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"Art.sy is a new way to discover art you'll love, featuring work from leading galleries, museums, and private collections around the world. Art.sy is powered by The Art Genome Project, an ongoing study of the characteristics that distinguish and connect works of art. Art.sy evaluates artworks along 200+ characteristics-such as art-historical movements, subject matter, and formal qualities-to create a powerful search experience that reflects the multifaceted aspects of works of art.

Department of Arts and Cultural Studies, Copenhagen: Conference: The role of the art museum has changed drastically during the past decades. So has the role of contemporary art within the art museum. Once institutions for preserving and producing knowledge for eternity, museums increasingly become arenas for experience and events of the moment.

The role of the art museum has changed drastically during the past decades. So has the role of contemporary art within the art museum. Once institutions for preserving and producing knowledge for eternity, museums increasingly become arenas for experience and events of the moment.

o one can have a "museum experience" without stepping foot in a museum. Let's just get that out of the way. It doesn't matter how digitally precise your online version of "The Forge of Vulcan" is, tilting your head to draw the light across the raised ridges of paint is not an electronically duplicable experience. That doesn't mean digital art collections don't have great value. After all, art books do. So here are half a dozen great digital art collections you can visit to inspire your own trip, or your own thinking about art, or to remind yourself or to learn a bit for no other reason than digital art is better by far than no art at all. In order to keep from wandering off the path never to be seen again, let's focus on Western painting.

The ubiquity of mobile devices and the advent of augmented reality provide an opportunity to explore the use of interactive design in what is traditionally a difficult educational space: the art museum. The NGA Experience app (shown here on an iPhone but theoretically platform-agnostic) uses augmented reality to populate the art museum with a digital layer of content that is virtually infinite, yet completely optional for visitors. Such an application of AR in the museum ultimately provides a greater level of control and engagement to the museum visitor and enhances his or her opportunity for a meaningful experience without altering the physical space of the gallery.

Here is a post to inform you of two conferences that will take place at the end of November and beginning of December, one in London, one in Paris. Both are organised by the Wikimedia Foundation in partnership with arts institutions who will be presenting and discussing their experiences on knowledge sharing and partnerships with Wikimedia in that regard. As structured organisations with a deep sense of hierarchy and copyright protection of their pieces and collections,  arts organisations tend to present themselves as essentially resisting these notions, although avid readers of Museum 2.0, Museum 3.0, and French speaking readers of Mixeum are fully aware that the picture of museums today on these issues is a fragmented one. 

But the simplest evidence I have for the statement that design impacts visitor contributions comes from a formative evaluation performed at LACMALab for their nano exhibition in 2004. In the report, evaluator Marianna Adams described a simple experiment in visitor response. LACMALab took one question--"What connections do you see between art and science?"--and created two ways for visitors to respond. In March, visitors were offered white 4"x6" notecards and golf pencils. In April, these were replaced with blue hexagonal cards and full-size pencils.

Seductive Subversion opens today and the show takes a look at the impact of women artists on the traditionally male-dominated field of Pop art.  The exhibition team wanted to keep things simple in the gallery-a spare look, so the pop art would really pop out at you.  At the same time, the team had a plethora of research about each of the 25 artists featured in the show and wanted a way to share that with the public.   So, the goals of this endeavor became two-fold.  First, how do we share the research and, second, how do we do it in a way that won't overwhelm the visitor experience?  Wikipedia + iPads became the answer

There has been a lot of buzz lately about mobile technology with the release of mobile apps by some major museums like MoMA, The Brooklyn Museum, and the Museum of Natural History. Reviews have been mixed, but the discussion about the way mobile technology should be used in museums has definitely picked up speed.

Museums are increasingly using technology to reach an audience outside their walls. And I, of course, am a complete evangelist for new media and for institutions adapting as fast as possible to changes new technologies are bringing to our world. But when the time came to talk to the museum heads about using social media tools to expand their audiences and enrich the museum-going experience, I found myself oddly reticent.

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.

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.