Imagine a Vilhelm Hammershøi painting printed out and hung over your fireplace, a 3D printed sculpture in your garden, or maybe a party that mixes Spotify playlists with an opera singer performing romantic songs in front of the newly acquired Friedrich’s painting. Sounds like somethingJohn Lennondreamed up in the song “Imagine?” These are actual examples of a museum keeping up to date and using technology to its advantage.
Engaging with users: a closer look at the strategies of GLAM institutions
After almost 30 years of “the modern internet” and ten years of “Internet 2.0,” we already know that technology won’t open all the doors. As GLAM (Galleries Libraries Archives and Museums) practitionersour objective is clear: how can we make sure people stay connected to knowledge and heritage, and become inspired by it? How can technology be our ally?
遗产机构改善了人们获取知识、艺术和文化的途径。除了通道，它们还为进一步的创新和创造提供灵感和基石。(数字化)公地如何既能达到文物机构的目的，又能达到受众的目的?与之相关的制度策略和用户行为有哪些不同?在交付访问、使用和重用时，什么可行，什么不可行?CC许可已经在多大程度上推广了这一点?最后但同样重要的是:为什么?
我们将在2017年知识共享峰会期间解决这些问题。卡塔尔vs葡萄牙分析会议背后的想法是将对话从抽象的想法和价值转移到实际的制度策略和用户行为。我们隐含的假设是，随着时间的推移，公共资源保持相关性的唯一方法是增加使用。The context ofwhoandhowthey can be used is, on the other hand, ever-changing. There are no absolute responses. The research that has already been done in a field will serve as a point of reference and a context for studying particular examples. We propose to explore the examples of how GLAM institutions successfully engaged the users basing on their (different) behaviours, rather than assumptions or declarations. And we welcome participants’ own reflections on both the present, and future, of heritage institutions’ use of open licenses to deliver creativity and innovation.
Our session will kick off with presentations and later take up a form of an open discussion.让我们谈谈公共事物，谈谈GLAM。邀请你参加了。See you in Toronto!
