Category Archives: Programme B

Resolutely Analogue?: Art Museums in Digital Culture

Museums, Technology and Culture: Culture and Virtual Ecologies

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  • David Garcia, Dean of Chelsea College of Art and Design and Professor of Design for Digital Cultures, HKU
  • Charlie Gere, Head of Department and Reader in New Media Research in the Department of Media, Film, and Cultural Studies, Lancaster University
  • Kelli Dipple, Curator, Intermedia art

This session discusses the wider contexts of the museum’s position in relationship to digital and globalised culture. How will the increasing use of information technologies across a whole spectrum of social, economic and cultural activity impact upon art practice and the value of museums?

 

Please click on the player below to listen | You can subscribe to the podcast here

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This recording is part of:

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

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Online Portals to Museums: Channels for Exchange

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This session focuses upon how museum websites operate as online portals for various constituencies of online users. How porous can museum websites be within loss of identity and focus? How are questions of value and provenance negotiated?

Please click on the player below to listen | You can subscribe to the podcast here

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

to download the file to your hard drive click here
This recording is part of:

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

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New Media and Museums: Channels for the Future

 

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  • Will Gompertz, Director, Tate Media
  • Damien Whitmore. Director of Communications, Victoria & Albert Museum

This session focuses upon the growing relationship between art and media, specifically upon the possibilities presented by online transmission for museums to take on new roles as producers and broadcasters of media.

 

Please click on the player below to listen | You can subscribe to the podcast here

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

 

to download the file to your hard drive click here

This recording is part of: 

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

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New Media and the Museum: Practices and Possibilities

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* Sarah Cook, Research Fellow for the Faculty of Arts, Design and Media at University of Sunderland

* Ross Parry, Lecturer in Museums and New Media at the University of Leicester Programme Director of Museum Studies at University of Leicester
[ click here for presentation ]

This session will focus upon the ways in which new media has been taken up and used within museums. It explores how new media practices become objects to be curated, collected and archived within museums, as well as designing new media objects for interpretation and education within museums

Please click on the player below to listen | You can subscribe to the podcast here

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

to download the file to your hard drive click here
This recording is part of:

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

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Networks of Users: Communities and Interests

 

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Marc Garret, Net and new media artist
Matt Locke, Commissioning Editor for Education and New Media at Channel 4
Anna Colin, Exhibitions curator, Gasworks
Honor Harger, Artist and curator

This session focuses upon new media practitioners who have looked beyond the context of the museum and gallery in generating a presence for innovatory, independent practice on the Intranet and with what consequences and outcomes.

 

Please click on the player below to listen | You can subscribe to the podcast here

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

 

to download the file to your hard drive click here

This Recording is part of: 

 

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

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Artists Using Digital Tools: Social subjects and Digital Aesthetics

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  • Graham Harwood, Artist and educator
  • Gary Stuart, Head of Multimedia at Iniva since
  • Roshini Kempadoo, New media artist, photographer and Reader in Media Practice at University of East London

This session looks at new media art projects which have had a relationship to gallery and museum exhibition and asks questions about how artists working with new media understand the context of  working within contemporary art context and what their experience has been.

Please click on the player below to listen | You can subscribe to the podcast here

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

to download the file to your hard drive click here

 

This recording is part of:

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters

 chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

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Learning and Teaching in New Media: Questions of Literacy

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  • Richard Colson, Artist and Senior Lecturer in Digital Arts at Thames Valley University
  • Mike Philips, Reader in Digital Art & Technology and Director of i-DAT [Institute of Digital Art & Technology], University of Plymouth
  • Paula Roush, New media artist and lecturer at London South Bank University and the University of Westminister

This session will have presentations on perspectives of teaching new media and will focus upon questions of the cultural contexts of new media practices, knowledge and understanding in curricula design and teaching for interactivity.

 

Please click on the player below to listen | You can subscribe to the podcast here

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

 

to download the file to your hard drive click here

This recording is part of:

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

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Digital Media Arts students from London South Bank University on the digital encounter with the museum

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Digital Media Arts Project (October 2008- February 2009)
At the end of the first year of the project it was noted that whilst participants attended workshops at Tate Britain and continued to document their experience, they made little use of the online blog. Instead they worked to the deadlines for submission to the Image/Sound/Text section of the [E]ditions online publication. The project still wanted explore what a digital encounter might be and negotiated to work with third year students on the BA(Hons)Digital Media Arts programme. Tate Encounters constituted itself as an external client commissioning a series of prototype interface portals for the Tate Encounters Online Archive. In  this session the student disscussed how they ended up on their course, their thougths on digital media and the museum via the Altermodern show next to the Duveen Studios.
To view the prototypes click here

Please click on the player below to listen | You can subscribe to the podcast here

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

to download the file to your hard drive click here

This Recording is part of:

Resolutely Analogue?: Art Museums in Digital Culture
Programme B

Monday 2 March – Friday 6 March 2009

At the outset the research project Tate Encounters chose to use new media for volunteer participants to record their own encounters with Tate Britain as well as a research tool for reflexive documentation and commentary. This took the practical form of a dedicated intranet site and the use of mobile digital recording.

In using new media the project made a number of assumptions about how undergraduate student participants used new media, how this related to the ways in which a national art museum understood the potential of new media and what the use of new media might produce as research data. Having now completed two years of fieldwork, the project is now reflecting upon its initial assumptions and raising a number of critical questions which it aims to share and extend with a wider group interested in the development of new media in relationship to museums.

Some of the initial questions relate to the following:

  • To what extent does the web visitor have agency to ‘act back’ or to ‘author’ their interactions with museum websites?
  • How is new media being conceived as an ‘interpretative’ or ‘augmenting’ dimension of the museum experience and with what effects?
  • How do museums see and understand the value of the use of personal mobile media within the museum?

These questions have been grouped under the title ‘Resolutely Analogue? Art Museums in Digital Culture’ to signal the tension between change and continuity, between new media enthusiasms and traditional museological practices. Issues such as the use of media in the gallery centered on authority and provenance, ownership and copyright, and user engagement will also be discussed throughout the week’s programme.

Share/Save/Bookmark