Redesigning Museum Display Models in The Context of Digitalization

  • Wang Yuxin

Abstract

After decades of digital tide washing the world, even one of the most sacred existences in human life, art, has to go through evolution and make some adaptions. The materials used in artists' creations, the artworks' presence in time and space as objects, and the economic properties of art have all been changed drastically as a response to the rapidly growing cybernetic world. An increasing number of digital artworks show up on the internet every day, whether they are the documentation of physical artworks in the real world or completely digital pieces that only live in the cybernetic world. Accordingly, the relationship between the online audience and digital works has completely changed their interactions. Museum professionals, public audiences, educators, and so many other roles in the art-viewing activity are having mixed opinions about dealing with art in virtual spaces. They need a more accurate understanding of the meaning and value of the artworks they are viewing. Therefore, how to apply digital media technology to facilitate a better creative experience between viewers and digital physical artworks will be a very important and challenging issue. This paper firstly explains the definition and development history of digital museum exhibition; secondly analyzes the current research status of digital museum exhibition technology and its application areas at home and abroad; then discusses the factors affecting the audience's viewing behavior from the user's perspective, namely: human psychological factors (including cognitive factors, emotional factors, motivation), environmental factors (including social and cultural factors, natural environmental factors); finally The construction method of the virtual exhibition system based on the concept of interaction design is discussed in combination with the above two aspects, and the model can effectively improve the audience's visiting experience through examples.


 

References

Antón, C., Camarero, C., & Garrido, M. J. (2019). What to Do After Visiting a Museum? From Post-consumption Evaluation to Intensification and Online Content Generation. Journal of Travel Research, 58(6), 1052–1063.
Armstrong, P. B. (2005). Phenomenology. In Johns Hopkins Guide for Literary Theory and Criticism entry (2nd Edition 2005). http://litguide.press.jhu.edu/
Benjamin, W. (1998). The Work of Art in the Age of Mechanical Reproduction (H. Zohn, Trans.). Schocken/Random House. (Original work published 1936)
Botticelli, P. (2016). Documentation for Digitized Artworks: The Case of Andy Warhol’s Polaroid Photographs. Art Documentation: Bulletin of the Art Libraries Society of North America, 35(1), 71–85.
Boyland, J. (2021). Digital Art Education Tools Encourage Students' Creativity and Curiosity. EdTech. https://edtechmagazine.com/k12/article/2021/02/digital-art-education-tools-encourage-students-creativity-and-curiosity
Carlson, S. (2002). Few Libraries or Museums Digitize Collections. The Chronicle of Higher Education 48.47. Business Insights: Essentials.
Charitonos, K., Blake, C., Scanlon, E., & Jones, A. (2012). Museum learning via social and mobile technologies: (How) can online interactions enhance the visitor experience? Special Issue: Social Networking and Mobile Learning, 43(5).
Damala, A., Ruthven, I., & Hornecker, E. (2019). The MUSETECH Model: A Comprehensive Evaluation Framework for Museum Technology. Journal on Computing and Cultural Heritage, 12(1), 1–22.
Google. (n.d.). Bringing the world’s art and culture online for everyone. Google Arts & Culture. https://about.artsandculture.google.com/
Hylland, O. M. (2017). Even Better than the Real Thing? Digital Copies and Digital Museums in a Digital Cultural Policy. Culture Unbound, 9(1): Theorizing Copies.
Jorgenson, J., Nickerson, N., Dalenberg, D., Angle, J., Metcalf, E., & Freimund, W. (2019). Measuring Visitor Experiences: Creating and Testing the Tourism Autobiographical Memory Scale. Journal of Travel Research, 58(4), 566–578.
Latham, K. F. (2012). Museum object as document. Journal of Documentation, 68(1), 45-71.
Meehan, N. (2020). Digital Museum Objects and Memory: Postdigital Materiality, Aura and Value. Curator: The Museum Journal, April (2020).
Monod, E. & Klein, H. K. (2005). A phenomenological evaluation framework for cultural heritage interpretation: From e-hs to Heidegger's historicity. In Proceedings of the Eleventh Americas Conference on Information Systems, (Khazanchi D, Zigurs I, Robey D & Santhanam R, Eds), pp 2870-2877, Omaha, USA.
Ogundipe, A. (2018). How Digitized Art May Invite or Inhibit Online Visitor Participation (and Why It Matters for Art Museums). International Journal of the Inclusive Museum, 11(3), 51–72.
Pallud, J., & Monod, E. (2010). User experience of museum technologies: The phenomenological scales. European Journal of Information Systems, 19(5), 562-580.
Quigley, O. (2019). Engaging object visitor encounters at the museum: A phenomenological approach (Order No. 27673026). Available from ProQuest Dissertations & Theses Global.
Smith, D. W. (2013). Phenomenology. In Edward N. Zalta (ed.). The Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/archives/sum2018/entries/phenomenology/
Tallon, L. (2018, Oct). If Open is the Answer, What Was the Question? xTalk Conferences. https://www.youtube.com/watch?v=FU2o8YgusaE
Tam, C. O. (2006). Understanding museum visitors' experience of paintings: A phenomenological study of adult non-art specialists (Order No. U219315). Available from ProQuest Dissertations & Theses Global.
Published
2023-09-01
How to Cite
YUXIN, Wang. Redesigning Museum Display Models in The Context of Digitalization. International Journal of Business and Technology Management, [S.l.], v. 5, n. 3, p. 213-219, sep. 2023. ISSN 2682-7646. Available at: <https://myjms.mohe.gov.my/index.php/ijbtm/article/view/23748>. Date accessed: 13 june 2024.
Section
Articles