Digital technologies in Galleries and Museums.

Digital Technologies in Galleries and Museumss Dawid Wรณjcik

Digital technologies in Galleries and Museums The Use of Digital Technologies as Means of Preservation, Exhibition and Interpretation

Dawid Wรณjcik

Digital technologies in galleries and museums

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abstract

ABSTRACT This thesis synthesises research into the current and possible future uses of digital technologies in the field of museology, including the advantages and limitations of these technologies.

Considered in the contexts of preservation, exhibition and interpretation, the work examines a variety of applications, their purpose and effects of new digital methods. Starting with a historical reference to the introduction of photography into the field of museology in the early 20th century, and the resulting mass reproduction of art; the use of technology is then explored via a number of current examples. The overview of methods used in conservation and preservation includes a series of descriptions illustrated with examples of their application. Apart from discussing the role of new digital recording and documentation techniques, the new possibilities to expose previously hidden information and reveal new knowledge are highlighted. These qualities are examined with regard to application of new discoveries within interactive displays and multi-layered interpretation platforms. This is considered in connection with elements of engagement and the desire to increase visitor participation within museums. These are linked to the entertainment aspect, and the attractiveness of interactive features, which addresses the financial necessity to draw larger audiences. Easier and wider access to the content of museums or galleries is also addressed through online collections and it is examined alongside ideas of open culture and the democratisation of art and knowledge, including concerns related to commodification of culture. The idea of aura and authenticity is discussed in connection with wider public access to digital reproductions, both virtual and physical.

The larger overview is followed by two case studies. In order to gain better understanding of the role of digital technologies in increasing virtual access to art and culture, the Rijksstudio, an online collection of the Rijksmuseum is analysed. The physical implementation of digital technologies is explored in the second example, the VR recreation of the artist’s studio at the Modigliani exhibition at Tate Modern, shown from 23rd of November 2017 till 2nd of April 2018. This VR project has been evaluated following the exhibition visit and conversation with the creators of the Ochre Atelier VR experience.

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Digital technologies in galleries and museums

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contents

CONTENTS: ABSTRACT

3

INTRODUCTION INTRODUCTION - DIGITAL TECHNOLOGIES IN THE MUSEUM REALM

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DIGITAL PRESERVATION THE ROLE OF DIGITAL TECHNOLOGIES IN CONSERVATION AND PRESERVATION

8

DIGITAL RECORDING METHODS: X-RAY

12

DIGITAL RECORDING METHODS: LASER + STRUCTURED LIGHT SCANNERS

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DIGITAL RECORDING METHODS: PHOTOGRAMMETRY

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DIGITAL RECORDING METHODS: MOTION CAPTURE

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NEW INTERPRETATION METHODS DIGITAL RECORDING METHODS: REVEALING NEW QUALITIES

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THE NOTION OF AURA AND AUTHENTICITY

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THE ORIGINALITY VS AUTHENTICITY, AND INTERPRETATION

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INTERACTION

37

ONLINE COLLECTIONS

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ONLINE COLLECTIONS: RIJKSSTUDIO

42

IN-GALLERY VR EXHIBITS: MODIGLIANI VR

48

CONCLUSIONS

54

REFERENCES IMAGE CREDITS

60

BIBLIOGRAPHY

68

WEBSITES

72

VIDEOGRAPHY

74

APPENDIX

79

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Digital technologies in galleries and museums

INTRODUCTION - DIGITAL TECHNOLOGIES IN THE MUSEUM REALM

The use of new technologies in museums was introduced quite a long time ago, and it has always been accompanied by mixed commentaries, both positive and negative – but mainly sceptical (Meecham and Stylianou, 2014). It started with the introduction of photography ca.1900, that was later followed by film, and since then its forms have been continuously evolving and increasing. These new media paved the way for further implementation of technologies and their ever increasing presence in galleries. They are used to create new ways of displaying the contents of collections, but have also become devices of interpretation. These used to exist in form of audio guides, or other audio-visual gadgets which helped the visitors to navigate and understand exhibitions. In recent years this role is being taken up by omnipresent smart phones and numerous mobile applications. Although their possibilities are not yet fully explored, the most current addition is the employment of Augmented and Virtual Reality within galleries.

Despite the development of technologies, their purpose in the gallery space hasn’t particularly changed. The problems or challenges that are being addressed with these new solutions are not dissimilar to those of the past. In the Vol. III of The Museums Journal from 1903, one can find a report from The Mannheim Conference on Museums as Places of Popular Culture. Interestingly, apart from terminology, it resembles the very current situation. It was discussed in what ways the museum can become more accessible for wider audience and attract ‘working people’, and this is still a key aim for most institutions at present. In regards to technology, the use of Photography within exhibitions has been advocated. Its use has been also suggested the following year (1904) in an essay by curator Dr Ant Fritsch (Meecham and Stylianou, 2014).

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introduction

When following the current conferences, talks and writings by the professionals in museology and related fields, the digital technologies take up a large part of the debate.

In this work I will closely look at a number of examples and applications of the new digital technologies in the museum realm, and analyse selected cases in more detail. It will not only be a study of their technical aspects, but more importantly the value and implications of their use.

fig 01. Page 105 from the Museums Journal (1903) from section describing the Manheim Conference.

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Digital technologies in galleries and museums

THE ROLE OF DIGITAL TECHNOLOGIES IN CONSERVATION AND PRESERVATION

To understand the place and role of technology in museology and museography, it is important to first recognise its value for the conservation and preservation practices, before analysing its use for presentation and interpretation. Thanks to the new methods and digitisation these two separate processes are also brought closer together than ever before.

The protection of our cultural heritage has an important role in the development of human civilisation. Recording the past helps to educate new generations and enables to better understand their culture and history as well as the present. This is essential for further development and future achievements. Museums and heritage sites enable the possibility to revisit the past through exploring exhibitions of art and artefacts or visiting historical structures. Unfortunately, regardless of the location, origin, material or purpose - all of them are fragile and face deterioration. Some may be even at a larger risk due to climate change, natural disasters, catastrophes and wars. Those are the main reasons why the recording and preservation are crucial, but there are also other factors contributing to the loss. Traditional invasive preservation practices such as moulds had its impact, along with accidental damage and numerous repairs over the years. More recently mass tourism has become the biggest problem as human presence alters the environmental conditions including temperature and humidity which speed up the process of corrosion (Lowe, 2014). The application of new digital preservation methods can improve the situation and help to solve some of these issues. Highly detailed records provide a layered datasets of information which can be used for education, interpretation or reconstruction.

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the role of digital technologies in conservation and preservation

Advanced digital recording technologies are very important and useful for the preservation of the past, but they are also revealing new, not yet seen layers of information embedded within historical sites or artworks. It was already noticed and highlighted by Benjamin (1935) in regards to photography, film and slow motion, and their ability to see and show more than the human eye. ‘…in photography it can bring out aspects of the original that are accessible only to the lens (which is adjustable and can easily change viewpoint) but not to the human eye; or it can use certain processes, such as enlargement or slow motion, to record images which escape natural optics altogether.’

‘With the close-up, space expands; with slow motion, movement is extended. And just as enlargement not merely clarifies what we see indistinctly “in any case,” but brings to light entirely new structures of matter, slow motion not only reveals familiar aspects of movements, but discloses quite unknown aspects within them-aspects “which do not appear as the retarding of natural movements but have a curious gliding, floating character of their own.” Clearly, it is another nature which speaks to the camera as compared to the eye.’

Walter Benjamin At present these possibilities are even greater. The use of X-rays, infrared, laser scanning and photogrammetry allow to record objects down to a fraction of a millimetre with a great amount and variety of details including 3D and colour data (Lowe, 2014). Thanks to these it is possible to create a conservation records that are unappalled (Frood, 2014). Despite high resolution digital photography is still widely used for digitisation, more sophisticated methods offer wider range of opportunities.

Over the next few pages we will look at some examples of the most popular technologies, and consider their advantages and limits.

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“The Work of Art in the Age of Mechanical Reproduction” is a cultural criticism essay

by Walter Benjamin first published in 1935, which deals with the consequences of mass reproduction, democratisation and the idea of ‘the aura’ of works of art.

fig 02. The high-energy digital X-ray radiography image of the truck transporting the bronze Shiva Nataraja sculpture (AKMAK-187, Rijksmuseum) photo from customs scan tunnel, Rotterdam, Customs Rijnmond

DIGITAL RECORDING METHODS IN CONSERVATION AND PRESERVATION

Digital technologies in galleries and museums

DIGITAL RECORDING METHODS: X-RAY

Digital radiography is a non-intrusive imaging technique that can reveal information beyond the visible. It is widely used in the field of cultural heritage conservation for inspection of artefacts, sculptures or paintings. It can uncover technical information about objects: structure and construction techniques, establish their condition and identify the used materials. This information is used for condition assessment and plan preparation for appropriate repairs, cleaning and preservation works. The records can also reveal underlayers of paintings, including previous composition changes and hidden paintings. It also helps to learn and understand the materials and techniques used by the artist. In many cases it is used to confirm identity of artworks and detect forgeries.

For example, in the case of Van Gogh, it has exposed overpainted compositions on a number of paintings, which allowed confirmation of their authenticity, or to find the ‘missing’ artworks. The detection of chemical composition of pigments enabled the digital recreation of the original paintings’ appearance, based on the change in colour over time. It applies to his famous sunflowers paintings, in which the originally light and delicate yellows turned ‘brownish’ or brownish-green’.

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fig 03. the M6 JETSTREAM, a Large Area Micro X-ray Fluorescence Spectrometer by BRUKER, below fig 04,05,06.

Record images produced with the M6 JETSTREAM, which enables the elemental analysis of large sample areas via Micro-XRF spectrometry. Hyper map of element distribution and distribution of Ti-K and Ba-L with deconvolution.

x-ray

fig 07.

Still life with meadow flowers and roses, 1886-1887, painting by Vincent Van Gogh which was discredited in 2003, was confirmed authentic in 2012, following X-ray records and analysis. The still nature has been painted over an earlier composition

by Van Gogh.

fig 08.

The original composition revealed by X-ray studies consisted of two wrestlers. Initial painting has been made during studies at the Antwerp art academy. Van Gogh has mentioned it in a letter to his brother: ‘This week I painted a large thing with two nude torsos – two wrestlers [...]’.

It is not the only case of Van Gogh paintings, where the previous compositions were revealed, another example can be the ‘Patch of grass’, from 1887 underneath which a head of a woman is hidden. These discoveries helped to connect facts from artists’ correspondences, sketches, drawings, and the ‘missing’ paintings.

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Digital technologies in galleries and museums

DIGITAL RECORDING METHODS: LASER + STRUCTURED LIGHT SCANNERS

Factum Arte, and Factum Foundation, are sister organisations specialising in digital technologies for the field of cultural heritage. Their work is mainly focused on high quality digital recordings for documentation, monitoring and preservation of art, artefacts and heritage sites. Another important area of work includes production of highly detailed facsimile for displays and as physical records.

LiDAR is a surveying method that measures distance to a target by illuminating it with a pulsed laser light and recording the reflected impulse with a sensor. The recorded distances are used to generate three-dimensional representations of the scanned subject or area. Its main application is in geography, geodesy and archaeology to create high resolution maps, but it is also used to record topography, buildings, and other structures. This method is able to capture accurately the overall shapes, however to achieve more detailed records it is often combined with other close range 3D scanning.

Close Range 3D Scanners can use a laser light or structured light for recording the object. These are used to obtain a high resolution of shapes and surface details, not possible to achieve with the LiDAR scanner or photogrammetry. They are used to record the surfaces of paintings, reliefs or sculptures, which can then be used for presentation in digital form or as reproductions.

Laser and structured light systems are used to obtain 3D information of surface and texture, no the colour, therefore in order to create layered records of objects, multiple methods are often combined. The process can be sped up when different types of data are recorded simultaneously through the use of bespoke built equipement and software. Some of the newest ‘off the shelf’ 3D scanners couple techniques of structured-light scanning and photogrammetry to achieve highly detailed models with colour data.

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fig 09. recording of the interior of the tomb using Faro Focus, LiDAR 3D laser scanner

fig 10. recording of the interior of the tomb using non-contact close range laser scanner, Lucida – designed for Factum Arte

laser + structured light scanners

fig 11. close range scanning of the painting: Wedding at Cana by Paolo Veronese, Louvre, Paris - using NUB 3D Triple White Light Scanning System. This method record the surface shape and textures in 3D, the photographic data has been captured separately with cameras and the two have been later merged

fig 12. the result of LiDAR scans of the Tomb of Seti I in the Valley of the Kings in Egypt, using Faro Focus 3D laser scanner

fig 13. below: comparison between the maximum resolution possible with the Faro LiDAR scanner (left) and a normal recording with the Lucida Laser Scanner (right) – LiDAR vs close range scanning results.

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Digital technologies in galleries and museums

The 3D scanning is most often associated with spatial objects like sculptures or larger environments and buildings. However it can be extremely useful and unexpectedly rewarding when applied to subjects that are perceived as two-dimensional. This includes paintings, frescos or even drawings and written works like books or documents. This application is becoming more popular in the context of Cultural Heritage preservation, as it provides valuable information for conservation purposes.

It has the potential to reveal new facts about the artworks or artefacts and their history.

In the context of this thesis I would like to, in particular highlight this potential of newly discovered facts or extracted qualities to become the content for interactive platforms, displays and exhibits, which can offer valuable knowledge alongside its attractive entertainment aspects.

fig 14. print screen from www.themappamundi.co.uk, a view of the 3D record of the Hereford Mappa Mundi, which has been carried out using the Lucida 3D laser scanner. The scan reviled and enabled to explore the ‘topography’ of the map, an object that is usually seen in 2D only.

The Hereford Mappa Mundi is an example of a UNESCO recognised, exceptionally important cultural artefact; an image of the medieval world created around 1300. It can be visited in the Hereford Cathedral, where it is displayed behind a glass case. Since 2016, after it was recorded in high resolution by Factum Art team, it can be also viewed online through an interactive website. Despite it maybe not developed to its full potential at the moment, the site contains three different versions of the map, including high-res photographic and enhanced colour records as well as detailed 3D surface scan. All these are also supplemented with a number of selected points with additional information. Thanks to this new record, a new way of viewing and exploring this artefact was made possible, and in addition the digitised version enables a much larger number of people to access it.

fig 15. print screen from www.themappamundi.co.uk, a view of the colour enhanced record of the Hereford Mappa Mundi, this view can better show off the illustrations and text of the Mappa which have faded over the years.

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The recording of the Mappa Mundi took place over two days in 2013, with the use of Lucida laser scanner. It was followed by creation of the facsimile of the map in 3D relief form, and is currently displayed in Hereford. The colour data has been recorded in 2016 using composite photography of high resolution macro images.

fig 16. print screen from www.themappamundi.co.uk, a view of the high resolution photographic record of the Hereford Mappa Mundi; digitised version of the map allows easier access for wider audience, and possibility to have a closer look at the map. The addition of interactive information points for some of its elements can help to understand its features.

multiple layers of information

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Digital technologies in galleries and museums

DIGITAL RECORDING METHODS: PHOTOGRAMMETRY

Photogrammetry is the science of making measurements from photographs. It is a way of extracting 3D information from 2D images, at current, using feature mapping software and a range of algorithms. Its early forms have already existed in the 19th C and have been used in fields of topographical mapping, architecture and archaeology. The subject is captured from multiple angles and a series of images are analysed for reference points in order to create a three-dimensional representation.

The introduction of digital photography has enabled a development of digital photogrammetry, which allowed capturing a wider range of objects and environments in a reduced time. In recent years, due to its improved efficiency and easier access to this technology, its popularity has increased.

The main advantage of this recording method is the speed of the process, as well as the possibility of creating 3D model as well as colour map of the scanned object at the same time.

The other important aspect is the easy access to this technology, as any digital camera can be used to make the record, which then can be analysed by any of the photogrammetry software from a long list which is constantly growing.

Despite other systems, like e.g. laser scanning, which can produce records in higher detail, the most recent software improvements can quickly catch up with these, and make photogrammetry a preferred method.

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photogrammetry

fig 17. image of a point cloud model of a site in Deptford, London - scanned using iPhone 6s camera and generated using a free 3DF Zephyr software, 2018 fig 18. print screen of 3DF Zephyr Pro, photogrammetry software with a point cloud model of the site in Deptford, London, 2018

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Digital technologies in galleries and museums

Before the 3D scanning and printing methods that we know today, there were some innovative tools being developed as early as in1860. A French artist and photographer, François Willème invented and patented a process to carve a figure based on a series of photographs taken around the subject.

Claudius Givaudan constructed his photosculpture machine in 1926. In a similar manner, it was able to record a subject using the photo-stereo synthesis process, and recreate a three-dimensional layered relief as a result.

fig 19.

Claudius Givaudan, photosculpture machine, 1926

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photogrammetry - early methods: photosculpture

fig 20.

Claudius Givaudan, Xavier Givaudan photographed with the Selke plot circa 1920, gelatine bromide print on glass

fig 21.

Claudius Givaudan, Xavier Givaudan, Layered relief model, circa 1920

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Digital technologies in galleries and museums

In recent years the quality of recorded data and the resolution of three-dimensional outputs has hugely improved. It is mainly dependant on the quality of the camera and lenses that are used as well as the software’s abilities and efficiency. Their development and accessibility allowed creating mobile applications that are able of capturing 3d objects with the use of an ‘everyday’ smartphone. One of the aspects that may affect the recording process, or even distort its results, is the lighting condition. The subject should be equally lit with a soft, diffused light so that there are no strong shadows or highlights. For professional use in various industries, including film and beauty, a specialist rigs and devices have been developed to achieve the highest possible results. They usually consist of spherical lighting setups and a series of cameras to capture the subject from a number of angles. These systems can be used to record faces, full bodies, or other objects.

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opposite fig 22,23,24. the Veronica Chorographic Scanner, bespoke made by Factum Arte 3D scanner built to record faces and objects within 50 cm range using photogrammetry, fig 25. below actress Margot Robbie within the face-capture camera rig by Paris studio EISKO, 2017 3D face capture can be used for films or VR

photogrammetry

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fig 26. camera rig for the ‘New Dimensions in Testimony’ project, able to capture three-dimensional video recording for later use in an interactive biography exhibit.

This ongoing project started in 2012 and it is run by The University of Southern California Shoah Foundation, known for its work of preserving genocide survivor testimonies.

These were used to enable interactive conversation between the visitors and the recordings of survivors. It is currently on permanent display at Illinois Holocaust Museum and Education Centre.

Digital technologies in galleries and museums

DIGITAL RECORDING METHODS: MOTION CAPTURE Motion capture technologies are used to record the movement of objects and people. They are often applied in fields of military, sports, entertainment and robotics to gain a better understanding of those movements. In both - the film industry and game development, it is used to apply human or natural movements to animated or CGI characters, and it helps to create more realistic and convincing special effects and stunts.

In context of cultural heritage the use of motion capture creates a new opportunity for documenting intangible elements of art and culture such us performance, theatre, dance or traditional rituals. Building upon work done in dance annotation and with the use of advanced motion data capture tools, The Hong Kong Martial Arts Living Archive project has been possible. The digital technique to record, analyse and archive the intricate dynamics of Kung Fu allowed to build a database of traditional Martial Arts. It is a ground-breaking project which developed a sophisticated methodology for the complete four dimensional analysis of Martial Arts applicable to numerous other performance-based activities.

The resulting records have been used to create motion visualisation and analysis of the Kung Fu movements, and were later displayed at the ’300 Years of Hakka Kung Fu’ exhibition at Hong Kong Heritage Museum. The project was a collaboration between International Guoshu Association and City University of Hong Kong.

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fig 27. below Hakka Kung Fu Motion Visualization, stills from a video of motion-captured recordings of Hakka Kung Fu masters, providing new insight into their movements, movement speed analysis, published: 2016

motion capture

fig 28. ‘300 Years of Hakka Kung Fu: Digital Vision of its Legacy and Future’, Kung Fu masters performing in MOCAP Lab to create recordings of movement sequences using motion capture technology, Hong Kong, 2014

fig 29.

Kung Fu master performing in MOCAP Lab, Hong Kong, 2014

fig 30. below Hakka Kung Fu Motion Visualization, still from a video work by Tobias Gremmler, motion graphics have been used to add an artistic interpretation of motion-captured recordings of Hakka Kung Fu masters, providing new insight into their movements, published: 2016

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Digital technologies in galleries and museums

DIGITAL RECORDING METHODS: REVEALING NEW QUALITIES

All technologies, both traditional and those advanced or highly specialist, have their advantages and disadvantages.

It is important for the method to be appropriately chosen for the task it will be used for, and with regards to the required outcomes of the recording process. No matter which process is suitable, all of them are able to create a useful set of data and have a potential to uncover new details about the subject. These new discoveries enrich the current knowledge and help to better understand our cultural heritage. They also open a whole new range of opportunities to revisit the art or artefacts and view them in a new way. We can capture art in a way that lets us zoom-in to the tiniest brushstroke and see more than a naked eye can see (Kenderdine, 2016). These newly exposed qualities and stories can be added and overlaid on top of physical exhibits with the use of new digital means.

New layers of information can be used to build the digital AR and VR platforms or devices for display and interpretation. Dr Sarah Kenderdine, who specialises in this field, describes her work as ‘design of experimental interfaces for museums, which transform cultural heritage data into narratives of engagement’ (Kenderdine, 2016).

The new digital imagining technologies have a great potential to be applied in this context. They can be used to create new interpretative devices and platforms. The immersive experiences employing virtual reality, projections, or 1:1 reproductions can bring the visitors closer into ancient sites or artefacts. The digital models of scanned objects allow the viewer to look at them from any angle, zoom in to the smallest details, or even look inside of them. The 3D recordings of buildings can be turned into virtual tours with the use of VR headsets; or currently still more accessible fly thorough videos. The digital media make it also possible to introduce interactive elements into them. In order to achieve the best results, it is important to use the right type of channel (medium) for particular content. Certain interactive elements can enhance the engagement and improve better understanding of the artefacts and their histories.

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Dr Sarah Kenderdine is a Professor at the National Institute for Experimental Arts (NIEA), University of New South Wales and head of Special Projects, Museum Victoria, Australia. She is also the Director of Research at the Applied Laboratory for Interactive Visualization and Embodiment (ALiVE), City University of Hong Kong

ALiVE promotes an integrated scientific and artistic research strategy. Domain specialists’ work together to create unique technological and content rich solutions for cultural and industrial applications in the public domain.

revealing new qualities

fig 31.

ALiVE’s project: Pure Land: Inside the Mogao Grottoes at Dunhuang, interactive 360° museum display – operated by one person, but can be viewed by a group of visitors at same time, first exhibited in Hong Kong, 2012

fig 32.

Pure Land: Inside the Mogao Grottoes at Dunhuang, view from inside one of the grottoes chosen by the user fig 33. close up view of the selected area of wall paintings, digitally recoloured figures show the original look of the faded out pigments. The selected figures are animated to enhance the story behind characters pictured on murals below fig 34,35. number of pictured object and instruments has been 3D modelled and animated to enrich the viewing experience.

It also includes videos of traditional dancers recreated in the green screen studio.

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Digital technologies in galleries and museums

THE NOTION OF AURA AND AUTHENTICITY:

‘In principle, the work of art has always been reproducible.

Objects made by humans could always be copied by humans.

Replicas were made by pupils in practicing for their craft, by masters in disseminating their works, and, finally, by third parties in pursuit of profit. But the technological reproduction of artworks is something new.’

‘In even the most perfect reproduction, one thing is lacking: the here and now of the work of art-its unique existence in a particular place. It is this unique existence-and nothing else-that bears the mark of the history to which the work has been subject.’

Walter Benjamin According to Kenderdine, embodied museography is defined by the attributes of immersion, interaction and participation and necessarily asks us to re-examine our notions of aura authenticity and authorship (Kenderdine, 2016). In order to achieve those qualities, often, the original work needs to be reinterpreted and represented in circumstances different to the former. This is no longer limited to the artworks or artefacts context, which has been affected simply by ‘misplacing’ exhibits in galleries, out of their original setting. The digital records of objects, buildings or sites can be now viewed in different formats, varying scales and may include certain amount of interactivity which allows some degree of manipulation by the user. Whereas previously made reproductions, for education, promotional, or preservation purposes were direct records, the new media such as Virtual and Augmented realities allow interpretative layers which can create less direct and less factual ways of storytelling and become driven by fictional narratives.

These strategies are currently becoming a trend in museology,

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aura and authenticity

as a new way to enhance and increase visitor’s engagement with collections. This approach has a great potential to attract visitors, but also carries a risk of becoming a distraction from the actual content and creating friction between the entertainment aspects and the forensic quality achieved by detailed records.

The new digital technologies are not limited to the virtual realm and have the ability to transform captured data into physical forms. Digital production technologies like 3D printing, rapid prototyping, CNC routing, laser cutting or high-end specialist printing enable produceing replicas of unprecedented quality of detail. We are at a time when virtual can be physical, and physical is often deepened on digital (Lowe, 2014). While virtual representations and interpretations can be distinguished from the physical form of the original by its medium, the highly detailed replicas can challenge our understanding of ideas of ‘authentic’, ‘original’ or ‘real’ and question the meaning of the mystified aura. It is important to consider these terms in context of new digital technologies, the role and implication of their application as display and interpretation tools. Good understanding of the relation between the real and the copy, and reasons behind its making helps to create purposeful and engaging exhibits which can feel more approachable by the audience, without the impression of the aura, which can be estranging or distancing the viewer. These are not made to replace the original, but to allow viewing it in new ways or in contexts where the ‘real’ is no longer available. It is also worth pointing out that often objects and artworks considered original, are no longer as they were when first created, and have likely been changed and altered over time.

‘The idea of ‘real’ is actually a bit of a fiction and the distinction between the real and the replicas something that needs to be questioned and taken apart.’

‘A lot of objects that we consider real have already been extensively restored, have been taken out of their contexts, and are displayed in environments that actually do not relate to that object in any meaningful way – especially if they’re in art galleries.’

Elizabeth Frood

Elizabeth Frood is an archeologist, Associate Professor of Egyptology; Fellow of St Cross, University of Oxford

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Digital technologies in galleries and museums

THE ORIGINALITY VS AUTHENTICITY, AND INTERPRETATION:

‘The here and now of the original underlies the concept of its authenticity.’

Walter Benjamin The facsimile of the Wedding at Cana by Paolo Veronese is an interesting project by Factum Arte, which explores the idea of the relation between authenticity and originality. It is not the only, but one of many of their projects where these concepts are tested. In this case it is the authenticity of the original painting, removed from its initial location and placed in the museum, versus the copy found in the ‘original’ setting. It questions which of the experiences of the artwork is more authentic. The original painting has been stolen from its original site, for which it was created and is currently displayed at the Louvre Museum in Paris. In 2007 Factum Art recorded the artwork in 3D and colour in order to meticulously re-materialise it with high precision and attention to closest details including damage marks. Since the copy has been reinstated, after many years of absence, it can be viewed in Venice once again.

Reproductions in various formats and with the use of different media can make the artworks more approachable for wider public. They can also enable new ways to display, interpret and engage with art. One of the examples related to this particular facsimile is work of Peter Greenway. Two years after being placed on ‘its’ original site, it has become a subject of a new artwork by the artist. As part of a series titled “Nine Classic Paintings Revisited”, Greenway through the use of projected animation and lighting effects created his vision of ‘The wedding at Cana’. It has been projected during the Venice Biennale in 2009.

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aura and authenticity

fig 36. the Wedding at Cana by Paolo Veronese, scanning of the painting at Louvre Museum in Paris, Factum Arte 2007

fig 37. reproduction of the Wedding at Cana painting by Paolo Veronese, placed in its original setting in Venice at Fondazione Giorgio Cini, 2007 360 view of the space is available on: http://www.highres.factum-arte.org/cini/ cenacolo/

fig 38. projection of an interpretative video work made by Peter Greenway, onto the facsimile of Veronese’s painting. It was a part of artists’ series titled “Nine Classic Paintings Revisited”, created with the use of projected animation and light, Venice, 2009

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Digital technologies in galleries and museums

Digital representations allow sites to be seen, that are not physically accessible to visitors. They also create alternatives that can help to take the pressure off the original sites that are threatened, at the same time as enabling even larger audiences to view and experience them. Reaching new groups of people and attracting younger demographics is one of the key points on the contemporary museums agendas. Followed by the goals of enabling easier access to culture, history and knowledge as well as attracting stronger visitor engagement, these are the main challenges facing galleries and museums today.

These matters are not dissimilar to those discussed in the past, as during the earlier mentioned Manheim Conference(1903), however the new solutions have to respond to a changing society and this includes technological advancements. More recent conferences organised by International Council of Museums (ICOM), MuseumNext, Museums Association (MA) and other involved educational institutions often address this issues, largely focusing on the impact of technology and the importance of interactive content. Some of their key themes are built around the concepts of audience involvement in interpretation of collections and the digital technologies impact on increased engagement (MA, Manchester, 2017). There is also a rising trend of joint events and conferences for museology and technology professionals. MuseumNext, an initially tech-focused global conference on The Future of Museums is a good example. It brings together experts from multiple different disciplines including software engineers, user experience designers, game designers, or people from the film industry that work with museums and galleries. The interdisciplinary collaborations allow working on new approaches and visions of museums, to better respond to the requirements of modern audiences and find new ways to attract them.

Following the vision and mission of its founder, Henry Tate, the institution continues development of new ways to reach a wider audience. Considering the 50mln visitors yearly on their website digital technologies are seen as an engaging way to achieve it (Lawler, 2017). One of the Tate’s projects to test the relationship between technology and art is the IK Prize launched in 2014. It is a yearly competition looking for ideas that use technologies to discover and explore art in an innovative way. The proposals and winners have included artificial intelligence program comparing photojournalism feeds with gallery’s collections, remotely controlled robots roaming the galleries at night, interactive videos or even artworks recreated within Minecraft game.

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Ros Lawler is a Digital Director at TATE

The IK Prize was not announced in 2017, as the institution paused it to review previous outcomes and work out new direction, and new brief for the future years.

reaching wider audience

fig 39.

Recognition: 2016 IK Prize winner; is an artificial intelligence program that compares up-to-the-minute photojournalism with British art from the Tate collection.

fig 40.

After Dark: 2014 IK Prize winner; a group of four remotely controlled robots equipped with lights and cameras were guided by website app users and navigated the galleries of Tate Britain at night, after hours to explore the artworks in the darkness. below: fig 41, 42.

The Soul of the Soulless City by Christopher Richard Wynne Nevinson (1920), and its Mincraft interpretation. Tate Worlds are Minecraft ‘maps’ that present virtual environments inspired by artworks from Tate’s collection. The project has been developed

by Adam Clarke, who is a leading Minecraft artist and digital producer.2014-2015

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Digital technologies in galleries and museums

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interaction

INTERACTION: When the first public museums were created in Europe, in 17th and 18th century, their function as educational institutions for the masses was developed and it became a base for the modern museum. Its role could be described as collection, preservation, interpretation and display of cultural heritage objects for the education of the public. It would be arranged around series of static, categorized and organised items most often displayed within glass cases. This kind of set up allowed only limited visitor participation, and has been moving away from Wunderkammer principle. These museum predecessors: cabinets of curiosity were privately owned collections of the wealthy, and were not publicly accessible, however were encouraging interaction, or even play. Allowing creative re-combination and re-arrangement of its content, they were not only sources of knowledge, but also of inspiration and entertainment.

The early museums required a certain amount of participation from the visitor - at least for the simple reason, that the act of just looking at something is never enough. It always requires some initial interest in the topic, the artwork, or other elements or objects of the exhibition, and some focus in order to connect, see and be able to reflect on the art, or other contents on the display. Without this, we can question the value of a gallery visit. Without this, even if only partial and limited involvement, it is quite likely that this experience was not, in any way, enriching or educational, and that probably its effect will not last long. It is important to talk about these aspects, as they are, or at least used to be the key role and ambition of these institutions. Over the last few decades this situation is rapidly changing, and there is an increasing push towards visitor participation, but also a rising number of concerns regarding its purpose. If the key ambitions have changed, we may need to ask what the new motivations are, and how the role of the museum has evolved.

The introduction of contemporary technologies happened as early as mid-18th century, first into galleries of nature and science museums. It allowed enhancing the participatory experience and developing the idea of museum as experimentation laboratory, bringing back some of the interactive aspect of the Wunderkammer. It has also been the beginning of the science museum as we know today. The new technologies used for preservation and interpretation embrace interactivity and encourage deepening degrees of participation (Coon, Grau, RĂźhse, 2017).

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Digital technologies in galleries and museums

With the new technologies a new wave of digital enhancements entered the space of galleries. Some of them are more subtle, others are obnoxiously present. Since the idea of interactivity has been introduced, it has been particularly visible in science museums.

Erkki Huhtamo, in his essay (2015), talks about a visit to the Manchester’s Museum of Science (MOSI). The observations and description of the experience reminds me of my own memories from similar visits to The Science Museum in London, NEMO, in Amsterdam, or MOSI. Despite great number of well-presented objects with detailed captions, the presence of interactive exhibits is usually larger. Often, these are also given priority when it comes to their location in the gallery space, and appear more attractive, particularly to younger audiences. The idea of using interactive technologies for educational purposes or explaining scientific facts is promising, however its efficiency is difficult to evaluate or prove. Visual interpretations have a great potential and can be a very effective way to communicate ideas, but they can also create distraction from the main content. Despite this, entertainment aspect itself shouldn’t be seen as negative,but the balance and appropriate application is important in order not to lose the educational elements altogether. The implementation of technologies within gallery space always has to deal with the tension between the two.

The primary purpose of these additions is to better present and explain exhibits through new layers of description and interpretation. On the other hand, they have also the task of drawing attention and attracting new visitors; however it is valuable only when they become additive and able to enhance, and not replace the original subject.

Initially seen as extensions or replacement for captions and audio guides, the new digital technologies offer a whole new range of possibilities. Numerous mobile apps can replace a guided tour, offer new insights or encourage creative actions.

The introduction of Augmented and Virtual realities enable the placement of a large number of additional content into the physical space of galleries. When applied thoughtfully it can enhance and enrich the gallery visit.

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interaction

fig 44.

Wunderkammer, Gรถttweig Abbey; etching

by Salomon Kleiner, 1744

fig 45.

Mathematics: The Winton Gallery, Science Museum, London

fig 46. the use of interactive technologies within gallery space. Virtual Reality in Naturkundemuseum, Berlin

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Digital technologies in galleries and museums

ONLINE COLLECTIONS:

Museums and art institutions collect and manage cultural heritage objects in order to preserve and display them to the public. Throughout the years it has been mainly done through physical exhibitions within their galleries and through printed publications or reproductions. In the recent decade, with the rapid development of digital technologies, an increasing number of cultural institutions have begun to provide access to their collections online. The key and the most popular medium for recording and presentation is digital photography. Despite advancement of 3d recording technologies, in particular photogrammetry, photography is still the preferred method. This is mainly due to its efficiency and accessibility, and often it is also deemed as an appropriate and sufficient for the documentation of most recorded objects. These are important factors, as the digitisation is a long complex, and costly process. For these reasons it has to be well planned in advance and with consideration of a wide range of currently required and possible future uses of recorded data. The formation of datasets also involves a creation of highly organised text information to describe the visual. It is a lengthy process on its own, but necessary for the database to be useful, accessible and easily searchable. Financial and time limits are the key reasons why only selected objects or series of object are recorded with more advanced technologies. The multi-layered and multi-dimensional recording of whole collections is simply not a viable option, at least at the moment, with current technologies. These are usually run and funded as individual projects, separate from the core digitisation strategies.

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online collections

The introduction and publication of online collections is strongly connected with the digitisation processes. It is not only, but often the main application of recorded data. Due to limitations of space in the galleries, placing the records of exhibits online makes it possible to show larger number of objects which may be currently locked in archives or undergoing conservation. It is also a good opportunity to include extended captions, additional information, which is impractical to fit alongside the physical displays. The use of website based gallery of digitised exhibits is logical, and a good way of allowing a larger audience to access the artworks. It supports the ideas of open culture, and democratisation of art and knowledge. It can be a great source for educational and research purposes, broadening the understanding of works seen during the visit, or even an opportunity to inspire a new visit.

In this work I have chosen to closely look at the online gallery of Rijksmuseum, It has been one of the first institutions to showcase their collection online through high resolution images that can be downloaded and freely used by the public. In contrast to some other online collections it is primarily addressing a wide audience, rather than being specific to curatorial and research work. This strategy has been since adopted by other museums worldwide, amongst others, The Metropolitan Museum of Art has released 375,000 images in the public domain last year (2017).

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Digital technologies in galleries and museums

ONLINE COLLECTIONS: RIJKSSTUDIO

The Rijksstudio is an online platform for viewing the digitized collection of the Rijksmuseum which was launched in 2012 as an experiment, before the re-opening of the museum in 2013. It was part of the new strategy to reinvent the image of the museum, and attract wider audience.

One of its main goals was to bring the images as close as possible to people, and into their private space, ‘their living rooms’, through the means of internet. The main argument for that were the idea and the belief that ‘the collection is everybody’s collection’ (Dibbits, 2012) and that everyone should have access to it. The current technologies allow us, rather easily, to build large databases, but these are most often static, or inactive. The important and innovative aspect of the Rijksstudio is the introduction of interaction and participation by allowing the public to work with the online content and use it almost without restrictions, including copyright. The database of images is constantly growing, and all of them can be downloaded for free, in high resolution, and used in a new way.

The freedom the Rijksstudio gives to the public to use and manipulate original artworks is vast. The museum encourages individuals to participate in the project, and organises yearly design competition, the Rijksstudio Award. It attracts many, and produces a variety of design objects and artworks, including animated music videos, clothing, homeware, or gadgets with the use of artworks. This may raise the issue of commodification of art, its fragmentation and decorative usage without links to its context. However these concerns have already emerged with the rise of mass reproduction, and are not exclusive to digital media.

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fig 47. print screen of Rijksstudio main page, all images of artworks are downloadable and free to use.

CC0 1.0 public domain dedication: The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.

You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission

Digital technologies in galleries and museums

Reproductions sold in the museums’ shops are nothing new, the only difference is that the individual can create, reinterpret and make those themselves (Ramakers, 2012). It allows people to look at the artworks in a new way, or reveal the way they were already looking at it. It creates a wide range of possibilities as well as raises interesting questions. What happens when you remove certain object or images from its context? When you change its scale? How does it affect the original meaning or quality of the work? And what new qualities this kind of reinterpretation creates? Is there a line, a limit that should not be crossed?

fig 48. opposite image promoting new Rijksmuseum mobile app, which includes access to Rijksstudio as well as a series of guided tours and e-ticket shop; original painting is the Portrait of Oopjen Coppit, 1634 by Rembrandt Van Rijn

The fluidity of the online collection and lack of control over the artworks life outside the walls of the museum also raises the question: How is the online, digital collection or museum curated?

In a physical exhibition: the scale, position, order and way of displaying the artwork play important role. These can be arranged in order to address a particular theme, show chronological progress, or create some intended juxtaposition. These methods, or attributes, can be used by curators to provoke or start dialogs between artworks; with the context, or viewers.

fig 49. opposite, bottom print screen from Rijksstudio website, a series of options and tools encouraging the user to download, reinterpret and use chosen artworks.

In contrast, online collections are searchable databases which can be quickly reorganised and viewed in many different ways. Rijksstudio allows users to do a word search, which can be by names, titles, themes, subjects, materials or colours etc. Each artwork has a series of tags assigned to it, and if they match the search, it will be displayed. The platform lets the users to ‘curate’ (compile) their own collections, and borrowing from social media, it has option to like and share favourite artworks.

below fig 50 . print screen from Rijksmuseum website, examples of Rijksstudio Award 2017 design competition entries, including winning ‘Masterpieces Never Sleep’ by Lesha Limonov. The competition encourages designers and enthusiast to create new products using artworks, or their elements through playful reinterpretation, or often simple use of their visual aspects.

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online collections

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Digital technologies in galleries and museums

Allowing the public to organise the contents of online collections according to their preference is a refreshing idea, however this kind of participation has been criticised for being superficial and ‘pinterest-like’ (Rühse, 2017). It also doesn’t answer the question about the digital curation, or the role of curator in regards to online content.

Despite there are many reasons behind these concerns, maybe those worries are based on an outdated idea of a museum, which now needs to adjust to current social and cultural condition. In order to be open, more inclusive, and appear to wider and more diverse public, the museums must change the top-down model, and address future audiences. The creation of Rijksstudio is a forward looking attempt in this direction, by otherwise traditional institution. The visitor numbers show, that despite a decrease in physical museum visits in the past three years, the online presence of the museum is growing. It includes Rijksstudio users, and its presence on social media. The viewing of the digital records on screen has it limits, and won’t fully represent the physical piece of art; on the contrary it creates many new possibilities to enhance details and information about the artwork, which can enrich, and not diminish the educational aspect. The online content may not always persuade the viewers to make the physical visit to the museum, but it definitely enables easier and wider access and is a good step towards democratisation of art. It also has a potential to make the artwork more approachable, without the notion of ‘the aura’ which is distancing the viewer. For the museum to fulfil its educational and inspirational roles it has to attract and include the youngest audiences, otherwise it will no longer be relevant.

(key figures) (visits)

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fig 51. opposite print screen of Rijksstudio main page, all images of artworks are downloadable and free to use.

CC0 1.0 public domain dedication

fig 52. below visitor data from yearly reports, 2016

Digital technologies in galleries and museums

IN-GALLERY VR EXHIBITS: MODIGLIANI VR.

The museum visitor surveys after in-gallery VR experiences show a large interest among them in the VR exhibits; however it is not quite clear yet if that’s the result of hype around new technologies or the impact of actual experiences (Nils Pokel,2017).

The institutions which decide to implement VR exhibits need to start planning these in advance with great consideration in order not to use ‘tech for the tech’s sake’. According to Gartner Hype Cycle – VR is placed 2 to 5 years from reaching ‘the plateau of productivity’, which means mainstream adoption, with AR following in 5 to 10 years. It means that the technology will lose its ‘wow factor’ very soon as it becomes a mature product. This requires thinking about the qualities that we are left with, beyond the hype, and this involves the creation of valuable content. Curation, storytelling and experience design are not new skills or tasks for the museums and galleries, as they have been required earlier in building the physical experiences. Now these skills need to be translated and used in a new way, to work with the digital and the virtual.

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Nils Pokel is a Digital Experience Manager at Auckland War Memorial Museum, working on a digital programme, AR/VR, MR and 3D scanning

fig 53. below Gartner Hype Cycle for Emaerging Technologies, 2017

in-gallery VR

To talk about the use of VR within the exhibition space I would like to write about one of my recent experiences. In the recent months I had a chance to view about ten different examples at events and exhibitions, and more, available online with the use of Google cardboard. These were ranging from filmic 360 videos, through more spatial, three-dimensional animations to interactive experiences. The example I have chosen to describe is most relevant to aspects considered in this work.

As with previously discussed technologies, I would like to investigate the values of these exhibits and the role and meaning of curation of such experiences. In order to understand the process behind the making of VR exhibit, I have met and talked to the creators of the virtual content at Preloaded.

Placed within the exhibition of Modigliani works at the Tate Modern, the Ochre Atelier is a VR recreation of the late studio of the painter. It offers an immersive experience which enables visitors to get a sense, and a better understanding of the environment in which the artist has worked. The aim of introducing this technology was its ability to evoke empathy in order to connect the viewer with the artist, through his surrounding and without the myths which grew around him.

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fig 54. still form Modigliani VR: The Ochre Atelier, view of the artist’s studio

Digital technologies in galleries and museums

The important aspect of this installation is its curation alongside other works, and the integration into the main body of the exhibition. It was a bold decision, as it carried a series of risks which could affect the whole exposition.

This decision creates opportunity to use the technology to benefit the show; however this may also form a competition or contrast with other exhibits. This creates the challenge of sustaining coherence within the exhibition and ensuring the relevance of these additional experiences. To assess the value of this kind of exhibits, I would ask a series of questions based on the reason, purpose, and additive qualities. In order not to become a simple, short-lived gimmick, it should offer more than entertainment. Without proposing some enrichment to our knowledge, understanding or emotions, it can easily become unnecessary distraction.

When digital interpretation or reimagining does not offer anything new in comparison with already existing work and methods of display, I will also question its value. It is important for these to be carefully thought through; otherwise they may have negative impact on the overall impression or perception of the original art. It should enhance, not diminish the qualities already established by the primary content.

In the case of the Ochre Atelier, I think that it fitted well within the body of exhibition. It didn’t seem to disrupt the flow of the exhibition, and what I believe is key, it didn’t try to recreate or generate a new piece of ‘artwork’. The outcome of this project offers something new, unseen, without the reuse of something that is already there on show. The use of VR as medium is justified, as other methods would not be able to depict it in a similar way. Despite the restricted interactivity, which is often extensive in VR, it did not feel limited in its entirety. It was also a very conscious decision for practical reasons such as accessibility for first-time VR users and time limitations for individual experience.

It was reassuring to see that it is rather selective; and it gave the impression that the curators were able to control its content.

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fig 55. still from Modigliani VR: The Ochre Atelier, view of the artist’s table with art materials and his final self-portrait

fig 56. project pin board at the Preloaded studio for the Modigliani VR: The Ochre Atelier experience

in-gallery VR

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Digital technologies in galleries and museums

Throughout the experience three points of view of the studio were fixed, setting up the scene. Without the possibility to walk through the space, one could still look around and experience the meticulously reimagined environment. It was also enriched with the audio featuring information about the artist and narrated first-hand accounts of those who knew Modigliani, some of these were activated by the user.

The Modigliani VR is an example of convincing, and purposeful use of technology within art exhibition. Despite using very new medium which is most often associated with gaming and high levels of interaction, it was not build around those qualities, but highly focused on its content. The curatorial approach was clear from early stage of the process and based on attention to details, academic rigour and authenticity. The idea to treat the digital element as any other piece of artwork in the exhibition and hold it to the same standards, as well as its place within gallery, and commitment allowed creating coherent and valuable exhibit. It was incorporated in such way to fit in with the chronological arrangement of the exhibition and correspond with the works created around that time and exhibited appropriately before or after the experience.

Apart from being a source of new insight for visitors; it has also been an incredibly rich process for professionals working at Tate and externally. This undertaking has become a research project focused on evidence that would enable an accurate interpretation of the studio. Despite the use of technology, infrared and X-ray scans of artworks, that became tools for research and informed the process of creation, none of them has been directly used in production. They helped to uncover new information about the artist. Great attention to detail has invoked a forensic level of historical research that included analysis of paints, brush strokes, canvas light reflections, and many other items placed in the room. Thanks to this large collaboration lasting over five months it was possible to create this virtual installation, which allows us to get really close to the details and context of the studio.

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fig 57. still from Modigliani VR: The Ochre Atelier, view of the artist’s table with art materials fig 58. the layout plan for Modigliani exhibition at Tate Modern including chronological arrangement of artworks and placement of VR experience space (10).

in-gallery VR

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Digital technologies in galleries and museums

CONCLUSIONS:

The new technologies are exciting and fascinating. Sometimes I find the new ideas to be thrilling, and as a result spend hours reading about them, the science behind it, that makes them achievable or at least theoretically possible. Despite increasingly accelerated advancement, I still long for faster, immediate progression. It is not unprecedented for me to spend quite a stretch of time dreamingly dwelling in those alternative realities engaging and encouraging the ideas and possibilities of the new. I want the future and I want it now.

This thesis research has started with the aim to develop an Augmented Reality mobile application which would become a tool for virtual exhibition making. It is running parallel with the design project of a virtual gallery, and a new platform for showcasing digital arts. This initial idea has been supported by an optimistic approach, interest in this very current and developing technology and a series of successful, early tests. The resulting output was intended to consist of this printed book along with an AR app digitally enhancing the content. Apart from practical experimentation and prototyping, the understanding of the current application of new digital technologies in the field of museology felt necessary. Along the research process the latter become the priority. This shift had two main causes, one of which was insufficient skills in software programming, that didn’t allow a full development of the intended app on my own. Despite this, the process itself was didactic, and the missing abilities can be achieved through collaboration with others, or long term - by mastering further skills. During the process I have learned new software and workflows, and I’m looking to continue the work on similar projects in the near future.

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conclusions

The other reason was dictated by the inadequate knowledge about the current state of technology usage within the field, and the need to expand this understanding. Despite my interests, and regular gallery visits, at that time it was limited to display and interpretation media, mainly based on personal experience and selective reads. The research process and analysis of chosen examples helped me to progress my insight, including areas of conservation and preservation. I learnt that the wider understanding is important for creation of purposeful content and its implementation, and how the two are linked. I consider this finding impeccably valuable for my future work.

The review of technologies employed in preservation and conservation has shown that currently only a limited range of digital tools are used on a regular basis during digitisation process. Despite the existence of more advanced technologies; most museum records are still done with the use of digital photography. It is mainly caused by financial limitations, followed by the time factor. These are important aspect to consider as they largely affect the process. To obtain more complex or specific data, individual projects have been established. These can address a specific object, artwork, collection, place or theme. As the explored examples have shown, none of the current technologies can provide a full picture, therefore usually a combination of techniques is used to gain required information and build a complete record. When it comes to digitisation and display of larger collections of three-dimensional objects, a clear trend in the increasing use of photogrammetry can be observed. Despite not providing the highest quality of three-dimensional records- e.g. in comparison with laser scanners - at present it is the most efficient and accessible method.

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Digital technologies in galleries and museums

One of the most important observations is regarding the potential of new digital records as a source of content for interactive displays and representations. The new technologies are able to reveal hidden information which can be used, presented and analysed through interpretative tools or platforms. The use of this kind of multi-layered records can be seen applied online on the Hereford Mappa Mundi website or within gallery space like in the Mogao Grottoes project. Factual records implemented in an attractive way can become educational and entertaining at the same time. The close look at the Modigliani VR project has also shown that the obtained research data of forensic quality doesn’t have to be directly employed in order to create valuable content. It is a good example that it can also be achieved through interpretative use, and appropriate medium. The project has also demonstrated the importance of well-considered purpose in creation of participatory experiences or displays. Despite the use of very current and exciting technology like VR, it was based on the factual information, and build following established principles to achieve clearly set goal. The need for interactive elements within museums and galleries is growing in attempt to attract new audiences and younger demographics, therefore it is crucial to build them with the content in mind first, and technology second.

To conclude the above; it is clear that the new digital technologies enabled a series of new ways to record, interpret and display data; however it doesn’t mean that all of them should be applied in all cases, nor all at once . It is important to be selective, as the newest methods and media are not always the most appropriate for achieving the intended outcome. These decisions and choices of technology fitting the content are critical, as only purposeful applications of technology have shown to be successful and long-lasting. These observations can be applied in other disciplines that involve the use of technologies; however one of them is particularly related to the researched topic. It is the link between the newly revealed, unseen information and the content of interactive exhibits. I find it influential as I haven’t seen this direct connection before, nor was it possible without the digital tools available now. It is important to mention that in many cases I often found the process of creating the interactive experiences much more rich and interesting, that the final outcomes.

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conclusions

It may mean that there is still a lot of potential within the recorded data, which is not yet being translated into displays and interpretation platforms.

The other big impact of the technology on the galleries and museums is the publication of collections online. The modern digitisation technologies enabled a variety of records to be exhibited with the use of the internet. Studied examples have shown that this way of presenting the collection offers possibility to share much larger amounts of objects and artworks, without the limits of physical space. The data from yearly museum reports has also shown that the virtual visits are far greater in numbers in comparison with the ‘real’ ones. Online collections and museum websites are currently the most popular and efficient way for the institutions to communicate with their visitors and reach the future audiences. The introduction of interactive elements, ‘personalised collections’ and certain aspects of social media enhance the participation and allow monitoring trends amongst the users. Despite some concerns over the commodification of art and possible loss of certain qualities in relation to the ‘original’, I believe that the negative impacts are outweighed by the positive. Thanks to this new digital media the access to art and cultural heritage is becoming much easier, and is a very good step towards open culture and democratisation of knowledge. It has also a huge potential to change the top-down approach of established traditional institutions and introduce wider diversity, not only in regards to audience, but also showcased content and future professionals within the field.

The research output as well as drawn conclusions may not be revolutionary for professionals within the field; however it will positively influence and better my future practice. I find it impossible, or at least unlikely to propose the new, without understanding the current. I believe that this process has addressed exactly that, and the results will inform the forthcoming.

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Digital technologies in galleries and museums

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REFERENCES

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Digital technologies in galleries and museums

IMAGE CREDITS: fig 01. [Page 105 from the Museums Journal (1903)] [document online] Available at: <https:// archive.org/details/museumsjournalv01assogoog> [Accessed 28 February 2018] fig 02. [De bronzen Shiva Nataraja (AK-MAK-187)] Reproduced in: Rijksmuseum Jaarverslag 2012. [online] Rijksmuseum. Available at: https://www.rijksmuseum.nl/nl/organisatie/jaarverslagen [Accessed 28 February 2018] fig 03. [M6 JETSTREAM] Reproduced in: M6 Jetstream [online] Bruker. Available at: <https:// www.bruker.com/fileadmin/user_upload/8-PDF-Docs/X-rayDiffraction_ElementalAnalysis/ mXRF/Brochures/Bro_m6_jetstream_8p_en_rev2_2_lores.pdf> [Accessed 28 February 2018] fig 04. [Element distribution â&#x20AC;&#x201C; HyperMap, Slavic Icon] Reproduced in: Non-destructive Analysis of Historical Paintings with Spatially Resolved XRF [online] Bruker. Available at: < https://www. bruker.com/fileadmin/user_upload/8-PDF-Docs/X-rayDiffraction_ElementalAnalysis/mXRF/ Webinars/Part-1_2_2014-04-30-wbnr-AoHP-MXRF-lowres.pdf > [Accessed 28 February 2018] fig 05. [Distribution of Ti-K and BA-L lines with deconvolution] Reproduced in: Non-destructive Analysis of Historical Paintings with Spatially Resolved XRF [online] Bruker. Available at: < https:// www.bruker.com/fileadmin/user_upload/8-PDF-Docs/X-rayDiffraction_ElementalAnalysis/ mXRF/Webinars/Part-1_2_2014-04-30-wbnr-AoHP-MXRF-lowres.pdf > [Accessed 28 February 2018] fig 06. [Distribution of Ti-K and BA-L lines without deconvolution] Reproduced in: Non-destructive Analysis of Historical Paintings with Spatially Resolved XRF [online] Bruker. Available at: < https:// www.bruker.com/fileadmin/user_upload/8-PDF-Docs/X-rayDiffraction_ElementalAnalysis/ mXRF/Webinars/Part-1_2_2014-04-30-wbnr-AoHP-MXRF-lowres.pdf > [Accessed 28 February 2018] fig 07. Van Gogh,V.,( 1886-1887) Still life with meadow flowers and roses. [electronic print] Available at: < https://krollermuller.nl/en/vincent-van-gogh-still-life-with-meadow-flowers-and-roses> [Accessed 28 February 2018] fig 08. [Wrestlers] 2012 [image online] Available at: < https://krollermuller.nl/media/collectionitempage/xray_36kv__20_min__2_40m_ffd_med.jpg> [Accessed 28 February 2018] fig 09. Factum Arte. slider_visitantes_tumbaSeti. [image online] Available at: < http://www.factum-arte.com/resources/images/ff/projects/2016/TombofSeti/slider_visitantes_tumbaSeti.jpg > [Accessed 28 February 2018] fig 10. Factum Arte. slider__c5a5564_0. [image online] Available at: < http://www.factum-arte. com/resources/images/ff/projects/tnpi/seti/recording/slider__c5a5564_0.jpg > [Accessed 28 February 2018]

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IMAGE CREDITS: fig 24. Guirao, A., slider_IMG_1643 [image online] Available at: < http://www.factum-arte. com/resources/images/fa/technology/Veronica_scanner/IMG_1644.jpg > [Accessed 28 February 2018] fig 25. [Margot_Scanner_Courtesy_of_NEON___30WEST] n.d. [image online] Available at: < https://cdn.vox-cdn.com/thumbor/karnbgVOSQWN3G7923t97L5c44M=/600x0/filters:no_ upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/10118025/Margot_Scanner_Courtesy_of_NEON___30WEST.JPG > [Accessed 28 February 2018] fig 26. [Zigi5] n.d. [image online] Available at: < https://sfi.usc.edu/sites/default/files/gallery/ Zigi5.jpg > [Accessed 28 February 2018] fig 27. Gremmler,T., Kung Fu Motion Visualization, 2016 [video still] Available at: < https://vimeo. com/163153865 > [Accessed 28 February 2018] fig 28. n.d. [image online] Available at: < http://alive.scm.cityu.edu.hk/projects/alive/hk-mar tial-arts-living-archive/ > [Accessed 28 February 2018] fig 29. Yip , B., Dragon Sign kung fu master Wong Yiu-kau, in a black body-hugging motion-capture suit with 99 markers, performs during a recording for the Hong Kong Martial Arts Living Archive at City University in Hong Kong, 2016. REUTERS [image online] Available at: < https:// images.zawya.com/images/cia/zXlarge/161222092545IVQG.jpg > [Accessed 28 February 2018] fig 30. Gremmler,T., Kung Fu Motion Visualization, 2016 [video still] Available at: < https://vimeo. com/163153865 > [Accessed 28 February 2018] fig 31. Kenderdine, S., Visonary Art Digital World, 2016 [video still] Available at: < https://www. youtube.com/watch?time_continue=305&v=nEm9Q-X6GwY > [Accessed 28 February 2018] fig 32. Kenderdine, S., Visonary Art Digital World, 2016 [video still] Available at: < https://www. youtube.com/watch?time_continue=305&v=nEm9Q-X6GwY > [Accessed 28 February 2018] fig 33. Kenderdine, S., Visonary Art Digital World, 2016 [video still] Available at: < https://www. youtube.com/watch?time_continue=305&v=nEm9Q-X6GwY > [Accessed 28 February 2018] fig 34. Kenderdine, S., Visonary Art Digital World, 2016 [video still] Available at: < https://www. youtube.com/watch?time_continue=305&v=nEm9Q-X6GwY > [Accessed 28 February 2018] fig 35. Kenderdine, S., Visonary Art Digital World, 2016 [video still] Available at: < https://www. youtube.com/watch?time_continue=305&v=nEm9Q-X6GwY > [Accessed 28 February 2018]

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fig 36. [img001225] n.d. [image online] Available at: < http://www.factum-arte.com/resources/images/fa/conservation/a_facsimile_of_the_wedding_at_cana_by_paolo_veronese/ img001225.jpg > [Accessed 28 February 2018] fig 37. [img001228] n.d. [image online] Available at: < http://www.factum-arte.com/resources/images/fa/conservation/a_facsimile_of_the_wedding_at_cana_by_paolo_veronese/ img001228.jpg > [Accessed 28 February 2018] fig 38. [06] n.d. [image online] Available at: < http://www.factum-arte.com/resources/images/ fa/art/peter_greenaway/peter_greenaway_on_veroneses_wedding_at_cana/06.jpg > [Accessed 28 February 2018] fig 39. [ik_prize_man_water] n.d. [image online] Available at: < http://www.tate.org.uk/sites/ default/files/styles/width-480/public/ik_prize_man_water.jpg > [Accessed 28 February 2018] fig 40. [BvRyHMYCUAAzgqn] n.d. [image online] Available at: < https://storify.com/services/ proxy/2/VpkMlSKEZvXkGLdvQ0H6UA/http/pbs.twimg.com/media/BvRyHMYCUAAzgqn.png > [Accessed 28 February 2018] fig 41. [Tateworldssoulsoullesscity] n.d. [image online] Available at: < http://www.tate.org.uk/ sites/default/files/styles/width-1200/public/images/tateworldssoulsoullesscity.jpg > [Accessed 28 February 2018] fig 42. Nevinson, C., 1920. The Soul of the Soulless City (‘New York - an Abstraction’). [electronic print] Available at: < http://www.tate.org.uk/art/images/work/T/T07/T07448_10.jpg > [Accessed 28 February 2018] fig 43. Moskvin, A., 2014, Night vision: an After Dark project robot with Jacob Epstein’s The Visitation (1926) at Tate Britain. [image online] Available at: < https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/8/12/1407846070340/Tate-Britain-robot-viewin-011. jpg?w=620&q=55&auto=format&usm=12&fit=max&s=52756bbd3bf6e437e58510f8072de17b > [Accessed 28 February 2018] fig 44. Kleiner, S., 1744, Wunderkammer, Göttweig Abbey Reproduced in: Grau, O., Coones, W. and Rühse, V. ed., (2017). Museum and Archive on the Move. Changing Cultural Institutions in the Digital Era. Berlin: Walter De Gruyter GmbH. fig 45. Kingzett, J., n.d. mathematics-winton-gallery-. [image online] Available at: < https://learning-resources.sciencemuseum.org.uk/wp-content/uploads/2017/09/mathematics-winton-gallery-1000x563.jpg > [Accessed 28 February 2018]

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IMAGE CREDITS: fig 46. Hรถderath, S., Virtual Reality in Naturkundemuseum Berlin[image online] Available at: <https://www.goethe.de/resources/files/jpg590/006_google_arts_culture_hoederath_ sth1665_491.jpg > [Accessed 28 February 2018] fig 47. screenshot by the author, source: Rijksstudio, Available at: < https://www.rijksmuseum.nl/ en/rijksstudio > [Accessed 28 February 2018] fig 48. [unnamed] n.d. [online] Available at: < https://lh3.googleusercontent.com/Z13CQuemg9e7qEOM7EXQT1GVGUksvl5OWeV0801OquomeRS1KLZQ4L3nA-pVJivWObI4F5H4whxe30UtQ2hTWqIAmTk=s600 > [Accessed 28 February 2018] fig 49. screenshot by the author, source: Rijksstudio, [online] Available at: < https://www.rijksmuseum.nl/en/collection/SK-A-2344?rts=True > [Accessed 28 February 2018] fig 50. screenshot by the author, source: Rijksstudio Award, [online] Available at: < https://www. rijksmuseum.nl/nl/rijksstudio/1882689--entries-rijksstudio-award-2017-top-10/creaties > [Accessed 28 February 2018] fig 51. screenshot by the author, source: Rijksstudio, [online] Available at: < https://www.rijksmuseum.nl/en/rijksstudio > [Accessed 28 February 2018] fig 52. [Kengetallen] n.d. published in: Rijksmuseum Jaarverslag 2016. [online] Rijksmuseum. Available at: https://www.rijksmuseum.nl/nl/organisatie/jaarverslagen [Accessed 28 February 2018] fig 53. [Gartner Hype Cycle for Emerging Technologies, 2017] n.d. [image online] Available at: < https://blogs.gartner.com/smarterwithgartner/files/2017/08/Emerging-Technology-Hype-Cycle-for-2017_Infographic_R6A.jpg > [Accessed 28 February 2018] fig 54. Preloaded, 2017, Modigliani VR: The Ochre Atelier [image online] Available at: < http:// www.tate.org.uk/sites/default/files/styles/width-720/public/copy_of_modiglianivr_08_1.png> [Accessed 28 February 2018] fig 55. Preloaded, 2017 Modigliani VR: The Ochre Atelier [image online] Available at: < https:// preloaded.com/wp-content/uploads/2017/10/ModiglianiVR_07.jpg > [Accessed 28 February 2018] fig 56. Preloaded, 2017, modiVR_Body_images_1b [image online] Available at: < https:// preloaded.com/wp-content/uploads/2017/10/modiVR_Body_images_1b.jpg > [Accessed 28 February 2018] fig 57. Preloaded, 2017, Modigliani VR: The Ochre Atelier [image online] Available at: < https:// preloaded.com/wp-content/uploads/2017/10/Copy-of-Copy-of-ModiglianiVR_op3.jpg > [Accessed 28 February 2018]

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fig 58. Preloaded, 2017, How can VR transform the visitor experience? [video still] Available at: < https://vimeo.com/255022420jpg > [Accessed 28 February 2018] fig 59. Screenshot by the author, source: Sketchfab, The British Museum, Digital Pilgrim [online] Available at: < https://sketchfab.com/britishmuseum/collections/digital-pilgrim > [Accessed 28 February 2018] fig 60. Screenshot by the author, source: Sketchfab, The British Museum, Ampulla of St Thomas Becket [online] Available at: < https://sketchfab.com/models/907984c670da4456abb6ca11101698fe > [Accessed 28 February 2018] fig 61. Screenshot by the author, source: Sketchfab, The British Museum, Ampulla of St Thomas Becket [online] Available at: < https://sketchfab.com/models/907984c670da4456abb6ca11101698fe > [Accessed 28 February 2018] fig 62. Screenshot by the author, source: The National Gallery, Virtual Tour [online] Available at: < https://www.nationalgallery.org.uk/visiting/virtual-tours/virtual-tour-2011#/central-hall/ > [Accessed 28 February 2018] fig 63. Screenshot by the author, source: The National Gallery, Virtual Tour [online] Available at: < https://www.nationalgallery.org.uk/visiting/virtual-tours/virtual-tour-2011#/central-hall/ > [Accessed 28 February 2018] fig 64. Screenshot by the author, source: The National Gallery, Artist A to Z [online] Available at: < https://www.nationalgallery.org.uk/paintings/explore-the-paintings/artist-a-to-z > [Accessed 28 February 2018] fig 65. Screenshot by the author, source: Royal Academy of Arts, Ai Weiwei 360 [online] Available at: < https://c9e2175da161f40140e5-aa0d32f8a22e15794b262b38ea14b77e.ssl.cf3.rackcdn. com/index.html > [Accessed 04 December 2017] fig 66. Screenshot by the author, source: Royal Academy of Arts, Ai Weiwei 360 [online] Available at: < https://c9e2175da161f40140e5-aa0d32f8a22e15794b262b38ea14b77e.ssl.cf3.rackcdn. com/index.html > [Accessed 04 December 2017] fig 67. Screenshot by the author, source: Royal Academy of Arts, Ai Weiwei 360 [online] Available at: < https://c9e2175da161f40140e5-aa0d32f8a22e15794b262b38ea14b77e.ssl.cf3.rackcdn. com/index.html > [Accessed 04 December 2017] fig 68. Screenshot by the author, source: Royal Academy of Arts, Ai Weiwei 360 [online] Available at: < https://c9e2175da161f40140e5-aa0d32f8a22e15794b262b38ea14b77e.ssl.cf3.rackcdn. com/index.html > [Accessed 04 December 2017]

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IMAGE CREDITS: fig 69. Zaha Hadid Foundation,2016, Zaha Hadid - Virtual Reality Experience 2016. The World (89 Degrees) [image online] Available at: < https://032c.com/wp-content/uploads/2017/02/Screenshot.-Zaha-Hadid-Virtual-Reality-Experience-2016-The-World-89-Degrees-1983-%C2%A9-Zaha-Hadid-Foundation-1024x576.jpg > [Accessed 28 February 2018] fig 70. Zaha Hadid Foundation,2016, Zaha Hadid - Virtual Reality Experience 2016. The Great Utopia- The Russian and Soviet Avant-Garde 1915 – 1932, 1992-93 - Tatlin Tower and Tectonic “Worldwind”, 1992-93. [image online] Available at: < https://032c.com/wp-content/ uploads/2017/02/Screenshot.-Zaha-Hadid-Virtual-Reality-Experience-2016-The-Great-Utopia-The-Russian-and-Soviet-Avant-Garde-1915-%E2%80%93-1932-1992-93-Tatlin-Tower-andTectonic-%E2%80%9CWorldwind%E2%80%9D-1992-IMAGE-2-1024x576.jpg > [Accessed 28 February 2018] fig 71. Zaha Hadid Foundation,2016, Zaha Hadid - Virtual Reality Experience 2016. The PeakBlue Slabs [image online] Available at: < https://032c.com/wp-content/uploads/2017/02/ Screenshot.-Zaha-Hadid-Virtual-Reality-Experience-2016-The-Peak-Blue-Slabs-1983-%C2%A9Zaha-Hadid-Foundation-IMAGE-2-1024x576.jpg > [Accessed 28 February 2018] fig 72. Zaha Hadid Foundation,2016, Zaha Hadid - Virtual Reality Experience 2016. Leicester Square, 1990 - Blue and Green Scrapers [image online] Available at: < https://032c.com/ wp-content/uploads/2017/02/Screenshot.-Zaha-Hadid-Virtual-Reality-Experience-2016-Leicester-Square-1990-Blue-and-Green-Scrapers-1990-%C2%A9-Zaha-Hadid-Foundation-IMAGE-2-1024x576.jpg > [Accessed 28 February 2018] fig 73. Carlow, G., 2017, Thresholds. [image online] Available at: < https://matcollishaw.com/ wp-content/uploads/2017/06/Mat-Collishaw-Thresholds-at-Somerset-House.-Photo-CreditGraham-Carlow-9-1000x666.jpg > [Accessed 28 February 2018] fig 74. Carlow, G., 2017, Thresholds. [image online] Available at: < https://matcollishaw.com/ wp-content/uploads/2017/06/89-copy-1000x695.jpg > [Accessed 28 February 2018] fig 75. Collishaw, M., 2017, Thresholds. [image online] Available at: < https://matcollishaw.com/ wp-content/uploads/2017/06/94-copy-1000x538.jpg > [Accessed 28 February 2018] fig 76. Collishaw, M., 2017, Thresholds. [image online] Available at: < https://matcollishaw.com/ wp-content/uploads/2017/06/90-copy-1000x535.jpg > [Accessed 28 February 2018] fig 77. Architales, 2017. The Kremer Museum. [image online] Available at: < https://static1. squarespace.com/static/59d992761f318d0de5d69264/59da7abd9f8dce3ebe53cf8a/59f5fdcee31d192892494651/1509293529660/MediumresScreenshot00032.jpg?format=500w > [Accessed 28 February 2018]

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fig 78. Architales, 2017. The Kremer Museum. [image online] Available at: < https://static1. squarespace.com/static/59d992761f318d0de5d69264/59da7abd9f8dce3ebe53cf8a/59f5fce98e7b0f7a60449532/1509293303718/170628+-+DOME+VIEW_s.jpg?format=500w > [Accessed 28 February 2018] fig 79. Architales, 2017. The Kremer Museum. [image online] Available at: < https://static1. squarespace.com/static/59d992761f318d0de5d69264/59da7abd9f8dce3ebe53cf8a/59f5fcfbec212d295bc4d454/1509293316951/170628+-+GALLERY+VIEW_s.jpg?format=500w > [Accessed 28 February 2018] fig 80. Mobile screenshot by the author, source: Acute Art [online] Available at: < https://www. acuteart.com/ > [Accessed 1 December 2017] fig 81. Acute Art, 2017, jeff-koons-vr-acute [image online] Available at: < http://dazedimg.dazedgroup.netdna-cdn.com/700/azure/dazed-prod/1210/2/1212935.jpg > [Accessed 28 February 2018] fig 82. Acute Art, 2017, marina-abramovic-vr-acute [image online] Available at: < http://dazedimg.dazedgroup.netdna-cdn.com/700/azure/dazed-prod/1210/2/1212933.jpg > [Accessed 28 February 2018] fig 83. Acute Art, 2017, olafur-eliasson-vr-acute [image online] Available at: < https://s3.euwest-1.amazonaws.com/files.acuteart.com/about/olafur-eliasson-vr-acute.jpg > [Accessed 28 February 2018]

fig 00. Cover collage images 0.1 Factum Arte, 2009, Peter-Greenaway-on-Veronese-s-Wedding-at-Cana [image online] Available at: < http://www.factum-arte.com/resources/images/fa/art/peter_greenaway/peter_greenaway_on_veroneses_wedding_at_cana/04.jpg > [Accessed 7 February 2018] 0.2 Gremmler,T., Kung Fu Motion Visualization, 2016 [video still] Available at: < https:// vimeo.com/163153865 > [Accessed 7 February 2018] 0.3 [Zigi5] n.d. [image online] Available at: < https://sfi.usc.edu/sites/default/files/gallery/Zigi5.jpg > [Accessed 7 February 2018]

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Paul Mellon Centre. 2018. Paul Mellon Centre. [ONLINE] Available at: http://www.paul-mellon-centre.ac.uk/. [Accessed 24 February 2018].

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Tate. 2018. Tate. [ONLINE] Available at: http://www.tate.org.uk/. [Accessed 24 February 2018].

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The Largest Medieval Map | Mappa Mundi Hereford. 2018. The Largest Medieval Map | Mappa Mundi Hereford. [ONLINE] Available at: https://www.themappamundi.co.uk/. [Accessed 24 February 2018].

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Unity. 2018. Unity. [ONLINE] Available at: https://unity3d.com/. [Accessed 24 February 2018].

USC Shoah Foundation. 2018. New Dimensions in Testimony | USC Shoah Foundation. [ONLINE] Available at: https://sfi.usc.edu/collections/holocaust/ndt. [Accessed 24 February 2018].

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Adam Lowe. 2015. Adam Lowe - De-materialising and Re-materialising. [VIDEO ONLINE] Available at: https://www.youtube.com/watch?v=X4mqSvfi0Zs. [Accessed 24 February 2018].

Alex Benay. 2017. Take Down The Walls. [VIDEO ONLINE] Available at: https://vimeo. com/194026043. [Accessed 24 February 2018].

Arul Baskaran. 2017. The Museum of the Future is On-Demand. [VIDEO ONLINE] Available at: https://vimeo.com/193164304. [Accessed 24 February 2018].

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references

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appendix

APPENDIX

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Digital technologies in galleries and museums

3D ONLINE COLLECTIONS: Sketchfab : The British Museum

Sketchfab is a platform to publish, share, discover, buy and sell 3D, VR and AR content. Since the increased popularity and use of three-dimensional recording methods in the field of museology, a number of cultural heritage institutions have also joined the platform. It is currently one of the best and most accessible methods to display 3D content, and allows the museums and galleries to share their collections in a new way.

The British Museum is one of the institutions which is currently using the platform, and has uploaded 243 models of the artefacts so far. It contains a variety of objects including the collection of medieval badges, which were scanned as part of the Digital Pilgrim Project; run by the institution along with professionals from UCL and University of Cambridge and funded

by The Paul Mellon Centre. The project is currently ongoing, with over 680 badges to be digitised in total.

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fig 59. opposite screenshots from the virtual tour of the National Gallery, accessible online through internet browser fig 60. opposite bottom screenshot from Sketchfab website, 3D view of the selected artefact with a series of preview options available. The digitised object includes a series of annotations and description explaining the subject. fig 61. below screenshot from Sketchfab website, view of a VR preview selected which can be used on a smartphone with Google cardboard

appendix

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Digital technologies in galleries and museums

ONLINE COLLECTION AND VIRTUAL TOUR: The National Gallery

Galleries and museums use various ways to present their digitised collections. One of the most popular forms is an online gallery containing works of art with adequate captions and linked information. The National Gallery also offers this option through a searchable database, accessible through their website. Apart from this, it has also created a virtual tour of the physical galleries to allow online visitors to explore the collection.

The feature was first launched in 2011, and included some of the main spaces which can be explored in the â&#x20AC;&#x2DC;Google Street Viewâ&#x20AC;&#x2122; style, including information about chosen artworks. Recently (early 2018) a newer version of the experience includes the Sainsbury Wing of the gallery. It can be visited online or viewed with oculus VR headset.

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fig 62,63, opposite screenshots from the virtual tour of the National Gallery, accessible online through internet browser

fig 64 below screenshot, view of the National Gallery online collection alphabetical search

appendix

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Digital technologies in galleries and museums

ONLINE EXHIBITION: Ai Weiwei 360

Ai Weiwei 360 is an example of an online exhibition, which has been created as a digital record of an existing, physical show. It has been captured in photorealistic stereoscopic 3D, with a claim to be the first to use this technology in a gallery. The virtual tour included specially-created video, images, sounds and voiceover to help uncover the meaning, context and technical detail of the artists work. The experience launched on the 20th of January 2016 and was available online, as well as on Samsung Gear VR and Google Cardboard. It has now closed, after running for almost two years, on the 20th of November 2017.

The original exhibition took place at the Royal Academy of Arts, between September and December 2015.

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fig 65, 66, 67. opposite print screens of selected views from Ai Weiwei 360 exhibition available online, accessed via internet browser, viewed on screen.

fig 68. below plan of the Ai Weiwei exhibition at the Royal Academy of Arts.

appendix

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Digital technologies in galleries and museums

VIRTUAL REALITY EXHIBIT: Serpentine Galleries, Zaha Hadid: Early Paintings and Drawings

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appendix

During the exhibition: Zaha Hadid: Early Paintings and Drawings (2016-2017), the Serpentine Gallery decided for the first time to introduce Virtual Reality into their galleries. The experimental undertaking has been underpinned by the famous quote of Zaha, that ‘there should be no end to experimentation’. It consisted of four individual experiences, specially created for the exhibition and developed from Zaha’s paintings.

These have been initially accessible via VR headsets placed in the gallery, and are currently available online as 360° videos.

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fig 69, 70, 71, 72. below and opposite Screenshots of virtual reality videos created for the Zaha Hadid exhibition

Digital technologies in galleries and museums

VIRTUAL REALITY EXHIBITION: Mat Collishaw, Thresholds fig 73, 74. below photographs of visitors in the physical space built to accommodate the virtual exhibition, Thresholds, Somerset House, 2017

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appendix

Thresholds is a virtual reality exhibition created by Mat Collishaw. It is a fully immersive experience addressing one of the earliest exhibitions of photography by scientist William Henry Fox Talbot, from 1839. Digitally reconstructed space contains a series of restaged objects, photographs and sounds addressing the original show. Visitors can walk through, and interact with selected objects. It was first shown in Somerset House in 2017, and is currently a traveling exhibition.

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fig 75, 76. below Thresholds exhibition, visualisations of the virtual experience

Digital technologies in galleries and museums

VIRTUAL REALITY MUSEUM: The Kremer Museum

The Kremer Museum is a virtual museum housing the artworks from the Kremer Collection. Its launch was announced in October, 2017 and will become available in 2018. The Collection will be accessible exclusively through the Virtual Reality technology, first as a series of pop-up events, followed by launch of a mobile app on Google Play Store. Dates are yet to be announced

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fig 77, 78, 79. below and opposite Visualisations of the virtual museum space containing collection of digitised Old Masters paintings. Spaces have been designed by architect Johan van Lierop, Founder of Architales and Principal at Studio Libeskind

appendix

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Digital technologies in galleries and museums

VIRTUAL REALITY ART PLATFORM: Acute Art

Acute Art promotes itself as the world’s first virtual reality art platform, a gallery without walls that offers experience of cutting edge of interactive art anywhere in the world. It shares virtual reality artworks by contemporary artists, which are partially accessible via a free app, and with ‘most acclaimed’ artworks accessed through subscription-based gallery.

The launch (October 2017) included artworks by Olafur Eliasson, followed by Jeff Koons and Marina Abramovic, alongside a number of up-and-coming artists.

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fig 80. opposite Acute Art, print screen of pre-launch mobile website

fig 81, 82 ,83. below Jeff Koons, Marina Abramovic, Olafur Eliasson, posing with VR headsets for Acute Art

appendix

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