Trant, J.; Bearman, D.: Social terminology enhancement through vernacular engagement : exploring collaborative annotation to encourage interaction with museum collections (2005)
0.00
0.0015127839 = product of:
0.0030255679 = sum of:
0.0030255679 = product of:
0.0060511357 = sum of:
0.0060511357 = weight(_text_:a in 1185) [ClassicSimilarity], result of:
0.0060511357 = score(doc=1185,freq=10.0), product of:
0.053105544 = queryWeight, product of:
1.153047 = idf(docFreq=37942, maxDocs=44218)
0.046056706 = queryNorm
0.11394546 = fieldWeight in 1185, product of:
3.1622777 = tf(freq=10.0), with freq of:
10.0 = termFreq=10.0
1.153047 = idf(docFreq=37942, maxDocs=44218)
0.03125 = fieldNorm(doc=1185)
0.5 = coord(1/2)
0.5 = coord(1/2)
- Abstract
- From their earliest encounters with the Web, museums have seen an opportunity to move beyond uni-directional communication into an environment that engages their users and reflects a multiplicity of perspectives. Shedding the "Unassailable Voice" (Walsh 1997) in favor of many "Points of View" (Sledge 1995) has challenged traditional museum approaches to the creation and delivery of content. Novel approaches are required in order to develop and sustain user engagement (Durbin 2004). New models of exhibit creation that democratize the curatorial functions of object selection and interpretation offer one way of opening up the museum (Coldicutt and Streten 2005). Another is to use the museum as a forum and focus for community story-telling (Howard, Pratty et al. 2005). Unfortunately, museum collections remain relatively inaccessible even when 'made available' through searchable on-line databases. Museum documentation seldom satisfies the on-line access needs of the broad public, both because it is written using professional terminology and because it may not address what is important to - or remembered by - the museum visitor. For example, an exhibition now on-line at The Metropolitan Museum of Art acknowledges "Coco" Chanel only in the brief, textual introduction (The Metropolitan Museum of Art 2005a). All of the images of her delightful fashion designs are attributed to "Gabrielle Chanel" (The Metropolitan Museum of Art 2005a). Interfaces that organize collections along axes of time or place - such of that of the Timeline of Art History (The Metropolitan Museum of Art 2005e) - often fail to match users' world-views, despite the care that went into their structuring or their significant pedagogical utility. Critically, as professionals working with art museums we realize that when cataloguers and curators describe works of art, they usually do not include the "subject" of the image itself. Simply put, we rarely answer the question "What is it a picture of?" Unfortunately, visitors will often remember a work based on its visual characteristics, only to find that Web-based searches for any of the things they recall do not produce results.
- Type
- a
