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摘要:制定一篇艺术专业的留学生论文-Digital platforms for the spread of art......

制定一篇艺术专业留学生论文-Digital platforms for the spread of art

 

Table of Contents

Introduction …………………………………………………………………………………………….……………………….3

The internet and the spread of Art ……………………………………………………………………………………3

The Google Art Projecct …………………..……………………………………………………….………………………9

Controversies ………………………………………………………………………………………………………………….11

What remains to be done? ………………………………………..……………………………………………………13

Conclusions……………………………………………………………………………………….…….………………………14

References……………………………………………………………………………………………………………………...17

 

Introduction

Currently, the major museums in the world are undergoing a profound change as they have identified the importance of reaching for a global audience. With this, however, the museums’ management necessarily becomes more complex and multiaspec t. This essay will focus on this new goal, and particularly on the use of digital museum experiences as a way to achieve it. It will discuss why the digital museum tends to be a trend of museum development, how the art institutions use digital media to increase their influence to the public, and the problems derived from this new trend.目前,世界上主要的博物馆正在发生深刻的变化作为他们已经确定的重要性达成全球观众。这,然而,博物馆管理必然变得更加复杂和multiaspec T。本文将聚焦在这个新的目标,特别是在数字博物馆的经验,使用作为一种方法来实现它。它将讨论为什么数字博物馆往往是博物馆发展的一个趋势,如何使用数字媒体艺术机构增加对公众的影响,并从这一新趋势的问题

 

 

The Internet and the spread of art

In the age of information explosion, science is developing and knowledge is renewing itself rapidly. Already in 1992 the Global Information Infrastructure Plan recognized that  “the information society has become a major objective of worldwide public interest” (Takahashi, et al.). Now, with the expansion of the Internet, this objective is a reality, at least in developed countries.  According to the World Bank (2010), Australia’s percentage of Internet users went from 5% in 1992 to 75.9% in 2010.  With this new tool, people gain access to knowledge that was previously unreachable, and those interested in spreading it have become much better equipped to do so.  Steven Zucker’s, principal of Smarthistory.org and Ddean of the School of Graduate Studies at the Fashion Institute of Technology (FIT) describes this transformation in information as going “from Acropolis—that inaccessible treasury on the fortified hill—to Agora, a marketplace of ideas offering space for conversation, a forum for civic engagement and debate, and opportunity for a variety of encounters among audiences” (Proctor, 2010). Even if it is clear that Australia is changing much more rapidly than the rest of the word, it can be seen in the graph below that this is, in fact, a global trend. 

 

Fig:  Internet users as percentage of population

 

 Furthermore, not only has the Internet grown exponentially, it has also replaced traditional media as the main source of information for many sectors of the population. Roy Morgan Research points out that while the percentage of people that use TV as the main source of information has been consistently decreasing to only 52% in 2007; the percentage of people who use the Internet to inform themselves has been increasing, reaching a level of 9.5% . But, more importantly, if these trends continue the Internet will become the main source of information for 50% of Australians in under ten years. (Roy Morgan, 2007). These figures are even more extreme among the young (15 to 25 years old) where 79% of them already depend solely on the Internet to inform themselves (Wattenberg, 2011).  This evolution of the media is so clear that most newspaper reproduce the entirety of their daily prints on their website and most major TV networks are starting to rebroadcast their contents online. It not only allows them to keep up high visibility but it also provides an extremely high return of investment since the costs of entry are relatively low and the audience is constantly increasing. Under these considerations it is can be seen that the common phrase “if it exists, it’s in Google”  is no exaggeration. 此外,互联网不仅成倍增长,它也取代了传统媒体的许多部门的人口信息的主要来源。摩根的研究指出,当人们使用电视作为信息的主要来源,一直降到2007只占52%;上网的人告知自己的比例一直在增加,达到9.5%的水平。但是,更重要的是,如果这些趋势继续下去,互联网将成为50%的澳大利亚人最主要的信息源在十年。(摩根,2007)。这些数据甚至更极端的青年(15至25岁)有79%人,已经完全依赖互联网通知本身(瓦滕伯格,2011)。这种演变的媒体很清楚,大多数报纸再现他们的网站的整体性和日常打印最主要的电视网络开始转播内容在线。它不仅使他们能够保持高能见度,但它也提供了投资回报率超高由于进入成本较低和观众不断增加。在这些因素下,它是可以看到,常见的短语“如果它存在,它在谷歌“不夸张的。

 

Museums have caught up with this trend and are starting to have a stronger presence on the Internet. For example, in its strategy for 2012, the British Museum recognized that Internet exposure is central to increasing the interests in the museum’s collections. It even went to state that “by 2012, the Museum’s physical presence in London will be complemented by a globally accessible media resource […] as a result, visits to the Museum’s main web site should double to over 14m  by 2012” (The British Museum, 2012). The importance of achieving this goal cannot be overstated. It has at least two main advantages. 

 

First, by giving relevant information to the visitor before they reach the museum he  should be able to put the content of the actual museum in a better context and make a more informed observation of what he sees once he arrives to the analog  museum. Stuer (2001) argues that achieving this can produce a more comprehensive and enjoyable experience for the visitor, making it more likely for him to later on return to the museum or simply become more interested in the art he has seen. 

Second, by increasing the presence museums have on the Internet they are targeting a key sector of the population. Internet users is a group dominated by young people, mainly in the range of 16 to 19 years old, which is also a sector that museums have a hard time appealing to because it this groupis normally misinformed or has  preconception that it is not compatible with its theirinterests (Veirum& Christensen, 2011). Digital museums open an opportunity for art to become more visible among the youth, and for disabling false preconceptions of museums as esoteric and uninteresting places.    Furthermore, Veirum& Christensen also argue that, due to the social nature of museum visits, “targeting teenagers with digital technologies could be the way, not only to reach a new young audience, but also to engage current, older, visitors at a higher level” (2011).

 

The Australian Powerhouse Museum is another example of a museum that is adapting to this new trend of digital museums. This case in particular is interesting because of its use of crowdsourcing. In 2009 the Powerhouse Museum published the vast majority of its collection online but not all records were complete.  Since then, outside experts have been contacting the museum offering help in completing their records without requesting payment in exchange . Similarly, Tate Britian used Flickr to crowdsource the contents for the photographic exhibition  How We Are: Photographing BritianBritain. (Proctor, 2010)  These are typical examples of how the Internet is creating cooperation systems that can be superior to the traditional institutional models.   

本文标签: 艺术留学生论文Digital plat

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