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3DVisA was funded between 2006 and 2008 by the UK Joint Information Systems Committee (JISC). The Network was hosted by King's Visualisation Lab in the Centre for Computing in the Humanities at King's College London. It was an integral part of a wider UK Visualisation Support Network, VizNET, spanning the UK academic research community. This website documents some of 3DVisA activities and provides access to publications and resources created in 2006-2008, some of which continue to be maintained by King's Visualisation Lab. 3DVisA was also the Secretariat of The London Charter for the use of three-dimensional Visualisation in the Research and Communication of Cultural Heritage.

  I don't mean to belittle the successes that my fellow museum educators have achieved in advocating for the public dimension over the years. But, as one colleague put it when I discussed this blog with her - "[museum educators] have changed the identity of museums, but perhaps have not gained power."  Without this power, in my view, advocates of the public dimension have had and will continue to have great difficulty in fundamentally transforming their institutions. And most of our museums, exhibitions  and programs will continue to look and operate pretty much the same as they always have.

Pinterest has already changed the way marketers think about commerce.But it may also be ushering in a new form of storytelling. Transmedia company BeActive is using Pinterest to share one work of fiction through a combination of episodic videos, audio snippets, and visual pins.

This conference focuses on the interaction between museums and communities. In times of mobility and change, history museums play an important role in societal questions of social cohesion, identity and belonging. In search of their roots, people turn to heritage. History is popular as never before and it surfaces in all contemporary media. At the same time, the communication era offers new possibilities to form communities, based on common interests and preferences or popular and corporate culture. Museums in general, as part of the public sphere, are an important tool in this dynamic process of heritage formation and the performance of community.  

Director of audiences and media at London's Tate galleries talks about communicating with public in digital era The audience is completely changing, said Marc Sands, director of Audiences and Media at Britain's Tate, just as it was when Tate Modern opened in 2000.

I recently read an interesting study by my friend Kate Ehrlich at IBM and her colleague Sadat Shami, It is titled, Microblogging Inside and Outside the Workplace and looks at how corporate employees use microblogging tools. This effort conducted a content analysis comparing over 5,000 posts between March and June 2009 from individuals who were using an internal proprietary tool and Twitter simultaneously.  Within these 5,000 plus posts, 58% were done with twitter and 42% were done with the internal tool so there is a reasonable balance for the comparison.

SPEAKERS Josephine Bosma (nl): Acceptable Loss. Tales of Life and Death in the Digital RealmThis paper is based on an essay from my book. It is a case study and comparison of two projects in the digital domain that deal with memory and conservation. Anne Laforet (fr) Net Art and Preservation. For Museums and ArtistsArtists have appropriated the Internet as soon as it became public to experiment new artistic, social and technical practices.

Trying to fix an organization's content problems by installing a content management system (CMS) is like trying to save a marriage by booking a holiday. We know that a successful web project needs a content strategy-but when it comes to the CMS, we stop thinking strategically. Despite all the talk about user-centered design, we rarely consider the user experience of the editorial team-the people who implement the content strategy. We don't design a CMS, we install it.

Wurde am Museum and the Web 2008 vorgestellt: http://www.archimuse.com/mw2008/abstracts/prg_335001856.html "The Universidad Nacional Autónoma de México (UNAM), as an active cultural promoter, implemented a virtual museum system in order to help and develop expression related to art, science and humanities. The UNAM's cultural heritage is, as in many other universities, a vast number of different kinds of objects, ranging from painting and sculpture to numismatics and architecture, from traditional art to modern multimedia-based exhibits to Scientific Collections. It is impossible to exhibit it all in a single place in an orderly fashion." http://www.archimuse.com/mw2008/abstracts/prg_335001856.html

Design Lessons from Storytellers Alternative Uses of Storytelling The use of storytelling can be found in team-building, training and marketing. A short story may be used as an introduction, so that everybody starts to adjust their mindset to absorb and reflect the emotions and feelings embedded in the story and what comes next. You may find stories in business presentations, carefully written by content strategists, in advertising and, of course, in copywriting. It is easy to see how words and speech in different contexts can tell stories. We are used to reading and hearing stories, but how can you help tell a story with design?

People & Participation is based on Involve's successful book by the same name which was launched in 2005. The book provides a useful summary of participatory methods and practice but given the number of methods and speed of the development of new methods it is impossible for a printed publication to stay accurate for long

With the rise of new media a paradigm shift has occurred in the time when people "consume" museums. In the old days people would pick a specific moment to visit a museum. Maybe dress up a bit, make it a day out. On an average they would pick two, maybe three moments a year to spend time with museums. Nowadays, using Twitter and Facebook, we try to make people interact with museums twenty-four seven. They don't even have to be dressed to "visit" a museum.

Success with digital media for museums, education and cultural organisations isn't about scrambling to sign up to the latest fads, those teasmades of technology, and more about attitudes of organisations and the individuals within them. What are the handles we can grab hold of to begin or better develop our journeys into digital media use in the world of exhibition, performances or engagement of new audiences? It tries to make a few points, some more successfully than others, no doubt. Key amongst them:- how to institutions do better what is now so easy for everyman to do?- is there anything to be learned from the world of startups where coming up with a compelling problem that needs solved? What are the problems museums manage to solve? Do they need to think in that way at all?- what potential is there for cultural organisations to open themselves up to new audiences by tackling the same content and ideas in alternative ways and on different platforms?

[murmur] is a documentary oral history project that records stories and memories told about specific geographic locations. In each of these locations there is a [murmur] sign with a phone number on it that anyone can call to listen to a story while experiencing being right where the story takes place.

"We've been keeping an eye on super-simple feed reader Lazyfeed for about six months now. Cofounder and CEO Ethan Gahng wrote us today to let us know about some exciting changes users will see tomorrow morning when the startup launches Lazyfeed Squared, the second version of the product. "In our previous version," he said, "users had to click on updated topics to see what's inside. That is not lazy. And it wasn't fun enough. With the new version, it's not just the topics that update - each topic has its own live updates which show the latest headlines along with images." "

Where Do We Go From Here? Continuing with Web 2.0 at the Brooklyn Museum "As we moved forward with Web 2.0 and social media in 2007, we had two objectives in mind while overhauling earlier initiatives and creating new projects for visitors: * Keep it real: We aimed to personalize content as much as possible, since Web 2.0 for the Brooklyn Museum is all about social connections and growing communities. * Deliver content their way: Museum surveys have shown that visitors want to consume more information in shorter visits. Hence, we wanted to allow our audiences to easily receive information from the Museum, and dynamically share it with others. We continued to focus on our community-oriented, visitor-centered mission, and these goals became paramount as we thought about (and adjusted) our early initiatives; they also served as philosophical barometers when we created new projects. "

Das wär vielleicht interessant für Nathalie Unternährer, und das Museum Nidwalden? "This award-winning website is a living history of Brighton and Hove. Through the site, people share their memories, photos, knowledge and opinions about the city - as it is today and as it was in the past. There are over 10,000 pages to explore and it's very easy to add your own. Enjoy!"

hi Bettina, solange wir noch nicht wissen, wie wir Links verwalten, wäre es vielleicht geschickt, dass in die Gruppe zu posten, genauso wie die Frau Kamke das gemacht hat. Gruss, Axel

When Jonathan Ross is helping with the kids' homework, when Jamie Oliver bakes, when any of my 75 closest pals have coffee, I know about it - instantly. Why? Because, like at least 100,000 Brits, I Twitter. I Twitter from bed before I get up; when I arrive at work; when something happens; when nothing happens. Once I chain-smoked, now I chain-Twitter.

The Timeline is a chronological, geographical, and thematic exploration of the history of art from around the world, as illustrated by the Museum's collection. It is an invaluable reference and research tool for students, educators, scholars, and anyone interested in the study of art history and related subjects. First launched in 2000, the Timeline extends from prehistory to the present day. The Museum's curators, conservators, and educators research and write the Timeline, that continues to expand in scope and depth and reflect the most up-to-date scholarship.

Artworks often leave the Luce Foundation Center to go on view elsewhere in the museum, to go out on loan, or to go to the Lunder Conservation Center. If an artwork will be gone for more than twelve months, we are tasked to replace it from the collections of the Smithsonian American Art Museum. Here, we ask for your help!