Museus interactius per al públic infantil

Les vacances ja queden enrere i amb l’inici de l’escola molts nens tornaran a trepitjar els museus en les ja habituals sortides culturals. És una oportunitat única que els museus no poden deixar escapar. Aquestes visites són un moment important per crear curiositat i futurs vincles amb aquest públic.

Resultado de imagen de imatges nens als museus

Però si el museu tradicional no vol passar desapercebut entre aquests visitants cal que busqui la manera de convertir-se en un espai atractiu. La tecnologia pot ser una gran aliada a l’hora de crear noves experiències convertint les visites planes, on els objectes només poden ser observats, en moments d’interacció que retindran els infants davant espais o elements que d’altra manera podrien ser vistos a cua d’ull en passar-hi per davant durant el recorregut.

Comença a ser molt comú poder realitzar visites virtuals als museus per mitjà d’aplicacions, tablets o ordinadors. Aquestes visites ja de per si suposen una gran oportunitat per implicar els infants en la seva planificació, creant recorreguts, jocs de caça del “tresor” i descobriment de peces estudiades a classe… però si això no fos prou alguns museus han introduït animacions i historietes per a fer-ho encara més motivador i guiar les visites. Per mitjà d’una aplicació creada específicament un seguit de personatges animats expliquen, a través del joc, les obres més importants que es van descobrint als diferents espais dels museus.

Trobem, fins i tot un projecte que permetrà als usuaris construir el museu dins Minecraft.

Per provocar una major interacció amb els infants molts museus estan canviant els panells informatius estàtics per pantalles tàctils. Això fa que els nens, de forma divertida, puguin adquirir més informació sobre allò que estan veient i d’aquesta manera se sentin més implicats i interessats. Les imatges, els sons i la navegació per les diferents pantalles són eines bàsiques per aconseguir aquests moments d’atenció.

I evidentment, si ja fem entrar en el joc la realitat augmentada, aquest interès creix de forma exponencial. Quin nen no se sent fascinat quan un personatge d’un quadre li explica la seva història? Per aconseguir-ho trobem l’aplicació Blippar, molt utilitzada en els museus i que permet animar un quadre o interactuar amb ell.

Algunes sales han anat més enllà i han creat jocs interactius que impliquen la participació dels nens dins el museu fent que hagin de buscar pistes, personatges, obres… per convertir-se en detectius i descobrir qui és l’assassí, com és el cas de Murder at the Met, del Metropolitant Museum of Art, per guanyar a l’equip contrincant, com a Capture the Museum del Metropolitant Museum of Scotland, o que s’hagin d’enrolar com a grumets en una nau anomenada Chronos (joc desenvolupat per Wunderkammer Editorial) i explorar les sales resolent reptes a partir de mapes, objectes i enigmàtiques claus.

Un altre museu que s’ha bolcat molt en atraure al públic infantil és el Thyssen, que disposa d’un ampli ventall de jocs per a nens. Entre aquests en destaca las Miradas, joc en què les mirades dels personatges dels quadres ens indiquen com explorar les diferents obres.

juego-miradas

I per aquells més creatius, la National Gallery of Art de Washington proposa una aplicació, l’NGA Kids, on a més a més de diverses activitats interactives inspirades en els obres del museu hi podem trobar una llibreta de dibuix virtual per dibuixar la pròpia versió d’aquella obra que hagi cridat més l’atenció del nen. Posteriorment una altra aplicació permet compartir totes les creacions dels participants pentjant-les en una galeria virtual i crear així la pròpia exposició.

Sample screen

Tots aquests jocs són aplicacions que els nens es poden baixar als telèfons mòbils o tablets.

Ara bé, si el que volen els nens és endur-se un record fent-se una selfie amb una de les seves obres preferides, el Museu del Prado ofereix aquesta possibilitat per mitjà d’una aplicació que han anomenat PhotoPrado.

photoprado

La tecnologia dins els museus obre un nou món de possibilitats per als seus visitants, així ho consideren empreses com Samsung, que ja ha desenvolupat moltes aplicacions de realitat augmentada per a museus, àmpliament utilitzades al Regne Unit, així com unes ulleres de realitat virtual que permeten als visitants fer un viatge a l’Edat de Bronze, moure’s pels paisatges de l’època i descobrir el seu dia a dia, descobrint informació sobre els diferents estris que l’usuari es va trobant.

Només la imaginació pot posar límits a noves aplicacions i noves maneres de captar l’atenció d’aquest públic tan especial i alhora tan exigent.

 

 

 

Mireia Camps

 

 

 

Projecte artístic que converteix els tweets en un rellotge

This Art Project Turns The World’s Tweets Into A Clock

TechCrunch, Dec 13, 2014 by  (@grg)
Don’t look at the clock. Do you know what time it is?

Twitter sure as heck does. Turns out, people love to tweet about the time. So why not turn the Twitter firehose into a massive, crowdsourced clock?

That’s the thinking behind AllTheMinutes. Built by Dutch tech-meets-art studio Moniker for an ongoing exhibit at the Van Abbemuseum, the clock pulls a different tweet directly related to the current time (based on your system clock, for international compatibility) every few seconds.

I’ve been watching the tweets flash by for a few hours, and here’s what I’ve learned:

  • At around noon, people like to tweet that they’re still in bed
  • At around three pm, people like to start complaining about being hungry or bored
  • 24 hours a day, people like to tweet about being high and/or drunk.

I want something like this running on a little screen on my desk all day. BRB, finding an old Chumby to hack up.

El British Museum et permet imprimir part de la seva col·lecció en 3D

El Museo Británico ya permite reproducir parte de su colección con impresoras 3D

La galería cuelga en internet una serie de patrones que permite a cualquier persona con una de estas máquinas copiar en su casa el busto de Zeus o la estatua de Ramses III, entre otras obras

El Correo,MICHAEL MCLOUGHLIN 7 noviembre 2014

Repositorio disponible
Repositori disponible / Sketchfab

Dentro de poco, el salón podría tener un aspecto similar al de una de las galerias del prestigioso Museum Británico de Londres. Todo gracias a una impresora 3D. Y es que el centro anglosajón ha puesto a disposición de quien tenga uno de estos aparatos una serie de modelos de algunas de las obras de su grueso catálogo para que se reproduzcan en su propia casa. «Estamos fascinados por el potencial que ofrece el 3D para facilitar a la gente más medios para interactuar con nuestra colección», aseguró Chris Michael, el encargado de los proyectos digitales de la institución.

El canal escogido para distribuir estos patrones ha sido Sketchfab, una plataforma que permite a los usuarios cargar sus diseños y, al igual que sitios como Flickr, determinar si prefieren distribución con ‘creative commons’ de esos materiales o reservarse algunos derechos. En total, el museo ha incluído trece figuras en esta primera hornada 3D en el perfil que ha habilitado en la web, pero parece que rápidamente se ampliará la colección. «Nos facina ver lo que la gente hace con ellos y queremos experimentar más en esta área», explicó Michael.

De esta manera, con unos pocos ‘clicks’ y unas cuantas horas mientras la impresora da forma al objeto, cualquiera podría tener una réplica de un sarcófago de granito rojo de la época del Egipto de los faraones, una estatua de Ramses III o el busto de Julio César.

Otras piezas de la cultura mexicana o griega también están disponibles. Quién sabe si el día de mañana, en lugar de con tres llaveros y dos regalitos más, uno salga del museo con dos descargas en el móvil para luego imprimir en casa los ‘souvenirs’. De momento, por el precio de las bobinas y el tiempo, parece más rentable hacer una parada en la tienda antes de terminar la visita.

La revolución 3D

La nueva generación de impresoras 3D cada vez más accesibles tanto técnicamente como en el aspecto del precio hace presagiar que iniciativas de este tipo serán cada vez más comunes. Ya se han visto serios avances en campos como la medicina o la ingenieria aeronáutica pero muchos auguran que esta revolución se democratice en un futuro, permitiendo al común de los mortales simplificar acciones tan cotidianas cómo cambiar una pieza de la lavadora que se ha roto tan solo con una descarga desde la web del fabricante.

Compañías como HTC ya han hecho sus primeros pinitos en Sketchfab colgando diseños para hacerse una funda y Microsoft ha puesto a disposición de esta comunidad un soporte para el puntero de la Surface 3.

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Quan els visitants esdevenen part de l'obra d'art

When Museum Visitors Become Part of the Art

Behold THE PHOTO BLOG. OCT. 20 2014, By David Rosenberg

While visiting the Rijksmuseum in Amsterdam, Andrés Wertheim noticed a disparity between the crowds gathered to look at Rembrandt’s The Night Watch, and the lack of people noticing just about anything else.

“It felt to me as if the characters in those artworks looked as if they were feeling, down, ignored,” he wrote via email.

Wertheim began creating double exposure images combining the crowds and artwork to capture this disparity, creating images that are sometimes humorous and sometimes ironic and always a bit surreal for his series “The Museum’s Ghosts.”

“When I looked at the results of the combined image I liked the different ways one could read it and decided to continue working on the series,” he said.

So far, apart from Amsterdam, that has taken him to museums in Vienna, Frankfurt, Berlin, Paris, and his hometown of Buenos Aires. Wertheim began taking pictures when he was around 13, but didn’t’ get serious about shooting until he was in his early 20s. Now, he enjoys “experimenting with optical devices to find a different visual dimension of things.”

In his series “Your Other Self” he used a slide projector to create images with alter egos. In another series, “Mirages,” he worked in post-production to create images that seem infinite to create a mood of alienation. While he may adjust color or tone, there is no post-production manipulation to the double exposures in “The Museum’s Ghosts.”

Wertheim said that although the “impossible geometry” of M.C. Escher has been an influence on his work, “depicting reality is also as important to me.”

Of course, he did face some logical challenges while trying to capture the right images.

“When I find [an image] it could be gone the next moment, so my timing has to be precise,” he said. “I have to improvise and calculate constantly.”

Els museus s'adapten a l'era digital

Museums Morph Digitally

The Met and Other Museums Adapt to the Digital Age

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Steve Lohr. THE NEW YORK TIMES. 23/10/2014

For the Metropolitan Museum of Art, a turning point came in 2011. Down went the signs imploring visitors to stow their cellphones. The Met revamped its website, tailoring it for viewing on smartphone screens. The museum was not only allowing visitors to use their mobile phones while browsing the artworks, but encouraging it.

The digital experience was embraced and meant to enhance the physical experience of exploring the museum. The trend has only accelerated since, at the Met and across the museum world. At first glance, it might seem like a capitulation, giving in to the virtual enemy when museums are so essentially physical spaces.

Yet listen to museum curators and administrators today and they often sound like executives in media, retailing, consumer goods and other industries. They talk of displaying their wares on “multiple platforms,” and the importance of a social media strategy and a “digital first” mind-set.

“You want the way people live their lives to happen in the museum,” said Carrie Rebora Barratt, the Met’s deputy director for collections and administration.

Museums are being redefined for a digital age. The transformation, museum officials say, promises to touch every aspect of what museums do, from how art and objects are presented and experienced to what is defined as art.

The pragmatic need to appeal to modern audiences, who expect to be surrounded by technology, is one engine of change. But museum officials insist there is a powerful aesthetic and cultural rationale as well. It is the increasing recognition that, as Paola Antonelli, senior curator of architecture and design at the Museum of Modern Art, puts it, “We live not in the digital, not in the physical, but in the kind of minestrone that our mind makes of the two.”

Museums, Ms. Antonelli insists, have an important role to play in helping people explore and understand the emerging hybrid culture. “It’s this strange moment of change,” she explained. “And digital space is increasingly another space we live in.”

The museum of the future will come in evolutionary steps. But some steps are already being taken. Digital technologies being deployed or developed include: augmented reality, a sort of smart assistant software that delivers supplemental information or images related to an artwork to a smartphone; high-definition projections of an artwork, a landscape or night sky that offer an immersive experience; and 3-D measurement and printing technology that lets people reproduce, hold and feel an accurate replica of an object.

In December, Cooper Hewitt, Smithsonian Design Museum will reopen, offering its vision of a 21st-century design museum. The three-year, $91 million renovation will give the Fifth Avenue museum 60 percent more gallery space and new visitor experiences.

Upon entry, each visitor will get a black pen, equipped with a small amount of computer memory, a tiny radio for short-range communication and a touch-sensitive stylus, which can be used to write and draw on large interactive tables with touch-screen surfaces. The digital pen is one ingredient in the redesign of the museum that is intended to “give visitors explicit permission to play and to explore the process of designing for themselves,” said Sebastian Chan, director of digital and emerging media at Cooper Hewitt.
One place they will be able to do that is in an “immersion room.” In the room, a person can, for example, tap the pen on one of many selections from the museum’s wallpaper design collection. That wallpaper is then projected clearly throughout the room. “You can see and experience historic wallpapers in ways you never could before,” Mr. Chan said.

A visitor can also draw his or her own wallpaper design on an interactive table. As the person is drawing, clever software can detect common images, retrieve relevant information and communicate, in its way, with the visitor. “It looks like you’re drawing a flower,” it intones, and then links to a short audio recording by an expert on flower motifs in wallpaper over the years.

In another area, visitors can use their pens to annotate the designs of common objects — a shopping cart, for example — with features of their imagining. One shopping cart might be designed for a family of four, while another is for a wheelchair-bound shopper. “It’s a visual suggestion box to make things better,” Mr. Chan said.

At the Smithsonian Institution, 3-D technology is increasingly used for conservation, research and public education programs. The fine-grained scanning allows a depth of data collection and analysis that was not possible before. The gunboat Philadelphia, built in 1776, is the last surviving cannon-bearing American vessel from the Revolutionary War. The historic boat has been 3-D-scanned so online viewers can see it from angles not possible in person at the National Museum of American History in Washington. But it is also scanned regularly so conservators can get early warnings of deterioration of the old wooden structure.

The National Portrait Gallery in Washington has two life masks of Abraham Lincoln. The masks — made from plaster casts placed on Lincoln’s face — were made in 1860, the year he was elected to his first term, and in 1865, two months before he was assassinated. The Smithsonian staff has 3-D-scanned the life masks, and the data is available for downloading and printing on a standard 3-D printer. Schools across America have done just that.

“You can see the toll the Civil War took on this man, those decisions of life and death,” said Günter Waibel, director of the digitization program at the Smithsonian. “With your finger, you can trace the deep furrows on Lincoln’s face. It sends shivers down your spine.”

Across the Smithsonian’s 19 museums, 3-D projects are still relatively few. But Mr. Waibel predicts they will proliferate in number and reach. “It’s incredible technology that will revolutionize not only how people experience objects,” he said, “but how we do research and science inside the museums.”

The abundant 3-D data, according to Mr. Waibel, could one day become the information building blocks for creating rich 3-D experiences — perhaps holograms that can be programmed according to a person’s interests.

In the museum world, augmented reality can mean any technology that gives visitors additional information, from audio tours to websites. The Met’s new application for Apple mobile devices, introduced in September, is a good example of a well-designed smartphone app, with lists of current exhibits and daily events, as well as artworks recommended for serious museumgoers and for families with children.

But as technology advances, so do the ambitions for augmented reality. Colleen Stockmann, assistant curator for special projects at the Cantor Arts Center at Stanford University, and Jean-Baptiste Boin, a Ph.D. candidate in electrical engineering at Stanford and an expert in computer vision, are working on taking augmented reality a step further. Their research project, Art++, combines image-recognition technology and computer graphics with art history expertise. Art++ is supported by a grant from the Brown Institute for Media Innovation, a partnership between the Columbia Graduate School of Journalism and Stanford’s School of Engineering.


With their software, a person would walk into a museum, turn his or her smartphone or tablet toward a photograph, painting or sculpture, and the artwork is surrounded with a digital halo of supplemental information. The Cantor center, Ms. Stockmann said, exhibited the Stanford University Libraries’ collection of landscape photographs of California and the Northwest by the 19th-century photographer Carleton Watkins. Capture the image of a Watkins photo of Yosemite Valley, she said, and you can tap on an icon that shows a map of where Watkins walked in the valley to take his photographs.

Focus the smartphone’s camera viewfinder on a painting, and software might show the initial drawings underneath a painting, and earlier versions of the painting with colors changing as the artist progressed, Ms. Stockmann noted. Capture the image of a mummy in a museum, and the software might show an image of the skeleton beneath. The literature, poetry and music of the time an artist was working, and short commentaries by curators, could be presented as audio clips.

The goal of such technology, Ms. Stockmann said, is to “give you more points of access into the artwork, so that it keeps you in the moment of looking, almost as if someone is guiding you through the painting or sculpture.” (…)

Museum curators and administrators do have concerns about the expense of digital initiatives and how to encourage more “look up” experiences — up at the art instead of down at a smartphone or tablet. Yet it is striking the degree to which major museums have welcomed digital technology as not only inevitable but also as an ally in bringing culture to a wider public.

Not long ago, museums were concerned that opening up collections and putting images online would shift viewing online and hurt museum attendance. “That has proved completely wrong,” said Ms. Barratt of the Met. “Culturally, what we see is the opposite. When people can see artworks online, it’s a taste and they want to see more, often in person if they can.”

Within museum walls, Ms. Barratt said, there should be a range of viewing choices, guided by the principle, she added, of “letting the content determine what we do, instead of letting the technology and devices lead the way.”

Those experiences, she said, will run from “no tech” to “high tech.” No tech, Ms. Barratt explained, would be a label and simple description for a classic painting that speaks for itself and invites sustained observation. High tech, she said, would be exhibitions like the recent one at the Met’s Costume Institute, “Charles James: Beyond Fashion.” It included animations showing the construction of gowns designed by the American couturier, and robotic arms employed to scan and analyze the gowns. The technology provided a visual explanation of how James used science, engineering and architectural techniques.

The issues about sharing artwork online came to a head a few years ago, when Google began Art Project. The Internet giant planned to scoop up images of artworks and present virtual tours of museums, using high-definition camera technology. Museum curators worried about matters of copyright and commercialization — that Google would try to profit from the images shared by the museums. But Google signed contracts with the museums including copyright protections and pledges not to use the art images for commercial gain.

Art Project began with 17 museums in 2010, including the Met, and today has 500 institutions in 60 countries, and 7.2 million artworks. Google’s high-definition image technology captures the image of a painting like Bruegel’s 16th-century classic, “The Harvesters,” which is at the Met, in roughly 10 billion pixels, well beyond the power of the human eye. The technology allows online viewers and researchers to zoom in to see details, down to brush strokes and scratches, in a way they could not in person. (…)

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