich für Medienkunstausstellungen an den physischen Standorten der OÖLKG sowie für das virtuelle Ausstellungsprogramm im „DFC Francisco Carolinum“, einem der ersten ständigen institutionellen Standorte im Metaverse. Er ist künstlerischer Leiter des „Stream“ Festival für Musik, Popkultur und Digitalisierung der Stadt Linz und Lehrbeauftragter an der Universität für angewandte Kunst Wien, Digitale Kunst.
Unten: Johannes von Hülsen (METRUM, München); Annabell Vacano (Cultatio, München) – Die Dichotomie des Metaverse. Dezentrale oder zentrale Gateways: Was braucht das Metaverse in Kunst und Kultur?
Executive Summary: Als Gründerin eines Metaverse-Start-ups und als Strategieberater im Bereich Digitalkultur möchten wir unsere Arbeitsperspektiven verbinden und mit Tagungsteilnehmer*innen das komplexe Verhältnis von Dezentralität/Zentralität in Zugang und Ausgestaltung des Metaverse für Kunst und Kultur näher ausleuchten.
Unsere These: Es wird zentrale Ansätze und Gateways für die Entwicklung des Metaverse brauchen – aber verstanden als scattered centralisation, insbesondere mit Blick auf die kommenden zehn Jahre. Unseren Ansatz einer scattered centralisation beziehen wir auf die kollektive Errichtung einer zentralen blockchainbasierten Infrastruktur, deren Grundstücke von Eigentümer*innen mit Zugang zur Code-Schnittstelle (partial open access) frei verwaltet werden. Scattered centralisation könnte so die Skalierungspotenziale zentralisierter Zusammenarbeit mit dezentralen Vorteilen wie Datenschutz, Demokratisierung, shared ownership oder gerechtigkeitsorientierten Designs verbinden. Das Metaverse von Cultatio ist ein Use-case, der dies exemplarisch für die Kulturindustrie abbildet.
Unser Ansatz: Landscaping ist ein strategischer Beratungsansatz, mittels dessen eine inhaltlich verschwommen wahrgenommene Landschaft definitorisch kartografiert wird. In unserem Vortrag wollen wir uns diesem Landscaping heuristisch nähern, schrittweise den Maßstab der Betrachtung vom Großen zum Feinen anpassen und behandeln, wie scattered centralisation wirken kann. Die Betrachtung einer Auswahl relevanter Parameter ist Ausgangspunkt – wahlweise kämen in Betracht:
› Datenschutz
› Interoperabilität
› technische Notwendigkeiten für Immersion (zum Beispiel hochauflösende Grafik)
› Zensur / Kontrolle
› Eigentumsverteilung
› Zugänge und Quellcode
› gerechtigkeitsorientiertes Design
› Non-Fungible Tokens: Grundlage neuer digitaler Arbeits- und Kooperationsweisen
› DAOs (Decentral Autonomous Organization): neue Formen kollektiver Zusammenarbeit
Anhand des Metaverse von Cultatio werden wir die These eines scattered centralized gateway aus der Perspektive verschiedener Parameter bewerten und mit Teilnehmer*innen reflektieren und diskutieren.
Dr. Johannes von Hülsen ist Partner bei METRUM Managementberatung GmbH in München. Er studierte Geschichts- und Rechtswissenschaften an den Universitäten Passau und München und absolvierte das Assessorexamen in München. Als Stipendiat der Studienstiftung des deutschen Volkes promovierte er an der University of Cape Town, Südafrika. Er erhielt ein Postgraduate Diploma in Strategy, Transformation und Leadership am Pembroke College der Universität Oxford. Weiters verfügt er über ein Certificate of Advanced Studies am Fachbereich Kulturmanagement der Universität Basel im Bereich Digitale Kulturen. Von Hülsen war zwanzig Jahre in der Finanzdienstleistungsbranche tätig zuletzt als Vorstandsvorsitzender eines internationalen Finanzdienstleisters. Nachfolgend wechselte er in die Beratungsbranche mit Schwerpunkt strategische Beratung von Kunst- und Kulturinstitutionen sowie digitaler Start-ups. Er ist Lehrbeauftragter an der Technischen Universität Berlin und Mitglied in verschiedenen Aufsichtsräten.
Annabell Vacano ist CEO von Cultatio in München. Sie absolvierte ein Pre College-Studium im Fach Violine am Mozarteum in Salzburg. Nachfolgend studierte sie Betriebswirtschaften an der Ludwig-Maximilians-Universität in München sowie am King’s College in London. Sie ist als freie Beraterin im Bereich Kulturberatung und Klassik-Public Relations tätig. Vacano gründete und leitet Metanoia Political Concerts e. V. sowie Cultatio – Metaverse for the Arts.
Unten: Natalia Grincheva (University of the Arts Singapore; University of Melbourne) – Designing Art Metaverse Portal. Converging, Creating, Experimenting with, and Minting Crypto Arts
The presentation will reflect on the experience of designing an experimental project on creation of the Art Metaverse Portal at LASALLE College of the Arts in Singapore. This Portal is conceptualised as an interdisciplinary mixed realities space for experimentation with different forms, types, and genres of arts in a virtual reality. Such a metaverse space aims to provide an educational platform for students from different Schools and Programs at LASALLE (from Fine Arts and Animation to Performance and Fashion) to experience and explore arts production and consumption in the virtual environments. The Portal also aims to offer a dedicated space to experiment with metaverse tools and technologies to create digital arts and to employ blockchain technology to mint NFT for sharing and circulating digital objects in the global media space.
The presentation will reflect on how the Portal is being designed as a meta-platform across three functional dimensions of the metaverse, understood in the project as: (1) an art space, (2) a marketplace and (3) an educational playground. The grand challenge of the metaverse as a multipurpose platform primarily links to the design of the metaverse ecosystem and its governance. The need to create a new metaverse art portal is a result of two observations. Firstly, existing multiverse platforms such as spatial.io are generalist virtual spaces not built for artistic creation or practice and containing their own limitations and biases (and control). The second reason not to use an off the shelf metaverse solutions is that their development is driven primarily by powerful, profit-oriented technological corporations. The global art community is currently raising concerns about the advantages and disadvantages of working with corporate giants and is advocating for (non-profit) alternatives. Addressing these concerns, the project aimed to build on open-source creative art applications solutions to design an experimental art creation environment that could ensure a pursuit of academic research, educational and artistic goals for the benefit of the new generation of artists and art managers.
Important research trajectories that require attention when embarking on an experimental journey of adopting metaverse for artistic, research and educational processes include the following:
› How to encourage and enable artistic creation of different forms, types, and medium of arts in the metaverse?
› How to protect, share, and preserve the metaverse artistic creations in a wider digital economy?
› How to use metaverse as an educational playground and what are the pedagogic implications?
My presentation will share how the reflexive praxis of designing the Art Metaverse Portal at LASALLE addressed these questions to conceptualize Metaverse as a meta design space, or as a network of digital technologies and people providing immersive, interconnected experiences.
Dr. Natalia Grincheva is a Program Leader BA (Hons) Arts Management at LASALLE College of the Arts and Honorary Senior Research Fellow at the University of Melbourne. Holder of several prestigious academic awards, including Fulbright (2007–2009), Quebec Fund (2011–2013), Australian Endeavour (2012–2013) and SOROS research grant (2013–2014), Dr Natalia Grincheva has developed her academic internationally recognized expertise in the field of digital cultural diplomacy, contemporary museology, and digital humanities. Her research focuses on the development of new computational methods to study museums and heritage sites as important players in the creative economy and soft power actors. Her publication profile includes over 40 research articles, book chapters and reports, published in prominent academic outlets. Her most recent publications are two monographs: Global Trends in Museum Diplomacy (Routledge: 2019) and Museum Diplomacy in the Digital Age (Routledge: 2020). Currently she is working on a new co-authored monograph, Geopolitics of Digital Heritage (Cambridge University Press: forthcoming 2023).
Das Belvedere Research Center setzt seine Tagungsreihe zur digitalen Transformation der Kunstmuseen mit der fünften Veranstaltung zum Thema fort. Während die Konferenz im Jahr 2022 binäre Konzepte wie analog/digital infrage stellte, setzt sich die Veranstaltung diesmal kritisch mit einem imaginierten Metaverse im kulturellen Feld auseinander. In vier Online-Themenblöcken und einem Workshop vor Ort thematisieren die jeweiligen Beiträge immersive Erfahrungen zwischen Virtualität und Realität, die Verlinkung von Kulturerbe-Daten, den Wertediskurs rund um das Metaverse und NFTs sowie die Selbstwahrnehmung und die soziale Rolle von Museen.
Unten: Begrüßung & Einführung von Stella Rollig, Christian Huemer und Anna-Marie Kroupova (Belvedere), Wien)
Unten: Johanna Drucker (University of California, Los Angeles) – The Virtual Muse(um). Authenticity, Immersion, and New Forms of Delusion
Current technologies support practices impractical and impossible a generation ago. These innovations suggest that older models in which an artifact’s value was linked to its uniqueness and its authenticity might become outmoded. For instance, if it is possible to make 3D printed replicas of the Parthenon friezes and return the originals to their homeland is that an act of deception? If an immersive experience allows the public to feel the weight of a royal crown, hold a scepter or sword in hand, be imprisoned in medieval Japanese armor does that trivialize the objects, undercut their symbolic or actual value? The creation of artificial environments combined with the new AI driven production of novel artworks (the use of GANS and other techniques) extends creative capacities to our machines and systems. The very concept of originality is no longer easy to define. Do these innovations require rethinking the terms on which the authenticity—of objects, provenance, materials, experience, and even perception—are defined? Will the power of immersive illusion increase to the point where these questions become irrelevant? Do these activities push the limits of illusion—or open a Pandora’s box of delusion? What is the role of museums as their activities shift from the presentation of cultural materials to the creation of experiences and situations? This talk explores the aesthetic, epistemic, and ethical issues that might be raised by these illusions—or delusions—within the museum world. It reaches no conclusions, merely sketches some grounds for discussion.
Johanna Drucker is the Breslauer Professor of Bibliographical Studies and Distinguished Professor in the Department of Information Studies at UCLA. She is internationally known for her work in the history of graphic design, typography, experimental poetry, fine art, and digital humanities. Her most recent publications include Information and Visualization (MIT Press: 2020), Iliazd. Meta-Biography of a Modernist (Johns Hopkins University Press: 2020), The Digital Humanities Coursebook (Routledge: 2021), and Inventing the Alphabet (University of Chicago Press: 2022). Her artist’s books and projects were the subject of a travelling retrospective, Druckworks. 40 Years of Books and Projects. She is a member of American Academy of Arts and Sciences and has received Fulbright, Getty, NEH, and Mellon Fellowships. In 2019 she was the inaugural Distinguished Senior Fellow at Yale University. Her work has been translated into Korean, Catalan, Chinese, Spanish, French, Hungarian, Swedish, Danish, and Portuguese.
Unten: Grischka Petri (FIZ Karlsruhe – Leibnitz Institute for Information Infrastructure; University of Tübingen) – Remonopolisation or Protection of Cultural Heritage? The Moral Capital of the “Institution in the Service of Society” Between Open Access, Protection of Cultural Heritage, and NFTs
According to the recent reformulation of the ICOM definition, the museum remains a “not-for-profit, permanent institution in the service of society.” What does this service to the digitised society look like when it comes to the circulation of digital reproductions of museum works in the public domain? The accessibility of collections is a task that is being tackled with a wide range of approaches. While some institutions try to implement the idea of Open Access consistently, other institutions still try to control the use of reproductions from their collections. In Italy and France (domaine public mobilier), they can refer to applicable laws and court rulings. One example that attracted greater attention in 2021 was when major museums in Italy and France intervened when a porn video platform reproduced and published prominent (public domain) paintings as short films. Museum morale seems to be more generously disposed when its own (autonomous) commercialisation is concerned: The Uffizi, for example, which intervened against Pornhub at the time, published NFTs of its collection highlights such as Michelangelo’s Doni Tondo. Numerous major museums have produced NFTs since 2020. These follow the premise of ”Make data unique again,“ reflecting an established principle of the art market built on the uniqueness of the artwork and ownership. Thus, within an economic logic, there is no break between the market and the museum, whereas from the point of view of the protection of cultural heritage, works in public collections should actually remain withdrawn from the market (keywords: de-accessioning, protection of cultural heritage). Digital doubles undermine these value allocations, which raises the question about the convertibility of the moral capital of museums, but also whether there are limits to this convertibility set by museum ethics. Is it a case of keeping and eating the cake of art? The interrelationship between the copyright public domain and the domaine public mobilier is to be negotiated. The paper will present examples of this tension, explain legal and ethical positions and offer perspectives for discussion.
Grischka Petri ist habilitierter Kunsthistoriker und promovierter Volljurist. Er ist Mitarbeiter im Bereich Immaterialgüterrechte am FIZ Karlsruhe (Leibniz-Institut für Informationsinfrastruktur) und dort für die Nationale Forschungsdateninfrastruktur (Legal Helpdesk der NFDI4Culture) tätig. Im Wintersemester 2022/23 vertritt er die Professur für Kunstgeschichte der Moderne und Gegenwart an der Universität Tübingen. Er hat zahlreiche Workshops und Seminare zu museums- und bildrechtlichen Themen veranstaltet und publiziert regelmäßig zum Thema.
Unten: Amalyah Keshet (Naomi Korn Associates, London) – What Museums May Have Learned from NFTs
The relatively brief arc of NFTs in the museum world has been significantly shorter than the arc of NFTs in the art market, which in turn has been shorter than the wider NFT scene for “collectables.” It was astonishing and colorful, but like fireworks, NFTs exploded and faded, leaving museums a bit shaken, a bit inspired, but mostly empty-handed – and a bit wiser.
Like many other early NFT enthusiasts, museums understood little about them beyond insistent promises of astronomical financial returns. Encouraged to dive into a high-risk crypto market hyping not only instant wealth but also “immutability” of records and automatic artists’ resale rights, not to mention the possibility of an institutional rescuing income stream from something as simple as selling a digital image of a collection item, museums could not afford to resist. Fiduciary ethics were drowned out by headlines, and potential donor pressure.
Following last summer’s crypto collapse (a 97 % drop in the market) things have quieted significantly, and some of those museums that rushed to do NFT deals with platforms who took most of the profits are reconsidering their involvement in the market. Despite the NFT crash, some museums are retaining interest in the digital art defined, for better or for worse, by that acronym, particularly if it attracts wealthy NFT collectors and donors whose wealth survived the crypto crash.
This presentation will sketch a brief picture of the museum NFT trajectory and describe some of the basic tripping points in the “NFT art” story, and contemplate what we need to know for going forward.
Amalyah Keshet has over 40 years’ museum experience, 30 of them working with copyright in museums and other cultural heritage institutions. Following a decade in curatorial work, she developed and led Image Resources & Copyright Management at the Israel Museum, Jerusalem. Amalyah served on the Board of Directors of the Museum Computer Network (MCN), founding and chairing its Intellectual Property Special Interest Group. She was active in the founding of Creative Commons Israel, and advocates for legislation on exceptions and limitations to copyright for museums, both in Israel and internationally. Amalyah is also active in the Europeana Copyright Community, ICOM, and the Israeli Museums Association Collection Managers Committee. She also serves on the Editorial Board of Visual Resources. Amalyah holds a BFA from Washington University, St. Louis, and a MA in art history from George Washington University, Washington D.C. Amalyah contributed the chapter on “Copyright in Museums” for the Research Handbook on Intellectual Property and Creative Industries (Edward Elgar Publishing UK: 2018). Currently Amalyah is a Senior Consultant with Naomi Korn Associates, London, contributing research and writing on copyright, NFTs and museums, conservation and artists’ rights, and other subjects of importance to cultural heritage institutions.
Unten: Frances Liddell (University of Manchester) – NFTs as a Social Practice. Exploring Tokenisation at National Museums Liverpool
As highlighted by scholars such as David Throsby (2010) and John Holden (2004), social value is a dimension of cultural value and a term that denotes the sense of belonging and connection a cultural institution can forge in its visitors and communities. In this respect, we can understand social value as a term that underpins a post-modern museological practice. But how might cultural institution ‘produce’ social value through their digital channels? And to what extent could non-fungible tokens (NFTs) support this process? The research explored in this presentation sought to answer these questions.
This paper presents the author’s PhD research with National Museums Liverpool, which was one of the first empirical studies done on NFTs in museum practice. Specifically, this presentation will present the findings of this research with an emphasis on social value. It will consider how blockchain technology can both support and challenge the production of social value in museum practice by revealing insight into interrelationship of value between the technology, the museum, and the participants.
Building on these findings, this presentation will reflect on where the sector might go from here with this emerging technology. It will seek to consider the relationship of NFTs to museological ideas that go beyond simply fundraising.
Frances Liddell is a lecturer, researcher, writer, and advisor working at the intersection of museums and web3 technologies. She completed her PhD in 2022 which explored the application of blockchains (specifically NFTs) at National Museums Liverpool. She is currently a lecturer at University of Manchester in Cultural Practices where she teaches Arts Management and Business Strategies for the Arts. She also works with Iconic Moments, a web3 platform dedicated to cultural institutions that aims to bridge web3 and the cultural sector. She has previously written for peer-review publications such as Museum & Society, and media such as Flash Art, Art Quarterly, Artnome, and Cultural Practices.
Mehr unter: www.belvedere.at
