Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales

El I Congreso Internacional de Museos y Estrategias Digitales nace de la necesidad imperiosa de diseñar e integrar nuevas estrategias de comunicación entre nuestros museos e instituciones culturales, así como entre éstas y los públicos, en una emergencia que se ha agudizado tras la crisis generada por la COVID-19.

El congreso CIMED apira a convertirse en un espacio de intercambio y discusión a la vanguardia sobre las ventajas y dificultades de las tecnologías digitales en los museos. Por un lado, como una estrategia para alcanzar y fidelizar audiencias. Por otro, como una manera de trabajar y establecer relaciones y formas de colaboración novedosas entre las propias instituciones y museos.

Se hace urgente reaccionar, idear y diseñar planes a corto, medio y largo plazo, que permitan afrontar un futuro incierto con ciertas garantías de funcionamiento y eficacia, puesto que, en el contexto actual, las estrategias digitales van a ser clave para la propia supervivencia de las instituciones y para que mantengan su relevancia. Este es el papel que quiere desempeñar el I Congreso Internacional de Museos y Estrategias Digitales – CIMED. Se trata de implantar soluciones tecnológicas a nivel formativo para que el personal de los museos adquiera competencias digitales, y cuente con repositorios de contenidos reutilizables o incluso una visión estratégica por parte de la Dirección.

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/180121

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Mostrando 1 - 20 de 52

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Una exploración del impacto de la pandemia en las estrategias digitales de los museos
(Editorial Universitat Politècnica de València, 2022-01-17) Moliner Roca, Ana
[EN] Are we witnessing a new relationship between museums and digital? Are we facing the opportunity to engage with the public? Are new technologies an opportunity for the museum to be truly social? In the last 10 years, information and communication technologies have transformed teaching in cultural institutions. To the electronic devices in situ have been added digital resources that the user downloads on their own mobile device and, above all, the RRSS. But it has not been until this exceptional situation due to the Sars2-COVID19 pandemic that we have seen an acceleration in this regard. During the months of confinement (March-June 2020) by the social distancing regulations, the cultural centres remained totally closed and in order to continue with their dissemination mission, continue to maintain the link with their public, expand their content and, what is more, attract new audiences, opted for the use of digital resources. With the aim of designing and disseminating future cultural proposals by digital means adapted to the needs of different sectors of the public, we designed the Survey of Cultural Habits in the time of COVID19 to know the cultural consumer habits and the possible impact that could have the COVID19 epidemic in them. The survey was launched on April 18th and closed on June 21st. A varied sample of 743 people from all over the Spanish and other international territories ranging from 13 to 77 years participated. In this article we will analyze the cultural habits and user experience in the digital media initiatives promoted by the CC during the pandemic, their preferences and needs, the dissemination channels they consume, and the degree of motivation when participating or not in these initiatives, all divided by age groups. The proposals initially launched by the cultural centres have been, for the most part, the digitization of the face-to-face existing resources. The results of the survey show that, in general, the public values these digital cultural initiatives in a positive way, but does not believe that it will change the idea that society has of museums; since the public needs to play part in the creation of new cultural proposals and believe that communication technologies will be an opportunity for active participation in the process of creating new ones. This work contributes to a better understanding of how the digitalisation forced by the pandemic can contribute to better communication between museums and the public.
Access status: Abierto ,
Nuevos relatos más accesibles. “A peu de Museu”, un aplicativo web del Museo de Cervera
(Editorial Universitat Politècnica de València, 2022-01-17) Bergés Saura, Carme
[EN] ‘A Peu de Museu’ is an invitation to walk the streets of Cervera from a new perspective. The technology of our mobile will allow us to enter 3 stories starring 3 women who represent 3 key moments in the history of the city: the medieval, Jewish and baroque past. For the Museum, the project is a unique opportunity to “colonize” the city and explain its history “in situ”; in short, it is an opportunity to break down the walls of the institution and offer relevant meanings that connect intellectually and emotionally. The application of the gender perspective is also important: the protagonists are 3 women who not only represent 3 historical moments, but also 3 social conditions. Margarita, the medieval woman, was the slave of the Lord of Menarguens. Regina, the Jewish protagonist, was part of a powerful family that must deal with an iron tradition. Ignacia Brach, ran a tavern in the rigid university Cervera of the eighteenth century. The 3 routes are accessible in 4 languages and incorporate QR codes that give access to different content. This new tool offers a total of 26 points of interpretation with the recording of 65 minutes of speech, more than 200 audiovisual resources that include old and current photographs with gifs that allow you to discover, with a single movement of the finger, historical changes. It also contains videos, 360º images, photographs taken with drone and the visualization of more than 50 works from the Museum's collection (with the anticipation of future updates). All these digital resources are organized into sections, which can be freely consulted depending on the motivation or the time available. The locution narrates in the first person the life and feelings of the protagonist and places the visitors in a lived space, the "Traveler's Notebook" offers more academic and objective explanations of the heritage elements, the 'Graphic History', will help to reconstruct the passed from photographs and / or documents, and the 'Gallery of the Museum' shows the objects guarded by the Museum, provoking interest in visiting the institution. This project is an initiative of the Cervera Museum, with the collaboration of the Catalan Agency for Cultural Heritage of the Generalitat de Catalunya. With the confinement it has been one of the most used tools since all the contents of the web application were made open for use from home.
Access status: Abierto ,
Conexiones más allá de la pantalla
(Editorial Universitat Politècnica de València, 2022-01-17) Torres Mandiola, Roberto
[EN] Today, technology and the use of digital tools have enabled new ways of relating to audiences. Aware of this, museums and spaces that promote culture and access to knowledge are implementing new ways to be present in the virtual platforms where people interact daily. However, in many of these cases, the center of communication continues to be institutional, focusing on activities, exhibitions or the heritage value of their collections. This is why, even though today there are significant advances in access and the way we communicate, it is more necessary to go deeper into how to move from a hegemonic paradigm to a more open and collaborative form of creation, through communities that are promoters of the themes dealt with by the museums, these being the same who, from their experience, generate new content using their languages. Faced with this challenge, the Museum of Memory and Human Rights of Chile has implemented some digital actions to share part of its collections, in formats that from the beginning were developed by prioritizing the narrative and emotional experience that these actions can generate with the public. This is the case of “The Memory Dial”, an online audio gallery that was transmitted by open radio signal and that revived the coup d'état in Chile minute by minute on the 45th anniversary of this event. On the day of its launch, it was heard by more than 4 million people.
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Una propuesta de alternativa de catalogación en realidad virtual para fenómenos estéticos: instalaciones y environments de luz contemporáneos. Pedagogía estética y nueva museografía de intangibles
(Editorial Universitat Politècnica de València, 2022-01-17) Crespillo Marí, Leticia
[EN] The catalog, within the museum's own strategies, has always been an element of great importance for the recording and dissemination of heritage, artistic and cultural content. The paradigm of new technologies opens the door for us to propose various tools aimed at rethinking the ways in which this is carried out. The objective of this text is to carry out a critical analysis on certain interventions that, due to their strong aesthetic component, require more complex solutions in their cataloging process. Therefore, an alternative cataloging in virtual reality is proposed based on the immersive and interactive characteristics of the artifact from the perspective of art history.
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#museuobert: los museos no se detienen ante la pandemia
(Editorial Universitat Politècnica de València, 2022-01-17) Mejuto, Andrea; Gómez, Irene; Royo, Carlota; Zapatero, Enric
[EN] The “universal lockdowns” of the GLAM sector (Kużelewska and Tomaszuk, 2020) revealed the need to reformulate the activity of each institution to get closer to the audience through the space 2.0. In the last year, four out of five museums have increased their digital presence to reach their publics, according to the latest reports released by the Network of European Museums Organizations’ (NEMO, 2020). The current context, marked by sanitary restrictions, has catalyzed the discussion concerning the role of museums in the twenty-first century. The museuobert.cat portal, which was set into action in just two weeks, is a collective space for the dissemination of cultural heritage. The initiative emerged in April 2020 with the firm conviction of strengthening the bond between museums and people in a context strictly marked by social distancing. Currently, #museuobert’s scheme counts on the presence of twenty-four museums from the Catalan territory and holds almost 60,000 pieces online. Through the creation of an open, plural and centralised platform, added to the involvement of digital communication, the #museuobert project establishes itself as a precursor of collective culture online to inspire the dissemination of yesterday’s, today’s and tomorrow’s heritage.
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Creando resiliencia en la comunidad a través de las plataformas digitales. El caso del Palacio Güell durante la pandemia
(Editorial Universitat Politècnica de València, 2022-01-17) Barnolas Soteras, Anaïs
[EN] The Güell Palace, a building built by Antoni Gaudí, was forced to transfer its activities to digital format during the COVID-19 pandemic. One of the projects that the equipment, located in the Raval neighborhood of Barcelona, carried out were videoconferences, especially aimed at users of the centers for the eldery in the area. The objective is to improve the emotional well-being of the elderly, one of the groups most affected by confinement. The activity consisted of discovering the building through a virtual guided tour and with the support of old photographs of the Güell family and the servants. The visit was planned to be entertaining and educational. For this reason, the explanation of the daily life of the space was promoted, as well as the anecdotes related to the people who lived or worked in it. This activity has the objective of guaranteed the accessibility of the equipment and made it possible to recover the bond with the public of older people who could not physically visit the building.
Access status: Abierto ,
El uso de whatsapp en un museo
(Editorial Universitat Politècnica de València, 2022-01-17) Moreno Pascual, Elena
[EN] The pace and manner of communication is changing in recent years in leaps and bounds. More and more people are communicating through digital media such as mail, social networks or Whatsapp. This latter application is the one we will deal with, as its use is increasing. We all know Whatsapp, but Whatsapp Business (also free) implements some functions like statistics and automation, which facilitates communication with the visitor/user of any cultural institution, such as museums, in a direct, instantaneous and personalized way. Even for those institutions with limited resources. Some examples of the use of Whatsapp Business that for six years are giving us very good results in the Museum of Art of Almeria are the promotion of our exhibitions and activities, as well as the reservation of places to attend and participate in them, or the consultation of the general information of the museum, among other actions. After this time using whatsapp business in the two venues of the Art Museum of Almeria we can affirm that it is a very valuable communication and cultural marketing tool to bring the institution closer to our users/visitors making them feel unique and special.
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Musivaria HD: proyecto para el estudio, investigación y difusión de los mosaicos romanos tardoantiguos de la Península Ibérica desde las Humanidades Digitales
(Editorial Universitat Politècnica de València, 2022-01-17) Garrido Ramos, Beatriz
[EN] The late-ancient mosaics make up a very important material heritage that undoubtedly contributes to the knowledge of the culture of Roman times. Musivaria HD is a project aimed at the study, research and dissemination of Hispania mosaics from the perspective of the so-called “Digital Humanities”. It compiles a good number of 3D reconstructions, videos and graphic material. The metadata is worked on for a better description of the works and the Iconclass classification is applied to analyze the iconography of the mosaics. The web is unique in its field because it houses a set of mosaics that are not usually concentrated, since they are usually studied in isolation by zones. It has a main menu with its corresponding sections and subsections, in such a way that it facilitates navigation and the user experience, and presents all the information on the page intuitively and quickly. Musivaria HD also combines PHP, HTML5, CSS3 and JavaScript technologies with Responsive Web Design for viewing on any device.
Access status: Abierto ,
Nuevas tecnologías y divulgación científica: el caso de la app Hidden Valencia
(Editorial Universitat Politècnica de València, 2022-01-17) LLanes Parra, Blanca
[EN] Hidden Valencia is a smartphone app created within the European project Public Renaissance: Urban Cultures of Public Space between Early Modern Europe and the Present (PURE), led by the University of Exeter, and which includes the University of Valencia together with other European universities. The project comprises an interdisciplinary team of art and architectural historians as well as social and cultural historians, working in collaboration with museums, with the aim of establishing a dialogue between their research and the key concerns of today, examining the continuities and ruptures of urban public spaces over time. Hidden Valencia is part of the Hidden Cities smartphone apps. Inspired by the pioneering and award-winning app Hidden Florence, this set of apps invites users to delve into the past of five European cities (Deventer, Exeter, Hamburg, Trento, and Valencia), with the help of a geolocated period map and with historical guide characters from the fifteenth to the seventeenth centuries. The Hidden Valencia app, and specifically the “Revolutionary Road” trail, allows users to immerse themselves in the dramatic events of the Revolt of the Brotherhoods (1519-1522), with a very special guide, Josep, a blind street singer, member of Valencia’s Vera Creu brotherhood of blind reciters of prayers. With this app, users can discover the traces of Valencia’s past within today’s urban public space, emphasizing its connection with the events of the revolt. In his tour of the city, Josep also reveals the daily life of a blind street singer in early modern Valencia. By examining the Hidden Valencia app as case study, this paper will analyse the role of new technologies in humanities outreach initiatives, highlighting the suitability of the use of locative media with didactic purposes within public engagement strategies
Access status: Abierto ,
El catálogo digital de las monedas antiguas de la Península Ibérica
(Editorial Universitat Politècnica de València, 2022-01-17) Gozalbes, Manuel; Onielfa Veneros, Juan; Peña Carbonell, Alejandro; Ripollès Alegre, Pere; Agencia Estatal de Investigación
[EN] The website monedaiberica.org is the digital catalogue of the Ancient coins of the Iberian Peninsula and the South of France minted by more than 200 cities between the 6th and 1st centuries BC. It is published within the framework of the ARCH project (Ancient Coinages as Related Cultural Heritage). The result is an important free access website that offers the results of a long compilation and research work carried out for over four decades. The catalogue includes 4,000 coin types from the Greek, Punic, Iberian, Celtiberian, Vasconian and Lusitanian cultures. The project gathers over 100,000 coins with images, from important museums, public auctions and private collections. The system includes 7,000 publications and 40,000 bibliographic citations. The contents are managed with a system called Numisdata, based on Dédalo, an open source tool. It is a web application that allows to work in collaborative environments and that offers powerful capabilities for managing languages, users and projects. By the end of 2020, the system registers a total of 575,000 records, 8,000 thesaurus terms, 30,000,000 relationships between records and 8,000,000 activity actions. The website provides links to other national and international projects, mainly archaeological and bibliographic, and includes URIs as permanent links for its contents.
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Del lienzo a la pantalla digital. La experiencia del museo en la era de la intermediación electrónica
(Editorial Universitat Politècnica de València, 2022-01-17) da Rocha Carlos Matos, Carolina
[EN] Until the end of the last century, memory technologies were limited to the use of analog format as a medium for the preservation and transmission of the past. With the growing presence of digital media in the cultural sphere, memory management comes to rely on the treatment of numerical files and databases. In today's museums and cultural centers, the rapid development of technologies aimed at digitizing collections and mediating the contemporary viewer's experience in contact with historical and cultural heritage causes a resounding reconfiguration, both in current work practices and exhibition models. Among various types of digital devices for communication and interaction with the pucblic, the touch screen of mobile phones calls for the attention and demands the participation of the contemporary observer, at the same time it generates possibilities for contemplation and reflection on the content that transcend the materiality of the object.
Access status: Abierto ,
Un museo virtual universitario para la recuperación de Memoria Histórica
(Editorial Universitat Politècnica de València, 2022-01-17) García Gutiérrez, Nuria; Ruiz López, Oscar
[EN] The university’s cultural heritage is characterized by its dispersion, variety of typologies, difficulties for its conservation or a shortage of economic resources for his dissemination. The use of new technologies gives an opportunity to make accessible this type of cultural heritage accessible to citizenship. The UC does not have a university museum to preserve, research, and disseminate its heritage, but instead, it does have university museographic collections with different well-organized sections. The print section, with more than three thousand drawings and engravings, cannot be permanently exposed. The new technologies allow to the knowledge of this pieces through the use of virtual exhibitions. Since 2008, the University of Cantabria has developed various projects through the internet, combining research, dissemination and accessibility. Its starting point was the creation of the Virtual Print Cabinet that collected and digitized the entity’s graphic art collection. Already in 2015, after the denomination of Museographic Collection, the web page project "UC University Cultural Heritage" has been developed, where the different types of heritage are collected, as well as 360º virtual tours of some buildings and areas of the campus. Since the beginning of 2020, and accelerated due to the evolution of Covid 19, the Exhibitions Area for the Vice-Chancellor’s Culture of the university has designed a virtual museum of one of the collections of its graphic work section, which otherwise could not be exhibited permanently. This is the Paul Quintanilla Art Legacy, deposited at the UC by the Bruno Alonso Foundation, which includes more than 80 works that the Cantabrian creator Luis Quintanilla Isasi (1893-1978) produced from the 1930s to the middle of the 20th century. His figure as a plastic artist and his political commitment before and after the Spanish civil war are to be recovered in the virtual museum "Luis Quintanilla, Art and Memory". The project combine the new technologies and the rehabilitation of Historical or Democratic Memory through art, combining the interaction of the spectator with a museographic discourse that relates pieces that the artist made from the UC Collection and others conserved in the United States or in the MNCARS.
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Talleres inclusivos. ¿Cómo hacer audiovisuales accesibles?
(Editorial Universitat Politècnica de València, 2022-01-17) Comas Camacho, Carme
[EN] The International Museum Day 2020 revolved around the motto 'Museums for equality and inclusion'. At that time, the museums were closed and in a process of adaptation to the new reality: without a face-to-face audience, we launched ourselves at the digital user, with few tools from home and lacking, in most cases, digital strategy plans They will guide the initiatives. From the accessibility program of the Museums of Esplugues de Llobregat, it was detected that in this digital process a sector of our public was being left aside. And the advances that many museums had made to bring their collections to all kinds of people, disappeared in the maelstrom of those weeks. We turned our back on a part of society that requires specific adaptations to access digital content. Among the initiatives of those days, the Esplugues de Llobregat Museums paid special attention to families, generating new proposals to do at home. How could we reach as many families as possible, in an inclusive way? After analyzing all the requirements and recommendations, and starting from the resources available to us from home, we designed three family workshops through videos with understandable language, pictograms, audio description, sign language and subtitles .. Although the technique can be greatly improved, The results of the evaluations that we have collected have helped many families to work together and have a pleasant time in those days of uncertainty, and it is the experience that we share in this communication.
Access status: Abierto ,
Re-conectando Vilamuseu. Estrategias para combatir el distanciamiento social
(Editorial Universitat Politècnica de València, 2022-01-17) Davó Ferrer, Rosa; Bonmati Lledó, Carmina
[EN] One of the characteristics of public institutions must be resilience, museums must continue to offer our services regardless of the external situation and for this it is essential to have the ability to adapt to external situations and know how to respond to them positively. During the house confinement of the spring of 2020, an imminent need arises to seek resources to reach the public, museums put the batteries in the use of social networks and new technologies. In the case of Vilamuseu, it was decided to continue carrying out the programmed activities through social networks, through daily publications of general interest, one piece a day while the confinement lasted, which on the other hand motivated us to continue investigating and finding out aspects that We had not discovered to date or direct in the specific activities like “Festum Alonis” our annual festival of historical re-enactment. When we reopened the doors of our museum, we had to continue adapting to the new situation, putting all the contingency protocols in place and we realized that a new world had opened for museums through ICT, which until then we had used but we had not exploited enough. In the dissemination department, we highlight education, because our target audience, students from kindergarten to high school, following their own protocol decided not to do extracurricular outings and not receive visits in the classroom, so the situation was posed as a challenge if we wanted to. get to them. The alternative we used was the virtual visits, in which we connected live, both the educator and the classroom that will carry out the activity. This type of visit offers us some advantages, since we do not have a capacity limitation as in face-to-face activities since several classrooms can be connected at the same time. On the other hand, we do not have a geographical limitation, students from any point of the Spanish geography can visit the museum, such as the classrooms of rural schools that sometimes are too few children to be compensated for renting a transport. In addition, both for these visits and for conventional ones or other types of activities we already have more than 30 virtualized pieces in scketchfab, which helps us to bring our heritage closer to all people without distance being an impediment.
Access status: Abierto ,
Un estudio de público digital para un museo y una sociedad confinada
(Editorial Universitat Politècnica de València, 2022-01-17) Sánchez Gómez, Paloma; González, Ángel José
[EN] 2020 has been, for obvious reasons, a complicated year for society and within it for museums and their visitors. Being physically closed (and later limited in terms of access and accessibility) meant that we had to be more open than ever digitally. At the National Museum of Anthropology we carry out a specific plan to address this year's special situation of Covid. At the end of the year, it was necessary to analyze how the new digital strategies had worked and how they were related to the "physical" activity of the museum. For this reason, we decided to carry out a study of the digital audience, taking advantage of the fact that the year offered very different time ranges. We analyze the data offered by our website (through google analytics) and by our social networks and we cross them with each moment of the year and the physical activity of the museum. In the communication we will explain the methodology and expand the general conclusions drawn from the study about the digital public.
Access status: Abierto ,
Mus.net (MUSeum NETwork): Un proyecto europeo para el desarrollo de audiencias en pequeños museos
(Editorial Universitat Politècnica de València, 2022-01-17) del Valle Barreda, César
[EN] MUS.NET, MUSeum NETwork, is a project about Audience Development devised for a network of European culture institutions from four EU countries -Italy, Spain, Poland and Slovenia- that seek to improve the visibility of their centers and attract new audiences. For this, the partners will investigate innovative good practices that manage to capture the attention of visitors and in which the use of new technologies - such as augmented reality or the use of specific APP - will play an important role as an essential method to transform the experience of visiting the museum. The project, which will be active until April 2022, is led by the Province of Padua and has the participation of Santa María la Real Foundation -through the Rom Museum-, in Spain and three other European cultural institutions: RIS Dvorec Rakičan, in Slovenia; Butterfly Arc, in Italy; and the Lebork Museum in Poland.
Access status: Abierto ,
Las redes sociales de L’ETNO. Museu Valencià d’Etnologia. De la periferia al centro de la comunicación institucional
(Editorial Universitat Politècnica de València, 2022-01-17) Cabañés Martinez, Francesc; Garcia Curiel, Remedios
[EN] L’ETNO, Valencian Museum of Ethnology is a public museum devoted to the study of popular and traditional valencian culture. The museum uses a contemporary approach which can be seen in the recently inaugurated permanent rooms titled “Not Easy to be Valencian”. In this exhibition the museum proposes a critical perspective on valencian identity from three corners: the relation between the local and the global, the construction of cultural imaginaries and the existence of cultural invisibilities. As most institutions of its kind, the museum has not a long experience with social media. L’ETNO started to develop its social media strategy in 2012 while opening accounts in YouTube and Flicker platforms. Since then it has expanded its presence to Facebook, Twitter and Issuu (2013), Pinterest (2015) and Instagram (2017) This paper pretends to analyze the increasing weight of these social media channels into the institutional communication policies of the museum. Although initially perceived as marginal, these channels have gain centrality within the museum communication strategy and are activating a transformation in the way contents are conceptualized, planned and edited. Current status of social media is changing the public’s way of perceiving them from spaces of information to spaces of cultural broadcasting and social participation. As a consequence these tools are somehow affecting all areas of the museum not only the department of communication. We want here to recount our experience managing these social media tools. Thus, while allowing us to broadcast who we are and what we do, these tools have also let us to listen to our audiences and reach to a wider public getting them increasingly involved in our activities. Finally, the text will briefly reviewed some aspects that are conditioning the management of these on-line channels. We believe, such aspects will be crucial to face the near future. Namely, these are the increase of actions to allow on line participation of the public, and the planning and production of digital contents by the scientific and educational teams of the museum. Both represent a challenge involving the museum adventuring itself in non-traditional territories for heritage communication.
Access status: Abierto ,
Museos pequeños, estrategias digitales a medida. El caso del Museu d’Història de Manacor, (Mallorca)
(Editorial Universitat Politècnica de València, 2022-01-17) Rivas Antequera, María José; Salas Burguera, Magdalena Mº
[EN] With this communication we want to share in the I International Congress of Museums and Digital Strategies the development of the Museo d'Història de Manacor in the digital field, explain what the difficulties have been to get here and the achievements that have allowed us to implement new forms of communication through digital tools. Our institution has a limited budget, that is why we believe it is interesting to break down the material and personnel resources that we have dedicated to deploying the digital strategy to show that small museums can also create digital environments to suit us. One of our objectives is that the creation of a digital environment opens the museum to other spaces, until now unknown, that allow us to generate alliances with the closest community and with all the people who are interested in our institution through the windows that we are opening in the digital universe.
Access status: Abierto ,
Arte terapia para la escuela: una mirada hacia dentro y hacia fuera
(Editorial Universitat Politècnica de València, 2022-01-17) Santos Álvarez, Alicia; Gallego García, Julia; Domínguez Astorga, M. Tránsito; Marcos Treceño, Gonzalo
[EN] The current COVID-19 pandemic is challenging all professionals engaged in education. Four high schools from León make virtual visits to the Museum of Contemporary Art in Castilla y León (MUSAC) through Microsoft´s Teams platform. Students can visit the exhibitions virtually, without leaving the classroom. Working together with the Department of Education and Culture (DEAC) on an educational research project, we present a way of humanizing distance learning, working with students' emotions to increase their motivation and positive attitudes toward learning. Studies show that art can help overcome the emotional effects of the pandemic.
Access status: Abierto ,
Nuevo lenguaje, nuevas herramientas, nuevas experiencias: la visita virtual y las etiquetas Navilens en el Museo Arqueológico de Murcia
(Editorial Universitat Politècnica de València, 2022-01-17) De Miquel Santed, Luis; Baeza Albaladejo, Raquel; Fernández Azorín, Teresa
[EN] For some years now, the Archaeological Museum of Murcia (MAM), aware of the opportunities offered by the use of tics to bring the institution closer to society, has been planning and executing different digital strategies. Thus was born his team dedicated to the realization of new heritage experiences applied to didactics. Thus was born his team dedicated to the realization of new heritage experiences applied to didactics. Currently, through his virtual visit, he intends to introduce the archaeological heritage of the Region of Murcia in all homes. This offers the opportunity not only to move around the space freely, but also to improve the user experience through a series of interactive markers. In addition to being fully accessible through its website, this new tool is currently being used in various ways. For the general public, to make autonomous visits from their home. By schools or other groups from their centers, directed by museum staff. In addition, it is being used in the realization of personalized activities such as, for example, the visit-workshop carried out with high-ability primary groups, in collaboration with the Consejería de Educación de la Comunidad Autónoma de la Región de Murcia. On the other hand, MAM has opted for the use of “Etiquetas Inteligentes Navilens", a tool similar to the well-known QR tags but improved. Their use has allowed them to house more information than is included in conventional posters: videos, catalog cards, site files, images, as well as the possibility of announcing their posters. In the future it is planned to include easy-to-read documents and videos in sign language. This favors the accessibility of the museum and its openness to other audiences that until now have encountered difficulties when visiting this type of institution. If these two new actions are brought together, the MAM is betting as an institution to offer the possibility of a totally autonomous and accessible visit that allows the user, if they wish, to carry out practically an “à la carte visit”. This should be the new language that museum institutions should address. It is not intended, nor is it intended, to replace the human work of guided tours, but to offer new complementary possibilities that provide a greater museum experience Communication in society has changed and museums are at its service, therefore, the message and the way it is delivered must change.

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