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Digital Media Pedag: Research Trebor Scholz: Parsons: Trebor Scholz "Learning through Digital Media" is the result of four workshops thattook place in the fall of 2010 when a total of eighty New Schoolfaculty, librarians, students, and staff came together to think aboutlearning with digital media. We would be delighted if you'd review oneof the texts now. Public peer review will end on January 25, 2011.  Der link führt zur Übersicht der Recherche auf mindmeister

The next Stage: Moving from isolated digital Collections to Interoperable Digital Libraries: Online collections do not yet function like conventional libraries. Many digital collections are experimental and lack service components, and few have preservation components. The function of searching across collections is a dream frequently discussed but seldom realized at a robust level. This paper places a conceptual framework upon digital library development, and discusses how we might move from isolated digital collections to interoperable digital libraries.

Every day millions of Britons engage with the arts and cultural sector through digital media.1 This engagement comes in many forms and is in a constant state of evolution, driven by technological change. Five years ago, mobile phones were for texts and calls and Facebook barely existed. Today, a quarter of us have a smartphone through which we can listen to a song, or watch a trailer for an artistic performance.2 Over 40,000 people track the Royal Opera House, and over 58,000 the British Museum, through Facebook; while FACT in Liverpool has 7,000 Twitter followers.However, this research represents the first time that this online engagement with arts and culture in England has been captured and quantified

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?

"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."

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.

Beryl Graham and Sarah Cook's Rethinking Curating: Art after New Media addresses how curators and art audiences behave in light of digital/new media art, as well as how we can begin to conceptualise and work with these emergent behaviours.

Storytelling: digital technology allows us to tell tales in innovative new ways. As the tools available to publishers grow more sophisticated, it's up to us to experiment and see what sticks. [...]Stories are memory aids, instruction manuals and moral compasses. When enlisted by charismatic leaders and turned into manifestos, dogmas and social policy, they've been the foundations for religions and political systems. When a storyteller has held an audience captive around a campfire, a cinema screen or on the page of a bestseller, they've reinforced local and universal norms about where we've been and where we're going. And when they've been shared in the corner shop, at the pub or over dinner they've helped us define who we are and how we fit in. Human experience is a series of never-ending, overlapping stories bumping into one another in expected and unexpected ways.[...]

Digital Strategies for Heritage (DISH) is a new bi-annual international conference on digital heritage and the opportunities it offers to cultural organisations. Triggered by changes in society, heritage organisations face many challenges and need to make strategic decisions about their services.

Investigations on Digital Storytelling: The Development of a Reference Model [Taschenbuch]

Das klingt ja sehr spannend! Danke für den Hinweis...

Engaging young people using digital technology - project examples Project examples emailed in response to a request via GEM, DLNET and MCG lists Sep 2010.

"Communicating Life Stories - Digital Storytelling Oral History Publishing in a Digital Age" OK, how many of you out there have a cassette player? 8 track? 8mm projector? Exactly, no one.

Digital New Zealand is an initiative... "This interactive online video mashup uses EditorOne to let visitors create their own short videos using historic video images, still photographs, artifacts, music and audio clips."

PEW-Daten zur Internetnutzung in den USA: Grounding Digital Information Trends: "Mobile change our relationship to time and space" - location based and apps are the next big thing - the use of the internet from 2000-2010 (Broadband adoption (2000-2010), demographics of use, ect.)

MuseumNext is Europe's big conference on social and digital media within the museum sector. We believe that technology is changing the expectations of museum audiences. They no longer want to have information just broadcasted at them, they want to create, to curate and to co-produce experiences.

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.

Das ist nur so eine kleine Idee, die ich mit meinem Schwiegervater, der sich gerade für sein Dorfmuseum "Ahle Kram" engagiert, gerade aushecke. Unsere Idee ist es, das Museum digital zum Leben zu erwecken, so dass es Spaß macht sich mit den Dingen darin zu beschäftigen. Unser Plan lautet also: Wir inszenieren einzelne Gegenstände im Museum, die Geschichten über sich und ihre Besitzer erzählen. Gelöst in der ersten Stufe mit einfachen Webwerkzeugen (iPhone, Instagram, Soundcloud)

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 thought you might want to know about and possibly contribute to this" (Museum Computer Group)EC consultation on digitisation and 'boosting cultural heritage online'. It's looking at "how best to speed up the digitisation, online accessibilityand preservation of cultural works across Europe. Contributions to thisconsultation will feed into the recommendations the Group will make beforethe end of the year" and they say, "the Group will come forward with a setof recommendations for the digitisation, online accessibility andpreservation of Europe's cultural heritage in the digital age, looking inparticular at the issue of public-private partnerships for digitisation inEurope".

Joe Lambert has compiled The Seven Elements of Digital Stories to create a framework and vocabulary for the art. Point, Dramatic Question, Emotional Content, Pacing, Gift of your Voice, Economy and Soundtrack are explained at the Center for Digital Storytelling.