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In the digital age museums are still important essay

185 5 months ago
It suggests that such art might be better represented in institutions such as Tate, which in turn might help them engage with the question of what their own role might be in the digital age. The digital culture we now live in was hard to imagine twenty years ago, when the Internet was hardly used outside science departments, interactive multimedia was just becoming possible, CD s were a novelty, mobile phones unwieldy luxuries and the World Wide Web did not exist. The social and cultural transformations made possible by these technologies are immense. During the last twenty years, these technological developments have begun to touch on almost every aspect of our lives.
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Exploring key trends in digital experience beyond the museum sector

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6 Reasons Why Grammar Still Matters in the Digital Age - PRNEWS

After 18 years of lobbying to create a national women's history museum in our nation's capital, Congress has approved the formation of a privately funded, bi-partisan commission to study and produce a plan for the Museum. NWHM pursued the creation of a commission in hopes of securing a site on or adjacent to the National Mall - our nation's premier symbolic space. Throughout the nearly two decades I've spent working to build the museum there have been some who question whether or not physical museums are still necessary or even relevant. To that, I say, they most certainly are!
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How digital tech can bridge gaps between museums and audiences

With museums worldwide closed as a result of the coronavirus, many are finding innovative ways to connect with audiences digitally. But can the online experience compare to being in a physical gallery? During the following weeks, the museums were packed with dazed New Yorkers looking for solace in their favourite works of art and familiar buildings. The unusual aspect of the coronavirus crisis is that social engagement is the medium of transfer; isolation the prophylactic.
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Lack of internet access for many people used to mean missing out on all that cultural heritage had to offer online. These days we may no longer worry whether our audiences are regularly connected to the internet, but we do make attempts to check whether our social media presence is reaching the right people. We also worry about how best to make meaningful experiences for people whose mobile devices are part of their everyday lives. Perhaps the concept of a single digital divide itself belongs in a museum?
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