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5 Case Study 1 - Leicester Research Archive - University of Leicester

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Correspondingly, Roberta Buiani posits that those pages on museums’ websites<br />

which are devoted to collections are “equivalent <strong>of</strong> an assemblage <strong>of</strong> data, which<br />

show no evidence <strong>of</strong> their common provenance from a certain collection or as a<br />

works peculiar to a particular museum.” She argues that whilst museums’<br />

homepages <strong>of</strong>ten “tend to recreate its original atmosphere by means <strong>of</strong> graphical<br />

and visual devices, in the page dedicated to its collections the environment<br />

disappears.” Moreover, she maintains that<br />

“It’s as if a sort <strong>of</strong> neutral space were established, where any kind <strong>of</strong><br />

work could be displayed, without having to worry about the<br />

strategies that would be used in a real museum environment (light,<br />

the position as related as the other works etc.).” 86<br />

This is exactly the focus <strong>of</strong> this thesis, namely that providing access to art via<br />

online media is not so much a question <strong>of</strong> quantity but one <strong>of</strong> quality. Moreover,<br />

this thesis is based on the belief that online media in general, and (as will become<br />

much clearer in Chapter 4) new broadcasting models <strong>of</strong> publication in particular,<br />

should be drivers for the production <strong>of</strong> new types <strong>of</strong> content rather than as a mere<br />

channels <strong>of</strong> distributing existing content. This argument is also in line with the<br />

claim <strong>of</strong> the Natural History Museum in London which says that<br />

“for the museum sector as a whole, the focus should not be about<br />

simply digitising existing content, but about using the new media to<br />

create new types <strong>of</strong> content. The new media will then become a way<br />

for British museums to continue evolving and to remain world-<br />

leading institutions.” 87<br />

Gerfried Stocker, director <strong>of</strong> the Ars Electronica Center in Linz argues along<br />

similar lines when he says that “in any case, it is clear that communities do not<br />

86<br />

Roberta Buiani, ‘Virtual Museums and the Web: a dilemma <strong>of</strong> incompatibility?’ Paper<br />

presented at a Graduate Symposium <strong>University</strong> <strong>of</strong> California (Irvine: 10-12.4.2003).<br />

http://www.humanities.uci.edu/visualstudies/everyday/papers/Buiani.pdf (as <strong>of</strong> 12.4.2007).<br />

87 st<br />

Natural History Museum London in Understanding the Future: Museums and the 21 Century<br />

– Responses to Consultation<br />

http://www.culture.gov.uk/Reference_library/Publications/archive_2005/understanding_museum<br />

s_21century_responses.htm (as <strong>of</strong> 26.11.2006).<br />

52

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