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The recent proliferation of technologies and devices (including iPhone, iPad and alike) provides new perspectives for the use of multimedia applications for cultural heritage. Users are no more just sitting in front of their PC at home, but they also access multimedia information walking in the galleries or in archaeological parks, sitting in a cafeteria, driving a car, travelling on a train, etc. In addition, and most important, all the different devices and technologies are important, and institutions can’t anymore decide which are preferable for their users, who are free to choose according to their (permanent or temporary) needs. In relation to the above, this paper wants to raise two basic issues concerning: (1) effective authoring environments and (2) adaptation of content to different devices, technologies and situations of usage. The current generation of authoring environment is quite unsatisfactory. Many authoring tools are officially aimed at specific technologies for specific situations (for example, an iPhone in a gallery). Other tools are apparently aimed at multiple devices/technologies and multiple situations of usage, but they are actually biased towards a limited set of choices, especially as far as situations of usage are concerned (e.g. try to listen to a mobile guide for a gallery, while sitting at home) and their structure (information architecture) cannot be easily bended to fit new needs. a presentation from Museums and the Web 2011 (MW2011)

MW2011: N. Di Blas +, A “Smart” Authoring and Delivery Tool for Multichannel ...

Why, with the vast resources, and fundamental human subjects at our disposal, have museums failed to make more than a handful of really compelling games? Are we too wedded to the idea that games must be educational? Do we lack the in-house skills to make subject matter and game engines gel, or are we simply trying to enter an overcrowded marketplace with too few resources? Should we leave making games to the professionals? At Wellcome Collection, we are beginning the process of making games for our website that put compelling gameplay at the centre of the experience, building our subject matter and resources around that experience. Games have their own logics and structure, and there's no reason these should be subjugated to narrow educational aims any more than the physical layout of the museum should determine the information architecture of our websites. The playful and exploratory impulses that draw gamers towards great games are still largely untapped as a means of engagement. Using the mini-workshop format, we will present our progress to date and open up a discussion of other museums' experience, sharing our ideas and understanding of games. We will use simple exercises to look at matching our available resources (narratives, photography, object databases) to modes of gameplay, as well as investigating reusable game engines, game syndication, and building enthusiasm for games inside the organisation. A presentation from Museums and the Web 2011 (MW2011).

MW2011: D. Birchall + M. Henson, Gaming the museum

After the emergence of Web 2.0, online art museums have been evolving into participatory museums, in an attempt to increase the public’s participation through the utilization of social media. Among many types of social media, social tagging has been receiving widespread attention as a tool for reducing the semantic gap between curators and visitors, through the group knowledge obtained from the active participation of the public. In this circumstance, Gyeonggi Museum of Modern Art (GMOMA) embarked on an ongoing project with us to explore the potential of social tagging and applying it into museum management strategy. In the end of 2009, we built our own tag database based on the collections from GMOMA, and experiments were carried out by building a testbed on a website that was created to collect tags of 128 pieces of artworks. After collecting the tags, we evaluated the feasibility of social tagging systems through workshops with curators from GMOMA. From the workshop we found the potentials of social tagging systems in museums through interviews and discussions with the curators, and identified the improvements that could be made in order to apply it to actual museums. However, we discovered that while the number of tags increased, social tagging systems showed limitations in providing meaningful information and supporting semantic relationships between tags and museum collections. The causes are as follows: Lack of order, structure and depth in tags Linguistic issues Free forms of tags can cause ambiguity, chaos and noise Spam tagsFailure to show the semantic relationships between tags; only provides an alphabetical list Thus to achieve a participatory web and reflect the visitors’ semantic appreciation of museum collections, we conclude that the existing tagging systems should be supplemented. To improve the existing social tagging system and enhance the semantic appreciation in online art museum, our suggested solution is faceted tagging system which gives a guideline or schema to users when tagging the individual artworks. By collecting tags through the faceted tagging systems, we can automatically obtain a semantic structure and meaningful groups of tags. Before implementing the faceted tagging system and proving that it works, we had to make facets that cover the all the categories of art museum tags. We proceeded with card-sorting tests to extract and verify facets from the collected tag database. We retrieved six facets – “Background, Identification, Theme, Association, Emotion and Figure” – based on the semantic structure of tags, which were in a mess but now can be categorized into meaningful groups (facets). Finally, user-tests are scheduled in order to prove that applying the six facets into the faceted tagging system can help to bridge the semantic gap between curators and audiences. For the user-tests, the same 128 artworks from the first experiment will be used, and we will compare the tags collected from the user-tests with the tags from the first experiment. Then we plan to discuss the feasibility of faceted tagging systems and its results – which we call structured tags – through a workshop with the curators from GMOMA.

MW2011: G. Chae +, Can Social Tagging Be a Tool to Reduce the Semantic Gap be...

As museums continue to develop more sophisticated techniques for managing and analyzing cultural data, many are beginning to encounter challenges when trying to deal with the nuances of language and automated processing tools. How might user-generated comments be harvested and processed to determine the nature of the comment? Is it possible to use existing collection documentation to derive relations between similar objects? How can we train systems to automatically recognize (disambiguate) different meanings of the same word? Can automated language processing lead to more compelling browsing interfaces for online collections? Luckily, a good deal of expertise and tools exist within the field of computational linguistics that can be applied to these problems to achieve meaningful results. Informed by previous work in computational linguistics and relevant project experience, the authors will address a number of these questions providing insight about how answers to impact museum practice might be found. Authors will share tools and resources that museum software developers can use to prototype and experiment with these techniques - without being experts in language processing themselves. In addition, the authors will describe the work of the T3: Text, Tags, Trust research project and how they have applied these tools to a large shared dataset of object metadata and social tags collected by the Steve.museum project. Specific challenges regarding batch-processing tools and large datasets will be addressed. Best practices and algorithms will be shared for dealing with a number of sticky issues. Directions for future research and promising application areas will be also be discussed. A presentation from Museums and the Web 2011 (MW2011)

MW2011: Klavans, J. +, Computational Linguistics in Museums: Applications fo...

MW2011: L. Tallon + I. Froes, Going Mobile? Insights into the museum communit...

This paper is a user evaluation of a mobile phone audio guide, developed for visitors to use at the National Gallery of Denmark. The audio guide is offered as a downloadable MP3 file at every incoming visitor who is carrying a mobile phone with an open bluetooth connection. The guide itself is structured through association, offering an experience more comparable to an audio documentary than a traditional guided tour. Instead of directing the visitor's focus of attention to selected points and objects provided by the museum as a producer, the sound collage relates indirectly to the objects of the exhibition, emphasizing visitors' agency and authorship. The paper reports on a number of strategies developed by visitors experiencing an unfamiliar guide structure. These strategies reflect a conflict between the initial expectation of guiding instructions and the freedom of making choices according to personal interest, and a conflict between the expectation of a learning experience rather than an aesthetic experience. The results indicate that most visitors are able to make sense of the guide and to use it successfully, in different ways, to enrich their visit. The evaluation also shows that visitors are fund of using their own mobile phones - but they have several problems with their phones in downloading the MP3 file (accepting the file, finding the file, memory problems, etc.). A presentation from Museums and the Web 2011 (MW2011)

MW2011: D. Laursen, Guided expectations: a case study of a sound collage audi...

For the opening of the Museum's new Art of the Americas wing, the Museum of Fine Arts, Boston embarked upon a sweeping new program to transform the traditional audio guide into a new iPod Touch-based multimedia guide. This ambitious endeavor was fraught with challenges as diverse as managing content production at a new scale and determining how to reliably charge 750 devices at a time. In this session, MFA New Media team members will share lessons learned from our large-scale project, including points such as: Strategy - determining the best direction for our visitors and institution Planning and evaluation - prototype testing of content and the device Offerings - features and tours (adult, kids, foreign language, special exhibition, and audio described guides) Content production - moving production in house while still leveraging experts CMS - selecting and enhancing the guide content management solution Updating content - crafting a solution for making content updates manageable Security - protecting the investment Equipment - cases, headphones, lanyards, chargers and more Operations - managing workflow, training, and rental and return Future growth - where we'll be heading next The MFA uses TAP as the CMS, with a modified/customized TAP app as the user interface. We use the Nous case and a homegrown charging solution. A presentation from Museums and the Web 2011 (MW2011).

MW2011: J. Flemming +, Launching the MFA Multimedia Guide

pportunities that these could offer particularly in terms of visitors' orientation and way finding. The presence of a touch screen, in fact, supports the use of interactive maps, which, alone or in combination with location aware technologies can help visitors understand where they are and decide where to go. More than 10 years have now passed since the implementation of the first handheld guide and, unfortunately, many museums are still struggling to develop and implement effective way finding solutions on mobile platforms. Location aware technologies have proven to be expensive and problematic to install and maintain, while interactive maps, particularly of complex sites can be challenging for people to use and interpret on small screens. Building on the experience of other institutions such as Tate, the Met and the Louvre, the British Museum has recently launched a multimedia guide in 11 languages that supports way finding and orientation without relying on location aware technology. In this paper, we will present in details the various way finding solutions that were developed for the guide, as well as the results of research and evaluations that were carried out on these applications during and after the launch. Through our experience, we hope to provide a reference for other medium and large size museums, which are grappling with similar issues. A presentation from Museums and the Web 2011 (MW2011).

MW2011: S. Fantoni, Mobile devices for orientation and way finding: the case ...

Google Analytics provides museums with extensive data around visits to their virtual sites. Physical visits and the way in which visitors track around museums is currently much harder to monitor. This paper discusses the opportunity that mobile phone WiFi, Bluetooth and TMSI signals provide to allow visitor tracking. The resulting data has potentially great value to museums in understanding how exhibitions and museums spaces are used, in forming exhibition design, assessing the return on investment of interactives and even profiling visitors. Two pilot studies using comparative technologies will also be discussed. A presentation from Museums and the Web 2011 (MW2011).

MW2011: J. Bickersteth + C. Ainsley, Mobile Phones and Visitor Tracking

MW2011 Best of the Web Awards

The Art Institute of Chicago has been publishing award-winning scholarly and popular print catalogues for decades… but is this model sustainable? Digital publication appears to hold great promise for both user experience and global reach. To achieve these bright outcomes, however, institutions need to approach the challenges and opportunities of digital publication with creativity, willingness to reorganize around new ideas and the careful and adequate resourcing of this vitally important publishing agenda. In this paper, we will share the Art Institute of Chicago’s experiences gained from forging new integrated print and digital publishing workflows. The discussion will focus on case studies from our ongoing efforts on the Monet and Renoir Systematic Catalogue supported by the Getty’s Online Scholarly Catalogue Initiative (OSCI), the Martin European Decorative Arts Gallery Interactives, the French Impressionism iPhone, iPad and Android applications, and other publications. These projects have all required a deeper collaboration between the technology, publications, education, and marketing/ communications departments. We will discuss our approaches to challenges brought on by these digital publishing opportunities, such as: How do we address the impact these workflows have on both job responsibilities and available human resources? Does increasing the digital publishing portfolio imply decreasing the number of print catalogues planned? How can we incentivize scholars to write for digital publication? Will certain features, such as footnotes and citation tools, allow the field of art history to better recognize the legitimacy of these digital works? What content and which publication channels are appropriate for revenue generating goals? Is new hardware like the iPad creating a new generation of expectations for digital publication? How sustainable are these digital publications as software evolves—are we considering the ongoing maintenance costs?

MW2011: Quigley, S., Integration of Print and Digital Publishing Workflows at...

What becomes the role for institutions and scholars charged with the study and safe-keeping of the past and the near-future when traditional methodologies like "authority records" are forced to compete with automated data collection, machine learning, the now suddenly practical reality of "big data" and the rise of broad communities of participation? The breadth and reach of the Internet and the availability of alternative data sources, whether they are harvested programmatically or fashioned by amateur communities of interest has created a world where both the conceptual and financial economics of traditional scholarship are rapidly being undermined. Further, in the absence of a way for non-experts to feel as though they can participate in the discourse outside of established venues and vocabularies the opinions and assumed meritocracies of experts are increasingly being overlooked entirely. What would it mean to change the role of digital preservation and scholarly interpretation from one where it looks and feels, to those the outside, like castle walls to be more like a rough guide composed of road signs and fence-posts? To consider a project whose goal is no longer to weave elaborate tapestries of the past facts but to produce textiles, and patterns, to be fashioned into reflections of the present? A presentation from Museums and the Web 2011.

MW2011: Cope, A., Authority Records, Future Computers and Other Unfinished Hi...

This paper presents a three research projects currently underway to develop new omni-spatial visualization strategies for the collaborative interrogation of large-scale heterogeneous cultural datasets using the worlds’ first 360-degree stereoscopic visualization environment (Advanced Visualization and Interaction Environment - AVIE). The AVIE system enables visualization modalities through full body immersion, stereoscopy, spatialized sound and camera-based tracking. The research integrates ground-breaking work by a renowned group of international investigators in virtual environment design, immersive interactivity, data visualization, museology, cultural analytics and computational linguistics. The work is being implemented at the newly established world-leading research facility, City University’s Applied Laboratory for Interactive Visualization and Embodiment – ALIVE). A paper from Museums and the Web 2011.

MW2011: S. Kenderdine, Cultural Data Sculpting

A presentation from Museums and the Web 2010. Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum. Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light? Session: Mobiles: A Panel [mobile] see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html

MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...

A presentation from Museums and the Web 2010. We present the results of a case study testing Open Museum’s Mobile service in partnership with the Hood Museum of Art at Dartmouth College. We explore preferences, challenges, and barriers to use for the various participants (including visitors, our museum partners and Open Museum itself) and look at the lessons learned about the technical, content, and social aspects of a mobile Web access project in museums. Session: Mobiles: A Panel [mobile] see http://www.archimuse.com/mw2010/abstracts/prg_335002271.html

MW2010: J. Doyle + M. Doyle, Mixing Social Glue with Brick and Mortar: Experi...

A presentation from Museums and the Web 2010. The proliferation of iPhones, Smart-Phones and now “Super-Phones” continues to expand the tools available to museums for mobile interpretation and raise the expectations of their audiences. This paper provides a survey of recent trends in the museum industry to adapt to new audience expectations, and, more broadly, to assess the effect of mobile devices, the ubiquitous Internet and social networking on visitor expectations. Addressed from the industry perspective, it looks at the movement of the industry to multi-platform and media experiences as well as the challenges institutions face in developing and launching these new mobile features into the gallery experience. Are these efforts enough? Specifically, how closely aligned are museums’ objectives and their vision of mobile interpretation with the quickly evolving expectations and needs of their audience? Presented in this paper are the results of two pieces of research. The first set is on cultural and art professionals and focuses on how their institutions have implemented mobile interpretations and how they plan to execute mobile guide strategies in the future. The second is a set of visitor surveys and guide evaluations completed at major US and European museums and historic sites over the past three years. Session: Mobiles: A Panel [mobile] see http://www.archimuse.com/mw2010/abstracts/prg_335002210.html

MW2010: M. Petrie + L. Tallon, The iPhone effect?: Comparing visitors’ and mu...

Museums face many challenges when building on-line collaborative networks to engage diverse knowledge communities. In this paper we explore the emergence of one such system, the Reciprocal Research Network (RRN), launched in March of 2010. During development, the RRN team explored and tested methods to overcome challenges commonly faced by museums undertaking similar projects. Here we discuss how the RRN is affecting research, why it is having this effect, and what course the development process followed. The RRN creates an on-line research community, allowing geographically dispersed users to collaborate while studying cultural objects held in institutions around the world. Museums and other cultural institutions are contributing their data to the RRN in order to facilitate this research. Diverse user groups, including indigenous communities, share their own perspectives and knowledge with the people and institutions that make up the RRN community. The Reciprocal Research Network was co-developed by three First Nations communities, the Musqueam Indian Band, the Stó:lō Nation/Tribal Council, and the U’mista Cultural Society, along with the Museum of Anthropology (MOA) at the University of British Columbia. A dozen museums also participated in the development process. Session: Multi-Institutional Collaboration: Process [organizations] see http://www.archimuse.com/mw2010/abstracts/prg_335002329.html

MW2010: Building an online research community: The Reciprocal Research Network

A presentation from Museums and the Web 2010. Europeana, Europe's multimedia on-line library, museum and archive, currently grants access to the cultural holdings of Europe's twenty-seven member states. It includes more than 5.5 million books, maps, recordings, photographs, archival documents, paintings, and films from national libraries and cultural institutions. Europeana’s goal is to open up new ways of exploring Europe's heritage through free access to the collections and treasures via a single Web portal that is available in all the official EU languages (http://ec.europa.eu/information_society/ doc/factsheets /071-europeana-en.pdf). Europeana is currently in prototype; the full service will launch later in 2010. The operational Europeana portal will provide improved search functionality and access to over 10 million objects. A follow-up release in 2011 will showcase multilingual and semantic Web features. ATHENA's role is to harvest holdings from Europe's museums and similar collections across the cultural sector, and to facilitate their integration into Europeana. This paper will discuss this ambitious project from the point of view of the organizational strategies required to coordinate the pan-European, ATHENA Network, as well as the thesauri and multilingual developments that the partners are currently dealing with towards the integration of digital content. Session: Multi-Institutional Collaboration: Process [organizations]

MW2010: S. Hazan et al., ATHENA: A Mechanism for Harvesting Europe's Museum H...

A presentation from Museums and the Web 2010. The Now and Then community heritage wiki was initiated to research the potential of Web 2.0 technologies to engage and sustain interest in local history and heritage collections. The aim of this action research project is to explore whether wikis can provide a low-cost, sustainable way of increasing interest and participation in the preservation, interpretation and enjoyment of local history and heritage collections. The target organisations to use the wiki are generally very small and are often staffed solely by volunteers. The pilot implementation in a small rural community has been well received and is generating significant levels of interest and participation. This paper aims to share the learning from this project about the potential and implications of wikis as the basis for sustainable knowledge communities around local history and heritage. It explores how collaborative knowledge-making practices such as crowdsourcing present new challenges and opportunities for museums, their information management paradigms, and their relationships with communities. Session: Wikis for Content Management [content] see http://www.archimuse.com/mw2010/abstracts/prg_335002330.html

MW2010: D. Peacock, Putting Mallala on the map: Creating a wiki community wit...

Scaling API-first – The story of a global engineering organization Ian Reasor, Senior Computer Scientist - Adobe Radu Cotescu, Senior Computer Scientist - Adobe Apidays New York 2024: The API Economy in the AI Era (April 30 & May 1, 2024) ------ Check out our conferences at https://www.apidays.global/ Do you want to sponsor or talk at one of our conferences? https://apidays.typeform.com/to/ILJeAaV8 Learn more on APIscene, the global media made by the community for the community: https://www.apiscene.io Explore the API ecosystem with the API Landscape: https://apilandscape.apiscene.io/

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MW2011: G. Chae +, Can Social Tagging Be a Tool to Reduce the Semantic Gap be...

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MW2011: D. Laursen, Guided expectations: a case study of a sound collage audi...

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MW2011: J. Bickersteth + C. Ainsley, Mobile Phones and Visitor Tracking

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MW2011: Cope, A., Authority Records, Future Computers and Other Unfinished Hi...

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MW2010: J. Doyle + M. Doyle, Mixing Social Glue with Brick and Mortar: Experi...

MW2010: M. Petrie + L. Tallon, The iPhone effect?: Comparing visitors’ and mu...

MW2010: Building an online research community: The Reciprocal Research Network

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rafiqahmad00786416

Strategies for Landing an Oracle DBA Job as a Fresher

Remote DBA Services

"I see eyes in my soup": How Delivery Hero implemented the safety system for ...

Zilliz

Dubai, known for its towering skyscrapers, luxurious lifestyle, and relentless pursuit of innovation, often finds itself in the global spotlight. However, amidst the glitz and glamour, the emirate faces its own set of challenges, including the occasional threat of flooding. In recent years, Dubai has experienced sporadic but significant floods, disrupting normalcy and posing unique challenges to its infrastructure. Among the critical nodes in this bustling metropolis is the Dubai International Airport, a vital hub connecting the world. This article delves into the intersection of Dubai flood events and the resilience demonstrated by the Dubai International Airport in the face of such challenges.

Rising Above_ Dubai Floods and the Fortitude of Dubai International Airport.pdf

Orbitshub

Three things you will take away from the session: • How to run an effective tenant-to-tenant migration • Best practices for before, during, and after migration • Tips for using migration as a springboard to prepare for Copilot in Microsoft 365 Main ideas: Migration Overview: The presentation covers the current reality of cross-tenant migrations, the triggers, phases, best practices, and benefits of a successful tenant migration Considerations: When considering a migration, it is important to consider the migration scope, performance, customization, flexibility, user-friendly interface, automation, monitoring, support, training, scalability, data integrity, data security, cost, and licensing structure Next Wave: The next wave of change includes the launch of Copilot, which requires businesses to be prepared for upcoming changes related to Copilot and the cloud, and to consolidate data and tighten governance ShareGate: ShareGate can help with pre-migration analysis, configurable migration tool, and automated, end-user driven collaborative governance

Strategize a Smooth Tenant-to-tenant Migration and Copilot Takeoff

sammart93

Passkeys: Developing APIs to enable passwordless authentication Cody Salas, Sr Developer Advocate | Solutions Architect - Yubico Apidays New York 2024: The API Economy in the AI Era (April 30 & May 1, 2024) ------ Check out our conferences at https://www.apidays.global/ Do you want to sponsor or talk at one of our conferences? https://apidays.typeform.com/to/ILJeAaV8 Learn more on APIscene, the global media made by the community for the community: https://www.apiscene.io Explore the API ecosystem with the API Landscape: https://apilandscape.apiscene.io/

Apidays New York 2024 - Passkeys: Developing APIs to enable passwordless auth...