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Last month, the Irvine Foundation put out a new report, Getting In On the Act, about participatory arts practice and new frameworks for audience engagement. Authors Alan Brown and Jennifer Novak-Leonard pack a lot into 40 pages--an argument for the rise of active arts engagement, a framework for thinking about ways to actively involve audiences, and lots of case studies. It is framed as a kind of study guide; pop-outs provide questions that tease out opportunities and tensions in the narrative. This report is not an end-all; it is the opening for a conversation.

Museums are quickly adapting to Web 2.0, and engaging with a new on-line audience. Social media projects are being developed and used by museum staff, and curators are starting to explore this new space. When the Powerhouse Museum's curatorial department created their first blog, they had no idea what they were in for, or what challenges they would face. They also had little idea of how curators as a whole are participating in social media activities. This paper will use the Powerhouse Museum's 'Object of the Week' blog and a major international survey of curators to investigate how social media activities are impacting on curatorial practice.

Get accurate information about your community using different search criteria that will help you to make strategic and error-free decisions. Take advantage of knowing exactly who shapes your community: where your followers are from, which language they speak, their activity on Twitter, etc.

Potential museum visitors access information about the organization and decide if they want to visit by using web-based sites such as a museum's website, social media platforms, and peer-review sites over more "traditional" forms of advertising. In fact, when comparing how folks get their information about leisure activities, it's not even close: web and mobile platforms (including social media) are disproportionately influencing your museum's visitation and attendance.

Digital technology has the potential to influence every aspect of the cultural heritage environment. Archaeologists and cultural heritage scientists as well as Information and Communication Technology (ICT) experts have in the past collaborated to find solutions to optimise all aspects of capturing, managing, analysing and delivering cultural information, but many unsolved problems remain. The goal of VAST 2012 will be to build on the open dialogue between these different areas of expertise, and in particular allow ICT experts to have a better understanding of the critical requirements that cultural heritage professionals have for managing and delivering cultural information and for the ICT systems that support these activities.

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.

The Frontlines aims to combine the 40,000 organizations that support veterans into one network of veterans, active duty, military families and citizens together to overcome the obstacles vets typically face. The Frontlines is a network for armed forces, veterans and citizens to provide 400,000 filtered resources, education and the ability to share their stories. The site is used also used for mentorship to aid in gainful employment, supporting wounded veterans and success during the transition from the military.

RS combines research tools with social networking applications such as forums, wikis and blogs. The research tools are launched from a custom toolbar embedded into the collaboration application itself and therefore they are easily incorporated into a project's workflow . Essentially these research tool 'plug-ins' provide an additional layer of functionality so that data and digital assets can be searched and edited while engaging in more informal collaboration and communication activity. Conversely, it is the collaboration activity that creates opportunities for more formal data recording.

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.

"Welcome to UKOLN's Cultural Heritage blog. The blog aims to provide a key communication channel for UKOLN's engagement with the cultural heritage sector, for disseminating information on UKOLN's activities in this area and for encouraging discussion and debate on innovation and best practices."

"If you are a marketer, Facebook is important - the number of active users of the site exceeds the population of the United States, and it's growth is going to do nothing but increase. Check out the Facebook statistics page for a slew of numbers that are all…big. Because of the growth of Facebook as a critical marketing channel, a hot topic around the office right now is "Facebook measurement." It's a tricky topic that reminds me of the early days of web analytics: there's some basic stuff that's easy to measure, and it's basically helpful, but there's a lot more that can't be measured or can't be measured well, and that's where the real value is."

"Digital Strategies for Heritage (DISH) is a bi-annual international conference on digital heritage and the strategies that heritage institutions can follow. Triggered by changes in society, heritage organisations face many challenges and need to make strategic decisions about their activities and services. The key motivators for the conference are inspiration, knowledge, skills and networking."

This report describes the demographic characteristics of U.S. adults that participated in the arts (such as concerts, plays, and dance performances) via electronic media (e.g., TV, radio, computers and portable media devices) in 2008, based on the Survey of Public Participation in the Arts (SPPA). Separately, the report examines broad categories of arts participation via Internet. The report also investigates factors contributing to the likelihood of some Americans experiencing art through media. Finally, the report considers the relationship between media-based arts activities and other types of arts participation, such as live attendance and personal arts creation. June 2010. 146 pp.

Super, das ist ja ein toller und hilfreicher Report, danke fürs Aufspüren. ;-)

This paper looks at the use of cell phones for tours of cultural sites in Europe. Although several projects have experimented with IVR, SMS and even multimedia tours on standard and next-generation networks, take-up of this platform by museums has remained low in comparison to US activity, despite cell phone usage being more wide-spread and longer-developed than in North America. Through case studies of recent phone tour projects at Tate Modern and the San Francisco Museum of Modern Art, we examine what the key differences and similarities are between phone-based tours on the two continents, and what each can learn from the other.

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

"My 2-year-old daughter surprised me recently with two words: "Daddy's book." She was holding my Kindle electronic reader." Dazu auf ReadWrite: "Virtual worlds like ToonTown and Club Penguin are particularly popular with kids right now. In a recent New York Times article, University of California cultural anthropologist Mizuko Ito claimed that "children who play these games would see less of a distinction between their online friends and real friends." He also said that these types of online virtual worlds make kids "more likely to participate actively in their own entertainment" - in comparison to us oldies who grew up watching TV from the couch." (http://www.readwriteweb.com/archives/kids_on_the_web_virtual_worlds.php?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+readwriteweb+%28ReadWriteWeb%29&)utm_content=Google+Reader

"So what is spreadable media good for? * To generate active commitment from the audience, * To empower them and make them an integral part of your product's success, * To benefit from online word-of-mouth * To reach niche, highly interconnected audiences, * but most of all, to communicate with audiences where they already are, and in a way that they value. ...an open photo policy is a cornerstone of any institution that sees itself as a visitor-centered platform for participatory engagement. Here are five reasons I think museums should have totally open photo policies: