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Abstract

The German Art Institute in Florence was founded in 1897 and today it is part of the German research Max Planck Society with about 80 institutes. It houses a rich collection of Approximately 580 000 photographs of Italian art. The collection documents the development of Italian art from the middle ages to the present, dating back to the early days of photography in the 1850s. Unfortunately, access to the institute is restricted due to limited workspace. In order to increase the accessibility to the scientific community, the institute decided to create an image base on the Web combining high resolution digital images with a detailed scientific documentation. The digital images are based on scans of the predominantly monochrome photographic negatives of middle and large format. During the scan process we try to preserve the highest possible quality with maximum amount of information. The result is a master scan which consists of about 100 MB by 16 bit greyscale. The main intention here, is to save the visual heritage for external secure long-term archiving. For the normal use and as a basis for the further described database we use overworked, downsized working copies of about 20 MB. For content management and presentation we decided to use open-source-products only. As content management system we adapted the open-source-software ZOPE / PLONE to our demands. To gain a better search ability we extracted the data of the existing database, transferred the hierarchical structure in object-orientated surroundings and organised completely new indices and searching facilities. In a further step we combined the open-source image viewer digilib with the ZOPE database. digilib offers several advantages: - fast zooms in every detail of the image - protects against copyright violation - supports scientific collaboration by providing annotation and citation tools The effort for creating the image base was considerable for the following reasons: The building up of the scientific documentation and the software adapting process were both time-intensive. The very heterogeneous and often sensitive negative materials as well as the high quality goals prevent a high-speed digitalisation. In the end we decided to realise this new database with some 20,000 images, and do the digitisation in-house and within a timeframe of two year project.

Date

22. 7.2009 11:49:01

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Source

Information und Märkte: 50. Deutscher Dokumentartag 1998, Kongreß der Deutschen Gesellschaft für Dokumentation e.V. (DGD), Rheinische Friedrich-Wilhelms-Universität Bonn, 22.-24. September 1998. Hrsg. von Marlies Ockenfeld u. Gerhard J. Mantwill

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Date

22. 6.2000 12:59:53

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Abstract

The paper presents the results of a study on usability methods for evaluating Web sites. It summarizes the "Heuristics for Web Communications," and reports the practical experiences with these heuristics, contrasting them with the "Keevil Index" and combining them with user testing with thinking aloud. It concludes that working with the "Heuristics for Web Communications" takes more time and effort than working with the "Keevil Index," but produces more consistent results. The heuristics proved to be applicable both in heuristic evaluation and in combination with user testing.

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Date

22. 3.2008 14:24:08

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Abstract

Mit dem Aufkommen der so genannten "neuen Museologie" (Vergo 1989, ed.) und der Verbreitung der Akzeptanz der konstruktivistischen Lerntheorie in der Museumspädagogik (Hein 1998; Lepenies 2003) suchen Museen nach neuen Formen der Vermittlung. Dabei tritt zunehmend das Phänomen der Museumserfahrung in den Vordergrund: nicht mehr Museumsobjekte stehen im Mittelpunkt des Museumsbesuchs, sondern das Erlebnis, das sie bei den Besuchern hervorrufen. Für dieses Erlebnis wird in der Literatur meist der Begriff der Erfahrung verwendet, die die US-amerikanische Museumspädagogin Lisa Roberts folgendermaßen beschreibt: " 'Experience' refers to new ways of thinking about the basis for knowledge. With the legitimation of multiple ways of knowing and the acknowledgement of the role of context in shaping understanding, language about 'knowledge' has shifted to language about 'meaning.' What we know, in other words, is based less on the nature of the object than on the manner and the context in which it is experienced." (Roberts 1997: 132) Die Museumserfahrung ist eng verbunden mit der konstruktivistischen Lerntheorie, die davon ausgeht, dass die Besucher die Bedeutung von Objekten aktiv produzieren. Dabei bauen sie auf ihrem individuellen Wissen, ihren typischen Erwartungen und Normen und ihren persönlichen Erfahrungen auf und setzen Museumsobjekte und -information dazu in Bezug (Hein 1998: 147, 152; Lepenies 2003: 68). Die Voraussetzung für eine erfolgreiche Museumserfahrung ist jedoch, dass sie nicht durch Barrieren erschwert oder verhindert wird. In diesem Zusammenhang spielen sowohl die Sprache als auch die Sammlungsklassifikation zentrale Rollen, die sowohl Vermittlungsmedien als auch Vermittlungshemmnisse sein können. Der Fokus der folgenden Ausführungen liegt auf ihrer Betrachtung als Vermittlungshemmnisse. Als Alternative für die Präsentation wird eine narrative Vermittlung durch Storytelling vorgeschlagen.