Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales
El II Congreso Internacional de Museos y Estrategias Digitales, CIMED22, se ha establecido como un referente dentro de la comunidad hispanohablante del sector de los museos y las tecnologías digitales.
La pasada crisis de la COVID-19 ha evidenciado que las estrategias digitales son cada vez más necesarias, ya no es posible improvisar, y se requiere la implantación de acciones y estrategias adecuadas al contexto que garanticen la comunicación con los públicos, audiencias e investigadores, y faciliten las tareas de los propios profesionales del sector.
Tras organizar el 1º congreso CIMED se demuestra el importante vacío en la información, formación y uso de la tecnología digital del sector relacionado con el patrimonio y los museos. Las estrategias digitales son y serán determinantes en la prevalencia de estas instituciones tan relevantes para la sociedad.
El constante progreso del uso de las tecnologías digitales requiere la existencia de un lugar en que actualizarnos y ampliar los contactos profesionales, especialmente en lengua castellana. Todavía queda mucho por ver y descubrir, y la sociedad evoluciona, requiriendo nuevas formas de comunicar, investigar, conservar o documentar. El II Congreso Internacional de Museos y Estrategias Digitales – CIMED se propone como el lugar de encuentro entre profesionales e investigadores donde dar a conocer las novedades al igual que las estrategias y herramientas utilizadas.
El congreso CIMED, organizado por la Universitat Politècnica de València junto a la Red de Museos y Estrategias Digitales REMED, establece un diálogo fluido entre académicos, especialistas, profesionales y empresas del sector.
Tanto las actas publicadas como los vídeos y otros recursos generados a partir de este congreso hacen necesaria su realización y que se perpetúe para la comunidad hispanohablante. En la actualidad apenas existen publicaciones ni congresos similares, pues la mayoría de los eventos sobre museos y estrategias digitales se producen en lengua inglesa.
URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/189461
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Item type: Capítulo de libro , Access status: Abierto , YoungArcHers: Nuevas narrativas digitales inclusivas y accesibles sobre patrimonio cultural en el contexto educativo(Editorial Universitat Politècnica de València, 2022-10-25) Oncins, Estella; Generalitat de Catalunya; European Commission[EN] The cultural heritage sector is at a crossroads. The boost of digitalisation and technology are the ultimate solutions to an increasing demand for audience development, and call for new approaches to engage with our cultural and artistic heritage. Digital storytelling enables unprecedented forms of engagement and opens up new spaces for educational contexts to explore collaborative forms to understand, preserve and engage with cultural heritage. E-learning tools promote access to cultural content in homes, schools and universities, and allow people to generate, reuse and add value to content, enhancing the value of tangible and intangible cultural heritage. Educational contexts constitute safe and inclusive spaces for learners with a diverse range of abilities. Still, education in cultural heritage is commonly perceived as discipline-bound, unidirectional and academic, not consistent with the Universal Design for Learning Guidelines (CAST 2018), which favors a learner-centric approach catering the needs of all learners. Accessibility and inclusion are crucial concepts in cultural heritage for achieving the CRPD (2006), and the UN Agenda 2030 and its Sustainable Development Goals (SDGs). They have also became key priorities of the European Agenda under the Strategy for the Rights of Persons with Disability 2021-2030. In the specific case of cultural heritage, the “European Heritage Strategy for the 21st Century” also idenitifies accessibility as a societal challenge. But what does it mean, being inclusive and promoting accessibility in cultural heritage? “Young ArcHers” is an Erasmus+ project that proposes a mindset shift in education advocating the use of cultural heritage, as a valuable tool for educators to create inclusive and accessible digital storytelling content for promoting intercultural dialog and social inclusion.Item type: Capítulo de libro , Access status: Abierto , El museo más allá de sus límites físicos: la llegada de los visitantes virtuales(Editorial Universitat Politècnica de València, 2022-10-25) García Arredondo, Iñaki; Castaño García, José Manuel; Del Rey García, José Enrique; Tilve Otero, Paula; Instituto Universitario de Investigación CMT - Clean Mobility & Thermofluids[EN] In this article we present the project, developed by the Museum of Pontevedra in collaboration with Madpixel, which aims to provide the virtual and physical visitor with the possibility of exploring the exhibition space and the collections in super high resolution in a suggestive and attractive way, accessing new narratives through an innovative digital experience. The initiative, designed by Madpixel through its Second Canvas platform, also offers an interactive experience by combining the exploration of images and the narrative resource of storytelling, generating a direct and amusing discourse with different levels of scope. This allows the virtual visitor to choose the degree of depth that best suits their personal interests, being able to select between a welcome tour, a self-guided tour of the collection in 360º in gigapixel resolution with sixty-two essential works with additional content (technical sheet, descriptive sheet and details), or the possibility of seven interactive and guided thematic itineraries. These itineraries approach the visitors to some of the most unique works and also offer a different look at them, addressing forgotten or uncomfortable heritages, such as the heritage of silenced artists, or the legacy that was created during the repression, fear and exile resulting from the Spanish Civil War. The initiative, designed by Madpixel through its Second Canvas platform, also offers an interactive experience by combining the exploration of images and the narrative resource of storytelling, generating a direct and amusing discourse with different levels of scope. This allows the virtual visitor to choose the degree of depth that best suits their personal interests, being able to select between a welcome tour, a self-guided tour of the collection in All this can be enjoyed in person or online from anywhere in the world. Additionally, we added the novelty of online and interactive guided tours in real time for groups, a tool that aims to establish cultural bridges and to consolidate links with other territories, especially with the Galician diaspora and exile.Item type: Capítulo de libro , Access status: Abierto , El desarrollo de indicadores de accesibilidad para el análisis de exposiciones online: un camino para la inclusión social en las actividades de los museos(Editorial Universitat Politècnica de València, 2022-10-25) Carvalho de Mattos Marinho, Letícia; Norberto Rocha, Jessica; Conselho Nacional de Desenvolvimento Científico e Tecnológico, Brasil; Coordenaçao de Aperfeiçoamento de Pessoal de Nível Superior, Brasil; Fundação Carlos Chagas Filho de Amparo à Pesquisa do Estado do Rio de Janeiro[EN] Social inequalities brought up by welfare, racial, and geographic oppressions often determine whether a person has the possibility and the motivation to visit museums. Accessibility barriers also add another layer of distance between museums and people with disabilities. Although many museums have shown an effort to provide an accessible physical space, communicational and attitudinal aspects of access are less present – a concerning issue, especially when considering online activities. In face of the sanitary insecurity brought upon by the Covid-19 pandemic, online museums and exhibitions add up to the possibilities of creating and maintaining different audiences. Therefore, we must establish methods and tools to provide an accessible online museum space so that people from different backgrounds, including those with disabilities, may experience a barrier-free remote visit. In this context, our primary goal in this presentation is to introduce the process of developing the analytical tool “Accessibility Indicators for Online Exhibitions and Museums”, with a specific focus on the particularities of online museums and discuss its usability as a theoretical and practical framework. The instrument was adapted from the international guidelines, the Web Content Accessibility Guidelines (WCAG 2.1), and information gathered in the literature about accessibility in online environments and in museums. The work of Inacio (2017), with further development by Norberto Rocha et al. (2020, 2021), led to the publication of accessibility indicators and their application to investigate physical museums and the experience of visitors with disabilities. Although we identify common aspects of accessibility in physical and online museums, we understand that the specificities of online exhibitions need to be covered. The accessibility indicators for online exhibitions’ structure is composed of three indicators, each with two attributes. The first, “Design and navigability”, with the “Comfort, security and navigation flexibility” and “Access, manipulation and presentation flexibility” attributes, concerns the structure of the platform of the online exhibition and the action of scrolling through. The second, “Attitudinal”, with the “Inclusive practices, welcome and hosting” and “Institutional policy” attributes, concerns the efforts taken by the institution to include both visitors and professionals with disabilities. The third, “Communicational”, with the “Communication, and dissemination to a broad audience” and “Media and diverse resources to a plural communication” attributes, concerns informational and instructional aspects both internal and external to the online exhibition. Together, we believe that these indicators, as a tool, may provide a reference to the creation, update, and analysis of online exhibitions, aiming to improve museum access and education for a varied audience.Item type: Capítulo de libro , Access status: Abierto , El programa “Ciudades para el futuro” en el cruce de la educación, la comunicación y la tecnología. Una articulación entre museos y escuelas para la imaginación utópica(Editorial Universitat Politècnica de València, 2022-10-25) Pérez Fallik, Max[EN] This article presents the results of the educational program “Ciudades para el futuro: crear utopías” (“Cities for the Future: creating utopias”) implemented between 2021 and 2022 jointly by the Museo Kosice and Museo Xul Solar (both in the city of Buenos Aires, Argentina), and some interrogations enabled thanks to the rethinking of the role of museums during the Covid-19 crisis. Precisely, Cities for the Future was designed during and for a context of social isolation as a result of a horizontal association between two single-artist museums and a strong collaborative articulation with other social actors (educational, artistic, technological and governmental). The aim was to establish a dialogue with a new public, transcending geographical barriers and enabling interactive and participatory access to both collections through digital technologies (Virtual Reality and 360º immersive videos), but with a focus on students’ creativity, imagination and inventiveness in school contexts. For this, a wide array of multimedia educational resources was specifically produced. We proposed a subtle shift in the institutional objectives of museums: from the acquisition, conservation, research, communication and exhibition of their heritage, to the promotion of new heritage creation, resignification and development outside its walls. In this transition –which traces a museum's journey from "the instituted" to its instituting possibilities– Cities for the Future was analytically broken down into four specific, consecutive and complementary objectives or lines of action: to bring both museums’ collections closer to new audiences outside their immediate region of influence, particularly to students from all over the country (muselogical perspective), to promote new ways of art consumption mediated by digital technology in a context of indefinite closure of museums (technological perspective), to promote school and educational activities –in person or online– where teachers and students can imagine, design and project future utopian cities with any artistic language (pedagogical perspective), and to make an audiovisual record of the whole experience, as a time capsule of the utopian imagination of the kids and youth of Argentina (communicational perspective). This article presents the results of the experience and some educational, technological, communicational and strictly museological questions about the role and digital actions of museums during the pandemic, the possibility of new ways of addressing old and new audiences and the museum-school partnership. We suggest that an educational and dialogical perspective enables the rethinking of the role of the museum as a space of creation and invention.Item type: Capítulo de libro , Access status: Abierto , (R)evolución digital de las colecciones universitarias(Editorial Universitat Politècnica de València, 2022-10-25) García Lirio, Manuela; Universidad de Granada[EN] To speak of university heritage requires, first of all, to distinguish between university museums and university collections. Regardless of the category in wich it falls, university heritage offers, in turn, a wide variety of typologies that, according to the Committee of Museums and University Collections (UMAC), excedes 90 categories. Although university museums seem to us to be a novel typology within the fild of museology, the truth is that their origin dates back to the 17th century. Although more than 330 years have passed since the creation of the first university museum (Ashmolean Museum, 1683) at the University of Oxford, university museums remain largely unknown, both inside and outside the university academic community. The university heritage has been defined on many occasions as unknown, dispersed, inaccesible and hidden, within the university academic institutions. We continue to find the difficulty, both in accessibility and visibility. This proposal arises after my predoctoral research entitled “University art museums and collections in the Iberoamerican sphere”, focused on a total of 84 examples of university art museums and collections in 49 universities in ten countries: Argentina, Brazil, Chile, Colombia, Ecuador, Spain, Mexico, Portugal, Peru and Venezuela. Through this proposal, I intend to show which are the digital resources that are used for the management and dissemination of university heritage in the Ibero-American sphere. I will specially focus on the artistic. Through this tour we find repositories, inventories and other digital resources such as virtual museums. All these examples share the need to be visible in society to meet the objectives of any other museum typology, thus responding to the definition of a museum. In short, through these resources, it is intended to generate another window of knowledge through digital evolution.Item type: Capítulo de libro , Access status: Abierto , Hacia una museología en línea de las colecciones del Museu de la Vida Rural(Editorial Universitat Politècnica de València, 2022-10-25) Corbella, Gerard; Jàvega, Neus; Magrinyà, Laura; Peña, Alex[EN] The museum's collections are what make up its identity, which cannot be explained without a strong narrative, yet in our post-COVID society a strong narrative may not be enough, since museums are all but invisible without a well-directed digital strategy, including the constant creation of digital content. At this crossroads between physical and virtual, and between in-house collections and digital content, how are we able to manage all this information from a cultural heritage perspective? The Museu de la Vida Rural is carrying out a publication project of its ethnological collections on the Catalan rural world, adding a contemporary angle (sustainability) with an educational purpose. The online publication of its collections was conceived in 2020, transcending traditional analogue formats such as the catalogue, to imagine new online products adapted to the digital environment: online exhibitions, educational interactive initiatives, a search engine or a webdoc. All of these projects have a common thread: they are new ways of presenting the heritage that the Museum protects, proposals for a new online museology for its collections. These publication projects have meant carrying out documentation work on the collections focused on the user experience, creating controlled vocabularies for indexing heritage elements and retrieving information online, while at the same time creating new digital content. This methodological change has been accompanied by a process of transformation of the management and publication tools (software), shifting from MuseumPlus to Dédalo—the cultural heritage management system that allows the convergence between the physical and the virtual, the collections and digital content, thus resolving the squaring of the circle.Item type: Capítulo de libro , Access status: Abierto , Cocreación de contenidos con Motiv-ARCHE en el proyecto PECT "Costa Brava y Pirineo de Girona: Naturaleza, Cultura e Inteligencia en red"(Editorial Universitat Politècnica de València, 2022-10-25) Fabregat Gesa, Ramón; Gascons, Núria; Jové, Teodor; González-Vargas, Juan Camilo; Coris, Laura[EN] Motiv-ARCHE is a platform that increases the motivation of young people for heritage thanks to co-creation and the use of Augmented Reality. With this application, users can add new content to heritage elements in different formats that are displayed with Augmented Reality. The objectives of Motiv-ARCHE are to motivate young people to learn about cultural and natural heritage, making it more attractive and accessible, to facilitate the co-creation of heritage content by both young people and heritage managers, and to promote communication and interaction between society and heritage entities. It is convenient to provide Cultural and Natural Heritage experts with a work environment that facilitates the creation of experiences that include elements of Augmented Reality and that these can be adapted to the different characteristics of the users who use them. This article presents Motiv-ARCHE and the content co-creation pilot tests carried out by heritage experts at the Museu d’Història Medieval de la Cúria- Presó, s.XIV in Castelló d'Empúries; in the Parc Natural del Cap de Creus; and in the Museu Municipal de Tossa de Mar. These tests have been developed within the PECT project "Costa Brava i Pirineu de Girona: Natura, Cultura i Intel·ligència en xarxa" in collaboration with those responsible for the aforementioned heritage institutions. The application of the methodology of research based on design (DBR) allows us, based on the results of the experience presented, to propose improvements in MOTIV-ARCHE.Item type: Capítulo de libro , Access status: Abierto , Museu particular, etnología de andar por casa (y por las redes)(Editorial Universitat Politècnica de València, 2022-10-25) Rebollo Sánchez, Alexandre; Feliu Torruella, Maria; Sospedra Roca, Rafel[EN] The Museu Particular is a project born in the middle of the pandemic that aims to give a voice to everyday objects, turning them into museum pieces and valuing the heritage that we all have around us and of which we form part. An example of hybridisation, heritage education and storytelling, it consisted of exhibiting an everyday object on a monthly basis throughout the 2021 and disseminating as much content as possible. Specifically, it was carried out in two ways: in physical format, at the Museu de la Vida Rural located in l'Espluga de Francolí (Tarragona), and virtually, with a profile on Twitter, Instagram and a web-blog. All this has led to the creation of a loyal virtual community. It has also had an impact on national and international press. In addition, other institutions have taken notice of the project, using it as a model.Item type: Capítulo de libro , Access status: Abierto , El fenómeno del metamerismo en la digitalización de las obras de arte(Editorial Universitat Politècnica de València, 2022-10-25) Silva Fino, Michel; Contell Villagrasa, Teresa[EN] Metamerism is a problem suffered by specialists in the field of photography and graphic arts. This phenomenon causes two colors that are different cannot be correctly distinguished, could be for various reasons, among them the angle of observation, the environment of the piece and the lighting. On the latter there are international regulations and standards, such as ISO3664, which describe guidelines to reduce the chances of the phenomenon occurs, but these rules only apply to equipment whose purpose is the analysis and comparison of photographs, reproductions and graphic arts works, either printed or viewed on screen. These standards are out of date respect to the advancements in the field that LED lighting has made, so they were drafted in an era of less reliable illuminants, with short life spans and rapid color deterioration. The current syndemic has accelerated the digitization processes of many museums. These institutions are directing considerable resources to the disposal of their funds and collections on Web portals designed for this purpose and look with interest the advances of the digital age, like virtual realities and metaverses, which will surely take a short time to upload massively. In this context, one of the first steps that must be taken is to take images of the collections to make available to the digital public and it is here where the phenomenon of metamerism can hinder the correct digitization of the works, because if the work presents metameric colors, fidelity of data collection can be compromised if adequate reference illuminants are not available, which are generally non-existent in museum photography departments. Within the wide range of illuminants, we focus on the study of a recent technology which allows to generate a continuous spectrum, closest to sunlight, and that not only allows us to satisfactorily approach the reference illuminants established by the CIE (Commission internationale de l'Éclairage), but it lacks the problems that reference illuminants suffer from obsolete technologies, like their discontinuous spectra, low color rendering indices, low efficiencies and the technical difficulty that some of them present to adapt adequately to the work demands of museum photography departments.Item type: Capítulo de libro , Access status: Abierto , Claves para obtener información precisa sobre los públicos de museos con encuestas en línea(Editorial Universitat Politècnica de València, 2022-10-25) Castellanos Pérez, Rosa; Pérez Santos, Eloisa[EN] During the COVID-19 pandemic, many organizations dedicated to the cultural industry undertook efforts to find out what was happening with their audiences once this health emergency forced the doors of practically all cultural venues in the world to close. Two years after that moment, it can be affirmed that the pandemic closed physical doors but opened digital windows that had been little explored until then. Through these digital windows, museums around the world ventured to ask their audiences about their experiences in this context, using online tools to create surveys, distribute them, analyze the data, and present their results. At that time, in Foro de Estudios de Públicos working group in which we participated, we set out to collect and analyze more than twenty studies on audiences with the same diversity of research strategies and with interesting findings, but with deficiencies in fundamental methodological aspects such as the development of the instrument to collect data. And it is that there is a belief that online surveys obey the same rules as those for face-to-face interviews, an error comparable to thinking that a virtual museum room must have the same characteristics as a physical one. Although both types of surveys are similar in general, the digital medium has specific features that require knowledge from different fields, such as graphic design and web design (design of the person-digital world interface), social network management (community management), communication in digital environments, online research (e-research), in addition to knowing and handling constantly updated digital tools. This paper brings together key knowledge to use online surveys as part of the methodology of studies on museum audiences, from articles published between 2000 and 2021, as well as knowledge derived from our own experience in the field. It is intended to be a meta-analysis in the form of a practical guide to accompany those who embark on this task during its different stages: planning (distribution channels according to target audience), preparation (item formats, use of platforms to create surveys, adequate graphic design), information gathering (sampling, digital distribution channels), and information processing (confidentiality, automatic results). The goal is to obtain reliable information about the audiences who want to visit museums physically or virtually, based on well-founded strategies to make the most of the many advantages of the internet.Item type: Capítulo de libro , Access status: Abierto , Aplicaciones e-learning para la promoción de contenidos culturales(Editorial Universitat Politècnica de València, 2022-10-25) Cruz Barbosa, Jennifer[EN] Currently there are several ways through which museums share their collections, data and experiences to the public. All of them enrich the communication and the interaction between the museum and the users. To this offer of contents, e-learning can be added. E-learning is a training modality whose main quality is flexibility, since it allows students to consult the contents without depending on geographic location, schedules or a specific device. This reflects an advantage when the institution or organization wants to share content related to its expositions. E-learning is composed of multimedia, instructional design and a virtual classroom. To develop these factors correctly, there are working methodologies (ADDIE model), software (Adobe suite, Captivate, Articulate) and digital platforms (Moodle, YouTube, Wordpress), available. The museums have different materials and topics that can be shared through this teaching process. The narrative in applied museography can be translated into applied narrative in online learning content. These contents must be developed following learning objectives, economic-publicity retribution and positive answer on the part of the participants. Among the contents that can be developed in e-learning, there are videos, SCORM (interactive content), virtual tours, readings, MOOCs, quizzes, infographics, and others. These must be aligned with the purposes, capabilities and needs of the museum. The application of e-learning allows to have a repository of interactive materials and provides a new channel to empathize with the public, and becomes a tool to analyze their consumption, since it will be possible to obtain quantitative and qualitative data on which topics of the museum are clear and of interest, and which ones need improvement in their development and presentation. The approach will always depend on the feasibility and limitations of the museum. This paper will provide the necessary guidelines to take the first steps towards the digitization and creation of teaching contents in cultural institutions.Item type: Capítulo de libro , Access status: Abierto , Arqueología reconstructiva digital para el visitante de Segobriga. La experiencia POLIRURAL en su Parque Arqueológico(Editorial Universitat Politècnica de València, 2022-10-25) Cebrián Fernández, Rosario; Carral Fernández, Raúl; Esteban Díez, Román; European Commission[EN] The POLIRURAL project is implementing ICT in the visitSegóbriga Archaeological Park, developing different tools through new innovative technologies, which help, together with an appropriate interpretation strategy, to transfer scientific knowledge of the site to the general public. To date, the project has incorporated a wide range of content that deals with the dissemination of heritage and nature through numerous cutting-edge techniques such as Augmented Reality, photogrammetry, virtual reconstructions, 3D recreations, sound alerts, image recognition, among others. others, which accurately reconstruct various excavated spaces, on the real environment and without losing the perception of it. Thus, through the development of new resources and virtual tools, access to the archaeological knowledge of the site, the essence of its Park, is made easier for different types of users. The project has managed to value scientific research, adapting it to the needs of the visitor through the efficient management of available resources. A multidisciplinary team participates with extensive previous experience in archaeological heritage, the creation of interpretive content and educational dissemination, as well as in research and development projects. POLIRURAL, is a European Rural Development project financed through the Horizon 2020 Innovation funds. The Tragsa Group participates in it on behalf of Spain together with 16 European countries.Item type: Capítulo de libro , Access status: Abierto , El Museo Dialoga: el museo y la sociedad en comunicación crítica(Editorial Universitat Politècnica de València, 2022-10-25) Orozco Varela, Luis; Blanco Ortiz, Mariana; Campos Fonseca, Gustavo; Cubillo González, María; Nuñez Marín, Javier[EN] The presentation consists of sharing and analyzing in depth the communicative work of the Museum of Popular Culture of the School of History of the National University of Costa Rica, specifically from the virtual dialogue initiative called "#elmuseodialoga", which has potentiated the presence of the museum in academic social networks and has contributed to fostering dialogic links with academics, inside and outside the university, as well as with actors from civil society as a whole. This initiative arose in order to enhance virtual extension and dissemination actions through the use of social networks that the museum has, for example, the YouTube channel, Facebook, Instagram, Twitter and LinkedIn. To this end, academics who work at the museum and students from the School of History have joined forces to generate a communication alternative in line with the new challenges of virtuality. In this sense, forty editions of virtual dialogue have been promoted over the course of just over a year, with both national and international guests, the latter within the #elmuseodialogainternacional modality. The dialogue space has three transversal axes that allow covering a wide spectrum of thematic possibilities: a) Popular culture, history, art and heritage, b) dissemination of academic work and c) current national and international issues. In the first axis we address everything related to cultural heritage, material and immaterial, traditions, popular cultists, Costa Rican art, among others. From the second axis, we work on disseminating the contribution of academic research from both the UNA and other national and international universities, in order to disclose to wider audiences, the contribution of the knowledge produced by universities to society as a whole. In the case of the third axis, we reinforce the past-present relationship, generating spaces for reading the national and international reality, also opening prospective horizons.Item type: Capítulo de libro , Access status: Abierto , Laboratorios ciudadanos feministas: Alternativas digitales para la integración de la perspectiva de género en museos mexicanos(Editorial Universitat Politècnica de València, 2022-10-25) Ramírez Rivera, Jessica[EN] Citizen laboratories are spaces that enable dialogue between various agents, provide methodologies and mechanisms to develop prototypes to solve problems. Through them, the museum can become a meeting place, take on the role of mediator, facilitator of ideas and a bridge between citizens and institutions. This communication will address the specific case of the project "Let's build a new look: Feminist Visual Narratives in Museums", which was part of the Laboratory for Participatory Reinvention in Museums. With the development of this laboratory, the creation of a toolbox was achieved that proposes dialogue between the public and the museum from a gender perspective, in the creation of hybrid proposals that interact both in cyberspace and in the exhibition space.Item type: Capítulo de libro , Access status: Abierto , Estrategias de gamificación digital para promover el aprendizaje basado en la experiencia sobre preservación y curaduría en museos(Editorial Universitat Politècnica de València, 2022-10-25) Andrez, Bárbara; Pinto, Maria; Menino Homem, Paula; Fundação para a Ciência e a Tecnologia, Portugal; Centro de Investigação Transdisciplinar Cultura, Espaço e Memória[EN] As spaces of learning and fruition, museums are constantly adapting their contents and actions to deal with the dynamic of social transformations. The introduction of new digital technologies in the exhibition spaces empowered museum teams to communicate their collections and interact with their visitors in very differentiated ways. The phenomenon of gamification and its implicit strategies, raise the possibility of improving engagement between people, objects and associated information, and may allow museums to establish new approaches and results. The work to be presented is part of a PhD research programme focused on the development of gamified experiences and their implications in the infocommunicational process and non-formal learning in museums, specifically applied to a group of visitors between 8 to 12 years old. The aim is to share reflections and considerations about the deployment of a digital gamified prototype in a museum in Portugal, in order to enhance knowledge about collections and awareness about the invisible, complex and interdisciplinary rich, backstage work of museum teams, dealing with curatorship and risk management to ensure their preservation, as well as inclusive fruition. Based on relevant literature and on identified gamification frameworks, we focus on the description of possible gamified solutions with the juxtaposition of learning objectives and possible outcomes. As part of an exploratory approach, we intend to enumerate the best practices to fulfil the initial educational requirements, as well as to proceed with possible solutions to respond to them. We also intend to merge these reflections with plausible inferences of intrinsic and extrinsic motivations in groups and understand how they can influence desired actions and the whole gamified learning experience.Item type: Capítulo de libro , Access status: Abierto , Giravolt, dos años de difusión de las tecnologías 3D en el patrimonio Cultural(Editorial Universitat Politècnica de València, 2022-10-25) Sierra Reguera, Albert; González, Lluís; Agència Catalana del Patrimoni Cultural[EN] In January 2020, Giravolt was officially launched, a program for the dissemination of 3D technologies in the cultural heritage sector in Catalonia. The initiative comes jointly from the Agency and the General Directorate of Cultural Heritage, after an analysis in 2018 of the technologies with a growing impact on the sector and the verification that 3D was in a phase of growing adoption in other sectors. The program aims to improve the use of these technologies in the cultural heritage sector, the understanding of their usefulness in the different phases of the heritage workflow, and their application by managers and institutions autonomously in the coming years. The program is divided into four axes: Creation and maintenance of a digital corpus. Through different calls, Giravolt scans museum objects, archaeological spaces or architectural monuments. With more than 300 models as of September 2022, and more than 100K visits, this collection of 3D models aims to be a selection of heritage in Catalonia, especially highlighting its diversity, both thematically, geographically and chronologically. Link with the professional sector. Different actions aim to connect professionals in the sector to these technologies, different training days have been scheduled throughout the territory, specialized 3D captures have been launched for research projects, for example in Paleolithic engravings, rock art paintings, reconstructions of Iberian monuments or documentation of Roman and Renaissance monuments. A particularly important action has been the publication of a guide to good practices and protocol for the sector. Link with the educational sector. An activity called #despertaelpatrimoni (awaken heritage) has been created that allows schools and institutes to scan their local heritage in 3D themselves with their smartphones and publish it on the Internet. Dissemination to different audiences. This section includes everything from 3D printing actions to create accessibility activities, to multimedia presentations in collaboration with contemporary artists or Virtual Reality pilot projects.Item type: Capítulo de libro , Access status: Abierto , La Función Social de los Museos en la Era de la Tecnología. Un estudio de caso sobre la influencia de los medios digitales en la dimensión social de los Museos Nacionales en Portugal(Editorial Universitat Politècnica de València, 2022-10-25) Amaral, Leonor; Fundação para a Ciência e a Tecnologia, Portugal; Universidade do Porto[EN] A unique moment in Contemporary History, the COVID-19 pandemic reinforced the relevance of the reflection on the social responsibility of museums and the current (dis)framing of their traditional communication paradigms. The consecutive restrictions and limitations applied to museums in the context of a pandemic crisis have transformed the way they have operated in recent years. On the other hand, the growing awareness of the importance assumed by museums as institutions that promote cohesion and social inclusion, but also of knowledge, learning and leisure, has revived a debate with theoretical-conceptual foundations that has sought, since the Declaration of Santiago do Chile (1972) to understand their position in relation to their social dimension, today in a panorama of uncertainty that characterizes our days. Thus, there is an urgent need to rethink, in a prospective sense, the role of information management and digital communication models in the perception of these institutions within contemporary society. The present proposal seeks to present the preliminary results of a doctoral research in Museology, financed with a scholarship by the Fundação para a Ciência e para a Tecnologia in Portugal, which is focused on the theme of the relationship established between the approach by museums to their social functions in relation to their digital action strategies. As an interaction tool inherent to actions and activities with which we most closely identify, digital information and communication technologies shape daily the way we, as social beings, think and act. In this context, “museum” and “digital” cannot be dispersed concepts. In a study carried out with the visitors of seven National Museums in Portugal, presented here, we find some indications regarding the relationship between the visitors' digital action and consumption habits and their possible influence on museum visitors. These data allow us to reflect on how museums can position themselves in relation to the interests and habits of their visitors.Item type: Capítulo de libro , Access status: Abierto , El rastro del rostro: catalogación con herramientas de reconocimiento facial en el Teatre Lliure(Editorial Universitat Politècnica de València, 2022-10-25) de la Paz, Anabel; Folia, Marc[EN] Teatre Lliure, a centre at the heart of contemporary creation and scenic performances in Spain, is carrying out a pilot trial that catalogues photographs using artificial intelligence devices such as qUIc. Teatre Lliure’s photographic collection has more than 47,000 photographs taken since 1976 until nowadays The facial recognition mission is a task halfway between artificial and natural intelligence. Essentially, this experience at Teatre Lliure’s photographic collection illustrates a symbiotic relationship between both types of intelligence. The team at Lliure take part in the cataloguing process, which enriches the photographic’ s metadata collection while also feeding into the reference database used by the algorithm; and this is thanks to workers personal knowledge, a valued catalyst of the project. What are its implications? What lessons can we learn from this experience that can be echoed by other cultural institutions? In this article, we shall detail our latest cataloguing project from a technical and experiential perspective, exploring the two-way relationship between artificial and human intelligence. Additionally, we shall focus on the artistic potential of applying these technologies at cultural institutions while looking into how gaming plays into the process.Item type: Capítulo de libro , Access status: Abierto , Co-crear recursos de accesibilidad con la comunidad usuaria en el Museu d’Arqueologia de Catalunya, Barcelona(Editorial Universitat Politècnica de València, 2022-10-25) Masoliver Vilamala, Jasmina; Granell Querol, Andrea; Moreno Catalán, Eduard; Ajuntament de Barcelona; Universitat de Barcelona; Museo de Arqueología de Cataluña[EN] ReAcc-MAC (Accessibility Resources at the Archeology Museum of Catalonia, Barcelona) is a participatory research carried out by people with visual functional diversity. The objective is to weave bonds between the museum and this collective This way, connections contribute to achieving a more accessible and inclusive museum. This process is framed the paradigm shift towards universal accessibility and social museology in Catalonia. The agents that have intervened in this community research have been: the MAC, the Cooperativa Eduxarxa, the research group formed by people with visual functional diversity, DIDPATRI of the University of Barcelona and the Prevent Foundation. The research group has been the protagonist of the project since they have been in charge of carrying out the analysis and evaluation of the contents and the museography in an area of the exhibition space called Blue Sea Bridge. To perform this research, a combined methodology has been used. On one hand, quantitative analysis such as surveys. On the other hand, qualitative based on focous group method. Regarding the results, a proposal co-designed by the research group was obtained to improve the physical, sensory, and communicative accessibility of the Blue Sea Bridge area. It is worth emphasizing the good evaluation of the project by the research group, since they highlighted that their participation had been very beneficial, for both, the community, and the museum. In addition, it was positively valued by partakers to have been able to participate actively and to see how their opinion was actually taken into consideration. In short, it is possible to co-create accessibility resources with the user community. With this research, the replicability of this methodology is verified, and it is intended to encourage future interventions of this type in other museum institutions. This project has been supported by Becas “Premis Barcelona 2020” of Barcelona City Council.Item type: Capítulo de libro , Access status: Abierto , Los proyectos wiki de las exposiciones temporales de L’ETNO: conocimiento abierto desde el museo(Editorial Universitat Politècnica de València, 2022-10-25) Pons Cortell, Amparo; Ulzurrun, Luis; Sáez, Montse; Fort, Francesc; Baggetto, Sergio; Penya-Roja, Carles; Museu Valencià d'Etnologia[EN] In 2016, L’ETNO, Museu Valencià d’Etnologia, started its GLAM Wiki project to openly share the content generated by the museum through Wikipedia and its sister projects. Convinced of the important role of museums as generators of knowledge and of their ability to improve the verifiability of the most consulted online encyclopedia in the world, L'ETNO has developed, over the years, different thematic viquiprojects implementing activities of edition, training and online contests mainly, and always in collaboration with the community of editors of the entities Amical Wikimedia and Wikimedia Spain. In 2021, on the occasion of the Muixerangues al cel exhibition, L'ETNO opened a new line of work to create parallel projects on Wikipedia about the museum's temporary exhibitions. From its vocation as a social museum, L'ETNO aims to contribute to free access to information, spread Valencian culture and offer new dynamics of participation in Wikipedia and its sister projects through different activities. The application of wikiprojects to temporary exhibitions from 2021 is another commitment to free knowledge and Wikipedia and, in any case, an important pillar of the museum's digital strategy. The new temporary exhibition of 2022, «Espill de Festa. El Corpus», was born with a parallel project called «Viquiprojecte El Corpus», which will serve to improve the existing content on Wikipedia about the celebration of El Corpus Christi in the city of Valencia. Each temporary exhibition is an opportunity to reuse the knowledge generated and share it, but each one requires a different structure, activities and alliances to carry it out. The work methodology, the activities carried out, the results and the evaluation of the viquiprojects carried out will be presented.