Beyond the website

By Michele Pola

Mobile habits: follow the mainstream

Mobile habits: follow the mainstream

Mobile habits: follow the mainstream

Asymmetry

• «Attention has moved from the holdings to the users and the character of the relation has changed from an asymmetric relation to the ideal of an equal or connection»

Jensen, B. “Instagram as Cultural Heritage: User Participation, Historical Documentation,

and Curating in Museums and Archives through Social Media.” In Digital Heritage International Congress (DigitalHeritage), 2013, 2:311–14, 2013.

doi:10.1109/DigitalHeritage.2013.6744769.

Prosumers

• Producers + consumers• «The emergence of a cultural ‘prosumer’ that

no longer simply views or consumes cultural contents, but reuses and annotates it, addind meaning and creating derivative media forms»

Lazzeretti, L., A. Sartori, and N. Innocenti. “Museums and Social Media: The Case of the Museum of Natural History of Florence.” International Review on Public and Nonprofit

Marketing 12, no. 3 (2015): 267–83. doi:10.1007/s12208-015-0136-5.

Case studies

• Aalborg (DK) City Archives (IG: aalborg_stadsarkiv)• Relation between

archive and the userare extracted into the cityand have a consequencefor the sense of the «real» world

• #myaalborg#mitaalborg

Case studies

• Den Gamle By Aarhus (DK) – Old town museum

• Single event report• User contents from city

festival Spot2013, as support for upcoming popular music exhibition

• #spot13

Case studies

• Museum of London• Learning experience• 13-14 years old history

class

Further readings• Baggett, M., and R. Gibbs. “Historypin and Pinterest for Digital Collections: Measuring

the Impact of Image-Based Social Tools on Discovery and Access.” Journal of Library Administration 54, no. 1 (2014): 11–22. doi:10.1080/01930826.2014.893111.

• Charitonos, Koula, Canan Blake, Eileen Scanlon, and Ann Jones. “Museum Learning via Social and Mobile Technologies: (How) Can Online Interactions Enhance the Visitor Experience?” British Journal of Educational Technology 43, no. 5 (September 1, 2012): 802–19. doi:10.1111/j.1467-8535.2012.01360.x.

• Claes, F., and L. Deltell. “Social museums: Social media profiles in Twitter and Facebook 2012-2013.” Profesional de la Informacion 23, no. 6 (2014): 594–602. doi:10.3145/epi.2014.nov.06.

• Courtin, A., B. Juanals, J.-L. Minel, and M.D.S. Leger. “The Museum Week Event: Analyzing Social Network Interactions in Cultural Fields,” 462–68, 2014. doi:10.1109/SITIS.2014.17.

• Fletcher, A., and M.J. Lee. “Current Social Media Uses and Evaluations in American Museums.” Museum Management and Curatorship 27, no. 5 (2012): 505–21. doi:10.1080/09647775.2012.738136.

Further readings• Jensen, B. “Instagram as Cultural Heritage: User Participation, Historical Documentation,

and Curating in Museums and Archives through Social Media.” In Digital Heritage International Congress (DigitalHeritage), 2013, 2:311–14, 2013. doi:10.1109/DigitalHeritage.2013.6744769.

• Lazzeretti, L., A. Sartori, and N. Innocenti. “Museums and Social Media: The Case of the Museum of Natural History of Florence.” International Review on Public and Nonprofit Marketing 12, no. 3 (2015): 267–83. doi:10.1007/s12208-015-0136-5.

• Lin, Y.-L., X. Bai, Y. Ye, and W. Real. “Constructing Narratives Using Fast Feedback,” 486–87, 2012. doi:10.1145/2132176.2132258.

• Paul, C. “New Media in the Mainstream.” Artnodes 11 (2011): 102–6.• Weilenmann, Alexandra, Thomas Hillman, and Beata Jungselius. “Instagram at the

Museum: Communicating the Museum Experience Through Social Photo Sharing.” In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 1843–52. CHI ’13. New York, NY, USA: ACM, 2013. doi:10.1145/2470654.2466243.

• Zarro, M., and C. Hall. “Exploring Social Curation.” D-Lib Magazine 18, no. 11–12 (2012). doi:10.1045/november2012-zarro.