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To coincide with the opening of the Dickens and London exhibition, the Museum of London has launched a new iPhone and iPad app which takes users on a journey through the darker side of Charles Dickens' London.

London Wall is a physical manifestation of the invisible city all around us; a poetic snapshot of social networking traffic from within a three-mile radius of the Museum of London.

Following on from the success of award-winning app Streetmuseum™, the Museum of London has joined forces with AETN UK's flagship channel HISTORY™ to develop a new app which gives users the opportunity to see Roman London as it was 2,000 years ago

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.

War Edgar Degas ein verhinderter Fotograf? Das behauptet eine Schau in der Londoner Royal Academy. Sie erliegt einem altbekannten Irrtum.

The Museum of London has released a new augmented reality iPhone app that allows tourists and residents alike to browse historical photographs in different parts of the city. Best part is… it's free.

The Museum of London has released a new augmented reality iPhone app that allows tourists and residents alike to browse historical photographs in different parts of the city. Best part is… it's free.

The following manuscript, consisting of 281 handwritten pages of unlined drawing paper, was discovered in the studio of Impressionist painter Edgar Degas (1834-1917) shortly after his death. Recorded as Lot 49 in the legendary 1918 auction of Degas's collection, the manuscript was purchased by economist John Maynard Keynes, who attended the sale as a buyer for the London National Gallery. The pages apparently remained in Keynes's possession until his death in 1946.

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. 

Meine Hypothese ist, dass heutzutage die Möglichkeiten des sogenannten Web 2.0 von Museen respektive ausstellenden Institutionen unterschätzt werden. Folglich wird das Potenzial vieler, freier Kommunikationsmittel nicht ausgeschöpft.13 Demzufolge werde ich mich in meiner Masterthesis mit diesen drei Fragestellung auseinandersetzen: Was ist der State of the Art im Umgang mit dem Web 2.0 und konkret im Umgang mit Social Media für Museen? Wie machen sich das MoMA in New York und die Serpentine Gallery in London diese Social Media-Tools für ihre Kommunikation zu Nutzen? Davon ausgehend, Social Media wäre für Museen relevant, wie ist sodann damit umzugehen und auf was ist zu achten?

Winning performance from the Museum's Gladiatorial poetry slam that took place in September. Young poets used the theme of Roman London (Londinium) as inspiration. The slam was part of the Museum's Stories of the World project in which young people aged 14-24 are interpreting collections in new ways and co-curating an exhibition for 2012. Filmed and edited by Rachel Nanyonjo and Jita Mitra.

"Next event: UK Museums on the Web (#ukmw11) will be held at the Imperial War Museum, London, on Friday, 25 November 2011. Join the MCG email list or follow @ukmcg on twitter for updates. View call for papers, deadline for submission of proposal 2 September 2011."

In 2002, the people of Ontario became the fortunate recipients of a time capsule vividly illustrating life in the province during the 1950s and 1960s when London television station CFPL generously donated 2,700 reels of news film to the Archives of Ontario. (das Projekt wurde 2008 an der Museum an the Web Conference vorgestellt: http://www.archimuse.com/mw2008/abstracts/prg_335001830.html

"Last week we looked a ranking of the top ten brands on Facebook globally, based on the number of people who 'like' them. There were no real surprises - Starbucks came top and the rest of the top ten was filled with well-known consumer and fashion brands. When considering brands on Twitter this story is sometimes different and it is not always the obvious brands that are most followed."

The annual UKMW conferences, convened by the Museums Computer Group, have long been the place for high quality presentations and discussions on the matters that are shaping museums online today. As the UK heritage sector continues to live through difficult times, this year's conference is an opportunity to reflect on the new landscape museums are now in, learn from inspiring speakers and network with your peers.