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AbstractsandBiographies***MariaPaulaArias,UniversityofManchesterVisualNarratives:MuseumVisitingExperienceonInstagramAbstractEngagingwithsocialmediatechnologieshasincreasinglybecomeahabitualpractice,entrenchedinday-to-dayactivitiesandinformedbyitsusers’interactionsonlineandoffline.Inmuseologicalliteraturethisinfluenceisaddressedasthedemocratizationofaccessandinterpretation,bysimultaneouslyextendingthemuseumvisitingexperiencebeyonditsphysicaldomainsandthesedailysocialpracticesintothemuseum.Visualmediasharedonlineisanubiquitouspartoftheseeverydayactivities,inamuseologicalcontextvisualmediacanbeunderstoodastheproductofparticipatoryculture,theresultofuniversalsocialpracticesembodiedduringmuseumvisits,andasmediatorsinshapingpublichistory.Thispresentationhighlightstheimportanceofvisualmediainonlinecommunicationpracticesandtheirstudythroughvisualresearchmethodstowardsunderstandingonlineaudiencesandtheirmuseumvisitingexperiences.Thepresentationwilldrawfromacasestudy:theMuseumofIslamicArtinDoha,Qatar–whereover4000imagescollectedfromInstagramrevealedgraphictrendsinthevisitingnarrativessituatingthisexperiencenotonlywithinthemuseum’scollection,butalsowithinthesocialandculturalfabricofQatar.Althoughvisualresearchmethodsarecommonlyassociatedwithfieldssuchasmediastudies,sociology,anthropology,andethnography(Hughes2012;Pink2012;Banks2007;Bell2004;Collier&Collier1986)–thispresentationfurtherintendstocontributetothesmallsampleofavailableliteraturethatappliesvisualandcontentanalysisinmuseumaudiencestudies(Budge2017;Burnessetal.2016;Leftwich2016;Lillebø&Linde2016).Assuch,thecasestudydoesnotseektoansweradirectquestionortestaspecifichypothesis;ratheritseekstoillustratetheuseandapplicationofthesemethodstofurthertheunderstandingofthemuseumvisitingexperienceportrayedandsharedonlineasimages.BiographyMariaPaulaAriasisaPhDstudentattheUniversityofManchesterwhoseresearchinterestslieattheintersectionofsocialmedia,museumbranding,andaudienceparticipation.PriortoherstudiesattheUniversityofManchestershelivedinQatarwheresheworkedasaresearchassistantafterbeingawardedaMAwithDistinctioninMuseumandGalleryPracticeatUniversityCollegeLondon.SheaimstocontinueexploringherresearchintereststhroughthePhDinMuseologyprogrammeinManchesterandtocontributetothegrowinginter-disciplinarydigitalhumanitiesfield.

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DrGabriellaArrigoni,NewcastleUniversity Heritageanddigitalcultures:sustainingcriticalitythroughprototypicalthinkingAbstractMethodologicalshiftscannotonlyopenupnewresearchpossibilitiesbutalsoredefine,expandanddestabiliseadisciplinaryfield.Inrecentyears,heritagescholarsbeguntoengagewithasetofpractice-based,digitally-groundedmethodsandtools,contributingtoashifttowardsastrongerinterdisciplinarityinHeritageStudies.Theseinclude:co-design,prototyping,speculativeapproaches,workshop-basedactivities,digitalmaking,datavisualisation,aswellasinvestigationsonsocialmedia.Partofthesetendencies,particularlythosefocusingoncreativereuseofarchivesandcollections,areoftendevelopedwithinaDigitalHumanitiesperspective.OthersconvergewithnowestablishedparticipatoryapproachesbutalsowithamorerecentcriticalrethinkingofHeritageStudies.Here,digitalmediaandcreativepracticecancontributetochallengeexistingpowerrelations,makeroomforunofficial,bottom-updiscourses,andquestioninstitutionalauthorityandexpertknowledge.Besidesintroducingnewmethodologiestoheritageresearch,thisemerginginterdisciplinarydimensiongoesalongsideatransformationofprinciplesandperspectivesinthefield.Thesecanbesummarisedasfollow:i)alessreverentialattitudetoculturalheritageandarchivalmaterial,nowincreasinglyopentogenerativeandcreativereuse(asopposedtoprinciplesofpreservation);ii)astrongerawarenessofthechangeabilitythroughtimeofheritagevaluesandmeanings;iii)theideathatheritagediscoursesareincreasinglydevelopedoutsidetheinstitutionalframework,forinstanceembeddedinpracticesofeverydaycreativityandself-expressiononsocialmedia.Thepapermakestheargumentforthereciprocitybetweendigitalanddesign-basedmethods,interdisciplinarity,andcriticalitywithinheritageresearch.Itillustratestheseemergingtendenciesbydiscussingtwobriefexamples.Thefirstonepresentsthemethodologyadoptedinthestudyofserendipitous,unofficialunderstandingsofheritageandplacebyanalysingimagesgatheredfromphoto-sharingplatforms.Thesecondoneaddressestheuseofcollectionsasrawmaterialforcreativereuseandparticipatorymakinginthegalleryspace.BiographyGabiArrigoniisaresearchassociateatNewcastleUniversitywheresheisinvolvedintheEU-fundedprojectCriticalHeritages(CoHERE):performingandrepresentingidentitiesinEurope.ShehasaPhDinDigitalMediaresearchedatCultureLab,focusedonthenotionofartisticprototypesandthepracticeofartistsworkingintechnology-orientedlabs.ShehasabackgroundinHeritageStudies,ArtHistoryandArtCuratorshipandpreviousprofessionalexperienceinthemuseumandartpublishingsectors.HerresearchinterestsliebroadlyinthefieldofDigitalCulture,withafocusoncollaborativepractices,design-ledmethodologiesandtheintersectionsbetweencriticalheritageanddigitaltechnologies.

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DrKostasArvanitis,UniversityofManchester(ConferenceCo-Organiser)BiographyDrKostasArvanitisisaSeniorLecturerinMuseologyattheUniversityofManchester.Hisresearchinterestscrossthefieldsofmuseology,archaeology,culturalheritage,anddigitalmedia.Hisrecentworkhasfocusedontheemergenceofadatacultureinculturalorganisations(CultureMetricsProject,fundedbytheDigitalR&DFundfortheArts:BigDatastrand:http://www.culturemetricsresearch.com).Kostasisalsointerestedinnotionsandpracticesofheritageactivism:drawingonthecaseoftheAmphipolistomb,he’sresearchingtheimpactofsocialmediaontheco-productionandcrowd-sourcingofinterpretationsofthepastandhowtheseinteractwithnotionsofauthorityinculturalprofessionalism.KostasiscurrentlyworkingwiththeManchesterArtGalleryandArchives+toarchiveandstudythematerialrecoveredfromthespontaneousmemorialsaftertheManchesterArenabombingon22ndMay2017.Thisworkexploresexploreconceptual,practicalandethicalchallengesinarchivingspontaneousmemorials,includingthepreparednessofculturalauthoritiestorespondtothetimeframeandpublicexpectationsofthesememorials;issuesofpublicparticipation;andtheexpansionofthespontaneousmemorialisationondigitalandsocialmedia.KostasisaManagingEditoroftheMuseumandSocietyjournal.

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SophiaBakogianni,OpenUniversityofCyprusDrJahnaOtterbacher,OpenUniversityofCyprusCommonGroundandAffordancesinMuseums’SocialMediaAbstractAlthoughmuseumsareincreasinglyincorporatingsocialmediaintotheircommunicationpractices,therearescholars(amongothersindicatively:Baggesen,2014;Walker,2015;Zuanni,2017)thatquestionthereachandbreadthofengagementachievedthroughsocialmedia.Movingawayfromthefirstexcitementaboutthegrowingnumbersoffriendsandlikes,sharesandcasualcommentsfrommuseums’socialplatforms,thecurrentresearchisdirectedtomoreinformedandnuancedanalysesthatquestionmuseums’abilitytoengagepublicinmeaningfulandeffectiveways.Thispapercallsforabetterawarenessofsocialmediaplatformsandtheirpotentialsinthemuseumsector.Itisarguedthatitisimportanttogaininsightofwhatsocialmediacanbringoraffordtomuseumsintermsofonlineengagementandparticipationoftheiraudiences.Forthisan“affordanceapproach”basedonGibson’s(1986)conceptisemployedanditisintegratedwiththegroundingframework(Clark&Brennan,1991)inanexploratorystudy,inordertoexplicatethedistinctwaysthatsocialmediaisusedbymuseumsforongoingcommunicativeprocesseswiththeiraudiences.Acorpusisbuiltincorporatingasmallsampleofmuseums’Facebookaccountsandrelevantmetrics(likes,comments)todescribecommunicativepracticesandapplytheproposedapproach.Theresearchisstructuredintwoparts.First,theaffordancesthatFacebookasanexemplarsocialmediaplatformprovidetomuseumsfortheircommunicativepracticesareexplored,andsecond,theaffordancesthatmuseumsuseintheiractualactionsontheirFacebookaccountsarerecognizedandpresentedthoughexamples.Thispaper’scontributionisaconceptualtool,incorporatingthe“affordanceapproach”alongwiththecommongroundframework,thatcanbeusedbyresearchersandpractitionerstobetterunderstandmuseums’socialmediametricsanddata,andtoprovidenewinsightsintothenatureofconversationsandinteractionsbetweenmuseumsandtheiraudiences.BiographySophiaBakogiannigraduatedfromtheDepartmentofHistoryandArchaeologyoftheAristotleUniversityofThessalonikiandhasaMasterofArts(M.A.)inArtHistoryfromthesameDepartmentoftheAristotleUniversityofThessaloniki.ShealsohasaMasterofArts(M.A.)inCulturalOrganizationsManagementfromtheHellenicOpenUniversityandaMaster(M.Ed.)inEducationfromtheHellenicOpenUniversity.SheisaPhDcandidateintheOpenUniversityofCyprus.Herresearchisinvestigatingtheuseofmuseums’socialmediaandtheoverallexperienceofthem,usingelementsfrommuseumstudies,computer–mediatedstudiesandcommunicationtheories.Currently,sheisworkingasanarchaeologistandarthistorianintheByzantineandChristianMuseuminAthens.ShehasalsoworkedasaresearcherinEUprojectsandshehaspublishedtheresultsofherresearchintheseprojectsininternationalandGreekconferences.JahnaOtterbacherreceivedherdoctorateinInformationfromtheUniversityofMichigan(AnnArbor–USA),whereshewasamemberoftheComputationalLinguisticsandInformationRetrieval(CLAIR)researchgroup.SheiscurrentlyacademiccoordinatoroftheM.Sc.inSocialInformationSystemsattheOpenUniversityofCyprus,wheresheholdstherankofAssistantProfessor.ShepreviouslyservedasAssistantProfessorintheLewisCollegeofHumanSciencesattheIllinoisInstituteofTechnology(Chicago,USA)(2010-2012)andVisitingLecturerofManagementInformationSystemsattheUniversityofCyprus(2006-2009).Herresearchandteachinginterestslieattheintersectionofsocialcomputing,communicationscienceanddatascience.Sheanalyzesbehavioralandlanguagetracesleftbyusersofinformationsystemsinordertobetterfacilitatetheirinteractionswithothers,aswellastheiraccesstoinformation.

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ProfChristophBareither,Humboldt-UniversitätzuBerlinPastPresencingthroughNewMedia:MakingSelfiesinHeritageSpacesAbstractInmypaper,Iwilldrawupontheconceptof"pastpresencing"(Macdonald2013)totakeacloserlookatthequestionofhowmemorypracticesinheritagespacesaretransformedthroughtheriseofdigitalmedia.Fromtheperspectiveofmediaanddigitalanthropology(seee.g.Askew2002;Hine2015;HorstandMiller2012;Pinketal2016;RothenbuhlerandComan2005),mediaareenactedthroughcomplexsetsofpractices.Onlythroughpracticesdotheymediateandthusbecomewhattheyare(seealsoBräuchlerandPostill2010).Atthesametime,mediareshapetheverypracticestheyareembeddedin.Smartphones,forexample,offeramultiplicityofdigitalaffordances(Hutchby2001;Madianou2014)thathavebecomecentraltooureveryday"nexusofdoingsandsayings"(Schatzki1996).Socialactorsarenotdeterminedbytheseaffordances.Rathertheydeveloptheirownandsometimescontradictory"mediaideologies"(Gershon2012)or,inthetermsofpracticetheory,a"practicalsense"(Bourdieu1990)forhowtohandletheseaffordances.Throughthelensoftheseconcepts,Iwanttotakeacloserlookatthemakingofselfiesat"TheMemorialtotheMurderedJewsofEurope"inBerlin.WhilecausingmuchcontroversyinGermandebatesaboutappropriateusesofheritage,themakingofselfiesatthemonumentalsoservesasanexampletodiscusshowpastpresencingistransformedthroughtheaffordancesandheterogeneouspracticalsenseconnectedtodigitalmedia.Throughthisexample,Iwillaskhowethnographicapproachescancontributetoanuancedanalysisoftheentanglementsofmediaandmemorypractices(seee.g.Garde-Hansen2011;Giaccardi2012;Hajek,LohmeierandPentzold2016;KeightleyandPickering2014;vanDijck2007)inordertounderstandcurrenttransformationsofheritagespaces,especiallyregardingtheireverydayexperience.BiographyProf.ChristophBareitherisJuniorProfessorofEuropeanEthnology&MediaAnthropologyattheCenterforAnthropologicalResearchonMuseumandHeritage(CARMAH)/DepartmentofEuropeanEthnologyattheHumboldt-UniversitätzuBerlin.Hisresearchisconcernedwiththetransformationsofeverydaypracticesandexperiencesenabledthroughdigitaltechnologies.Heisespeciallyinterestedinthefieldsofmediaanthropology,popularcultureresearchandtheethnographyofemotions.Hisworkfocusesondevelopinganethnographicapproachtothestudyofdigitalmedia,whichisstronglyinspiredbypracticetheory.CurrentlyheisstartinganewresearchprojectasmemberoftheCentreforAnthropologicalResearchonMuseumsandHeritage(CARMAH),inwhichhewillapplythisperspectivetofosterabetterunderstandingofmediapracticesandmediaexperiencesatmemoryplacesandheritagesitesinBerlinandEurope.

7ChiaraBartolini,UniversityofBolognaInvestigatingwebcommunicationinthedomainofdigitalculturalheritageAbstractCulturalheritageisbasedonthegenerationofmeaningsandcontents,whichmaybeconveyedthroughtexts.Communicationandtextsarethuscrucialformuseums.Nowadays,thewebisafundamentaltooltoreachawider,diversifiedaudiencebycreatingdigital,multimediacontents.Museumsneedtonegotiatetheirpositionof“templesofknowledge”withthedynamicsoftheweb,andadapttheirvoiceandcontentstothiscommunicativemedium.However,scantattentionhasbeenpaidtoweb-basedmuseumcommunication,andtohowmuseum-relatedtextsarewrittentobepublishedonline.Thisstudyseekstooutlineamethodologicalapproachtoinvestigatehowmuseumswritecontentsfortheirwebsites,andmorespecificallywhethertheyfollowinternalorexternalwritingstyleguidesandadoptgeneralwebwritingstandards.Thepaperwillreportonastudyinwhich187EuropeanuniversitymuseumwebsiteswithanEnglish/internationalversionwereselectedandexamined.TextsinEnglishhavebeensampledfromthesewebsitesanddividedperpagegenreforfurtherqualitativeinspection.Drawingfromstudiesonwebcommunication,aseriesofwebwritingpracticeswillbeidentifiedandlookedforinthesampledtextstoseetowhatextenttheseprinciplesareemployedbymuseumstocreatetheirweb-basedcontents.Commonpatternsanddiscrepanciesbetweendifferentinstitutionsanddifferentgenresofonlinemuseumcommunicationwillalsobehighlighted.Theaimistoofferamethodtodescribewebcommunicationinthedomainofculturalheritagebyanalyzingmuseumwebwritingpractices,andthusdefinecommunicativestrategieswhichmaymediatebetweenaweb-orientedapproachandthemuseumidentityandvalues,withouttheriskofanoversimplificationoflanguageandcontents.Thestudyultimatelyhopestoshednewlightonhowmuseumsshapeandexpresstheiridentityonlinethroughverbalcommunication.BiographyChiaraBartoliniisafirst-yearPhDstudentattheDepartmentofInterpretingandTranslation(DIT)oftheUniversityofBologna,Italy.SheobtainedherMAinSpecializedTranslationattheDITwithadissertationonwebcommunicationandSearchEngineOptimizationformuseumwebsites,inpartnershipwiththePinacotecadiBrerainMilan.In2015shewasavisitingstudentattheSchoolofMuseumStudiesoftheUniversityofLeicester.HerresearchfocusesonhowtodefineanapproachfortranslatinguniversitymuseumwebsitesintoEnglishforaninternationalaudience.

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TessaBell,UniversityofCanberraDrTracyIreland,UniversityofCanberra ChasingFutureFeelings?AbstractCurrentresearchinheritagestudiesisconcernedwithunderstandingtherepresentationalcapacitiesofdigitaltechnologies,andtheirutilityinconservationpractices.Whilemethodsofdigitisationandtechniquesforthegenerationofforensicallyaccuratedataarefreneticallyrefined,practitionersaretaskedwithpreservingsnowballingdigitalrepositoriesforposterity,andsatisfyingexpectationsofinnovativeformsofdigitalaccessibility.Thedominantdialoguethatpervades‘preservationbyrecord’pursuitsisoneofunwaveringoptimism,resolutethatsomethingofthesubstanceofthematerialthingpersistsindigitalobjects.So,astheplotconcerningour‘digitalfutures’thickens,weofferhereaspeculativemethodologicalframeworkthattriggersacognitiveadventurealongthecontoursthatconnectmaterialthingsandtheirdigitalcounterparts/iterations.Inthispaperwediscussapractice-ledengagementwithmodesofdigitalinformationcapture–asbothmethodandthefocus/objectofstudy–tocreativelyinterrogatetheconditionsofthe‘in-between’ofphysicalanddigitalforms,andtointerrogatetheaffordancesthatemergeintheirintersection,whilealsoinvestigatinghow3Ddatacaptureandinterpretationmightbeusedtograpplewithquestionsofmaterialvitality,thepoliticaleconomyofaffectiveobjects,andanigglingcuriosityaboutwhatexactlyis‘preserved’indigitalrecords.Whatarethevirtues,andthetheoreticalshortfallsordeadends,oftracingthemultipleandemergingmaterialitiesofdigitalheritageobjectsandspaces?BiographyTessaBelliscurrentlypursuingaPhDattheUniversityofCanberra.Herresearchfocusesontherelationshipbetweenmaterialanddigitalobjects,engagingbroadlywithideasaboutcircuitsofaffectandconceptsofmaterialvitality,throughmultidisciplinarymethods.TracyIrelandisAssociateProfessorofCulturalHeritageandHeadoftheDisciplineofCreativeandCulturalPracticeattheUniversityofCanberrainAustralia.Tracypublishesonhistoricalarchaeology,heritageandconservation,andtheirentanglementwithnationalism,colonialismandthepoliticsofmemoryandidentity.HerbooksincludeTheethicsofculturalheritage(withJohnSchofield)andObjectLessons:ArchaeologyandHeritageinAustralia(withJaneLydon).Sheiscurrentlyresearchingandwritingaboutsignificanceandvalues,theconservationofcolonialarchaeologicalremainsandtheheritageofAustralianaviationcultures.

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DrChiaraBonacchiUniversityCollegeLondonMartaKrzyzanska,UniversityCollegeLondonTherolesofheritageinpoliticalmicro-activismonsocialmedia.AnethnographicapproachAbstractThispaperpresentsresultsfromanethnographicstudyofthewaysinwhichobjects,placesandpracticefromthepasthavebeenusedinthecontextofpoliticalmicroactivismonsocialmedia.WewillfocusonarticulatinghowideasandmaterialsfromtheIronAge,RomanandEarlyMedievalperiodshavebeencalledupontoshape‘hopedforpoliticalidentities’(Marichal2013)inrelationtodebatesaboutbordersandmobility,andregardingBrexitinparticular.Inaddressingthistopic,wehavebeenexamininghowthe‘pasts’underquestionaredrawnuponinresponsetopressingcontemporarychallenges,aspartofhumanactivitiesthatcanpotentiallyunfoldacrossbothon-andoff-linefieldsofinvestigation(Hine2015).Wehaveapproachedsocialmediaasaresearchenvironment,butbearinginminditslimitationsandbiasandthenatureofsocialmediaengagementasasocialpracticeinitsownright.Inthistalk,wewillintroducetheoveralltheoreticalframeworkatthebasisofourmethodologyaswellasthespecificmethodsthatwehavebeenleveraging.Theseincludedata-intensivetechniquessuchastextmining,topicmodellingandsentimentanalysisaswellasmorequalitativeexplorationsofthedata.Wewillalsodiscusshowwehavebeendrawingonopensourcesoftwareandcollaborativeprogrammingtocreatebespokeworkflowstoanswerourresearchquestionsinethicalways.Ourconclusionswillreflectontheutilityofresearchdesignsthatcombinelargerdata-drivenandsmaller-datadrivenkindsofanalysis.BiographyDrChiaraBonacchiisCo-InvestigatorResearcherattheUCLInstituteofArchaeology,inLondon.Herresearchandteachingfocusondigitalheritageandmuseums,publicarchaeology,andthearchaeologyandheritageofMedievalpastsinMediterraneanregions.Sheisco-founderoftheawardwinningMicroPastsproject(micropasts.org),PIontheDigitalHeritageDataInitiativeandCo-InvestigatorResearcherontheAncientIdentitiesinModernBritainproject(ancientidentities.org).Twitter:@ChiaraBonacMartaKrzyzanskaisResearchAssistantontheAncientIdentitiesinModernBritainproject(ancientidentities.org),attheUCLInstituteofArchaeology,inLondon,whereshealsocompletedtheMScGISandSpatialAnalysisinArchaeology.Herresearchinterestsandexpertisefocusoncomputationalarchaeologyandtheapplicationofformalmethodsofdataanalysisinarchaeologyandheritage.MartaiscollaboratingwithChiaraBonacchionthedevelopmentofdigitalresearchmethods.Twitter:@MartaKrzyzanska

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JeanBoyd,UniversityofGloucestershireThinkingwiththework:artpracticeanddigitalculturalheritageAbstractAsalaboratoryforarticulatingnewimaginaries,artpracticehasbeenengagingwiththedigitalforsomedecades.Ithasexploredthetechnicallymediatedrelationshipbetweentime,data,memory,perceptionandrepresentation.Askingwhatispossibletolearn,feelandexperienceintheencounterwiththeartwork,theviewerisplacedinavisual,hapticandaffectiverelationtothedigitalimage.Iwillproposethatadigitalartwork,DavidClaerbout’s‘Olympia:TherealtimedisintegrationintoruinsoftheBerlinOlympicstadiumoverthecourseofathousandyears’(2016)mighthelpusreflectonthesimulationofheritageobjectsasformsofknowledgeproductionandcriticalresearchpractice.Morethanthis,wemightseetheworkasacomplexofmanyinformationregisters;asscientific,culturalandhistoricaldata,broughttovisibilityintheguiseofanimage.Iwillconsiderthecomplextemporalitiesthatcoexistinthework,thematerialityofthedigitalobjectitselfandthematerialitiestowhichtheworkrefers.Precariousnessanddurationareintegralnotonlytothework’sthemes,butalsotoitsownpreservationasadigitalculturalobject.Itstransdisciplinarynaturemeansitmaynotbepossibletocategorisetheworkintermsofmedia:itisgamesoftware,architecturalsimulation,realtimeclimatedatavisualisation,speculativemodel.Meanwhiletheworkappearstoustobeafilmprojection;onehauntedbyotherfilms,otherarchitecturalmodels,otherspeculations.Accessibleonlyintheimmediatepresence/presentofitsviewing,theviewerconfrontstheirownapprehensionofhowhistoriesandfuturesareunderstood.Itisinthishybriditythatpotentialopensforanepistemologyofdigitalobjects,wherewemight‘think-with’theartworkitselfasasourceofinsight.BiographyJeanBoydlecturesintheHistoryandTheoryofArtandDesignattheUniversityofGloucestershirewheresheteachesatundergraduateandpostgraduatelevel.TrainingoriginallyinFineArtatWinchesterSchoolofArt,Boydworkedasanartistbeforebeginningpostgraduatestudyandherteachingcareer.Shehasbeenlecturingfortwenty-fiveyearsinarangeofartdepartmentsandinhercurrentpostfortenyears.Artpracticeasawayofknowing,aswellasdoinghasalwaysbeenafocusinherteaching.Herresearchinterestslieinrepresentationsoftimeinpost-cinematicartpractice,emergingscholarshipinmediaarcheologyandthepotentialofartworksasconceptualtoolsforepistemologicalunderstanding.

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DrPaoloCampetella,UniversityRomaTreIdentifyingtheICTsroleinarchaeologicalsitemuseumsthroughaspatialandpragmaticanalysisAbstractTheresearch,thepaperdealswith,focusesonthespatialandnarrativeintegrationofinformationandcommunicationtechnology(ICT)applicationswithinarchaeologicalsitemuseums.Thesitemuseumrepresentsapeculiarmuseumcontextthatintegratesanarchaeologicalsitewithinamuseumexhibitionenvironment.Theresearchwascarriedoutthroughtheanalysisofexhibitionsintwositemuseums:theCapitolineMuseums(SectiondedicatedtotheTempleofCapitolineJupiter)andtheArchaeologicalMuseumofGrenoble,Saint-Laurent.ThewaysthroughwhichICTsareintegratedintheexhibitionsareanalysedfocusingontheirspatialpositions,thevisitororientationbothintherealarchaeologicalsiteandthevirtualreconstructionsdisplayed,theorganizationofthedeliveredcontents.Theresearchaimsatidentifyingfunctionalelementsthatcaninfluencethevisitors’meaningmakingprocess.Theseelementsaredetectedthroughtheanalysisofdifferentexhibitiondevices.TheresearchtookintoconsiderationbothdigitalandanalogueexhibitiontoolsinordertobetteridentifytherealcontributionofICTswithintheexhibitionwherealltheintegratedelementscontributetothenarrativedefinition.Theanalysiswascarriedoutfollowingamethodologythatcombinedtwomaindifferenttheoreticalapproaches:aspatialandpragmaticapproachtoinvestigatehowtheexhibitiontoolsinfluencethearchaeologicalsitevisitors’interpretation;asemioticapproachtorecognisetheapplicationofspecificcommunicationstrategieswithintheexhibition.TheresearchsuggestsadefinitionofdifferentlevelsofspatialandnarrativeintegrationforICTsinrelationtoothermediationtoolsusedinarchaeologicalexhibitions.BiographyPaoloCampetellaisaPostdoctoralResearcherattheCentreforMuseumEducation(DepartmentofEducation–UniversityRomaTre).Hisresearchfocusesontheintegrationofinformationandcommunicationtechnology(ICT)applicationswithinarchaeologicalsitemuseums.Since2006hehasbeenworkingfortheCentreforMuseumEducationoftheUniversityofRomaTretakingpartinseveralresearchprojectsandworkingasTeachingFellowforpost-degreecoursesonmuseumstudies.InOctober2016hejoinedUCLQatarasTeachingFellowfortheMAinMuseumandGalleryPractice.Hehasalsobeeninvolvedintheproject“EuroVisionMuseumExhibitingEurope”(EMEE),financedbytheCultureProgrammeoftheEuropeanUnion(2012-2016).HetookpartintheOECDPISAInternationalStudyasaQualityMonitorforItalyin2012and2015.Hehasbeengivinglecturesinmuseumstudiesforseveralinstitutions.

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ProfErikChampion,CurtinUniversityInsideOut:Avatars,Agents,CulturalAgentsAbstractIfconveyingculturalsignificanceisacentralaimofvirtualheritageprojects,cantheyconveyculturalsignificanceeffectivelywithoutanunderstandingofthecontextualroleofculturalknowledge?InthistalkIwillarguethisisverydifficult,butevenpopulatingvirtualenvironmentswithothers(human-guidedorcomputer-scripted),therearestillvital,missingingredients.Invirtualheritageprojectswithenoughcomputationalpowerandsophisticationtofeatureintelligentagents,theyareprimarilyusedasguides.Theyleadplayerstoimportantlandmarks,orperhapsactashistoricalguides(revealingpastevents,conveyingsituationallyappropriatebehaviour).Intelligentagentsareusuallydesignedforlimitedformsofconversationandtypicallyhelpconveysocialpresenceratherthanculturalpresence.Foranenhanced“senseofinhabitedplace”,engagingnarrative-relatedelements,orembodiment,aculturalagentrecognizes,addsto,ortransmitsphysicallyembeddedandembodiedaspectsofculture.Theycouldprovideasenseofculturalpresence,becomingAware-Of-Not-Quite-Being-‘There’.Culturalagentswouldnotbemereconversationalagentsiftheywereableto:

1. Automaticallyselectcorrectculturalbehavioursgivenspecificeventsorsituations.2. Recognizein/correctculturalbehavioursgivenspecificevents,locations,or

situations.3. Transmitculturalknowledge.4. Modify,create,orcommandartefactsthatbecomeculturalknowledge.

Tofulfiltheabovecriteria,culturalagentswouldbeculturallyconstrained.Notjustsociallyconstrained;theiractionsandbeliefswouldbedependentonrole,space,andtime.Theycouldunderstandandpointoutrightfromwrongintermsofculturallyspecificbehaviourandunderstandthehistoryandpossiblyalsothefuturetrajectoryofspecificculturalmovements.InthistalkIwilldiscussthreescenariosforculturalagents,theirrelationshiptorolesandrituals,andtwomoremissingingredients.Theresult?Amoresituated,reflexiveappreciationofculturalsignificanceviavirtualheritage.BiographyProfessorErikChampionisUNESCOChairofCulturalVisualisationandHeritageatCurtinUniversityandVisualisationthemeleaderfortheCurtinInstituteofComputation(http://computation.curtin.edu.au).Hisresearchareaisvirtualheritage,gamedesign,interactivemedia,andarchitecturalcomputing.PriortojoiningCurtinUniversity,hewasProjectleaderofDIGHUMLABinDenmark,aconsortiumoffourDanishuniversities.HerehealsoworkedwithEUresearchinfrastructures,actingas“ResearchandPublicEngagement”co-leaderforhttp://dariah.eu/.HispublicationsincludeCriticalGaming:InteractiveHistoryandVirtualHeritage(Routledge,2015),PlayingwiththePast(Springer,2011),andheeditedGameMods:Design,TheoryandCriticism(ETCPress,2012).Hisnextbookproject(inpress)isCulturalHeritageInfrastructuresinDigitalHumanities,(Routledge,2017),withco-editorsAgiatiBenardou,CostisDallasandLornaHughesandamonograph,Designingthe‘Place’ofVirtualSpace,fortheSpatialHumanitiesSeries,IndianaUniversityPress.

13ProfLuiginaCiolfi,SheffieldHallamUniversity(PlenaryPanel)BiographyLuiginaCiolfiisProfessorofHumanCentredComputingatSheffieldHallamUniversity.SheholdsaLaurea(Univ.ofSiena,Italy)andaPhD(Univ.ofLimerick,Ireland)inHuman-ComputerInteraction.Herresearchfocusesonunderstandinganddesigningforhumanpracticesmediatedbytechnology,withaparticularinterestintheheritagedomain.Sheworkedonnumerousinternationalresearchprojectsondigitalinteractioninmuseumsandparticipatorydesignfor(digital)culturalheritage.Sheistheauthorofover80peer-reviewedpublications,andhasbeenaninvitedspeakerintencountries.Sheservesinanumberofscientificcommitteesforinternationalconferencesandjournals.ProfessorCiolfihasadvisedonresearchpolicyarounddigitaltechnologiesandculturalheritageforseveralEuropeancountriesandfundingagencies,andisalongtimejudgefortheMuseumsandtheWeb“BestoftheWeb/GLAMi”awards.Hermostrecentbookis“CulturalHeritageCommunities:TechnologiesandChallenges”(Routledge).

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CarolineClaisse,SheffieldHallamUniversityEthicalcomplexitiesandnewchallengeswhenco-creatingdigitallyenhancedexhibitswithmuseumvolunteersAbstractThispresentationproposesacriticalreflectiononacaseofresearchthroughdesignwhereparticipatoryapproachwasusedtodesignaseriesofdigitallyenhancedexhibitsattheBishops’HousemuseuminSheffield(UK).Thisresearchhasinvolvedacommunityofmuseumvolunteersattheheartofthedesignprocesstocreatehybridphysical-digitalexperiencesofheritagewherephysicalartefactsweredigitallyaugmentedwithcontentcreatedbythevolunteers.Museumvolunteersareactorsofgrowingimportanceacrossthewholeculturalsector;theyplayasignificantrolebuttheyneedmorerecognitionastheyareclearlyunderrepresentedamongthefieldofmuseumstudiesandacademicresearch.Withthisresearch,theexperienceofco-creatingtheworkplacedthevolunteersinapositionof“expert”oftheirexperienceatthemuseum,pushingthembeyondday-to-daymanagementtowardmorecreativeandcuratorialroles.Intheprocessofco-creatingthedigitallyenhancedexhibits,heritagewasco-constructed,re-imaginedandnegotiatedbetweenthedesignerandvolunteers.Asaresult,visitorsencounteredtheheritageoftheplaceinanewway–throughtheeyesofthevolunteersandconnectedtothehouseonpersonalandemotionallevels.Thispresentationwillfocusonaseriesofdigitallyenhancedexhibitstoshowhowbothparticipatorymethodswithmuseumvolunteersanddigitallyaugmentedartefactshavechallengedtraditionalwaysofinterpretingandpresentingheritagetovisitors.Theco-designedexhibitswillshowinwhatwaysparticipatoryprocessanddigitaltechnologieshavechallengedmoretraditionalandauthoritativediscourseofheritage.Itwillconsiderethicalandmethodologicalcomplexitiessuchasthewaycontentwascreated,itslegacyandauthenticity,andtheeverchangingaspectsofdigitalculturalheritage.Thispresentationaimstoexpandourdefinitionofheritageandoutlinemajorchallengestosuggestimplicationsforfutureworkonresearchpracticesindigitalculturalheritage.BiographyCarolineisadesignerandresearcherspecialisingindevelopingexhibitionsandinterpretiveworksformuseums.ShegraduatedfromtheRoyalCollegeofArt(London)wheresheworkedasaVisitingLecturerandcarriedoutresearchondigitaltechnology,storytellingandcreativethinking.Herwork“TheExquisiteCabinet”wasselectedin2015byDesignCouncilas“OnestoWatchRethinkingReality”.SheiscurrentlypursuingaPhDwheresheinvestigatesthepotentialoftangibleinteractionandnewdigitaltechnologiestocreatenovelexperiencesofheritage.Sheusesparticipatoryanddesign---basedmethods,andexploreswaysofbringingtechnologyinmuseumtoencourageamoresocial,multisensoryandactiveengagementwithheritage.Participatoryanddigitallyaugmentedworkswererecentlyexhibitedaspartofhershow“CuriousHouse”(2016)inSheffield,whichsucceededinengagingvisitorsinpersonal,emotionalandmulti---sensorywayswiththeobjectsandstoriesondisplay.

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DrCatherineDillon,UniversityCollegeLondon,QatarCymbelineStorey,UniversityCollegeLondon,QatarDrAnnaBülow,BritishMuseumKatyLithgow,NationalTrustDrStavroulaGolfomitsou,UniversityCollegeLondon,Qatar‘ResearcherfortheDay’:InvitingVisitorstoCrowdsourceConservationNeeds.AbstractAspartoftheComingCleanproject(investigatingdecisionmakinginconservation),over300visitorstoNationalTrustPropertiesandtheBritishMuseumwereinvitedtobea‘researcher’fortheday.Theyweregivenalow-costdigitalcameraandclipboardtotakephotosofandmakenotesofanythingtheyfeltneededmorecare,conservationorcleaning.Theresultsrevealedwherethefocusofvisitor’sattentionwas,whattheybelievedtoberiskyorunacceptable,andwheretheyhadgapsinknowledgeandquestionsaboutobjects.Consensusanddisagreementamongstvisitorsabouttheappearanceofobjectswasalsorevealed(e.g.whetherdifferenttypesofsurfacedepositarefelttobeinterestingandattractive).Hence,themethodcouldhelpflagpotentialareasofconcernorcontroversyandinformconservationplans.Visitorscommentedthatthephotosurveymadethemlookatobjectsdifferently.Opportunitiesforinterpretationbasedaroundmaterialsandchangewerealsohighlighted.Overall,themethodcouldprovideadirectlinkbetweencollectionscareandvisitorexperienceandimpact,withthepotentialtobeusedasaneducationandengagementtoolwithheritageaudiences.Adeliberatedecisiontocollectdata‘offline’ina‘lo-fi’waywastakenforanumberofreasons:toaccommodatediversevisitors’accesstoandabilitieswithtechnology,tomitigateagainstdatalossandequipmentloss,becauseofethicalconcerns,andbecauseofthelackofwifiandmobilesignalatsomedatacollectionsites.Meansofcollectingandpresentingdatathroughwidelyavailablesocialmediachannelsarebeingexplored.Thispaperwilldiscusstheprosandconsofcrowdsourcingconservationneedsusingonlineandofflinemethods,suchasthechallengesofdatamanagementandanalysis,andtheneedfortraditionalresearchqualitystandardstocarryforwardintodigitallyenabledheritageresearch.BiographyCathDillonhascollaboratedwiththeComingCleanprojectforthepastthreeyearsonamixedmethodsapproachtounderstandingthevisitingpublic’sattitudetoconservationandcleaningatheritagesettings.TheprojectisledbyDr.S.GolfomitsouatUCLQatarinpartnershipwith,amongstothers,KatyLithgow(HeadofConservation)attheNationalTrustandwiththesupportofAnnaBuelow(HeadConservator)attheBritishMuseum.CathworkedwithCymbelineStorey,aconservator,ontheanalysisofthephotosurveydata.PriortothisprojectCathwasaresearchassociateattheCentre(nowInstitute)forSustainableHeritageatUCL.Shehasabackgroundinresearchpsychologyandsocialresearch(firstdegreeinExperimentalPsychologyatUCL,PhDon‘EmotionalResponsestoImmersiveMedia’atGoldsmithsCollege).

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FrancescaDolcetti,UniversityofYorkDigitalvisualisationandinterpretationofarchaeologicalsites.TheErimi-LaonintouPorakouexperienceAbstractTheapplicationof3Dinteractivemodelsinarchaeologyinbothacademicandpublicdisseminationdomainsneedstobeproperlyevaluated,tounderstandhowitaffectspeople’sengagementandperceptionofpastcultures.TheresearchprojectIpresentisfocusedonevaluatingtheimpactthat3Dmodellinghasuponarchaeologicalresearch,aswellasacademicandpublicdissemination.Theaimisthentodevelop,testandapplyaspecificframeworktoassesshowvaryingaudiencesperceive3Dinteractivevisualisationsofarchaeologicalsites,engagewithandlearnthroughthem.UsingthecasestudyoftheMiddleBronzeAgeCypriotsettlementatErimi-LaonintouPorakou(2000-1450BC),thisresearchconsidersthedifferentstagesofarchaeological3Dmodellingpracticealongthefollowingworkflow:

1. 3Dmodelling:createaninteractive3Dmodelthatshowsthesiteinitscurrentstateandtheinterpretivevisualisationofthesettlement;

2. Evaluation:presentthe3Dvisualisationtodifferentaudiencesandcollecttheirfeedback;

3. Implementation:usetheaudiencefeedbacktoimprovethe3Dmodelcomprehensibilityandestablishaneffectiveworkflowthatcanbepotentiallyappliedtoothercasestudies.

Themethodologyproposedforthisprojectentailstheapplicationofbothqualitative(interviewsandfocusgroups)andquantitative(questionnaires)approachesandanevaluationframeworkinvolvingmultipleiterations.Throughastudyconductedusingdifferentusergroups(composedofexpertandnon-expertusers),Icollectedandanalysedusers’feedback,inordertoidentifythebestwaytopresentthe3Dmodelsofarchaeologicalsitestodifferentaudiences,improvingtheirimpactandcomprehensibility.BiographyFrancescaearnedherBAinHistoryandPreservationofArchaeologicalHeritageandherMAinArchaeologyfromtheUniversityofFlorence,respectivelyin2007and2010.In2011sheobtainedherMScinConservationandManagementofArchaeologicalandHistoricalArtattheUniversityofSiena.In2014FrancescastartedaPhDinArchaeologyattheUniversityofYork,withaprojectfocusedonassessingtheefficacyofinteractive3Dmodelsofarchaeologicalsitestounderstandhowtheyaffectpeople’sengagementswithandperceptionsofpastcultures.Since2009sheisparticipatingintheresearchprojectoftheItalianArchaeologicalMissionatErimi-LaonintouPorakou(Limassol,Cyprus),ajointprojectoftheUniversityofTurinandtheDepartmentofAntiquitiesofCyprus;since2011withtheroleoftrenchsupervisor.

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DrMariaEconomou,UniversityofGlasgowDrHilaryYoung,UniversityofGlasgowDrLaiaPujolPost,UniversityofGlasgowandUniversityofYorkDrSaraPerry,UniversityofYorkDesigningandevaluatingemotionallyengagingdigitalstoriesinculturalheritagesettingsAbstractCulturalheritageprofessionalsandresearchershavebeenexperimentingwiththepotentialofdigitaltoolsforheritageinterpretationforoverthelasttwodecades.Alotoftheeffortwasinitiallyinvestedinrecordingandrecreatingasaccuratelyaspossibletherelatedmonuments,sites,andpastsocieties.Thisoftentooktheformof3Dreconstructions,oftenalsointegratedinanimmersiveexperienceandfocusingonaphotorealisticrepresentationofthepast.Thishasbeencriticisedbyacademicsforitsuncriticalanddidacticapproach,whichdoesnotclearlycommunicatethesubjectiveelementofthedigitalinterpretations.Furthermore,andperhapsmoreimportantly,manyofthesedigitalinterpretationsfailtoengageormaintaintheinterestofvisitors.Inordertoaddressthisissue,digitalinterpretationdesignersandresearchersfromdifferentfieldshavestartedexploringthepotentialofstorytelling,asthishasalonghistory,longbeforethedigitalrevolution,ofengagingdifferentaudiencesandcreatingempatheticresponses.Intheculturalheritagesector,however,narrativetendstostillbeusednarrowly,asamethodtocommunicatetothepublictheresearchconductedbythedomainexpertsofaculturalsiteorcollection.Whereemotiveformsofstorytellinghavebeenengagedinheritageinterpretations,thesehaveoftenbeenregardedsuspiciouslybydomainexpertsaspartoftheso-called“Disneyification”orcommodificationofthepast.Despitedecadesofreflectiononthepowerof‘resonance’,‘wonder’,and‘feeling’forculturalsites,aswellasrelatedevidencethatindicatespersonalexperiencesatthesesitesleadthemtobemorelastinglyremembered,restorativeandsometimestransformative,emotionhasgenerallybeenavoidedindiscussionsofheritageandmuseumsuntilrelativelyrecently.ThepaperwillexaminetheseissuesindepthbyusingthecasestudyoftheH2020EMOTIVEproject,whichaimstodesignandevaluateemotionallyresonantcollaborativedigitalexperiences.BiographyMariaEconomouisCurator/SeniorLecturerinMuseumStudies,ajointpostattheUniversityofGlasgowsharedbetweenInformationStudiesandtheHunterianMuseum.Sheco-ordinatedtheRSE-fundedScottishNetworkonDigitalCulturalResourcesEvaluation(2015-16,https://scotdigich.wordpress.com).SheisCo-IintheH2020EMOTIVEproject(2016-19,http://www.emotiveproject.eu/)onemotionaldigitalstorytellingforculturalheritage,andofPOEM,theMSCAITNnetworkonparticipatorymemorypractices(2017-2020).ShewaspreviouslyAssociateProfessor,MuseologyandNewTechnologiesattheUniversityoftheAegean(2003-13),whereshedirectedtheMuseologyResearchLaboratory.ShealsoworkedattheUniversityofManchester(2000-2003)andthePittRiversMuseumasAssistantCurator-InformationTechnology(1995-1997).ShestudiedArchaeologyandArtHistoryattheAristotleUniversityofThessaloniki,carriedoutanMAinMuseumStudiesattheUniversityofLeicesterandaDPhilattheUniversityofOxford(withascholarshipfromtheLambrakisResearchFoundation,Athens).

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SethEllis,GriffithUniversityPlaceholders:PopupExhibitionsandDigitalArchivesAbstractPlaceholdersisanongoingcollaborationbetweenSethEllisandChrisCassidy.Itexploresanewstrategyforconstructingdigitalarchiveswiththefullcollaborationofvisitors,usingamodelof“collection”thatdoesn’tremoveobjectsfromeverydaylife.Adatabasestructurestores3Dscans,photos,first-personnarratives,andmoreinformationaboutobjectssuppliedbyvisitors,inavarietyoflocations;thisdatastructureisthenusedtodrivepop-upexhibitions,artisticand/orhistorical.Theobject-as-artefactisentirelydigital;theobject-as-objectcontinuesonitsway.WehavedevelopedthePlaceholdersseriesasastrategyforcollectinginformationanddocumentationoflocalobjects,treatingthemspecificallyasfociforlocalhistoryinordertocreateavarietyofimmersiveandinteractiveexperiencesthatconnectaudiencestotheculturalandgeographicidentitiesofspecificlocations.WehavecreatedinstallationsexploringthehistoriesofDeerborn,MI;Durham,NC;andKronstadt,Russia.Inthisworkweareoperatingatthemeetingpointofmuseum-centeredexhibitiondesignandcuration(Ellis)andartisticexpression(Cassidy).Weusethesamebackendsystemforalllocations,reflectingourlarger,curatorial/artisticprojectofexaminingthesimilaritiesanddifferencesinpost-industrialtownsaroundtheworld.Howeverthespecificinstallationsdifferinform–usingvideo,audio,andinteraction–inordertoremaintruetothespecificnatureoftheirplace.FortheRDCHconferencewewillpresentthisprojectandintroducethelatestiterationofPlaceholders,alarge-scale,multipartinstallationinGreensboro,NCin2018,wherewewillnotonlysolicitobjectsandstoriesfromvisitorsinaseriesofevents,butspendseveralmonthsbeforehandworkingwithlocalculturalinstitutions.Thisisastrategyforlessformalinstallation,andmorecollaborative,community-focused,“popup”exhibitionthatnonethelessaddstoagrowingpermanentbodyofarchivedobjects.BiographySethEllisisSeniorLecturerintheCreativeandInteractiveMediaprogram.HeisalsotheProgramDirectoroftheMasterofInteractiveMediaprogram,andSouthBankcampuscoordinatorfortheBachelorinCreativeandInteractiveMedia.Heisanarrativeartistandinterfacedesigner;hisworkdrawsuponlocalhistory,allegoricalnarrative,andexperiencedesigntocreatestoriesbothhistoricalandfictionalinnew,experientialforms.Sethhasworkedwithlocalmuseumsandgalleriesontheircollectionsandexhibitions;hisownprojectshaveshowningalleries,streets,symposiaandfestivalsthroughouttheU.S.andEurope,andatafewplacesintheAtlanticOcean.EllishasaBAfromYaleUniversity,andanMFAfromColumbiaUniversitySchooloftheArts.PriortoGriffithUniversityhetaughtattheUniversityofMichiganandtheUniversityofNorthCarolinaatGreensboro.Hemaintainsbothartanddesignpractices.

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DavidFarrell-Banks,NewcastleUniversityConsideringtheRighttoChange:IssuesofanonymitywhenheritageismobilisedtofosterdivisiveviewpointsAbstractInthemonthssurroundingtheEUreferendumin2016,numerouspoliticalstatementspostedtoTwittergavereferencetoMagnaCarta.Theresearchingofthesestatements,andthereasonsfortheirimpact,ofteninvolvesconfrontingracist,orotherwisedivisive,statementsandviewpoints.WhendealingwithTwitterthiscontentisinthepublicdomain,oftenwiththenamesofthosepresentingtheseviewpointsopenlyavailable.Insituationssuchasthiswemaybeconfrontednotonlywithviewpointsthatwemayfindabhorrent,butalsobythemanipulationormisrepresentationoftheveryhistoryandheritagethatengagesusinourwork.Thispaperdiscussestheethicsofanonymisingcontentthatis,atthetimeofresearch,publiclyavailable.Inessence,theseviewsarepresentedpublicly,andsodoresearchesretainadutytoanonymisetheminthepresentationoftheirfindings?ThecommonuseofTwittercontentbynewsorganisationswouldsuggestnot.Recently,aScottishnewspaperinvestigationrevealedthatayoungindividualfromthesmallScottishislandcommunitythatIgrewupinhasbeenrecruitingforanextremefar-rightorganisation.Thispaperreflectsonthepersonalimpactofthisstorytoofferaperspectiveontherightofpeopletochangetheirviews,andaskswhetherresearchershavetherighttopreservecontentthatsocialmediausersmay,inthefuture,wishtorevoke.Thepaperwillfurtherlooktoinstigatedebateregardinghowwe,asthemuchmaligned“experts”,mightengagewiththemanipulationofhistoryandheritagethroughsocialmedia.WithplatformssuchasTwitteractingasapublicspacefordialoguearoundculturalheritagethepaperasks:‘arewesimplyobservers,ordowehaveanethicaldutytoentertheconversation?’BiographyDavidFarrell-BanksisaPhDcandidateatNewcastleUniversitycurrentlyresearchingusesofthepastinheritageandpoliticaldiscourse.HegraduatedfromEdinburghUniversityin2015withadegreeinGeographyandArchaeology,andfollowedthisupwithaMaster’sinHeritageStudiesatNewcastleUniversity.Hisresearchworkhasbeendiverse,takingincommunityattachmenttoaWorldHeritageSiteinMaltaandtheroleofarchaeologyasasafeworkspaceforadultswithautism.Ineachinstancetheresearchrecognisesthepowerofheritagetoimpactonidentity.Hiscurrentworkfocusesontheuseoftwohistoricalmoments–the1215introductionofMagnaCartaandthe1683SiegeofVienna–inpresentdaypoliticaldiscourse.Theworktakesinissuesofmemory,identityandaffect,andworksacrosspoliticaldiscourse,museumdisplayanalysis,anddigitalcontentanalysis.TheworkistangentiallyassociatedwiththeCoHEREresearchproject-CriticalHeritages:PerformingandrepresentingidentitiesinEurope.

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SarahFeinstein,UniversityofManchesterProfMargaretLittler,UniversityofManchesterTheMediumistheMessage:PhysicaltoDigitalDisplaythroughthecasestudyofGermansinManchesterAbstractInrecentyears,migrationstorieshavebecomeacentralthemetomanyculturalinstitutions’exhibitionprogramming.Inpart,thishasbeenaresponsefromtheculturalsectorandnewmuseologytoincorporateasocialjusticeagendaintotheirorganisationalvisionandmission,suchasthe‘MuseumsChangeLives’initiativeoftheMuseumsAssociation.Theseeffortsconceptualizethespaceofanexhibitionasacriticaljuncturetoengageandchallengepublichistoryforagreatersocialbenefit.OneexampleofthisistheMigrationMuseum’stravelingexhibitionGermansinGreatBritain.In2015,MargaretLittlercuratedapop-upexhibition,GermansinManchester,aspartoftheexhibitionssojournatManchester’sCentralLibrary.GermansinManchesterbeganitssecond-lifein2017asapilotprojectfortheUniversityofManchester’sDigitalHumanitiesnewonlineexhibitionplatformMnemosyne.Whatarethebarrierandassetstore-imagingphysicalexhibitionsinthedigital?Additionally,asHEIspublicengagementandimpactagendasgrowinimportance,aturntothedigitalhasseemedtoofferanopportunitytoshowcaseresearch,whichturnraisesquestionsabouttheneedtodevelopnewskillsandnewwaysofthinking.ThispaperinvestigatesthesequestionsthroughthecasestudyofGermansinManchester,highlightingthewaysinwhichthemediumofthedigitalcanopenupstrandsfornewresearchaswellasgrantnewlifetotheculturalheritageofdisplay.Inboththeprocessofconstructingthedesignandingeneratingnewcontent,theonlineexhibitionofferedacriticalandreflexivespaceforstorytellingandnewpartnershipsacrossuniversitydepartmentsandbetweenculturalinstitutions.Thispresentationwillpayparticularattentiontohowincreasedcollaborationcanadddepthtoknowledgeproductionwithinthesedynamics.BiographySarahFeinsteinhasworkedintheculturalsectorforovernineteenyears,includingasaprogrammeofficerattheArtsandBusinessCouncilofChicagoandmuseumspecialistattheSmithsonianInstitution.Recently,sheworkedascollectionsassistantattheWomen’sArtLibrary(London)andaresearcherwiththePrisonsMemoryArchive(Belfast).SheiscurrentlyadoctoralcandidateattheInstituteforCulturalPracticesattheUniversityofManchesterandatrusteeoftheManchesterDigitalMusicArchive.MargaretLittlerisProfessorofContemporaryGermanCultureattheUniversityofManchester.From2012-2015,MargaretwasGermanicStudiesrepresentativeontheExecutiveCommitteeoftheUniversityCouncilforModernLanguages(UCML).SheisafoundermemberofWomeninGermanStudiesandwasco-directoroftheAHRC-fundedMigrationandDiasporaCulturalStudiesNetworkinManchester.MargaretiscurrentlyVice-PresidentoftheAssociationforGermanStudiesintheUKandIreland.

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DrPetrinaFoti,NazarethCollegeCuratorialPracticeWithoutAPrecedent:CollectingandExhibitingtheDigitalattheSmithsonianInstitutionAbstractNomatterwhatformaldisciplinetheymightbefrom,thecuratorswhorecordthehistoryofcomputer-basedtechnologyarefacedwithalongstandingproblemoftryingtocollectandexhibithardware-dependentsoftwareandsoftware-dependenthardwarewhenonlyoneofthesetwoistangible.Amongthechallengesandunknownsthatcomewithcollectingwithouttheguidanceofanestablishedhistoricalnarrative,computer-basedtechnologyoffersaparticularlydifficultsetofcircumstancesbothforitsprevalenceandforitscomplexity.Themuseumisfacedwithanewchallengebothintermsinwhattocollectandhowthemuseumstaffapproachthischange.Therefore,themuseummustre-examinewhatitmeanstocurateacollectionandevenwhatitmeanstobeanexpertinthefield.Inthispaper,wewillexaminehowthecuratorsattheSmithsonianInstitutionhavecollectedandinterpreteddigitalanddigital-dependentobjects.Thisresearch,partofalargermuseologicalstudy,willillustratehowcuratorialexpertise,throughcontemporarycollecting,canrespondwithagilityandcreativitytounknowntypesoftechnology.Indoingso,thecriticalrolethat21st-centurycuratorsplaywithinthemuseumwillbeexaminedandhowthemuseumbothcontributestoandisinfluencedbymodernsociety’sunderstandingofthesenewtechnologieswillbeexplored.Whatisemergingisaresponsiveandagilemodelofcuratorship,onethathasbeenhonedbyalongtraditionoftechnology-relatedcollectionstewardshipandonethatisfullypreparedtoanswerthechallengesposedbycomputer-basedtechnology,revealingthemuseumasatrustedsourceforcontextandclarityinarapidlyevolvingworld.BiographyDrPetrinaFotiisaResearchFellowforNazarethCollegeofRochester'sCenterforPublicHistoryandworkswiththeOralHistoryCollectionattheSmithsonianInstitutionArchives.SherecentlycompletedherdegreefromtheUniversityofLeicester’sSchoolofMuseumStudies.Herresearchfocusesonhowtheriseofdigitalinformationhaseffectedmaterialcultureandwhatthatmeansforbothmuseumsandthewiderworld.Sheisinterestedinthecuratorialhistoryofcollectionsespeciallythosethatcontaincomputer-basedtechnology,withspecificattentiongiventotheconceptsofcollectionstewardshipandcontemporarycollecting.Shehasheldvariousmuseumpositionsincludingapostfrom2006-2011intheComputersCollectionsattheNationalMuseumofAmericanHistory.SheistheauthorofCollectingComputer-basedTechnology:CuratorialExpertiseattheSmithsonianMuseums,anupcomingmonographwithRoutledge.

22HaraldFredheim,UniversityofYorkL.MeghanDennis,UniversityofYorkTaraCopplestone,UniversityofYorkDrSaraPerry,UniversityofYork#heritagegonewild:Digitalheritagefield-schoolsasseedbedsfortransformativeheritageresearchAbstractAsdigitaltoolsandapproachesbecomeubiquitous,discussionsoftheutilityofdistinguishing“digital”fromsupposedly“non-digital”approachesinevitablyemerge.Ratherthanargueagainsttheemphasisondigital,however,wesuggestthatitsubiquitycallsforacentringofthedigitalinnegotiatingthebigissuesfacingheritagestudiesasawhole.Oneofthemostpressingofthesechallengesistheincreasingseparationbetweentheoryandpractice,betweenheritagescholarsandheritagepractitioners.Wearguethatthisseparationleadstogeneralisingcritiquesthatinhibitproductiveadvancementsintheoryorpractice.Inresponsetothis,wepromotetheadoptionofdigitally-focusedcreativefield-schoolsforsituatedreflexivelearningandresearch.Contestingthefalsedichotomybetweenteachingandresearch,wedemonstratehowintensive,all-day,uninterrupted,multi-weekengagementwithfullprojectcycles-fromrecordingthroughinterpretation,collectionshandling,audio-visualproduction,museologicaldisplayandcuration,toarchiving,promotion,audienceevaluation,reportingandcriticalself-reflection-offersarichandrewardinglaboratoryforadvancingbothheritagepracticeandgroundedheritagescholarship.Crucially,thisapproachisdistinctfrommereskillstraining,byemphasisingtheholisticprocessofproductionandcriticalself-reflection,includingthetransformativeexperienceofnegotiatingreal-worldconstraintsandthebittersweetinevitabilityofcompromise.Withinthisprocess,weidentifytheprocessofdigitalcreativeproductionascrucialforfacilitatingepistemologicalchange,andweillustrateourpointswithreferenceto5years’worthofdatagatheredasleadersoftheUniversityofYork’sannual10-weeklong‘HeritagePractice’field-school.Ultimately,wearguethatthedigitalrealmisn’tnecessarilychangingthequestionsweaskorthedilemmasweface,butofferinganewarenafromwhichtoapproachthem-andanewdimensionfromwhichtoaddressthecentralquestionsofheritagestudiesasawhole.BiographyHaraldFredheimisaPhDCandidateintheDepartmentofArchaeologyattheUniversityofYork.Heusesdigitalco-designtore-negotiateprofessional/volunteerrolesandresponsibilitiesincollaborativeheritageprojects.L.MeghanDennisisaPhDcandidateintheDepartmentofArchaeologyattheUniversityofYork.Sheisanarchaeologicalethicistwhoseresearchfocusesondigitalandvirtualspaces.TaraCopplestoneisaPhDcandidateintheDepartmentofArchaeologybetweentheUniversityofYorkandAarhusUniversity.Herresearchexamineshowcreatingthroughthevideogamemediaformmightoffernovelpathwaysforarchaeologicalknowledgeproduction.SaraPerryisSeniorLecturerintheDepartmentofArchaeology,UniversityofYork.SheisDirectoroftheVisualisationTeamatthearchaeologicalsiteofÇatalhöyük,Turkey;co-InvestigatorontheMemphisSiteandCommunityDevelopmentProjectatMemphis,ancientEgypt’sfirstcapitalcity;andaco-investigatorontheinternational,EU-fundedEMOTIVEProject(www.emotiveproject.eu).

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DrAretiGalani,NewcastleUniversity(ConferenceCo-Organiser)BiographyDrAretiGalaniisadigitalculturalheritagespecialistintheDepartmentofMedia,Culture,Heritage,atNewcastleUniversity,UK.SheholdsqualificationsinMuseologyandComputingScienceandhascuratedprojectsinGreeceandtheUK.Aretiexploresthepotentialofcriticaldesignapproachesinheritagecontexts.Shehasledthedesign,developmentandevaluationofdigitalinteractiveinstallationsinUKmuseumsaswellasaseriesofmobilewebappsforRockArtsitesinruralNorthumberland.Inherrecentresearch,shehaslookedathowempathyandmemoryarenegotiatedbyvisitorsinmuseumexhibitionsaboutmigration.AretiiscurrentlyaCo-IintheHorizon2020projectCoHERE,wheresheinvestigateshowdigitalpracticesandplatformsprovideopportunitiesfordialoguearoundheritageinthecontextofEuropeanidentity/s.AretihaspublishedherresearchinbothHumanComputerInteractionandheritage-relatededitedvolumesandpeer-reviewedjournals.Sheisaco-editoroftheforthcomingspecialissueon'EvaluationofDigitalCulturalResources'inACMJournalonComputingandCulturalHeritage.http://www.ncl.ac.uk/sacs/staff/profile/aretigalani.html

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DrHaidyGeismar,UniversityCollegeLondon(KeynoteSpeaker)FivewaystothinkaboutDigitalCulturalHeritageAbstractInthiskeynoteIpresent5Frameworksforunderstandingdigitalculturalheritage,usingthemasspringboardstodevelopamethodologicalandconceptualframeworktoadvanceourunderstandingofthiscomplexsocial,technical,politicalandmaterialfield.Bychallengingourassumptionsaboutthenatureofthedigital,locatingitinprevioushistoriesofcollectionandpreviousdiscoursesofmateriality,wecanbetterexplorethetransformationseffectedbydigitalmediaonourunderstandingofthepastinthepresent.BiographyHaidyGeismarisReaderinAnthropologyatUniversityCollegeLondonwhereshedirectstheDigitalAnthropologyMastersProgrammeandCentreforDigitalAnthropology.SheisalsothecuratoroftheUCLEthnographyCollectionsandViceDeanresponsiblefordevelopingtheArtsandHumanitiesandSocialSciencespresenceatUCL’snewcampusinEastLondon.ShehaslongtermfieldworkexperienceintheSouthPacificandwithinmuseumsinthePacific,NorthAmericaandEuropewhereshehasworkedonissuesofindigenousintellectualandculturalpropertyrights,historiesofmuseumsandcollectionsandthetransformationofhistoriccollectionsintodigitalmedia.RecentpublicationsincludeTreasuredPossessions:IndigenousInterventionsintoCulturalandIntellectualProperty(Duke2013),TheRoutledgeCulturalPropertyReader(withJaneAnderson,2017).Herlatestbook,MuseumObjectLessonsforthe21stCenturyisforthcomingfromUCLPress.

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DrMeganGooch,HistoricRoyalPalacesCommemorationinthedigitalage:thedigitalmaterialityoftheTowerofLondonPoppiesAbstractIn2014,aninstallationofceramicpoppiesinthemoatoftheTowerofLondoncalledBloodSweptLandsandSeasofRedattracted5milliononsitevisitorsandreachedover18millionpeopleonline.Eachofthe888,246ceramicpoppiesintheinstallationwascreatedtorepresentasinglelife;orratheradeath.Thenumberofceramicpoppiesandthescaleoftheinstallationwereitsdefiningfeaturesbothintermsofthespectacleitcreatedinthemoat,butalsointhemeaningspeoplemadeoftheartwork.Volunteers,staff,visitorsandpurchasersfrequentlyreferredtotheemotionalsignificanceof'onepoppy,onelife'.EachhandmadepoppyembodiedindividualitywithintheconformitywhichisassociatedwithmilitaryserviceinWWI.Notwopoppieswerethesame,connectingtheindividualityofthedeadcombatantswiththehorrifyingscaleofthewar.ThisresearchpaperwilllookatsomefindingsfromthedatacollectedaspartoftheBloodSweptLandsinstallation,specificallythepreliminarytextmininganalysisof9,000onlinededicationsleftbythepubliconadedicatedonlineportalandwebsite:TheTowerofLondonRemembers.Thispaperinvestigateshowandwhypeoplechosetoparticipateonlinewithasite-specificartisticmemorialinstallation,andfocusesontheageandgendersofonlineparticipants,aswellasthelanguageofremembranceandimageryofthepoppywhicharedominantfeaturesofthisonlinememorial.BiographyDrMeganGoochhasworkedinmuseumsandheritagefor9yearsasacuratorandlearningproducer.AsacoincuratorintheBritishMuseum,shebuiltonherPhDspecialismofmedievalcoinage.ShejoinedHistoricRoyalPalacesin2010tocurateanewpermanentexhibitionontheTowerMint,aswellandhaspublishedinnumismaticsandmintarchaeology.Since2013shehasworkedintheLearning&Engagementteambringingthepalaces’collectionstothepublicthroughobjecthandling,anewsecondaryschoolsprogrammingandthedevelopmentoftheTowerofLondon’snewinterpretationplan.Morerecently,MeganhasbeenworkingonthelegacyofthePoppiesprojectBloodSweptLandsandSeasofRedwhichwasacommemorativeartinstallationattheTowerin2014.Hercurrentresearchfocusesonhowthepublicengagedonlineandonsitewiththeartworkandhowpublicparticipationcontributedtoitscreationandsuccess.

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AltheaGreenan,Goldsmiths,UniversityofLondonFromslidecollectiontofeministnet-work:digitizationasadeviantperformancetorecoverthepoliticsofamoribundtechnologyAbstractMydoctoralresearchrevisitstheWomen’sArtLibraryslidecollectionintheSpecialCollectionsandArchivesatGoldsmithsusingthepromiseofdigitizationtodiscoverthepoliticalimplicationsofwomenartistsmakingandcollectingslides.Slideregistrieswereanimportantstrategyforfeministartprojectsinternationallybut30yearson,whatdoesthisslidecollectionofapproximately30,000slidesdo?The35mmslidewasdevelopedtostore,projectanddisseminateimages,butdigitizationrenderedslidemakingintoaredundanttechnology.Kodakstoppedproducingslideprojectorsin2004asdigitizationovertooktheproductionandmanagementofimages.SincethenteachingslidecollectionshavebeendismantledwhiletheWALslidecollectionwaspreservedaspartofaresearchresource.Whileitiswidelyacceptedthatthefutureofimagecollectionsisdigital,thepoliticaloriginoftheWALslidecollectionasafeministprojectofvisibilityforwomenartistsraisesquestionsaboutthenotionofdigitizationasanidealprojectoftransmutationthatensurespreservationandenhancedaccess.Takingupacameratodigitallyphotographartists’slidefilesbecameawaytochallengestandardscanningmethods.Mypresentationconsidershowthefeministslidecollectioncontinuestoembodyamarginalizedculturalheritagethatcomesintoviewbycontaminatingtheslide’stransitionintoadigitalfilefunctioningindigitizedspace.Politicalimplicationsforculturalheritagewhenanalogueslidecollectionsaredigitizedareexploredasthismostlyun-digitizedcollectionofwomenartists’slidesshiftsfromimagerepositorytobecome“asiteofresistance”reflectingonthenatureofknowledge,cultureandpower.Theaimofthisaberrantdigitizationistoquestionhowtheseslideswillspeakinafuturewhentheartistsaregone,thefeministmomentevolves,theslidebecomesanartefact,andthisslidecollectionfacesthequestion:whykeepit?BiographyAltheaGreenanworksinSpecialCollectionsandArchivesatGoldsmiths,UniversityofLondoncuratingtheWomen’sArtLibrarycollection.SheworkswithartistsandacademicresearcherstorealisenewprojectsbasedontheWomen’sArtLibrarycollectionthatpositionthecollectionincontemporarypractices.Herwritingontheworkofwomenartistsdatesfromthe1980s,butherrecentdoctoralresearchfocusesontheprocessofdigitizationtoask:Whatcananartists’slidecollectiondobesidesrepresentartwork?

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DrHuwHalstead,UniversityofYork‘AsktheAssyrians,Armenians,Kurds’:nationalismandtransculturalcross-referencinginYouTubecommentsAbstractInrecentyears,therehasbeena‘transculturalturn’inthefieldofmemorystudies,developedbyresearcherswhofeltthatearlierworkwascircumscribedbya‘methodologicalnationalism’thattookforgrantedacloselinkbetweenparticularcollectivememoriesandparticularnational/ethnicgroups.Formanyofthesescholars,globalisationanddigitalmassmediahavebrokenmemoryfreefromitstraditionalmoorings,creatingopportunitiesforindividualstoaccessoneanother’shistoriesinamannerthatmightreplaceexclusiveandantagonisticnationalisthistorieswithinclusivecosmopolitansolidarities.InAlisonLandsberg’sterms,‘massculturemakesparticularmemoriesmorewidelyavailable,sothatpeoplewhohaveno“natural”claimtothemmightneverthelessincorporatethemintotheirownarchiveofexperience’.ThisisexemplifiedbytheInternetandWeb2.0platforms,(seemingly)deterritorializedspaceswhereindividualsfromdiversebackgroundsareabletointeractandgainaccesstoeachother'smnemonicrepertoires.Inthispaper,IexploreinteractionsbetweenGreekandTurkishInternetusersinthe‘comments’sectionofYouTube.Despitethevariedsubjectmatterofthevideosselectedforanalysis,thecommentsalmostinvariablydescendintoimpassionedandacrimoniousdebatesaboutthehistoryofGreek-Turkishrelationships,pittingGreekandTurkishusersofferingnarrativesofharmoniousGreek-Turkishcoexistenceagainstusersfrombothsidespropoundingnarrativesofstrifeandhostility.IfocusonhowGreek‘strifenarrators’,intheireffortstocommunicate,contextualise,andvalidatetheirgrievancestowardsTurkey,commonlyparallelGreekhistorywiththeexperiencesofTurkey’sArmenian,Assyrian,andKurdishcommunities,andanalogisewiththeNazigenocideoftheJews.Idiscusshowthesediscoursesinfluence(orfailtoinfluence)thenarrators’perceptionsandrepresentationsofself,thepast,andtheTurkishother,arguingthatwhilsttransculturaldigitaldialoguesmightindeeddrawdifferentvictimcommunitiesclosertogetherandgenerateintercommunalsolidarities,theyneverthelessfrequentlyreinforceratherthantranscendnationalidentitiesandframeworksofremembrance.BiographyDrHuwHalsteadisanAssociateLecturerintheDepartmentofHistoryattheUniversityofYork.HeisamodernEuropeanhistorianspecialisingincollectivememory,displacement,nationalism,andethnicidentity.HehasconductedresearchontheexpatriatedGreekcommunitiesofIstanbulandImbros,the1974Cyprusconflict,andGreek-Turkishrelationshipsinthedigitalworld.

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DrJulianHartley,DimSumDigitalEthicsandInformatics:DisclosingPowerHiddeninMuseumTechnologyAbstractInlinewithLucasIntrona’snotionofdisclosiveethics,thispaperwillargueforresearchtodisclosemuseumprocessesandtechnologiesforcreating,storing,finding,manipulatingandsharinginformation.Disclosureisofferedhereasamethodforrevealingpowerhiddeninthoseinformationframeworksthatfoldintothemuseums’politicalprogramme.Inparticularthispaperaddressesethicalissueswhicharisefromsoftwarealgorithmsinmuseuminformation.Algorithmsimpacthow,andinwhatrelationships,museuminformationbecomespublicyetremaina‘blackboxed’technologyandthereforeobscuredfromethicalscrutiny.Onlythroughdisclosureofalgorithmicrulesinmuseuminformatics,andInternetculture,cantheirimpactonthecreation,accesstoandinterpretationofdigitalmuseumobjectsbemeasured.AfterintroducingIntrona’sargument,thispapercontinuesbyproposingthatdisclosiveethicscouldhappenthroughcomparisonbetweenmuseuminformaticsandurbaninformatics;thematerial,technologicalandsocialstructuresthatmaketheinformationagepossible.Inthiscontextwemightthinkofreal-timesensornetworksandwearabletechnologieswhichlogandlearnfromtheculturalpreferencesandlocationdataoftheirusers.Examiningthetwoinformaticsystemsalongsideeachother,andhighlightingthedifferencesbetweenthem,providesanopportunitytomaptheirpoliticalorsystemicenclosure,andthereforedisclosethemtoethicalscrutiny.Thisreturnsthepapertothepoliticalprogrammeofthecontemporarymuseumanditsethicalparametersofsocialinclusion,publicaccountability,andtransparency.Toconclude,thesuggestionwillbemadethatthemuseumonlycomesintoexistencewhenthealgorithmsruleitiscorrecttodoso.Therefore,itisargued,researchisneededtodiscloseethicalissuethatfallswithin,andspeaksto,amuseologyoftechnology.BiographyJulianHartleyisamuseumandheritageprofessionalworkingatDimSumDigital,acompanyofferingdataexpertisetothecultureandmediasector.ClientshaveincludedtheGuardianMediaGroup,Google(Paris),InstituteofCulturalPractices(UniversityofManchester),TheIndigoTrustinSouthAfricaandUCLQatar.HehasaMAandPhDinMuseumStudiesfromtheUniversityofManchester.Between2008and2014hewasaresearcherinresidenceattheWhitworth,Manchester,whichincludedinstigating,following,documentingandcriticallyreflectinguponprocesses,challengesandactionsofdigitalengagementandthepeopleinvolvedinthem.

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DrAntoinetteMagetDominicé,UniversityofLucerneandDarioHenriHaux,UniversityofLucerneAccessingdigitalculturalheritage:developingalegalframeworkAbstractEveryday,humanityiscreatingelementsofthedigitalculturalheritage,creatinganunprecedentedamountandinnumerablevariations.Thedigitalrealmiscreationandconservationoccurringatthesametime.Still,adistinctionbetweendigitallybornanddigitalizedobjectsisneeded.Furthermore,wedonotknowwhetherinteroperabilityandsustainabilitycanbeguaranteedforforthcominggenerations–neitherfromatechnical,norfromalegalpointofview.Nevertheless,“thedigital”ispresented,especiallywithindifferentacademicdiscourses,asthesingleandperfectsolutionforpreservingnotonlyintangiblebutalsotangibleculturalheritage.Consideringthelegalapproachofsafeguarding,onemaynotethatthelawisreactinginsteadofactinginaproactivemanner.TheUNESCO’sCharta2003onthepreservationofthedigitalculturalheritagecanbeseenasamajorsteptowardsfurtheringtheinterestsofaglobalcommunityofscientists,activistsandcivilsociety.Butitseffectsaredwindling,withgoalsandmeansbeingconfusedonaccountofalackofprecisionintheuseofterms.Firstly,wewouldliketoconsideranongoinglegalandtechnicaldebatebetweenthedataandthesupportneededforpreservingdigitalculturalheritage.Byreferringtotheevolutionofinformation-transmissionsinceGutenbergandbydrawingcomparisonswithotherareasofculturalheritage,thescopeofactioncanbedelimited.Secondly,wesuggestareflectionbasedontheUNESCO´sselectivecriteria,referringtovarioustypesoflegalinstruments.Bythismeans,andbyinvolvingconcernedinterestgroupsfromtheculturalsphere,betterdefinitionscanbeprovided.Ultimately,thismightleadtoabetterrecognitionofdigitalservicesandselecteddigitalcontent,astestimoniesofculturalheritagefromthe21stcenturysociety.Finally,weproposearenewaloftheChartaoranembeddingofthecoreconceptsinaEuropeanresolutionorprojectlikeEuropeana.BiographyAntoinetteMagetDominicé(1980)hasbeenaSeniorResearchAssistantattheUniversityofLucernesinceAugust2013.Sheistrainedinlawandhistoryofart;herresearchinterestslieinthefieldsofstatelaw,copyrightlaw,artlawandculturallaw.AlongsideheractivitiesattheUniversityofLucerne,Antoinetteisamemberoftheeditorialteamoftheonlinelegaljournalsui-generis.chandoftheresearchgroupDroit,patrimoineetculture.ShequalifiedasalawyerinFrance,andregularlyconsultsasanexpertforgovernmentalandnon-governmentalorganisations.DarioHauxstudiedlawbetween2010and2016attheHumboldt-UniversitätzuBerlin,theUniversitédeGenèveandtheLuissGuidoCarliUniversityinRome.HethengainedprofessionalexperienceatlawofficesinRomeandMontréal.Onaccountofhismediationdegree,Darioactivelyco-organisestheannualSummerSchoolonDisputeResolutioninBerlin.Since2017,hehasbeenaResearchAssistantattheUniversityofLucerneandiscurrentlypreparinghisPhDthesis,alegal-philosophicalenquiryonthesubjectof“DigitalCommons”.

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CimeonEllerton(PlenaryPanel)BiographyCimeonEllertonhasworkedforover12yearsinpublicengagementfromartsdevelopmentandpolicy,todata-drivenaudiencestrategyandlarge-scaleprogrammemanagement.Followingsevenyearsinlocalgovernment,hejoinedTheAudienceAgencytobuildandmanageAudienceFinder-nowthelargestsourceofaggregatedaudiencedataintheworld.Duringthistime,hehasworkedwithartsorganisationsofallsizestodeveloprapid-prototypinganddatadrivendecision-makingapproaches.Cimeonisregularlyinvitedtocontributetoprofessionalmediaandjournals,aswellasspeakinginternationallyabouttheUKartssector,notablyfortheBritishCouncilacrossEurope.CimeonhasaPGCertinCreativeCommercefromtheUniversityofGreenwichandisalsochairofLewishamEducationArtsNetwork-acharitychampioningartseducationbyempoweringartisteducatorsandthosethatworkwiththem.Cimeonisnowworkingonthenextgenerationofuser-centredandAIenhanceddatatoolsfortheculturalsector.

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AnisaHawes,VictoriaandAlbertMuseumObjectsincontext:newmodesofcollectingandcuratingdigitalpostersAbstractCollectingandCuratingDigitalPostersisaPostersSubjectSpecialistNetworkresearchproject,supportedbyArtsCouncilEngland.Itaimstotacklethequestionofhowinstitutionalcollectionscanadapttothechangingculturalandtechnicalnatureofpostermaterial.Thispresentationwillshowcasefindingsfromthefirsttwoprojectphases,investigatingwhatdigitalpostersareandhowtheycanbecollectedbymuseums.Akeychallengehasbeencapturingweb-basedpostersandgraphics,suchasmemeswhicharesharedandre-appropriatedinthecontextofsocialmedia.Wehaverecognisedaninherentcontingencybetweendigitalobjectsandthesocio-culturaldomainwithinwhichtheycirculate.Postershavealwaysbeendesignedwiththecontextofpublicspaceinmind,butthedigitalenvironment,andinparticularWeb2.0,representsachangedlandscapeofpublicspace.Whilewecan’tcollectacitystreet,wecancollectcontextualelementsofthedigitalenvironment.AnexpandedcasestudyatthecoreofthisworkrepresentsacollaborationwithonlineartsorganisationRhizomehttp://rhizome.org.Rhizome’swebarchivingtool,Webrecorderhttp://webrecorder.io,reflectsoursharedunderstandingthatcontextistheformativeandenliveningfacetofweb-basedobjects.Thisopen-sourcetoolhasenabledustocapturedynamic,digitalpostersinsitu.BiographyAnisaHawesisaResearcherbasedinthePrintsSectionoftheVictoriaandAlbertMuseum.SheisleadingCollectingandCuratingDigitalPosters,acollaborativeprojectactivatedbythePostersSubjectSpecialistNetworkandsupportedbyArtsCouncilEngland.

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JessHoare,CardiffUniversityHangontoYourEmotions:EmotionalGeographiesoftheMuseumAbstractThispaperexaminesmethodsforutilizingwearablephysiologicalsensorswithinsocialscienceresearch.Theprojectinvestigatestheimplicationsoftechnologiesthatcanrecord,visualiseandsharesomeofourmostpersonalandintimatedata.Itinvolvesmonitoringmovement,heartrate,andskinconductiveresponse[SCR]viawearablesensorstodetectemotionalarousalandintensitytoenvironmentalfactors.Itdrawsonprecedentssetbyanartisticpracticecalledbio-mappingandseekstodiscoverhowsuchacartographymightaddvaluetothefieldofemotionalgeographies.AssociatedwiththeartistandresearcherChristianNold,bio-mappingemergedasacriticalreactiontowardsthecurrentlydominantconceptofpervasivetechnology,whichaimsforcomputerintelligencetobeintegratedeverywhere,includingoureverydaylivesandevenbodies.Thegrowthofwearablebiosensorsmeansthatthecombinationofpersonalbiometricdata,emotion,andourenvironmenthasopenedupnewroutesforinquiry,butwhatdoesitmeantomeasureandevaluateourselvesinsuchways?ThroughadiscussionofaprojectunderwaybetweenCardiffUniversityandNationalMuseumWales,exploringtheuseofwearablesensorstounderstandtheemotionaleffectmuseumshaveonus.Asmallsensor,wornonthewristlikeawatchorlikeaFitbitfitnesstracker,recordsphysiologicaldatathatmightbelinkedtoemotionalresponsestriggeredinthemuseum.Thepresentationwilldescribethemethodsbehindtheproject,talkthroughsomeofthechallengesofworkingwithbio-dataandfinishbylookingatsomeoftheopportunitiesthistechnologypresentsformuseumsandtheiraudiences.Throughsharingtheveryearlystagesofthisresearch,thepaperintendstoexposesomeoftheproblematicssuchdevicesanddata,whilstlookingforusefulroutesforward.BiographyJessdescribesherselfasanerrantarthistorianwhowandersaroundmuseumsandacrossdisciplines.Shehasworkedattheintersectionofpublicartsandtechnologysince2012andhascollaboratedwithleadingpublicinstitutionsacrosstheUK,includingTate,NationalMuseumsWales,Watershed,ArtsCouncilEngland,ArtsCouncilWales,NationalTheatreWales,Shakespeare’sGlobe,theGuardian,andtheBritishCouncil.Ithasneverbeenaboutshinytechnology,gadgetsoreventheart,Jessisinterestedinunderstandingpeopleandtheirresponsetoculturalexperiences.Thisinteresthasledhertoherdoctoralresearch,exploringtheroleofbiodataandwearablesensorsinunderstandingemotionandaffectinthemuseum.Previously,aspartoftheteamatthePervasiveMediaStudio,sheworkedcloselywiththePlayableCityteamtodelivertheinternationalPlayableCityAward-aprizegiventopromotecivicengagementthroughplayfultechnologyinterventionsintheurbanenvironment.In2016,JessrantheDigitalInnovationFundforWalesonbehalfoftheWelshGovernmentandtheUK’sNationalEndowmentforArts,ScienceandTechnology(NESTA).ShecurrentlysitsontheDigitalInnovationBoardoftheUK’sOfficeforNationalStatisticsandtheGovernmentDigitalServiceboardforOpenStandards.

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DrNicolaHorsley,RoyalNetherlandsAcademyofArtsandSciencesGatekeepingImaginariesofCulturalHeritageResearch:theroleofarchivesinshapingthepossibilitiesoffutureresearchAbstractTheproliferationofdigitalsourcesthatmaybedrawnonbyculturalheritageresearchershasbeendescribedasa‘datadeluge’thatmightfundamentallychangehowhumanitiesresearchisdone.Archives’roleinfacilitatingtheuseofdifferenttypesofresearchobjects,andofnovelandemergingmethods,hasnotbeenfullyinvestigatedinthiscontext.Thispresentationexplorestheprocessesandpracticesthatgovernusesofthehistoricalrecord,andhowtheyaffectthestoriesthatresearchersgoontotell.Engagingwiththeperspectivesofarchivistsoffersamorenuancedunderstandingofacrucialelementoftheresearchprocess,addressingquestionsofmediation,‘newempiricism’,epistemicagencyandpossiblefutureimaginariesofheritageresearch.The‘digitaldivide’intheinterestsandmethodsofhumanitiesresearchershasgarneredmuchattentionbutthecomplexitiesofhoweverydaypracticesofpractitionersinculturalheritageinstitutionsactonthissupposedfaultline,shaping(andbeingshapedby)theresearchlandscape,havebeenrelativelyneglected.DrawingonemergingfindingsfromtheHorizon2020KnowledgeComplexity(KPLEX)project,thispresentationexploresarchivists’rolesinproducingand/orconstrainingthepossibilitiesforthecreationofnewknowledgesbyexaminingperspectivesonhowtheir‘gatekeeping’roleisaffectedbytheaffordancesofnewtechnologyandchangingprocesses.Understandinghowtheseactorsview,leadandrespondtochange,andhowtheydeveloptheirexpertisetosupportresearchers,helpsustoenvisionavitalaspectofthefutureofdigitalculturalheritageresearch.Spotlightingpractitionerperspectivesgarneredthroughinterviewsandsurveydata,KPLEXtakesacriticalviewoftheadoptionof‘bigdata’approachesinhumanitiesresearchandaskshowpolicyattemptstoexpandaccesstohistoricalsourcestranslateintopracticeandwhetherthereisariskthatresearchobjectsthatdonotfitthismodelbecomeunder-researched.BiographyDrNicolaHorsleyisaresearchfellowatDANS,aninstituteoftheRoyalNetherlandsAcademyofArtsandSciences,wheresheresearcheshowafocuson‘bigdata’elidesimportantissuesaboutthecurrentknowledgelandscape.Herworkproblematisestheconceptsofdataandthehistoricalrecord,investigatinghowhumanitiesresearchobjectsmaybecome‘hidden’.Nicola’squalitativeresearchcritiquesthemarginalisationofthesocialinvariousdiscoursesandexploresthedominanceofscientificandtechnicalknowledgeasbasesforpolicyandpractice.AgraduateoftheUniversityofLeeds’SchoolofSociologyandSocialPolicy,shehaspreviouslyworkedatLoughboroughUniversity,GoldsmithsandLondonSouthBankUniversity,wheresheexploredthescientificevidencebaseforearlyinterventionpolicies.Herco-authoredbook,ChallengingthePoliticsofEarlyIntervention:who’s‘saving’childrenandwhy,expandsonthatproject’sanalysis,andtherelatedarticle‘Bravenewbrains:sociology,familyandthepoliticsofknowledge’wasthewinnerofTheSociologicalReview’sPrizeforOutstandingScholarship2016.

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DrStuartJeffrey,TheGlasgowSchoolofArtProfSiânJones,UniversityofStirlingMaterial/VirtualRelations:3DheritagevisualisationandthenegotiationofauthenticityAbstractInthispaperweexaminethequestionofauthenticityinrelationto3Drecordsandvisualisationsofhistoricobjectsandmonuments.Muchoftheliteraturefocusingon3Dvisualisationslocatestheirauthenticityintheaccuracyofthedataand/ortherealismoftheresultingmodels.Atthesametime,criticsarguethat3Dvisualisationsdisruptpeople’saccesstotheuniquemateriality,biographyandauraoftheirhistoriccounterparts.Furthermore,theproductionanduseof3Ddigitalheritageobjectsremainslargelyrestrictedtotherealmofprofessionalpracticewithlimitedcommunityorpublicengagement.Drawingonrecentresearchprojectsthatinvolvecommunityco-productionof3Dvisualisationsinconjunctionwithrapidethnographicmethodswediscusswhenandhowsuchvisualisationsbecomeinvolvedinthenegotiationofauthenticity.Wearguethatsubtleformsofmigrationandborrowingoccurbetweentheoriginalandthedigital,creatingnewformsofauthenticityassociatedwiththedigitalobject.Likewise,thereisevidencethatthecreationofdigitalmodelsactivelymediatestheauthenticityandstatusoftheiroriginalcounterpartsthroughthenetworksofrelationsinwhichtheyareembedded.Wewillarguethatpre-occupationwithquestionsofwhether3Ddigitalrecordsandmodelsareauthenticornotobscuresthewiderworkthatsuchobjectsdoinrespecttotheculturalpoliticsofownership,attachment,place-makingandregenerationBiographyStuartJeffreyisResearchFellowinInternationalHeritageVisualisationattheSchoolofSimulationandVisualisationofTheGlasgowSchoolofArt(GSA).StuartstudiedacombinedhonoursBScdegreeinComputerScienceandArchaeologyattheUniversityofGlasgowandcompletedhisPhDin3Dmodellingofearlymedievalsculptedstones,alsoatGlasgow,in2003hejoinedtheArchaeologyDataServiceattheUniversityofYorkleavingasDeputyDirector(Access)tojointheGSAin2013.Hisworkatexplorestheuseofnewtechnologiestocreaterecords,analyse,interpret,re-interpretandrepresentheritagefrombuilttointangible.Hisresearchfocusesonreplicationandco-productionaswellasdigitalauthenticity.Stuarthaspublishedextensivelyondiversetopicsinarchaeologyandcomputerscience,including,medievalsculptedstones,archaeologicalinformatics,visualisationtechniques,digitalpreservationandreuse,naturallanguageprocessing,andtheuseofsocialmediainarchaeology.StuartisamemberoftheCIfAandafellowoftheSocietyofAntiquariesofScotlandSiânJonesisProfessorofEnvironmentalHistoryandHeritageattheUniversityofStirling.Sheisaninterdisciplinaryscholarwithexpertiseinculturalheritage,aswellasontheroleofthepastintheproductionofpower,identity,andsenseofplace.Herresearchinterestsinclude:monuments,memoryandplace;heritagemanagementandconservation,authenticity,significanceandsocialvalue;thematerial,socialandenvironmentalhistoryofurbanpublicparks;andcommunityheritage.Recentresearchprojectshavefocusedontheexperienceofauthenticity,approachestosocialvalue,conservationpractice,andparticipatorydigitalheritage.Siân’spublicationsinclude:TheArchaeologyofEthnicity(Routledge),EarlyMedievalSculptureandtheProductionofMeaning,ValueandPlace(HistoricScotland)andtheco-authoredmonograph,AFragmentedMasterpiece:recoveringthebiographyoftheHiltonofCadbollcross-slab(SocietyofAntiquariesofScotland).

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DrOlofKarsvall,TheSwedishNationalArchivesFromopendatatolinkeddata:experiencesfromanongoingprojectonhistoricalsettlementsattheSwedishNationalArchivesAbstractNationalArchivesinSwedenhasahugeanduniquemapcollectionfromthe17thcentury,coveringsettlementsalloverthecountry,inaverydetailedscaleof1:5000.Informationabouthamletsandfarmsalsoappearsinolderregistersandletters.Usingthesesourceswecouldtravelbackintimeandgetacloselookonrurallife400hundredyearsagoandfurtherinterpretthemedievallivingconditions.Thesehistoricaldataareofimportancenotonlyforresearchersbutalsoforarchaeologistsandlandscapeplanners.Manyofthesesourceshavebeendigitalizedandareavailableasopenaccess.Despitethismostdatabasesarerarelyusedinresearch.Historicalsourcesarealsobeingpublishedinbookseries(editions),whichtakesdecadestocompile,butaremostlyusedbyalimitednumberofspecialists.Onewaytoovercomethisistopromoteconnectionsbetweendatabases.Sincelastyear,aresearchprojectattheNationalArchivesinStockholmisongoing,aimingtocreateanewdigitalplatform(calledTORA)forhistoricspatialdata.Settlementunit(villages,hamletsandfarms)isthemainconcept,whichareregisteredascoordinates(pointobject)alongwiththeplacenames.TheplatformservesasacloudandimportsdatafromdifferentdatabasesandconvertsthemintolinkeddatainRDF-format.Datamodelinghasbeenamajorpartofthework.Otherkeyconceptsincludesevents,digitalsourcesmaterial(images,maps),alternativeplacenamesandadministrativedivisions(parishesetc.).Usinglinkeddataprinciples,theprojectgoalistomakealargeamountofhistoricaldataavailableforresearchersandprogrammerswhocouldcombinetheseinnewwaysindifferenttypesofapplications.BiographyOlofKarsvallholdaPhDinAgrarianHistoryfromtheSwedishUniversityofAgriculturalSciences,aM.S.inComputerScienceandaB.Soc.ScinHumanGeography.Thedoctoralthesis(2016)focusesontheLateMedievalAgrarianCrisis(c.1350–1500)byanexaminationofuninhabitedcadastralunits(vacantholdings)referredasutjordinSwedishcadastralwrittensourcesandmaps.Since2005,KarsvallhasbeenworkinginprojectsattheNationalArchivesinStockholmconcerningtheSwedish1600'sgeometricalmapsandcreatedacoordinate-baseddatabaseandasearchapplication,holding12000mapsand100000datastatisticsandGISdatapoints(www.riksarkivet.se/geometriska).

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DrOrsalia-EleniKassaveti,National&KapodistrianUniversityofAthensDrLiaGalani,National&KapodistrianUniversityofAthensDrReaKakampoura,National&KapodistrianUniversityofAthensDrAretiGalani,NewcastleUniversityExploringCulturalHeritageandIdentityonPhoto-sharingSocialMedia:ASuggestedVisualMethodologyAbstractHorizon2020ProjectCoHEREaimstoexploretheconstructionofEuropeanidentitiesandplacesthroughheritagerepresentationsandthewaysdigitaltechnologiesmayprovideaprofoundknowledgeaboutEuropeanHeritage,itsdiscoursesandtheconstructionoftheEuropeanidentity.Morespecifically,throughtheuseofGeostreamtool,adatasetofuser-generatedimageshasbeencreatedandinvestigatedinordertodiscussthediverseandmultifocalnotionsofheritageandidentity,aswellastheonlinevisualdialoguesthatemergeandengagewithideasrelatedtotheEuropeanUnion.Throughthevisualanalysisofthisdata,thisresearchaimstoinvestigatetheconstructionofvisualrepresentationsofplaceandidentityongeo-socialdigitalplatforms,suchasFlickrandPanoramio.Itwillalsoanalysetheonlinedialoguesabouttheestablishednotionsofheritage,placeandidentityproducedbysuchplatformsaswellastheirfurtherinvolvementintheredefinitionorreshapingofourknowledgeaboutthem.Thispresentationwillfocusonthevisualmethodologiesusedinordertoaccess,examineandprocessthevisualdataset,aggregatedbyGeostream,whichconsistedofmorethan2,000photographsoftheGreeksquareKotzia,locatedinthecentreofAthens.Itwill,furthermore,evaluatethefindingsandcriticallyreflectontheroleofphoto-sharingsocialmediainprovidingaclearunderstandingofculturalheritageandidentityrelatedtoplace.BiographyOrsalia-EleniKassavetiisaPost-DocResearcherinCulturalStudiesattheNational&KapodistrianUniversityofAthens,DepartmentofPrimaryEducation.LiaGalaniisanassociateProfessorofGeography&itsDidacticsandReaKakampouraisanassociateProfessorofSocialFolkloreatthesamedepartment.AretiGalaniisaLecturerinDigitalCulturalHeritage,NewcastleUniversity,SchoolofArtsandCultures.

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ProfSarahKenderdine,ÉcolePolytechniqueFédéraledeLausanne(EPFL)(KeynoteSpeaker) NewmodelsforexperimentalmuseologyAbstractThispresentationexploresprevalentissuesrelatedtotheuseofdigitalfacsimilesofculturalheritageinmuseums.Inaneraof‘heritageatrisk’,digitalreproductionprovidesuswithaccesstoculturalsitesandobjectsthatmayotherwisebeirrevocablylost.Recentdebatesalsodescribehowdigitalcopiesformpartofthetrajectoryofanobject’sculturalcareer.Analogously,documentationofintangibleheritagepracticesgivesusopportunitiestoexamineembodiedknowledgesystemsandtoexploretheirtransmissionthroughtime.Nonetheless,digitalfacsimilescontinuetooccupyanuneasyspacewithinmuseumswherebytheirartfulmaterialities—intangible,reproducibleandtransmissible—poseathreattoinstitutionalizedclaimsofuniquenessandauthenticity.Byfocusingonaseriesofexperimentalnewmediainstallationsformuseums,thistalkre-examinesthepossiblefuturesfordigitalmodellingofintangibleandtangibleheritageinexhibitions,whereissuesofauthenticityandinterpretationareatstake.BiographySarahKenderdineresearchesattheforefrontofinteractiveandimmersiveexperiencesforgalleries,libraries,archivesandmuseums.Inwidelyexhibitedinstallationworks,shehasamalgamatedculturalheritagewithnewmediaartpractice,especiallyintherealmsofinteractivecinema,augmentedrealityandembodiednarrative.SarahisProfessorofDigitalMuseology,attheÉcolepolytechniquefédéraledeLausanne(EPFL),SwitzerlandwhereshedirectstheLaboratoryforExperimentalMuseology(eM+),exploringtheconvergenceofaestheticpractice,visualanalyticsandculturaldata.ShealsodirectsEPFL’sart/sciencemuseum.Formerly,shewasProfessoratUniversityofNSW(2014-2017)andfoundingdirectorforinterdisciplinaryExpandedPerceptionandInteractionCentre(EPICentre)wheresheconceivedanddesigneditsprimaryvisualisationinfrastructure.ShewasheadofSpecialProjectsforMuseumVictoria,Australia(2003—2017).From2010-2015shewasthefoundingDirectorofResearchattheAppliedLaboratoryforInteractiveVisualizationandEmbodiment(ALiVE),CityUHongKong.In2015shewaselectedPresidentoftheAustralasianAssociationforDigitalHumanities(aaDH).

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AmeliaKnowlson,SheffieldHallamUniversity3Dscanningasacuratorialtool:StoriesfromtheEast:TheGriceIvoriesAbstractThispaperexploresarecentcuratorialresidencywiththeCuratorofDecorativeArtsatMuseumsSheffield.Theresidencyispartofresearchthatexamineshow3Dscanningandprintingcanbeusedasacuratorialtool,andasameanstochallengemuseologicalrelationshipsbetweenartefactsandtheirdigitallycreatedcounterparts.Thecollaborativenatureofthisresearchinvitedthecuratortopracticallyengagewith3Dtechnologythroughthemuseum’sIvorycollection.Theendresultwastheproductionandintegrationof3Dscannedandprintedobjectsintothenarrativeoftheexhibition,‘StoriesfromtheEast:TheGriceIvories’,viain-caseobjects,handlingobjectsandinterpretativeaids.Here,3Dscanning,isboththeprocessandsubjectoftheinquiry.Theprocesshelpsusseetheoriginalartefactsinnewways,butalsochallengestheauthorityofthemuseumobjects.Suchamethodofresearchopensupnewimaginingsofwhatheritagecanbeasthescandataisderivedfromthemuseumobject,locatingitwithinthecontextofthecollection.Thecreationofdigitallycreatedcontent,bythecurator,exposesnewnotionsandimaginingsindigitalheritageincludingrevealingpreviouslyunseendetailswhilstre-shapingthecurator’sunderstandingofthemuseumobject.Thecurator’scomments,herunderstandingsofthe3Dscansandresponsetotheiruse,bothdigitallyandphysically,shapedthenarrativeswithin‘StoriesfromtheEast’.The3Dscanswerecreatedfromco-selectedivories;theirproduction,useandreceptionwerediscussedwithcuratorsbeforetransformingthemorsectionsoftheminto3Dprintedmuseumobjects.The3Dprintedmuseumobjectsweretreatedasmuseumobjects,withtheirownin-caselabels,despitetheirdigitalorigins.Thisdigitallyenabledmethodquestionsnotonlywhatheritagecanbebutalsotherolemuseumshaveindisplaying,creatingandinterpretingdigitalcontent.BiographyAmeliaisPhDresearcherandcuratorbasedatSheffieldHallamUniversity.HerAHRCfundedPhDusesparticipatorymethodstoresearchtheeffects3Dtechnologyhasonmuseumpractice.3Dscanningandprintingsitsattheheartofherresearch,whichsheusestocreatesituationsthatchallengethetraditionalrhetoricofthemuseum.Spanningtherealmsofcurator,designerandmaker,Ameliahasbuilthasactiveportfoliointhemuseumsector.ShecompletedherMAinMuseumStudiesatNewcastleUniversitywhereupongraduatingwasemployedontheAHRCproject'Co-Curate'wheresheengagedcommunitiesandmuseumswith3Dtechnology.Sincethenshehascompleted3DcuratorialprojectsforTyneandWearArchivesandMuseums,EnglishHeritageandMuseumsSheffield.Herfutureworkwillinvolvea2-monthcuratorialresidencywithTheBritishMuseum.In2015,AmeliawasawardedArtCatalystfundingtoexploretheuseofembeddedtechnologytofacilitatemuseumengagementwiththeblindandpartiallysightedcommunity.

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StefaniaZardiniLacedelli,UniversityofLeicesterDigitalheritageandplatformmuseum:sonicthinkingasorganisingprincipleAbstractMuseumsin21stcenturyarereadyforaparadigmaticshift.Thedematerializationoftangibleobjects,thesharingeconomyandtheparticipatoryculturearetransformingthewaysthroughwhichculturalheritageisvalued,transmittedandcreated.Consequently,museumsarechangingtheirshape:in18thcentury,theyconceivedthemselvesasarchitecturalspacesdevotedtothecollectionanddisplayoftangiblecultures;underthedigitalrevolution,museumshavebecomedistributed,decentralizedandalwaysaccessibleplatforms.ThemuseumpresencehasbeenextendedfromthephysicalplacestothevirtualWeb.Insteadofproposingjustthecuratorialvoice,museumspromoteinterpretativeprocessesofvisitors,userco-creationandknowledgesharing.Besidetangibleheritage,theycollect,preserveandspreadintangibleassetsanddigitalculturalheritage.Intheirevolutiontowardstheplatformmodel,museumsneedanentirenewsetoftoolstoredesigntheiractivities,productsandstrategies.Usingaborndigitalmuseumascasestudy,thepresentationwillproposeanorganisingprinciplethatoriginatesfromtheintangibleelementparexcellence:sound.Sonicthinkingcanguidemuseumsindevelopingtheirpresenceinthedigitalworld,thankstotheportablequalitiesofsoundtobereproduced,sharedandremixedinavarietyofnewcontexts.InMuseoDolom.it–avirtualmuseumthatinvolvesdifferenttargetusersinthecreationofdigitalheritagerelatedtotheDolomiteslandscape–sonicthinkinghasshapedawiderangeofdigitallymediatedactivities:fromthecollaborativesoundarchiveonSoundCloud–composedbydifferenttypesofsoundscaperecordedbyusers-tothecreationofmultimediagalleriesthatcollectsonicinterpretationsofDolomitesheritage.Drawingupontheseemergingsonicpractices,thepresentationwillultimatelyhighlightthecontributionthatsonicthinkingcangiveasaneworganisingprinciplefortheplatformmuseum.BiographyStefaniaZardiniLacedelliisapostgraduateresearcherattheSchoolofMuseumStudiesattheUniversityofLeicesterandadigitalheritageprojectmanager.HerdoctoralresearchisfundedbytheAHRC-Midlands3CitiesDoctoralTrainingPartnershipandinvestigatesthemuseumasaplatformforsoundcultureinapost-digitalage.Since2013,shehascarriedondifferentresearchandteachingactivitiesinthefieldofdigitalheritageinItaly,USAandUK.In2014shewasVisitingScholarattheDukeUniversity(NC),whereshedevelopedaplatformmodelformuseumsthatwasfirstappliedinthedesignofamultimediaplatformfortheMarioRimoldiModernArtMuseuminCortina.In2016,shebecametheco-founderofthevirtualmuseumoflandscapeDOLOM.ITandtheAmbassadoroftheculturalmovementDigitalInvasionsintheDolomitesarea.ShecollaboratesasaresearcherwithDiCultHer,theItalianNetworkforDigitalCulturalHeritage.

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DrÅsaMLarsson,SwedishNationalHeritageBoardFromChangingToolstoChangingPractices.Challengesforarchaeologyandheritagemanagementwhendocumenting,preservingandsharingdigitaldataAbstractIn2014theNationalHeritageBoardinSwedeninitiatedanambitiousprojecttocreateaDigitalArchaeologicalProcess(DAP)involvingCountyBoards,contractarchaeologists,museumsandtheHeritageBoard.Theaimistoensureefficientsharinganduseofdigitalheritageinformation,andthepreservationofdigitaldocumentationanddatafromsurveysandexcavations.InordertoreachthesegoalsadigitalHistoricEnvironmentRecordwithapublicwebinterfaceisbeingdeveloped,aswellasnewwebtoolsforarchaeologistsandadministratorstoregisterdataanddocuments.Justasimportantasthesenewtoolshasbeentheopportunitytotakeanin-depthlookatthewayinformationaboutancientsitesandartefactsaredocumented.Currentpracticesaresometimesneedlesslyheterogeneousandoftenbasedonanaloguepracticesthatdonotmakefulluseofopportunitiesaffordedbydigitaldata.Asarchaeologistswellknow,itiseasiertochangethetoolsthanpractisesandstructures.Inorderfordigitalculturalheritagetocomeofmaturityweneedtodomorethantoimplementnewdigitaltools,weneedtoreflectuponwhichpracticesneedtobechangedaswell.Weneedtoquestionifcurrentwaysofdocumentinginformationisconducivetothegoalsofresearchandheritagemanagement,oriftheyarebasedonoutdatedanalogoushabits.However,therearedangersaswellintailoringpracticestoadhereonlytodigitallogic:withtheimplementationof(inter)nationalstandardsweruntheriskoffavouringheritagemanagementattheexpenseofresearch.Thispresentationwillraisesomeimportantquestionsofwhatittakestoactuallychangepractices,andhowfarweshouldgotomakethebestuseoftheopportunitiesaffordedbydigitalculturalheritage.BiographyÅsaMLarssonhasaPhDinarchaeologyfromUppsalaUniversity.SheworkedasafieldarchaeologistformanyyearswithbothprivatecompaniesandmuseumsandthenservedasDirectorofSocietasArchaeologicaUpsaliensis,afoundationdoingcontractarchaeologyandresearch.SheisnowworkingattheSwedishNationalHeritageBoardwiththeDigitalArchaeologicalProcesswhichisdevelopingtheHistoricEnvironmentRecord.Specifically,sheisoverseeingthecollectionofolddigitaldatafromcontractarchaeologists,implementinganewdigitalprocessforpreservingandtransferringartefactdatafromexcavationstomuseumcollections,anddevelopinge-learningcoursesfortheHistoricEnvironmentRecord.

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ProfPaulMarty,FloridaStateUniversityDivergingExpectations:InvisibleWorkinDigitalHeritageResearchandPracticeAbstractAcademics,digitalhumanists,librarians,andtechnologistsrecentlyassembledatFloridaStateUniversityforatwo-daysymposiumexploringthechallengesfacingresearchersandpractitionersinthedigitalhumanitieswhentheirworkisinvisibletoawiderangeofaudiencesandstakeholders—http://iwdh.cci.fsu.edu/.Onethemethatemergedfromthissymposiuminvolvedtheconceptofdivergingexpectationsindigitalprojects.Doeseveryoneworkingonthesameprojectsharethesamegoals?Whatisthevalueinhelpingparticipantsbecomemoreawareofeachother’sstatedorunstatedgoals?Whathappenswhenindividualexpectationsaboutthepurposeofaprojectdiverge?Canweanticipatethefactorscontributingtothisdivergence?Thesequestionshaveimportantmethodologicalimplicationsfordigitalculturalheritageresearchers.Howcanweassesstheroleofinvisibleworkinthedigitalprojectswestudy,determinetheproblemsthatarisewheninvisibleworkisnotrecognized,andidentifythosepointsintheprojectlifecyclethataremostlikelytoleadtodivergingexpectations?Itiscriticalthatwedevelopnewapproachescapableofhighlightinginvisibleworkindigitalculturalheritageprojects,andhelpingprojectparticipantsunderstandtheimplicationsofmakingtheirinvisibleworkmorevisible.Thispresentationwillreflectonthemethodologicalframeworksavailabletoresearchersandpractitionersexamininginvisibleworkinthedigitalrealm.Itwilldiscusstheimportanceofstudyingthetensionsthatarisewhendifferentgroupsworkingonthesameprojectdiscovertheyhavedifferentendgoals,andhowunderstandingthosetensionscanimprovethesuccessofdigitalprojectswritlarge.Theultimategoalofthisresearchistodevelopanexplanatoryandpredictivetheorytoprovideadeeperunderstandingofwhathappensbehindthescenesindigitalculturalheritageprojects,andbringtolighttheunexaminedassumptionsandmotivationsthatunderlieinvisibleworkindigitalheritageresearchandpractice.BiographyPaulF.MartyisaProfessorintheSchoolofInformationatFloridaStateUniversity.Hehasabackgroundinancienthistoryandcomputerscienceengineering,andhisPh.D.isfromtheGraduateSchoolofLibraryandInformationScienceattheUniversityofIllinoisatUrbana-Champaign.Hisresearchandteachinginterestsincludemuseuminformatics,technologyandculture,innovationanddesign,andinformationandsociety.HehasservedontheeditorialboardsandcommitteesofnationalandinternationalorganizationsincludingMuseumManagementandCuratorship,MuseumsandtheWeb,andtheMuseumComputerNetwork.

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DrMarcoMason,UniversityofLeicesterDrGiasemiVavoula,UniversityofLeicesterDesignThinkingforDigitalHeritage:DesigninganewfamilyguidefortheFitzwilliamMuseumAbstract“Breakthroughsthatdocounttodayarenotaboutspeedandperformance(digitaltechnology)butaboutcollaboration,conversationandco-creation.”BruceNussbaumThispaperwillpresentfindingsfromtwolargeinterdisciplinarystudiesfundedbyEUMarieSkłodowska-Curieactions1toresearchdigitalheritagedesignpractice.ThesecondofthesestudiesfocusesontheapplicationofDesignThinkingpracticeindigitalheritage,andaddressesnewquestionsaboutthenatureandimpactofDesignThinkingondigitalheritagedesignand,byextension,onthevisitorexperience.ItisthefirstsystematicstudyofDesignThinkinginmuseumsengagedindigitalmediaprojects.Weareconductingpractice-basedresearchattheFitzwilliamMuseuminwhichweareapplyingDesignThinkingonaprojectthataimstodesignamobileinformationsystemforfamiliesvisitingthemuseum.WesetupaprojectteamcomprisingFitzwilliameducators,curators,digitalspecialists,visitorservicesstaffanddesigners,andemployedcollaborativemethodsandtechniques–includingbrainstorming,ethnographicmethods,experiencejourneymaps,andprototyping.Ourresearchstudiesthedesignactivity,inparticular,thesocialcontextinwhichdesignissituatedandwherecontingentsetsofactivitiesareperformedbybothdesignersandnon-designers.ThroughParticipatoryObservationandInductiveQualitativeAnalysis,weareanalyzing:thenexusofactionstakingplaceduringthedesignactivity;thediscursivepracticeandnegotiations;thedesignmethodsandtechniquesthatfostercollaborationtogetherwiththeuseofvisualtools;andhowknowledgeissharedamongstactorswithdifferentbackgrounds.ThepaperwilldiscusstheprocessofintroducingDesignThinkingwithintheorganizationandhowitcontributestomuseumdesignstrategies,processesandbuildingcapacityindigitalheritagedesign.Weintendourtheoreticalperspectivetostimulatecriticalreflectionson,andtoadvancemethodologiesforresearchingadvanceddesignpracticeforculturalheritageinthedigitalrealm.BiographyWithaPh.D.inDesign(2012),DrMarcoMasonisMarieCurieResearchAssociateinMuseumStudiesattheUniversityofLeicester,incollaborationwiththeUniversityofCambridgeandFitzwilliamMuseum.HeisspecializedinDesignResearchfordigitalmedia.HisresearchisattheintersectionofCulturalandDigitalHeritagestudies,SocialScienceandDesignResearchforthestudyofdigitalmediadesignanditspracticesinmuseums.InOctober2015hesuccessfullyconcludedhisfirstMarieCurieInternationalOutgoingFellowshipwiththeMassachusettsInstituteofTechnologyandtheSchoolofMuseumStudies.http://marcomason.meGiasemiVavoulaisAssociateProfessorinMuseumStudiesattheUniversityofLeicester,UK,wheresheisDirectorofPostgraduateResearch(external)andteachesandsupervisesresearchindigitalheritage.Shehasexpertiseindigitallearningdesignandevaluation,particularlyintheareaofmobilelearning.Currentlyherresearchfocusesondigitaldesignforheritage,digitaltransformationsofheritagearchives,anddigitallearningandparticipationinheritage.ShehasheldgrantawardsfromAHRC,EU,andHLFamongothers.

1ThefirstMarieCurieresearchproject(startedOctober2012)isfundedbytheEuropeanUnion–MarieCurieActionsInternationalOutgoingFellowships.Theoutgoingstage(2013–14)tookplaceattheMassachusettsInstituteofTechnology;andthereturnstage(2015)takesplaceattheSchoolofMuseumStudies,UniversityofLeicester.ThesecondMarieCurieresearchproject(startedJuly2016)isfundedbytheEuropeanUnion–MarieCurieActionsIndividualFellowship.ItisajointprojectwiththeSchoolofMuseumStudiesattheUniversityofLeicesterandtheUniversityofCambridge,FitzwilliamMuseum(secondment).

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BrianMoss,NewcastleUniversityFromImaginedtoLived:TheApplicationofSensoryandDigitalEthnographicApproachesinCapturingtheUsers’HeritageProcesswithMobileDigitalInterpretations(MDIs)inOutdoorCulturalHeritageLandscapesAbstractThispaperproblematizestheideaoftheperceiveduser,analysingtheimplicationsofthisconceptanditsweaknessesintheprocessofproducingtheheritageexperience.TheapplicationofSmartphonebasedMobileDigitalInterpretations(MDIs)involvesthepremiseofan‘imagined’user,butthereislimitedunderstandingofhowthis‘imagined’userevolveson-siteasthe‘lived’user.Therelationshipbetweenthe‘imagined’and‘lived’usersrelatesnotonlytothedesiredexperiencetherelevantstakeholderswishtofacilitate,butalsohowtheuserimaginesthemselvesandtheirroleintheproductionoftheMDIexperience.Tounderstandthisdevelopment,itisimportanttogiveprioritytoindividualusers’agency,inparticulartheircognitiveandaffectiveengagementwiththeprocess.ThispaperreportsonresearchconductedacrossvariousoutdoorculturalheritagesitesintheUK,interrogatingperceptionsofthe‘imagined’userasrevealedininterviewswithmultiplestakeholders,throughthelensofsensoryanddigitalethnographicresearch.Theprimarycomponentofthesensoryanddigitalethnographicresearchwas‘go-along’experiences,beingpresentinthesitewiththeuserandcapturingtheirexperiencethroughwearabletechnology.Thispositionstheuseratthecentreoftheresearch,coveringbothphenomenologicalprinciplesconcernedwiththeproductionofexperienceandthecriticalexaminationofapproachessensitivetomovement,stemmingfromthemobilityturn.The‘imagined’userbecomesthe‘lived’userthroughtheprocessin-situandapproachesmustbesensitivetonotonlycapturingthetechnologicalexperiencewiththeSmartphonebasedMDIbutalsotheformationoftheheritageexperience.Approachesofthisnatureareimportanttogainafullerunderstandingoftheimplicationsofadoptingformsofdigitalinterpretationsinsuchspaces.BiographyBrianMossisaDoctoralCandidatefromMedia,CultureandHeritageatNewcastleUniversity.Brian’sprimaryareaofinterestisinMobileDigitalInterpretations(MDIs)intheoutdoorheritagecontext,butthisextendsintoareassuchasdigitalinterpretationsformuseumandgallerysettings,location-basedservices,GISandsocialmedia.Heisparticularlyinterestedintheeffectivedeploymentofsmartphonetechnologywithinthemuseumandheritagesectorandthesubsequentinfluencethishasontheembodiedsensuousexperience,thisisthefocusofhisAHRCNorthernBridgeDoctoralTrainingProgrammesupportedDoctoralresearch.BrianalsoassistswiththedeliveryoftheMuseum,Gallery&HeritageStudiesMAprogrammewithinNewcastleUniversityandhasworkedforseveralyearsintheheritagesector,assistingwiththeintegrationofdigitaltoolstothevisitorexperience.

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ProfJudithMottram,LancasterUniversityandDrHelenGorrill,UniversityofEdinburghColouringintheGaps:exploringtransnationalaestheticsthroughdigitalcollectionsAbstractThispaperreflectsonanapproachtothevisualanalysisofdigitalcollectionsfortheartsresearcher.Thesubjectareaiscautiousaboutquantitativeanalysis,butsystematicstatisticalmethodscanopenupnewpossibilitiesforthoseengagedwithvisualartsresearch.Weaskedwhetheritispossibletomanagethesubjectivityofcolourreceptionandanalysecolourinartworkthroughthedigitalmeans.Theobjectiveoftheresearchwastodeterminewhetheritwaspossibletodistinguishpalettedifferencesacrossarangeofculturalvariables,suchasgender,nationality,artist’sage,collectinginstitution,ordonor,orpictorialattributes.Asampleof500contemporarypaintingsfrommuseumdigitalcollectionswasconstructedandameasurementderivedofeachimagepalette’sdominantcolourconstituents.ThedigitaldatasetisdrawnfromnationalcollectionsintheUK,Finland,France,USAandQatar.Theimageswereselectedthrougharandomsamplingprocess.Themethodincorporatestheuseofamedicalmobileappforidentifyingcolourforthecolourblind.Theappisevaluatedasatechniqueforassistingincolouridentification.Wereflectonthepotentialofsuchdatasetsandanalyticalmethodstoprovidenewperspectivesonculturalheritage,andscopeforapplicationbeyondtheimmediatescholarlyfield.Previousworkusingsuchdatahaschallengedmoresubjectiveandinferentialperspectivesoncollectionpoliciesorgenderedcareerdevelopment.Thepotentialtoexplorepreferenceortransnationalaestheticsinrespecttophysicalobjectcharacteristicscouldbeusefulatboththemeta-levelofnationalcollectionsaswellasforindividualsubjects,notwithstandingtheethicaldimensionsofboth.Theopportunity,however,istouseavailabledatatoexplorepatternshithertoonlysuggestedbyinformedconnoisseurs.Wereflectthatthisenablesfreshinsightstobedrawnonsocialandeconomicfactorsrelatingtoculturalidentityandheritage.BiographyJudithMottramisProfessorofVisualArtsandDirectoroftheLancasterInstitutefortheContemporaryArts(LICA)atLancasterUniversity.ShewaspreviouslyDean,SchoolofMaterialattheRoyalCollegeofArt.Herresearchinterestsincludecolour,drawingandpattern,andtheinter-relationshipsbetweensubjectknowledge,creativity,researchandpractice.ShewasamemberoftheREF2014sub-panelforArtandDesign:History,PracticeandTheoryandisaFellowoftheDesignResearchSociety.SheisontheeditorialboardsoftheJournaloftheInternationalColourAssociation;JournalofTextileDesign,ResearchandPractice;andtheJournalofVisualArtsPractice.HelenGorrillholdsaPhDinthegenderedeconomicandsymbolicvaluesincontemporaryBritishpainting.DrGorrill’sPhDidentifiedanew‘androgynousaesthetics’incontemporaryBritishpainting,andherpostdoctoralresearchhasdetectedan‘essentialistaesthetics’incontemporarypainting.

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DrArtemisPapadaki,BellerbysCollegeEmergingtheContemporaryClassicalMusicCultureinthedigitalera:MethodologyandvisualizationofLinkedDataAbstractThispaperwillfocusonthemethodologyusedincreatingatoolthatcanbeusedtorevealaspectsoftheContemporaryClassicalMusiclandscapebylinkingdatasourcesinaflexibleandproductivewayusefulforanyresearcherinthedigitalera.Researchcanbecustomizedandtailoredaccordingtotheresearcher’sinterests.ThemaingoalwastopresentallpiecesofinformationrecordedfromtheContemporaryClassicalMusicArchive(scoresandpartshostedattheNationalRadio-TelevisionofGreece)combinedwithprimaryandsecondarydataconcerninginformationaboutthecompositions,factsaboutthecomposers’lifeaswellastheiridiomandwayofthinking.Theproblemthatariseswithsoftwareusedbymostmusicallibrariesisthatyoucaneithersearchbycomposerorcomposition.Allothercatalogueddataarehiddenindeeperlayers.Thesesystemshavebeendesignedinordertoservelibrariansworkingin“physicalrooms”torespondtoaspecialrequest.Thegoalwastoenrichandlinkflexiblythearchivewiththeothersourcesandtoexpanditoutsideitsphysicallimits,enablingLinkedDatatobeavaluablesourcenotonlyforresearchers,butforanystakeholderoruseroutsideanygeographicallimits.Theotherdatasourceslinkedwere:a)dataavailablefromsecondarysourcesorofferedbythecomposersthemselvesatthetimethemainprojectendedandb)primarydatacollectedthroughaqualitativeandquantitativeresearchamongcomposers.Thebigchallengewasa)notonlytofindawayofputtingallthisLinkedDatatogetherinordertotriggerandfacilitatecommunicationwithmultipleusersandstakeholdersandallowmultiplereadingsdependingontheinterestandpointofviewofeachresearcher,butb)tocreatethepotentialoflinkingthisplatformwithotherarchivesandcollectionsandc)tocreateadimensionoftime.This(dimensionoftime)isdefinedasanopencommunicationpathabletoreshapethefuture.Theproposedgroundforthiswastheconstructionofawebsiteopentocontrolledfeedbackwhichhadasstartingpoint,theMySQLdatabasedesignedtocontainallfore-mentionedLinkedData.Thisnewcommunicationpathmightcontributetothere-definitionoffutureartisticchoices,relationshipsanddirectionsofthecomposersandtheiraudience.Theaimofthiswiderproject,thatstartedwithGreekContemporaryClassicalMusic,istorevealthetrendsinWesternclassicalmusic.BiographyHerpassionistheartandscienceofCommunicationthatstraddlesscienceandartsubjectsandappliestoboth.HerPhDwithstartingpointMusicologyandcornerstoneCommunicationwasaninterdisciplinaryapproachtooralhistory,socialhistory,historyofart,culturalmanagement,musicologyandcommunication.ShehasalsoaMaster’sinCulturalManagement-Communication,afirstdegreeinBiology(scholarshipfromGreekstate:IKY),soloistdiplomasinFlute,PianoandRecorderandspecializationinEarlyMusic(Lemmensinstituut,Leuven,Belgium,withascholarshipfromtheOnassisFoundation).Foranumberofyears,shehasbeenartisticdirectoratRethymnonRenaissanceFestival,strictlydevotedtoEarlyMusic,MusicalConsultantattheNationalRadio-Televisionandaprofessionalfluteplayer(attheMusicEnsemblesoftheNationalRadio-TelevisionofGreece(ERT),theNationalOperaofGreeceaswellasinotherorchestrasandchambermusicensembles).SincetheofficialshutdownoftheNationalRadioTelevisionofGreece(2013)shehasbeenteachingMathsinEngland.

46DrGeorgiosPapaioannou,UniversityCollegeLondoninQatarSofiaPaschou,IonianUniversity,Greece“FivePaintingstalkingtochildren”:producingandevaluatingadigitaleducationalaugmentedrealityappinCorfuArtGallery,GreeceAbstractThisworkpresentsthemuseumaugmentedrealityappentitled"FivePaintingstalkingtochildren...",whichwascreatedontheAURASMAplatformasaresultofaresearchcollaborationbetweentheIonianUniversity'sMuseologyandInteractiveArtsLaboratoriesin2016.ItrelatestoworksofartintheCorfuArtGalleryinCorfu,Greece.FivepaintingsoffamousCorfiotartiststalktovisitorsonthescreenofsmartphonesand/ortabletsafterimagetriggering.TheappisaddressedtoschoolstudentsofthelasttwoyearsofGreekPrimarySchoolandisavailabletoallinterestedvisitorsondemand.Weherepresenttheimpactoftheapptomeaning-makingandvisitors/studentslearningprocesses.Afterapilotstudy,anevaluationwasconductedviaquestionnairesandadiscussion/interviewwithteachersattheendofthevisitaftertheuseoftheapp.Resultsindicatedstudentssatisfaction,achievedlearningoutcomes,attitudestowardsArtGalleriesandtheCorfuArtGalleryinspecific,attitudestowardstheAURASMAappaswellaspointsforimprovement.BiographyDrGeorgiosPapaioannouiscurrentlyaSeniorLecturerfortheMAinMuseumandGalleryPracticesatUniversityCollegeLondoninQatar.Hehasstudied,lectured,workedandledprojectsinarchaeology,classics,culturalheritageandInformationTechnologyinEuropeandtheArabworld.Hisresearchinterestslieinmuseology,archaeologyoftheEasternMediterraneanandtheArabWorld,education(includinge-learning)andITapplications,includingaugmentedrealityand(recently)BigData.HeistheGeneral-SecretaryoftheHellenicSocietyforNearEasternStudies,DirectoroftheMuseologyLabinCorfu,Greece,andamemberofICOM.MsSofiaPaschouisaresearcherinmuseumstudiesattheIonianUniversity,Corfu,Greece.Shehasstudiedlawandculturalheritagestudies,andsheisamemberofICOM.Herresearchinterestslieinmuseumeducation,culturallawandmuseumdigitalethics.

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JuheePark,UniversityCollegeLondonDynamicnetworksofUKnationalmuseumsthatinfluenceontheirdigitalprojectsAbstractTherearemyriadoffactorsthatcausedigitalmuseumprojectstobecreatedinacertainway.Theseincludenotonlyhumanactorsbutalsonon-humanactors.TheaimofthisresearchistoinvestigatethedegreetowhichUKnationalmuseumshaveinterconnectedwithothersocialsystemsinthedigitalage,andhowthenetworksofmuseums,museumsorganisationalcultureandmuseumpractitioners’perceptionondigitalelementshaveinfluenceddigitalprojects.Throughqualitativemultiplecasestudies,interviewswithmuseumstaffwereconductedandsecondarydataandvisualdatawerecollectedregardingthreemuseums,includingtheBritishMuseum,TateModernandtheScienceMuseum,London.Basedonactor-networktheoryandactivitytheory,theresearchidentifiesactorswhohaveinfluenceddigitalprojectsofthemuseumsincaseandtheirroles.Fromdataanalysis,actornetworkmapsofeachcasemuseumaredeveloped.Themapsvisuallyshowthatactiveandhiddenactorsofthemuseumsslightlydifferfromeachother,dependingontheorganisationalcultureofthem.Moreover,thisresearchhighlightscrucialrolesofthelearningdepartmentofthemuseumsasabridgeamongotheractors.Theresearchalsopointsouttheimportanceofcommunitiesofpracticeformuseumpractitioners’professionaldevelopment,especiallyregardingdigitalculture,becauseofthefastevolutionofdigitaltechnologyandthenatureofdigitalprojectsthatareinsitubetweendigitalandmuseumsectors.Cultivatingthecommunitiesisuncoveredasoneofwaystoempowermuseumpractitionersbyaffectingtheirprofessionalidentity.Finally,theresearchprovidesholisticcontextforunderstandingthedigitalphenomenoninthemuseumsandthedegreetowhichthemuseumshaveshaped/beenimpactedbydigitalculture.Itconcludeswithsuggestionsthatmuseumsshoulddevelopdigitalprojectsthroughacollaborationprocessandharnessdigitaltechnologytoempowerthepublicasactiveactors.BiographyJuheeParkhasbeenaPhDcandidateinMuseumStudiesatUniversityCollegeLondon,UK,since2013.Herresearchinterestsincludethedevelopmentofdigitalcultureinmuseums,withaparticularfocusonchildren-focusedinterpretation.HerPhDresearchproject,whichhasbeenfundedbyKoreanGovernmentScholarshipProgrammeforStudyOverseas,investigatestheecosystemsofdigitalculturesurroundingsixnationalmuseumsinSouthKoreaandtheUK,andhowthishasinfluencedcommunicationandlearningapproachesofdigitalprojectsofthemuseums.ThispresentationispartofherPhDresearch.Previously,shewascuratorattheGyeonggiChildren'sMuseumnearSeoul,SouthKorea,andatthattime,shereceivedacitationforheroutstandingworkperformancefromthelocalgovernment.ShestudiedforherBEinComputerScienceandEngineeringatKoreaUniversityandMSinGraduateSchoolofCultureTechnologyatKoreaAdvancedInstituteofScienceandTechnology.

48DrRossParry,UniversityofLeicesterFrom‘operator’to‘actant’:howmuseumsmade(andre-made)theirdigitaluserAbstractMuseumsaresteppingintotheirsecondhalf-centuryofcomputing.Astheydoso,andasdigitalscholarshipconcurrentlymatures,thecommonplacetermsofreferenceofoursubjectandourpracticegrowas‘registersofexperience’(Agnew2014:312)carryingwiththemtheirownheritage.Thelongevityofthesector’srelationshipwithdigitaltechnology,togetherwiththeintellectualiseddiscoursenowaccruedaroundit(includingthepostdigitalanddigitalanthropology),begintorevealnewcomplexitiesandnewhistoriesforus.Terms,forinstance,suchas‘user’and‘digitaluser’mayatfirstseempassiveandperfunctory.Andyet,bylookingback-deeplyandcarefully-athowtheseconceptsareconstructedanddeployedbythemuseum,insightstochangingpriorities,valuesandintellectualinformantscomeintofocus.Wecan,inshort,starttoseeasectorrevealedthroughitsre-makingofaword.Surveyingarchivalmaterial(fromtheSmithsonianInstitution,CollectionsTrustandJodiMattesTrust)across50yearsofpractice,andleveragingmulti-disciplinarytheoreticalperspectivesfromdigitalstudies,designstudiesanddisabilitystudies,thischapterusesaformofideationalhistory,toevidenceashiftinglinguistichabits(Klein,2011)andframesofreferencearoundtheconstructofthe‘digitaluser’,atoncebothsequentialandenduring:fromtheuseras‘operator’(setwithinasystem-orientatedcontextoforganisationalefficiency);totheuseras‘individual’(amidstprioritiesofusabilityandexperiencedesign);to-emergingtoday–theuseras‘actant’(againstwhichsocialvalueandagencyarethenewindicesofsuccess).Inthesedifferentconstructions,the‘digitaluser’movesfrombeingpartofthesystem,tooutsidesystem,tointheworld,whilstitsprincipalcapabilityshiftsfromautomation,topersonalisationtoempowerment.Whatemergesisausageoftheterm,atthe‘semanticcore’(Froeyman,2014)ofdigitalpracticeinthesector,shapedbyitschoicetoberesponsivetotechnologicalchange,butalsobuildingfromaprofessionalethicofreflectivepracticeandaccessibleprovision.Crucially,itisproposedherethatithasbeentheroleofaccessibledesign(inparticularthedesignofdigitalwithdisabilityinmind)thathasactedbothasakeyinformantandagitatorofthischange,butalsothepracticethroughwhichthisdevelopmentcanmostusefullybeseen.Thediscussionproposesnotjusthowtheconceptofthemuseum’s‘digitaluser’hasremainedinmotion,but,moreover,thatthismotion-thismaking,andre-makingoftheterm-serveswitnesstochangingandevolvingconceptualisationsaroundaccessibledigitaldesign,and,indeed,aroundtheveryideaofthemuseumitself.Weareleft,ultimately,withanoriginalmodellingof‘user’(and‘use’)thatisnotonlyameansthroughwhichtounderstandoursector’spast,buttoarticulateitson-goingpractice.BiographyDrRossParryisAssociateProfessor(MuseumStudies)andDeputyPro-Vice-Chancellor(Digital)attheUniversityofLeicester,UK.HeisalsooneofthefoundingTrusteesoftheJodiMattesTrust-foraccessibledigitalculture.Currently,Rossisleadingamajor£0.6mnnationalproject(2017-2020),fundedbytheArtsandHumanitiesResearchCouncil,andworkingwithanetworkof17institutionalpartners,todevelopadigitalliteracyframeworkfortheUKmuseumsector.Previously,hewasoneoftheteamofnineacademicswhosesubmissiontothenationalResearchAssessmentExercisein2008producedthehighestproportionofworld-leadingresearchinanysubjectinanyUKuniversity.In2005hewasmadeaHIRFInnovationsFellowforhisworkondevelopingin-gallerydigitalmedia,andin2009wasmadeaTateResearchFellow.Rossistheauthorof'RecodingtheMuseum:DigitalHeritageandtheTechnologiesofChange'(Routledge2007),thefirstmajorhistoryofmuseumcomputing,andin2010published'MuseumsinaDigitalAge'(Routledge).Hehastwoco-editedvolumestobepublishedin2018:‘MuseumThresholds:thedesignandmediaofarrival’;and‘TheRoutledgeHandbookofMediaandMuseums’.

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ProfDanielaPetrelli,SheffieldHallamUniversityHolisticdesigntobridgethegapbetweendigitalandmaterialcollectionsAbstractMuseumandculturalheritageinstitutionstendtoconsidertheirmaterialanddigitalcollectionsasdistinctwiththeresultthatthevisitorsexperienceisoftenfragmentedwithdigitalsubordinatetomaterialandofferedasan“addon”.Astechnologycannowbeseamlesslyintegratedandthetransitionbetweenphysicalsitesandonlinecontentmadetransparentandconnected,newopportunitiesariseforinstitutionstoconsiderthematerialandthedigitalaspartofthesameassetandthevisitors’experienceastransmedia,e.g.theexperiencestartsonline,thenbecomesphysicalinthevisitthatmayincludedigitaltouchpoints,itcontinuesonline,possiblydeepeningindividualinterestsfosteredbypersonalisedservicesorsocialmedia.Tomakethemostofthisphysical-digitalinterconnectionandfluidvisitors’experience,newmethodsofdesignandevaluationneedtobedefined.“Holisticdesign”,anapproachthatseesthedifferentcomponentsasbelongingtothesamesystemandinfluencingeachother,integratedigitalheritageascomplementarytothematerialheritage.Anholisticapproachmustinvolvetheheritageinstitution(contentexperts)aswellasotherexpertisesuchascomputerscience(technologicalaspects),design(product,installation,graphics)orcommunicationexperts(forsocialmedia).Onlybysimultaneouslyconsideringthemanywaysinwhichheritagecanbe“consumed”byvisitorswecandesigninnovativeandlong-lastingexperiences.IwilluseexamplesfromthemeSchproject(www.mesch-project.eu)toshowhowdigitalandmaterialcanbeintegratedinexhibitionsthatengagevisitorsatanemotionallevelusingtangibleandembeddedinteractiontoconnectvisitorswithpersonalstoriesfromthepastandhoweachexperiencecanbecomethestartingpointforapersonalisedonlineexperience.Iwillreflectonco-designandco-creationacrossdisciplinesandonhowmultipleevaluationmethodscanbeusedtounpackandexplainthevisitor’sexperience.BiographyDanielaPetrelliisprofessorofInteractionDesignatSheffieldHallamUniversity.SheholdsaPhDinInteractionDesign,anMScinComputerScience(Italianlaurea)andaDiplomainFineArts.Shestartedtoworkondigitaltechnologyforculturalheritagein1996.Herresearchinvestigatedseveralaspectsoftechnologyandheritage,includingthefirstcontextsensitivemuseumguide,automaticclassificationofhistoricalvideoarchives,personalisation,tangibleandembeddedinteraction.RecentlyshecoordinatedtheverysuccessfulEUprojectmeSchthatexploredtheintersectionbetweendigitalandmaterial,onsiteandonlineheritageandhowdesigncanbridgethetwocreatingnovelpersonalisedandinteractiveexperiences.ForherresearchProfPetrellihasreceived11awardsandrecognitionsfromacademiaandindustry.Shehaspublishedover90peer-reviewedpapersinjournalsandinternationalconferences.

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DrLornaRichardson,UmeåUniversity‘What’sthemeaningofStonehenge?’DigitalanalysisandthepublicreceptionofaniconicarchaeologicalsiteAbstractStonehengeisaniconicarchaeologicalandtouristsiteinsouthernEngland,over4500yearsold,andsetinauniquelandscape.ItisalsoaWorldHeritageSite,majorEnglishtouristattraction,symbolofnationalandregionalidentity,thelocationofongoingarchaeologicalresearch,aspiritualcentrepointforpaganpractices,andfocusforearthmysteriesandNewAgeactivity.Thesitehasmultipleroles,andisonethathasreceivedcenturiesofprojectedmeanings,purposesandimaginingsbyantiquarian,archaeologistandlaypersonalike.Thispaperaimstousetwomethodsofsocialmediaanalysiswithwhichtoexplorethesemultipleidentitiesandmeaningsmadeforthesitebymembersofthewiderpublic.Thispaperdiscussestheuseoftwodigitalandtextualmethodsusedbytheauthor.ThesourceforthedatausedinthispieceofworkweregatheredfromthesocialmediaplatformTwitter,andasampleofpublic‘belowtheline’commentsonEnglishlanguagenewspaperarticlesaboutStonehengefortheperiodofoneyear.Thedatacollectedwereanalysedusingsentimentanalysisanddistantreading,withtheaimofidentifyingpatternsinlanguageuseassociatedwiththearchaeologicalsiteanditspurposeanduseincontemporarysociety.Keywordsandcommonthemeswereidentifiedfromthisanalysis,andthispaperwillsituatethesefindingsagainstabackdropoftheauthorisedversionoftheStonehengenarrative,suchasthatpromotedbyEnglishHeritage,thesiteowners,andacademicarchaeologicalinterpretations,aswellaspseudoarchaeologicalunderstandingsofthesite.ItwillpresentthepossibilitythatthefindingsofthispieceofworksuggestthatthesiteofStonehengeremainsapowerfuldrawforpseudoarchaeologicalandmysticalassociations,whichcanbefurtherpropagatedandretold,andmisinterpretationscancontinuetobepromoted,throughtheuseofdigitalcommunications.Thispresentsaninterestingchallengetotheroleoftheprofessionalarchaeologistandarchaeologicalinterpretation,andthefuturedirectionofpublicarchaeologyresearch.BiographyLorna-JaneRichardsonisapostdoctoralresearcheratUmeåUniversityinSweden,workingintheDepartmentofSociology.HerworkfocusesontheimpactoftheInternetanddigitalformsofcommunicationonpublicengagementwitharchaeology,bothbyprofessionalarchaeologistsandthroughexplorationsofpublicreception.Sheisinterestedinthewaysinwhichdigitaltechnologiescanbenewgatewaysthroughwhichaudiencesgainaccessto,andcreate,discussandrepurposearchaeologicalsites,dataandnarratives.Herworkexploresthewaysthroughwhichdigitalcommunicationssupportandreinforceconceptsofelitismandacademicandprofessionalexpertise.Herresearchexamineshowthiselitismworkstoexcludeandcontainalternativeinterpretationsofarchaeologicalsitesandmaterial,provideplatformsforheritage-relatedactivismandfacilitatealternativediscourseoutsidetheacademy.

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DrJenRoss,UniversityofEdinburghInventivemethodsanddigitalculturalheritageresearchAbstractTheinstrumentalquestionof‘whatworks’iscurrentlydominatingresearchandpracticeinarangeoffieldsrelevanttodigitalculturalheritage.Researchersandpractitionersneedmanykindsofquestions,andmethods,inordertoengageappropriatelywiththerapidlyshiftingterrainofdigitalculture,toaimbeyonddetermining‘whatworks’andtoparticipatein‘intelligentproblemsolving’(Biesta,2010)and‘inventiveproblem-making’(Michael,2012).Thistalkintroducesspeculativemethods,whichencompassarangeofapproachesinthesocialsciences(LuryandWakeford2012),andartanddesign(DiSalvo,2012),andarguesfortherelevanceoftheseapproachestodigitalculturalheritageresearch.LuryandWakeford(2012)defineinventivemethodasresearchwhichis‘explicitlyorientedtowardsaninvestigationoftheopen-endednessofthesocialworld’(p.2).Speculativeapproachesinvolveenvisioningandcreatingfutures,toprovokenewwaysofthinkingandtobringparticularideasorissuesintofocus(Ross,2016).Digitalresearchersfrommanydisciplinesfindthemselvesseekingmethodologicalinnovationto‘resistconcedingrelevance,competenceandexpertisetoactorswithprincipallycommercialinterests’(Wilkie,MichaelandPlummer-Fernandez,2014,p.81).Ourunderstandingofpractices,identitiesandtechnologiesinculturalheritagesettingscanbenefitfromworkingwithdigitalobjects,processesandsocialinteractionsinanexploratoryandimaginativeway.DrawingontherecentexampleoftheAHRC-fundedArtcastingproject,thistalkexplorestheusesofinventivemethodindigitalculturalheritageresearch.TheArtcastingresearchprojectexploredhowamobilitiesperspectivecanprovidenewinsightsinto,andstrategiesfor,museumandgalleryevaluation.Theprojectdeveloped,testedandassessedanewdigitalandmobileformofevaluationofarts-basedengagementinthecontextofARTISTROOMSOnTourintheUK.TheuseofspeculativemethodintheArtcastingprojectgeneratedrichinsightsintointersectionsofplace,movement,engagement,technology,andevaluation.BiographyDrJenRossisaSeniorLecturerandco-directoroftheCentreforResearchinDigitalEducationattheUniversityofEdinburgh.Shehasbeenworkingondigitallearningandengagementprojectswiththemuseumandgallerysectorsince2007,whenshewaspartoftheresearchteamfortheNationalMuseumsOnlineLearningProject,andmostrecentlyshewasPIfortheAHRC-fundedArtcastingproject.SherunstheDigitalCulturalHeritageResearchNetwork(http://dchrn.de.ed.ac.uk),andisDeputyDirector(KE)ofResearchandKnowledgeExchangeintheMorayHouseSchoolofEducation.Herresearchinterestsincludeonlinedistancelearning,MassiveOpenOnlineCourses(MOOCs),digitalfutures,reflectivepractices,andculturalandeducationalinstitutionsonline.

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DrElizabethStainforth,UniversityofLeedsDrRhiannonBettivia,UniversityofIllinoisatUrbana-ChampaignNegotiatingtheScalarPoliticsofDigitalHeritageAbstractInthispaper,weinvestigatethescalarpoliticsofdigitalheritagethroughexaminationofthelarge-scaledigitalheritageaggregatorsEuropeanaandtheDigitalPublicLibraryofAmerica(DPLA).Thetermaggregatorreferstoanorganizationthatcollects,formatsandmanagesdigitaldatafrommultipleproviders,andoffersfederatedaccesstothatdata.Becauseoftheirdistributedstructures,aggregatorscomplicateheritagedebatesaroundlocal,nationalandtransnationalscales,especiallythosethatassumetherecuperativepotentialofheritageprojectsinspecificlocalitiesamongparticularaudiences.Suchgeographicalscalingistroubledbythedecentralizedlogicoftheseentities,whicharenotspatiallyboundedinthesameway.EuropeanaandtheDPLAarerelevantcasestudiesforfurtherconsiderationoftheseissues.Westartbyoutliningourapproachtoscale,informedbytheworkofMichelFoucaultandTonyBennett,andthengoontodiscussEuropeanaandtheDPLAinmoredetailwithreferencetothepolicyandstrategicplanningdocumentsofeachproject.Intheirtechnicaldevelopment,thereareclearparallels;bothbeganasdigitallibrariesandthedatamodelcreatedbyEuropeanawasreusedandadaptedfortheDPLA,allowingforthefunctionalmassaggregationofcollectionsmetadata.However,therearealsoquestionstobeaskedregardingwhatislostintheprocessofstandardizingdata,andtherelativelossesandgainsoflarge-scaleinteroperability.Weargueforacriticalandreflectiveapproachtothesequestions,andonethatmakesvisiblethepoliticalandethicaldecisionstakenindevelopinginteroperablestandards.Thispaperprovidesawayintothinkingaboutthemultiplescalesatwhichdigitalheritageaggregatorsoperate,abouttheirtechnicaldimensionsinrelationtotherepresentationoflocal,nationalortransnationalheritageand,morebroadly,aboutthemethodologicalimplicationsofscaleinthecontextofdigitalheritagestudies.BiographyElizabethStainforthisaVisitingResearchFellowintheSchoolofFineArt,HistoryofArtandCulturalStudies,UniversityofLeeds,UK.Herresearchinvestigatesdigitalheritageculturesandthecontemporarysignificanceofmemoryforculturalheritageinthewakeofdigitaltechnologies.ShehaspublishedinthejournalsMuseumandSociety,CulturalTrendsandTheJournalofCuratorialStudies,amongothers,andisoneoftheeditorsofparallaxjournal.ShealsoworksforLeedsUniversityLibrary,whereshehasbeeninvolvedinprojectswiththeDigitalContentandRepositoriesTeam,SpecialCollectionsandtheStanley&AudreyBurtonGallery.RhiannonBettiviaisaPostdoctoralResearchAssociateattheUniversityofIllinois,Urbana-Champaign,USA.Herresearchexaminesthepoliticsanddiscoursesofthegrowingsub-fieldofdigitalpreservationandinvestigatesnewmethodologiesforpreservingtheinterpretiveframeworkfordigitalmaterials.ShehaspublishedintheInternationalJournalofDigitalCurationaboutherworkontheIMLSgrantPreservingVirtualWorldsII,amongotherpublicationsandpresentationsinthefieldsofinformationscience,digitalhumanities,andcommunications.Shealsoteachesintheareasofdigitalpreservation,metadata,andtheroleoflibrariesandinformationinsocietyintheSchoolofInformationSciencesattheUniversityofIllinois.

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ProfNaiaraVicent,UrsulaLuna,AroiaKortabitarteandDrJurgiKintana,UniversityoftheBasqueCountry(UPV/EHU)ObtainingthesamplefortheanalysisofheritageeducationappsdevelopedintheBasqueCountry(Spain)AbstractMobilesoftwareapplications(apps)havebecomeaprominentelementoftoday'ssociety.Culturalandeducationalagentsareincorporatingthemintotheiractivities,andtheofferofappsforheritagespacesisincreasing.TheaimofourstudyistoknowandanalyzetheuseofubiquitoustechnologyinheritageeducationactivitiesdevelopedintheBasqueCountry(Spain),withtheanalysisoftheofferofappsbeingapartoftheresearch.Toobtainthesampletobeanalyzed,the“OEPEmethod”hasbeenfollowed,throughtheadaptationofthismethodtoheritageapps.Thus,first,anintensivesearchforheritageeducationappsdevelopedand/orlinkedtotheBasqueCountryhasbeencarriedout.Subsequently,thesehavebeensubjectedtoaseriesofexclusionandinclusioncriteriathathaveallowedustolimitthefinalsamplefromwhichtherelevantanalyzeswillbecarriedout.Inthisproposalofposter,thestepsfollowedtoobtainthefinalsamplewillbeexplainedindetail.BiographyNaiaraVicentobtainedaBachelorDegreeinHistoryfromtheUniversityoftheBasqueCountryin2000,aPostGraduateDegreeinMuseumsandEducationin2001andaGraduateDiplomainArchaeologyfrom2001–2003;bothfromtheUniversityofBarcelona.Herworkexperiencehasbeenlinkedsimultaneouslytothearchaeologyandheritageindustryandtheeducationsector,participatinginseveralprojectsrelatingtotheteachingofhistoryandarchaeology.AhighlightofhercareerincludesherworkasatechnicalofficerattheArtandHistoryMuseumofZarautz,wheresheiscompletingherthesistoevaluatealearningprogramusingmobiletechnologywithintheheritagecontext.SheiscurrentlyaprofessorintheDepartmentofTeachingSocialSciencesSchoolintheUniversityoftheBasqueCountry.UrsulaLunaobtainedaBachelorDegreeinArtHistoryfromtheUniversityoftheBasqueCountryin2009,aMasterDegreeinEducationandMuseumsin2012fromtheUniversityofMurciaandaMasterDegreeinSecondaryEducationin2015fromtheUniversityoftheBasqueCountry.Herworkexperiencehasbeenlinkedmuseums,heritageindustryandtheeducationsector,participatinginprojectsrelatingtotheeducationprogramsinnon-scholarcontexts.SheiscurrentlyaprofessorintheDepartmentofTeachingSocialSciencesSchoolintheUniversityoftheBasqueCountry.AroiaKortabitarteobtainedaBachelorDegreeinHistoryspecialisinginprehistoricarchaeologyfromtheUniversityoftheBasqueCountryin2009,aMaster'sDegreeinQuaternarySciences(in2010)andUniversityMaster'sDegreeinTeacherTraining,SecondaryandUpperSecondaryEducation,VocationalTrainingandLanguageTeaching(in2012)bothfromtheUniversityoftheBasqueCountry.HeroccupationalexperienceisrelatedtoleadingandcarryingouteducationalprogrammesrelatedtoRomanarchaeologyandhistory,teachingassistantataFrostruphavecollege(Denmark)for6months,andlecturingattheUniversityoftheBasqueCountryintheDepartmentofTeachingSocialSciencesSchoolfortwoyears.SheiscurrentlyteachinghistoryandgeographyinaHighSchoolanddoingadoctoralresearchinevaluatingtheeducationalvalueoftheAppsandtheeducationalactionsdriveninsocialmediaplatforms.JurgiKintana,bachelor(1999)anddoctor(2006)inHistorybytheUniversityoftheBasqueCountry(UPV/EHU).VisitingresearcherattheUniversityofOxford(StAntony’sCollege)(2007-2008).Currently(since2015)heisalecturerattheUniversityoftheBasqueCountry,intheDepartmentofDidacticsofSocialSciences.Beforejoiningtheuniversityheworkedasaprofessorofhistoryandgeographyinseveralschools,aswellasintheelaborationofdidacticmaterialsofhistorydirectedtotheprimaryandsecondaryeducation.Hisresearchdealswithtopicsofculturalhistory,heritageanddidacticsofsocialsciences.

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ToneWang,MuseumofCulturalHistory,UniversityofOsloFromdigitalaccesstodigitalsharing:“Amundsen'sGjoaHavenCollection1903-1905”AbstractThisdigitalsharingportalhttp://www.khm.uio.no/gjoahaven/isacollaborativeeffort.ItwascreatedthroughcollaborationbetweentheNattilikHeritageCentreinGjoaHaven,ArcticCanada,andtheMuseumofCulturalHistoryinOslo,Norway.Itbringstogetherobjects,photographsanddocumentation,relatedtothecollectionoftraditionalInuitmaterialculturemadeinGjoaHaven1903-1905,byNorwegianexplorerRoaldAmundsen.Thecollectionhasbeentheaxiscollaborationbetweenthetwomuseumshasrevolvedaround,andwehaveengagedwithitindifferentways.In2013someobjectsfromthecollectionwerereturnedtoGjoaHaven,tobecomepartofthedisplaysattheNattilikHeritageCentre.In2017thedigitalsharingportalwaslaunched.

Throughtheportalpeoplehaveaccesstotheentirecollectionofartefactsandphotographs,thematerialscurrentlyheldinGjoaHavenaswellasthoseinOslo.Alotofefforthasgoneintotranslatingandadaptingthematerialsfordigitalsharing,bothinGjoaHavenandinOslo.

ObjectsinthiscollectionhavebeenavailableontheInternetforyears.Therewasnopointincreatingaportalthatreplicateddigitalaccess.InthispresentationIwanttoexplorethedifferencebetweendigitalaccessanddigitalsharing,someofthechallengeswemetandworkedthrough-andsomethatverymuchstillremain.BiographyToneWangisasocialanthropologistattheMuseumofCulturalHistory,UniversityofOslo.ShehasworkedextensivelywithRoaldAmundsen’sGjoaHavencollection,bothattheNattilikHeritageCentreinGjoaHaven,inthemuseuminOsloandondigitalplatforms.

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MeredithWhitfield,UniversityofManchesterYTho:UnpackingArtMemesasParticipatoryIntertextsAbstractOver4millionpeopleonlineparticipateinmakingandusingInternetmemesofart:theyinteractwithworksofart,manyofthemmuseumobjects,buildingandremixingnewmanifestationsofartinonlinevenues.Iexplorehowartmemesoperateasintertexts,exploringtheirsemioticandhypersignificantcharacteristicsalongsidetheirimplicationsforculturalproduction.Bycombiningethnographicandvisualanalysismethodologies,Iilluminatehowworksofartandmemeticcaptionsoperateasintertexts,connectingthesocioculturalexperiencesofartandmeming.Byexaminingtrendsinwhattypesofartdisposethemselvestomeming,Iwillbuildtheargumentthatartmemesoperatebyusingtheartwork’stextasvisualshorthandandthatvisualcharacteristicswithinmemes,akintoAmitandPinchevski’s“operativesigns,”promptinteraction.Byunderstandingmemesasobjectswith“read/write”functionality,not“read-only”functionality,Iunitevisualanalysisandethnographicstrategiesasequallynecessaryforaholisticunderstandingofartmemes.Myethnographicresearchexaminedmemespacesasvenuesforconsumptionandculturalpractice:identifyingwhoreadsandwritesmemes,where,andthroughwhatinfrastructureshassignificantbearingonwhattheylooklike.Iwilldiscussmyfindingsaboutmemes’movefrommessageboardvernaculartosocialmediaconsumableasakeyfactorinthepropagationofartmemes,raisingimportantquestionsabouthowdigitalinfrastructure,communitynorms,andconversationalkeyingaffecthowmemesaremadeandunderstood.Iwillconcludewithadiscussionaboutreflexivityandcriticalitywhilepracticingdigitalethnography,buildingonRyanMilner’sideaofwebcontentas“‘blandlyglobal.”BiographyMeredithWhitfieldisarecentgraduateoftheMAprogrammeinArtGalleryandMuseumStudiesattheUniversityofManchester,whereshedevelopedresearchinterestsindigitalinterpretation,informallearning,andpublicmemorialisation.Adigitalconsultantandfreelanceresearcher,shehopestopursuefurtherresearchontherelationshipbetweendigitalbehavioursandthefutureofinterpretivestrategy.

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DrChiaraZuanni,IndependentResearcherTransformingdigitaldataintoheritage:socialmediapostsinthemuseumAbstractThispaperwillexplorehowdigitaldatainformcurrentheritage-makingprocesses,bothinaddingnewlayersofinterpretationstopre-existingheritageandincreatingnewfutureheritage.Socialmediahaveaddedanewdimensiontothepublicsphere,anduser-generateddatacanbecomenewsourcesforresearchingpublicunderstandingofheritage.Inthissense,itcouldbearguedthatthisdata’srelevanceisnotlimitedtotheevaluationofdigitalengagementwithculturalinstitutions,butitshouldalsobeconsideredhowsocialmediadatawillinformfuturehistoriesofknowledgeandofaudiencedevelopment.ThepaperwilldrawonaseriesofcasestudiesfromUKandItalianinstitutionstoshortlydiscusspossibilitiesandlimitationsofthisapproach.Atthesametime,historyandheritagearealsoincreasinglyproduceddirectlyonline:thecirculationofnews,andthedebatearoundcurrentevents,thathappensinthedigitalsphereconstitutesasubstantialpartofthe21stcenturyheritage.Thus,thepaperwillarguethatsuchdatahasaliminalpositioninmuseums,asauxiliaryinformationandasanewtypeofcollection.Drawingonthesatiricalexampleoftherecentcaseofthepop-up"DonaldJ.TrumpPresidentialTwitterLibrary"inNewYorkCity(producedby‘TheDailyShow’),Iwillconsiderhowthisdatacanenterandberepresentedinanexhibition.Thepaperaimstounpackthenotionofdigitaldataasheritagedata,anditsroleinculturalinstitutions.Itwillbeginbyexploringhowmuseumsandarchivesareharvesting,preserving,anddisplayingdigitaldata,especiallywhenworkingacrossdifferentplatforms.Subsequently,Iwillarguethattherecognitionofdigitaldataashistoricalsourcesshifttheirpositioninthemuseum,andconsequentlyitpromptsareconsiderationoftheapproachesto,andtaxonomiesof,digitaldatainthemuseumsector.BiographyChiarahasadegreeinClassicsandaMAinArchaeologyfromtheUniversityofBologna,andaPhDinMuseologyfromtheUniversityofManchester.DuringherPhD,sheworkedasaresearchassistantondigitalheritageprojects,asanengagementassistant,andasateachingassistantinClassics,AncientHistory,andArchaeology.HerfirstpostdoctoralpositionwasattheInstituteofCulturalCapital(ajointinitiativebetweentheUniversityofLiverpoolandLiverpoolJohnMooresUniversity).Morerecently,shewasaresearchfellowattheV&Amuseumworkingonthe'UniversalHistoriesandUniversalMuseums'project.Herpastandcurrentresearchfocusesonthehistoryofmuseumsandtheirroleinconstructingandmediatingknowledgeininthepublicsphere.Sheisparticularlyinterestedintheimpactofparticipatorymethodsanddigitalmediaonmuseums,theiraudiences,andonthecreationofheritageknowledge.

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ListofDelegatesRuth Adams King'sCollegeLondon UK

Ahmed Alshanqiti UniversityofGlasgow UK

Esteban Arévalo UniversityofManchester UK

Maria Arias UniversityofManchester UK

Guyda Armstrong UniversityofManchester UK

Gabi Arrigoni NewcastleUniversity UK

Kostas Arvanitis UniversityofManchester UK

Amelia Bain-McCullough UniversityofManchester UK

Sophia Bakogianni OpenUniversityofCyprus Cyprus

Christoph Bareither Humboldt-UniversityofBerlin Germany

Izzy Bartley LeedsMuseums&Galleries UK

Chiara Bartolini UniversityofBologna Italy

Tessa Bell UniversityofCanberra Australia

Rebecca Blackwood ThirteenWays UK

Chiara Bonacchi UCLInstituteofArchaeology UK

Jean Boyd JeanBoydUniversityofGloucestershire UK

Rachel Broomhead EnglishHeritage UK

Nazli Cabadag HumboldtUniversity Germany

Paolo Campetella RomaTreUniversity Italy

Carlotta Capurro UtrechtUniversity TheNetherlands

Anna Catalani UniversityofLincoln UK

Laura Chaillie UniversityCollegeLondon UK

Erik Champion CurtinUniversity Australia

Luigina Ciolfi SheffieldHallamUniversity UK

Caroline Claisse SheffieldHallamUniversity UK

Katherine Clough NewcastleUniversity/V&A UK

Sarah Colley UniversityofLeicester UK

L.Meghan Dennis UniversityofYork UK

Thomais Dermati NewcastleUniversity UK

Cath Dillon UCLQatar/IndependentResearcher Qatar

Francesca Dolcetti UniversityofYork UK

Alyssa Dowler UniversityofManchester UK

Rongying Duan UniversityofManchester UK

Maria Economou UniversityofGlasgow UK

Cimeon Ellerton TheAudienceAgency UK

Sophie Everest UniversityofManchester UK

Marta Fanasca UniversityofManchester UK

David Farrell-Banks NewcastleUniversity UK

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Sarah Feinstein UniversityofManchester UK

Alathea Fernyhough UniversityofManchester UK

Bryony Fisher BigHeritage UK

Petrina Foti RochesterInstituteofTechnology USA

Harald Fredheim UniversityofYork UK

Abigail Funnell UniversityofManchester UK

Areti Galani NewcastleUniversity UK

Jane Gallagher UniversityofManchester UK

Marco Galli ChilliStudios UK

Qian Gao UniversityofStirling UK

Haidy Geismar UniversityCollegeLondon UK

Nikita Gill UniversityofManchester UK

Susana Gonzalez Chetham'sLibrary UK

Megan Gooch HistoricRoyalPalaces UK

Helen Gorrill UniversityofEdinburgh UK

Althea Greenan GoldsmithsUniversityofLondon UK

Richard Grove UniversityofOxford UK

Huw Halstead UniversityofYork UK

Julian Hartley DimSumDigital UK

DarioHenri Haux UniversityofLucerne Switzerland

Anisa Hawes VictoriaandAlbertMuseum UK

Wendy Hitchmough HistoricRoyalPalaces UK

Jessica Hoare CardiffUniversity UK

Nicola Horsley DataArchivingandNetworkedServices(DANS) TheNetherlands

William Illsley CHEurope/UniversityofGothenburg Sweden

Tracy Ireland UniversityofCanberra Australia

Stuart Jeffrey GlasgowSchoolofArt UK

Chloe Jeffries UniversityofManchester UK

Olof Karsvall TheSwedishNationalArchives Sweden

Orsalia-Eleni

Kassaveti NationalandKapodistrianUniversityofAthens Greece

Sarah Kenderdine ÉcolePolytechniqueFédéraledeLausanne(EPFL) Switzerland

Jurgi Kintana UniversityoftheBasqueCountry(UPV-EHU) Spain

Amelia Knowlson SheffieldHallamUniversity UK

Kalliopi Kontiza TheNationalGallery UK

Aroia KortabitarteEgido

UniversityoftheBasqueCountry(UPV/EHU) Spain

Marta Krzyzans UCLInstituteofArchaeology UK

Sofy Lam UniversityofManchester UK

Åsa Larsson SwedishNationalHeritageBoard Sweden

Sam Legg UniversityofManchester UK

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Frances Liddell UniversityofManchester UK

Ursula Luna UniversityoftheBasqueCountry(UPV/EHU) Spain

Antoinette MagetDominicé UniversityofLucerne Switzerland

Nevena Markovic TheInstituteofHeritageSciences-IncipitCSIC Spain

Paul Marty FloridaStateUniversity USA

Marco Mason UniversityofLeicester UK

Katie Mills UniversityofManchester UK

Colleen Morgan UniversityofYork UK

Rosalind Morris TheNationalArchives UK

BrianPatrick

Moss NewcastleUniversity UK

Judith Mottram LancasterUniversity UK

Giulia Muti UniversityofManchester UK

Lukas Nohrer UniversityofManchester UK

Artemis Papadaki BellerbysCollege UK

Georgios Papaioannou UniversityCollegeLondonQatar Qatar

Juhee Park UniversityCollegeLondon UK

Gillian Park UniversityofManchester UK

Ross Parry UniversityofLeicester UK

Joshua Pendragon UniversityofManchester UK

Daniela Petrelli ShefieldHallamUniversity UK

Wei QiaoBoo UniversityofManchester UK

Clare Ravenwood LoughboroughUniversity UK

Arran Rees UniversityofLeeds UK

Lorna-Jane Richardson UmeåUniversity Sweden

Jen Ross UniversityofEdinburgh UK

Patrizia Schettino UniversitàdellaSvizzeraitaliana(USI) Switzerland

Alessandro Schiesaro UniversityofManchester UK

Fernanda Segreto BrandenburgUniversityofTechnology Germany

Stephanie Seville UniversityofManchester UK

Jacqueline Shaw SheffieldUniversity UK

Lawrence Shaw UniversityofWinchester UK

Hannah Smyth UniversityCollegeLondon UK

Elizabeth Stainforth UniversityofLeeds UK

Egle Straksyte LoughboroughUniversity UK

Sally Tucker UniversityofManchester UK

James Vail UniversityofManchester UK

Giasemi Vavoula UniversityofLeicester UK

Lynn Verschuren UniversityofGlasgow UK

Naiara Vicent UniversityoftheBasqueCountry(UPV/EHU) Spain

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Chris Wakefield UniversityofYork UK

Tone Wang MuseumofCulturalHistory,UniversityofOslo Norway

Angela Whitecross UniversityofManchester UK

Megan Wilson NewcastleUniversity UK

Jian Wu UniversityofManchester UK

Hilary Young UniversityofGlasgow UK

Stefania ZardiniLacedelli UniversityofLeicester UK

Lili Zhang UniversityofManchester UK

Shichao Zhao NewcastleUniversity UK

Chiara Zuanni IndependentResearcher UK

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