NODEM 2014 Proceedings

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When Different Types of Visitors Sign up for Digital Curation tion has been designed to enable the visitor to look at objects without making a selection. This reduces the exhibition to an excellent display of 150 of Trapholt’s best works – but at the same lacking the innovative layer that makes involvement something special. Next step – evaluation and measuring effect What does the museum expect from the exhibition? The exhibition has, as far as possible, been planned with user surveys and with a background of relevant theory and literature. When it opens, it will become evident whether the museum has achieved its goal. Generally speaking, the museum is already blessed with very fine impact measurements, thanks partly to its good exhibitions, partly to experience sacrifice – with visitors making the effort, actively opting to visit Trapholt, thereby from the outset motivated for a high rating. The next step is to evaluate. All visitors who take part in the realisation of their exhibition in the exhibition hall will receive a questionnaire via e‐mail after their visit. It will ask a series of questions which the museum has defined. It will identify what the deciding factor was in their decision to visit the museum, their assessment of the communication generally, and their use of social media. Questions will also be asked about the visitor’s enjoyment of the digital experience, and an attempt will be made to discover whether it was important that the visitor was exposed to the genuine article or the digital version. Did the visitor notice that the exhibition had both a digital and an authentic side – and, if so, what significance did this have for the experience? The survey will also have a qualitative aspect – 4‐6 selected respondents will be asked the above questions with the focus on whether the quality of the visit was influenced by other visitors at the museum. Data will be amalgamated and the subsequent processing of data will be carried out during 2015, and the results are expected to be published during 2016. The exhibition is semi‐permanent and will initially remain in place until 2017, subject to a few replacements and some reorganisation. In addition, key findings from the study will be implemented on an ongoing basis. References Bille, Mikkel & Tim Flohr Sørensen: Materialitet – en indføring i kultur, identitet og teknologi, Samfundslitteratur, 2012. Brændholdt Lundgaard: Brugerundersøgelse 2012. Kulturstyrelse, 2013. Bourdieu. The Field of Cultural Production.1993. Cameron, F.: Digital futures I: Museum collections, users, information needs, and the cultural construction of knowledge. Curator, 2003, 46 (3). Dudley, Sandra: Museum Materialities – Objects, Engagements, Interpretations, Routledge, 2010. Duncan. Cicilizing Rituals inside public art museums.1995. Kulturministeriet. Danskernes Kulturvaner 2012.2013. Kulturministeriet. Museer og Tal. Danskernes museumsvaner 2012. ODM, 2013. Hastings. Social Marketing: Why should the devil get all the best tunes. Routledge, 2007. Kulturstyrelsen. National brugerundersøgelse. Trapholt. Årsrapport for 2013.2014. Landert og Kjærside. Danske museer i tal. Kulturstyrelsen, 2012. Parry, R. & Arbach, N.: Localized, Personalized, and Constructivist: A Space for Online Museum Learning. In: Cameron & Kenderline (ed.): Theorizing Digital Cultural Heritage – A Critical Discourse, The MIT Press, Massachusetts Institute of Technology, 2007. Paris, S.G.: How Can Museums Attract Visitors in the Twenty-first Century. In: H.H. Genoways (Ed.), Museum Philosophy for the Twentyfirst Century, 2006. Ravekki. Museum Texts. Communication Frameworks. 2006. NODEM 2014 Conference & Expo 168
When Different Types of Visitors Sign up for Digital Curation Rudloff, Maja: Det medialiserede museum: digitale teknologiers transformation af museernes formidling. In: Mediekultur, journal of media and communication research, 2013. Russo, A. & Watkins, J.: Digital Cultural Communication: Audience and Remedition. In: Cameron & Kenderline (ed.): Theorizing Digital Cultural Heritage – A Critical Discourse, The MIT Press, Massachusetts Institute of Technology, 2007. Wood. The Authorities of the American Art Museum IN Whose Muse. Sepstrup og Fruensgaard. Tilrettelæggelse af kommunikation – Kommunikations- og kampagneplanlægning, 2010. Smith, C.S.: The Future of the Museum. In S. Macdonald (Ed.), A Companion to Museum Studies (pp. 543-554). Oxford: Blackwell Publishing, 2006. VisitDenmark . Resultat og retning 2012-2013. VisitDanmark, 2013. Wright. The Quality of Visitors’ Experiences in Art Museums. IN The new museology edited by Vergo. 1989. Taylor, B.L.: Reconsidering digital surrogates. Toward a viewer-orientated model of the gallery experience. In: S.H. Dudley (Ed.), Museum Materialities. Objects, Engagements, Interpretations (pp. 175-184). Oxon and New York: Routledge, 2010 Witcomb, A.: The Materiality of Virtual Technologies. In: F. Cameron & S. Kenderdine (Eds.), Theorizing Digital Cultural Heritage. A Critical Discourse (pp. 35-48). Cambridge: MIT Press, 2007 Zimmer, Robert & Janis Jefferies: Accessing material art through technologies of mediation and immediation, Goldsmiths Digital Studios, Goldsmiths, University of London, Elsevier Ltd., 2007 NODEM 2014 Conference & Expo 169
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Engaging Spaces Interpretation, Des
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Welcome to the NODEM 2014 Conferenc
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Editorial board Andrea Nanetti, Sha
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Parallel Exhibits: Combining Physic
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TACTEC, Transforming Art and Cultur
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Restaging a Garden Party: Sharing S
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Authenticity and Authorship: The Ch
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Proactive Spaces. An Insight on the
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Archives as New Spaces for Engaging
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Seen/Unseen. Dancing Art Inside and
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Seen/Unseen. Dancing Art Inside and
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Cross Cutting Concepts for Change:
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ArtMaps: Framing Public Engagement
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Thresholds of Technological Remembe
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The Rotterdam Heritage Coalition: C
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“You could have told me!” Colla
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The Widget Art Gallery - A Gallery
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The Whisperers: An Interactive Exhi
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A Case Study to Make Use of Cross-c
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The Luostarinmäki Adventure - An A
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Service Design for a Unique Experie
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Multi-narrative Serious Game Design
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Developing Awareness in Contemporar
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Evaluation of an Interactive Multim
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Literary Museums as Part of Traditi
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NODEM 2014 Conference & Expo Engagi
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NODEM 2014 Proceedings

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