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AbstractInnovations in digital cultural communication for museums challenge us to develop appropriate methods for participation in curatorial processes and to rethink the role of audiences inside exhibitions. The article explores the potentials of scaffolding sites of dialogue and creative engagement through the design process and final exhibition. It draws upon experiences from an interactive exhibition project, Digital Natives, in which we combined principles from Participatory Design with issues of contemporary digital culture to explore possibilities for creating heritage innovation. We suggest three critical stages of the dialogic design process in which engagement between stakeholders, researchers, and audiences can be central to shaping and transforming future conceptions of digital cultural heritage, through process and final exhibition. In this way, we argue that a participatory design anthropological approach to digital culture can expand opportunities for heritage innovation through technological means of engagement in museums. 相似文献
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张睿 《数码设计:surface》2014,(9):65-67
文章从博物馆展示设计的现状与走向出发,简要论述了博物馆展示形式的历史变化,分析了设计思维方法的基本结构及其在博物馆展示设计中的运用,结合博物馆展览的历史性、文化性、艺术性、互动性等特点,列举实例阐释了博物馆展示设计思维方法的程序,并以中国国家博物馆展示设计为例表明博物馆展示设计可有多种变换与延展方法,指出在博物馆展示设计中应灵活运用多种设计方法,实现创新。 相似文献
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柴秋霞 《数码设计:surface》2014,(12):67-69
会展设计发展的历史其实是媒介更迭的历史。数字媒介巨大的技术能量以及其极具诱惑力的内容是迄今为止人们所发明的最有效的信息传播方式。各类新兴载体不断涌现,数字媒体技术逐渐成为观念前沿、创作手法新颖的艺术家所热衷的媒介工具。数字媒介不仅超越时空、文化、政治、教育、阶级等的界限向人们传送信息,而且通过会展设计实践在社会互动中扮演着重要角色。 相似文献
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胡林辉 《数码设计:surface》2010,(12):34-36
新媒体的出现和普及大大改变了人们的生活方式和世界文化的进程。人与人之间的交流和沟通已经突破了时间、空间、距离等因素的限制而变得前所未有的直接与简单。交互技术,视频点播,虚拟社区等的广泛利用使得现代展示不再是对于参观者的单方面活动。 相似文献
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AbstractThis article addresses the challenges and limitations of co-creation processes in museums based on an exemplary case of the design of a Danish museum-related campaign on Facebook. The article adds to the ongoing discussion on the paradigm shift in the museum by analysing potential problematical issues of including multiple agents in creative processes in museums. It concludes that it is arduous to establish a truly creative co-creative process, when the design team needs to accommodate to a well-established artistic vision as well as to the limited resources of the museum and the other participants. We argue that one cannot in advance predict or ascertain that social media users will find a campaign compelling and want to participate and engage with the content, even if substantial resources have gone into its creation. Furthermore, the complexity of many art projects is likely to make their dissemination on social media difficult. 相似文献
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数字博物馆为文物鉴赏和保护提供了跨越时空限制的全新方式,在三维扫描技术、虚拟技术、计算机网络等技术不断发展的情况下,有必要进一步探索数字博物馆更完善、更人性化的展示模式,本文分析了数字博物馆展示方面的优势和局限性,尝试构思文物展示的新模式。 相似文献
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E. Pennestrì E. Pezzuti P.P. Valentini L. Vita 《Computer Animation and Virtual Worlds》2006,17(5):565-572
Italy has plenty of cultural heritages. The masterpieces are often placed in locations which are difficult to reach, moreover many artifacts, coming from man's creativity, have very complex functioning. The authors of this paper describe their experience in using the computer graphics capabilities in order to reproduce four ancient clocks functioning coming from different Italian regions. The study is based not only on the 3D‐shapes reconstruction but also on the simulation of their complex mechanisms in order to mimic their functioning. The realism of the reconstruction allows to use the graphical products in exhibits, museums and also for maintenance programs. The rendering techniques together with an accurate camera path, allow to get into the clock mechanisms and to appreciate all the features (and even secrets) that a simple glance cannot reveal. Copyright © 2006 John Wiley & Sons, Ltd. 相似文献
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王娟娟 《数码设计:surface》2009,(9):101-103
供观众欣赏、为公众服务是博物馆永恒的主题。陈列内容不论学术层次多高,文物展品的内涵何等精深复杂,其展示内容都应为广大观众所接受,并产生兴趣和共鸣。本文通过对博物馆陈列展示艺术铺陈环境、渲染氛围、整合场景、视觉呈现故事以及利用科技互动等方面举例论述,分析了在当代视觉文化冲击下博物馆陈列展示艺术的趋势。 相似文献
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文化遗产的数字化为文化遗产的保护、传承和发展提供了新的思路,利用计算机辅助设计和数字化方法将文化遗产进行数字化转换,基于三维扫描仪获取文物点云数据,建立了文物点云数据精简模型,研究了文物三维模型重建方法,构建了文物三维模型的纹理映射机制,给出基于Web技术的文物虚拟展示方案,构建了文物数字化技术路线,最后结合青铜牛尊案例对所研究的关键技术进行说明。 相似文献
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张文婷 《数码设计:surface》2014,(8):48-50
随着计算机与网络技术的发展,展览展示已不局限于实体而开始向网络化转变,能运用的展示手法更多、同时受众群体范围更广。平面设计作为数字展示项目中最直接的信息传递渠道。将遭遇到更新的任务和要求。文章以数字科技馆建设项目为例,通过对其首页、数字展项、数字展板、移动端页面等四个主要部分的平面设计进行分析。探讨在线数字展示项目中平面设计的基本原则,以期对未来同类项目的平面设计提供参考和经验借鉴。 相似文献
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Genevieve Alelis Ania Bobrowicz Chee Siang Ang 《Behaviour & Information Technology》2015,34(11):1064-1078
The availability of advanced software and less expensive hardware allows museums to preserve and share artefacts digitally. As a result, museums are frequently making their collections accessible online as interactive, 3D models. This could lead to the unique situation of viewing the digital artefact before the physical artefact. Experiencing artefacts digitally outside of the museum on personal devices may affect the user's ability to emotionally connect to the artefacts. This study examines how two target populations of young adults (18–21 years) and the elderly (65 years and older) responded to seeing cultural heritage artefacts in three different modalities: augmented reality on a tablet, 3D models on a laptop, and then physical artefacts. Specifically, the time spent, enjoyment, and emotional responses were analysed. Results revealed that regardless of age, the digital modalities were enjoyable and encouraged emotional responses. Seeing the physical artefacts after the digital ones did not lessen their enjoyment or emotions felt. These findings aim to provide an insight into the effectiveness of 3D artefacts viewed on personal devices and artefacts shown outside of the museum for encouraging emotional responses from older and younger people. 相似文献
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为了更好地将投影映射技术应用于博物馆的数字展览,获得高质量的投影效果,设计出一套具有真实感的3D效果和高保真外观的三维数字文物展示系统.该系统利用机械旋转的实物模型和真实文物的图像,将多投影映射技术和光学透视显示相结合,采用几何学与辐射定标方法,在不发生透视畸变的情况下,将高质量的文物纹理正确地投射到动态的3D文物模型投影面上,增加投影效果和投影内容的自由度.为了评估该系统在一般博物馆环境光的影响和周围物阴影遮挡等问题,利用不同强度的光线对该系统投影区和展示区进行了测试,证明了该系统对周围环境光具有较强的鲁棒性和博物馆环境下的部署潜力,使博物馆数字文物展示内容变得更为丰富. 相似文献
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Fay Cobb Payton 《Information Systems Journal》2016,26(4):319-338
Culturally relevant health information is said to benefit diverse populations and is critical for health dissemination and user experience creation. Social media and online content provide mechanisms to engage specific populations while helping to reduce barriers that can often hinder participation and engagement. Using action research and informed by co‐creation theory, the MyHealthImpactNetwork.org initiative seeks to provide a user experience targeting Black female college students. Data were collected from females at a large university located in the Southeast United States. Through focus group participants' feedback, co‐creation with students as design delegates and reviews of social media resentments, MyHealthImpactNetwork.org evolved to include user‐driven content. Results indicate that Black females are interested in HIV prevention information that uses simple, non‐technical health jargon. The information should be, however, socially engaging to enable their voices to be heard, absent of cultural assumptions and biases about Black women, and embody an ownership ethos relative to social content. Informed by principals of canonical action research and the co‐creation that results between the researcher and potential user, these findings suggest that the hedonic dimension underpins the key design lessons. This research helps to fill a void in the literature regarding the creation of user experiences for health‐related messages, particularly those regarding stigmatized conditions, such as HIV, while designing for cultures of participation among under‐represented groups. 相似文献
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Pavica Sheldon Erna Herzfeldt Philipp A. Rauschnabel 《Behaviour & Information Technology》2020,39(7):758-770
ABSTRACT Many social media users include #-signs before particular terms on social media – which is termed hashtagging. Recent research indicates that people tend to use the pound key for uncommon words, including ‘artistic’ words that are unlikely to serve functional purposes, and that cultural differences in hashtagging styles exist. The current study examines characteristics of hashtags and the impact of individual cultural values on hashtagging behaviour. Findings reveal four dimensions of hashtags, concluding that hashtags can be inspirational, structural, entertaining, and artistic. Second, findings show that hashtags are used to structure content equally independent of cultural values. However, inspirational hashtags are common among users with collectivistic, uncertainty avoidant, and masculine cultural values. Moreover, collectivistic and masculine values are also associated with artistic hashtags – whereas uncertainty avoidance is related to entertaining hashtags. In addition, findings show that cultural values associated with power distance relate to a higher hashtagging intensity. 相似文献
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FANG Hua 《艺术与设计．数码设计》2008,(12)
现代展览建筑空间多以一种动态的方式相互渗透、混合,空间呈现出多样异质的特点。在这样复杂模糊的会展空间中,设计师要做好空间的导向性设计,让参观者能够在既定的参观流线与多样性的展示空间中获得精彩的空间体验以及展品的全方位信息。 相似文献
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ABSTRACTOver 30 computational scientists, designers, artists, and activists collaboratively performed eight Museum of Random Memory workshops and exhibitions from 2016 to 2018. Here, we explore how the framework of ‘experimentation’ helped us analyze our own iterative development of techniques to foster critical data literacy. After sketching key aspects of experimentation across disciplines, we detail moments within where researchers tweaked, observed, tested, reflected, and tweaked again. This included changing scale, format, and cultural context; observing how people responded to digital versus analog memory-making activities; modifying prompts to evoke different conversations among participants about how future memories might be imagined or read by future archeologists; and finding creative ways to discuss and trouble ethics of data sharing. We conclude that coopting some of the techniques typical in natural science laboratories can prompt scholar activists to continuously recalibrate their processes and adjust interactions as they build pedagogical strategies for fostering critical data literacy in the public sphere. 相似文献
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王秀秀 《艺术与设计．数码设计》2007,(4)
随着人们市场竞争意识的不断加强,展示活动的内容也越来越丰富。如何营造最佳的展示效果,对我们设计师也提出了更高的要求。本文针对商业展示空间的氛围营造,提出了相应的观点。 相似文献
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垂直界面是构成空间的主要元素,展示设计实践中往往重视实形界面而忽视"虚形"垂直界面的作用。在展示设计实践中注意"虚形"垂直界面与空间的关系,有助于更好的理解空间关系,设计出更多创意空间。 相似文献