ºÝºÝߣs from Marie Baurins & Margo Tinawi's presentation at the kick-off conference BeMuseum (14th October 2016, Royal Museums of Fine Arts of Belgium, Brussels).
KDE is a free and open-source desktop environment and graphical user interface for Linux and other operating systems. It was started in 1996 and has a large community of over 35-40 million users. KDE provides applications for office productivity, multimedia, internet, and more. Its desktop interface Plasma features widgets and advanced graphical effects. It also integrates online services through its Semantic Desktop. KDE is available on many operating systems and there are many ways for users to get involved through translation, development, design, and other contributions.
The aim of the project ‘From Real to Virtual’ supports the translation of insights from face-to-face meetings, such as a workshops, into a virtual format so that insights can be shared, developed, and acted upon by a wider community, be it inside organizations or among customers across dispersed geographical locations.
more: clicresearch.org/peter-pribilla-stiftung/?page_id=122
The aim of the project ‘From Real to Virtual’ supports the translation of insights from face-to-face meetings, such as a workshops, into a virtual format so that insights can be shared, developed, and acted upon by a wider community, be it inside organizations or among customers across dispersed geographical locations. The ambition of this project is to enable exploration and continuation of face-to-face encounters by transferring essential insights into virtual realms where it can be picked up by (a) a larger number of participants, and (b) across a wider spatial/geographical dispersion. The solution developed by the project team will support this so far untackled issue. By doing so, this project will enable the shift from rather synchronous idea generation processes - mostly taking place in the face-to-face contexts - to rather asynchronous innovation processes - mostly taking place in virtual settings. A crucial factor to be taken into consideration in the transfer from ‘real’ to ‘virtual’ is the influence of different cultures, be it at the organisational, industry or national level. Thus, in our project we will try to enhance our understanding of the influence of culture (a) when moving from ideation to enactment or implementation (b) transferring ideas, and insights from the real to the virtual world, and (c) sharing insights, and ideas generated in a small community with a larger audience, which is often unknown in its diversity.
This document discusses event-based object identification, a concept developed by PACKED vzw to enrich digital cultural heritage data. It summarizes PACKED's work on persistent identification projects since 2013 and introduces the concept of using "events" to describe different stages in an artwork's lifecycle, such as creation, ownership pedigrees, exhibitions, and restorations. It provides examples of linking artwork data to external sources like Wikidata using event URIs and ISO 8601 dates. The document outlines benefits for museums in improving data accessibility and visibility, and for users in accessing richer contextual information through a resolver tool.
This document summarizes work done by PACKED vzw on persistent identification and event-based object identification. PACKED vzw is a non-profit focused on digital heritage preservation founded in 2005. In 2011, they became a Centre of Expertise in Digital Heritage. The document discusses projects PACKED has done on persistent identification from 2013-2015 and their concept of using "events" to provide contextual data about objects. It provides examples of event types like creation, ownership history, exhibitions, and restorations. It also summarizes the demonstrator, resolver tool, and use of OpenRefine they have created to work with persistent IDs and event-based data.
Chris Hunt is a creative technologist and founder of a technology consultancy called Controlled Frenzy. He explores new technologies through audience-focused prototypes, products, and installations. He created an interactive map using open-source tools to visualize establishing Britain's first linear forest.
Joint 2-3 hour workshop series, Fall 2014 for our UNCG Libraries LSTA grant on makerspace education along with the UNCG Library and Information Studies Department outreach to students and alums. 10/25/14 Wilmington, 11/5/14 Raleigh, 11/6/14 Charlotte, 11/8/14 Asheville
This document discusses Europeana, a digital platform that aims to provide access to Europe's cultural heritage collections that are distributed across different institutions.
It summarizes the vision for Europeana in 2006 to create a common access point to search digital cultural collections online across Europe. By 2011, the vision was for Europeana to act as an aggregator, distributor, catalyst, innovator and facilitator that generates revenue from Europe's digital cultural collections. While progress had been made by 2009 with nearly 5 million objects and partnerships with 200 institutions, more work remained to be done to achieve the full 2011 vision, such as improving data, solving intellectual property issues, and securing long-term funding.
El documento contiene una lista de números y letras desordenados sin una estructura clara. Resume la información al decir que el texto presenta una lista aleatoria de sÃmbolos sin una idea principal o mensaje claro.
Convergex's Event Trading model provides a cost-effective way for asset owners to reduce transaction costs when making portfolio adjustments on their own initiative. It is an alternative to traditional transition management that works well for more straightforward restructurings involving a single asset class. The Event Trading team executes client-initiated trades and provides analysis and guidance. Event Trading transactions tend to be smaller than what many transition managers accept, so Convergex's model offers asset owners savings on smaller planned portfolio changes relative to transition management.
Lifting the Fog from FOG Receiving - Final GuptaRashi Gupta
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This document summarizes a presentation on receiving and handling fats, oils, and grease (FOG) at wastewater treatment facilities. It discusses results from a survey of 10 facilities on their FOG receiving processes, equipment used, operation and maintenance issues, impacts on digester gas production, and economics. Key findings included highly variable FOG characteristics, significant increases in digester gas production from FOG digestion, and higher than expected operation and maintenance costs due to the abrasive nature of FOG. Facilities reported changing equipment to increase durability and adopting different feeding methods to optimize digester performance over time. Economics depended strongly on local tipping fee rates and quantity of FOG received. The presentation concluded that successful F
ºÝºÝߣs from Pierre-Yves Lochon's presentation at the kick-off conference BeMuseum (14th October 2016, Royal Museums of Fine Arts of Belgium, Brussels).
presentation of Museomix at Makerfaire Rome (oct 2013)arthur schmitt
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This document describes Museomix, an international event where participants spend 3 days prototyping new digital experiences for museums. The 2013 edition involved "makeathons" at multiple museums simultaneously. Participants included designers, developers and others interested in innovating museums. During Museomix, interdisciplinary teams invented prototypes like interactive games, apps and exhibits to engage visitors in new ways. The goal is to experiment with cultural mediation and open new possibilities for collaborative, connected museums of the future.
El documento contiene una lista de números y letras desordenados sin una estructura clara. Resume la información al decir que el texto presenta una lista aleatoria de sÃmbolos sin una idea principal o mensaje claro.
Convergex's Event Trading model provides a cost-effective way for asset owners to reduce transaction costs when making portfolio adjustments on their own initiative. It is an alternative to traditional transition management that works well for more straightforward restructurings involving a single asset class. The Event Trading team executes client-initiated trades and provides analysis and guidance. Event Trading transactions tend to be smaller than what many transition managers accept, so Convergex's model offers asset owners savings on smaller planned portfolio changes relative to transition management.
Lifting the Fog from FOG Receiving - Final GuptaRashi Gupta
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This document summarizes a presentation on receiving and handling fats, oils, and grease (FOG) at wastewater treatment facilities. It discusses results from a survey of 10 facilities on their FOG receiving processes, equipment used, operation and maintenance issues, impacts on digester gas production, and economics. Key findings included highly variable FOG characteristics, significant increases in digester gas production from FOG digestion, and higher than expected operation and maintenance costs due to the abrasive nature of FOG. Facilities reported changing equipment to increase durability and adopting different feeding methods to optimize digester performance over time. Economics depended strongly on local tipping fee rates and quantity of FOG received. The presentation concluded that successful F
ºÝºÝߣs from Pierre-Yves Lochon's presentation at the kick-off conference BeMuseum (14th October 2016, Royal Museums of Fine Arts of Belgium, Brussels).
presentation of Museomix at Makerfaire Rome (oct 2013)arthur schmitt
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This document describes Museomix, an international event where participants spend 3 days prototyping new digital experiences for museums. The 2013 edition involved "makeathons" at multiple museums simultaneously. Participants included designers, developers and others interested in innovating museums. During Museomix, interdisciplinary teams invented prototypes like interactive games, apps and exhibits to engage visitors in new ways. The goal is to experiment with cultural mediation and open new possibilities for collaborative, connected museums of the future.
Museums in an age of rapid digital change: The Science Museum Group Digital LabJohn Stack
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This document discusses how museums are adapting to rapid digital change. It outlines how the Science Museum Group is transforming audiences experiences through digital strategies like enhancing digitization of collections, hosting hackathons for developers, creating virtual reality experiences, and remixing collections. The Digital Lab at the Science Museum Group focuses on being agile, testing with audiences, and working in partnerships to provide exciting new ways for museums to fulfill their missions in a digital age.
This document summarizes Sara Barbieri's final dissertation in Sociology of Work, Organization and Information Systems. It examines the organization of a new 3D virtual reality museum exhibition called AVATAR that was launched in 2009. Barbieri followed the curator and other staff for seven months as they designed, built, and tested the virtual worlds and interactive stations that made up the exhibition. Her research analyzed how the various elements, from technology to exhibits to staff, came together through collaborative problem-solving to transform the initial project idea into a functioning museum exhibition. She used ethnographic and actor-network theory approaches to document the daily activities and solutions that bridged heterogeneous components into a cohesive new expositional format.
1. The document discusses the growth of digital public spaces and fablabs in Rennes, France that provide resources for citizens to make and create projects.
2. Over 100 projects have been created so far in areas like 3D printing, programming, and electronics by a wide community including students, engineers, artists and more.
3. The network of fablabs and digital spaces continues to expand to new areas with the goals of being more inclusive and testing sustainable business models to support prototyping, skills training, and collaboration between citizens and companies.
Presentation of shared mobile museum project at Social Media Week Copenhagen, Statens Museum for Kunst, Feb 21, 2013 #SMWCPH
NOW with updated figures for Twitter use in Denmark, based on research by Bysted
http://bysted.dk/globalsite.aspx?ObjectId=f9db99be-5d76-4bd8-8c3b-488a740c2424
This document discusses various interactive technologies that can be used in museums to enhance visitor experience, including interactive floors, augmented reality, tables, virtual rooms, objects, and screens. It describes how these technologies let visitors discover and learn on their own through interactive content that can be easily created and scheduled without coding. Examples are given of museums that have implemented these interactive solutions.
The document discusses the development of social and mobile applications for a wireless campus. It describes several applications currently under development, including a mobile museum guide, a multimodal group communication hub, and a sensor-based navigation system. It emphasizes that the wireless campus aims to be a test bed for new mobile services and applications in domains like education, culture, and social networks. The focus is on providing a living lab environment to build, test, and evaluate innovative mobile technologies.
Presentazione di Nathalie Goethals, iDrops, al Festival dell'Innovazione 2013 nell'ambito di "CROSSOVER CREATIVITY LAB" - The HUB, c/o Fiera del Levante - 24 maggio 2013
This document announces the X Media Lab conference in Switzerland in September 2013. It will include a one-day Pro-Day conference on September 27th featuring keynote presentations from 16 transmedia experts. There will also be a weekend of masterclasses on September 28-29 where attendees can learn new skills from the speakers. Additionally, the Lab on those dates will provide one-on-one mentoring for 16 projects selected to work with the speakers on developing their ideas. The event aims to help people and companies realize new forms of transmedia content through networking and learning from industry leaders.
The Waag Society is an institute for art, science and technology located in Amsterdam. It brings together users, designers, programmers, artists and scientists from various disciplines to collaborate on projects using an approach called "users as designers". The Waag Society operates several labs and facilities such as a FabLab for digital fabrication. It has worked on many open data and mobile application projects in Amsterdam around themes like education, mobility and urban planning. The goal is to empower users and citizens through open sharing of data and technologies.
Collaborative spaces, open communities, and smart cities, share one similar objective: designing the commons as a third way between the State and the Market. #RGCS2020 will be focused on building commons (digital, community-based, in organization) to explore new ways of collaborating, innovating, and creating knowledge.
A historical panorama of digital cultural mediation projects designed by reciproque since 15 years. Plus some case studies presented to 2020 - 2021 students.
1. The document discusses the importance of museums adopting social media platforms like Facebook, Flickr, YouTube, and blogs to engage with modern internet users and encourage participation, sharing, and community building.
2. It provides examples of leading museums that have created popular presences on various social networks and highlights best practices.
3. The Museu Picasso project aims to fully integrate social media into its operations by establishing profiles on key platforms and encouraging user-generated content to make its collection more accessible and engage new audiences.
1. The document discusses the importance of museums adopting social media platforms like Facebook, Flickr, YouTube, and blogs to engage with modern internet users and encourage participation, sharing, and community building.
2. It provides examples of leading museums that have created popular presences on various social networks and highlights best practices.
3. The Museu Picasso project aims to fully integrate social media into its operations by establishing profiles on key platforms and encouraging user-generated content to make its collection more accessible and engage new audiences.
Alexy Karenowska, from the Institute for Digital Archaeology #BeMuseum2016Jennifer Beauloye
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ºÝºÝߣs from Alexy Karenowska, Director of Technology at
the Institute for Digital Archaeology, at the kick-off conference BeMuseum (14th October 2016, Royal Museums of Fine Arts of Belgium, Brussels).
Will new technologies offer a viable alternative to temporary exhibitions? That's the question that we'll try to answer through the Bruegel box, an immersive art project by the Royal Museums of Fine Arts of Belgium.
This project is the concretization of a deep reflection on the changes taking place in the field of museology. In this digital age, the Bruegel box (or any other painter's box) will enable us to explore new possibilities and will become the setting for a new museum space. The technology will serve the art, facilitating its access when physical transportation becomes increasingly binding. It also allows us to expand the museum experience and the meeting with the art pieces, by exporting the project abroad when the work itself can't be loaned overseas anymore.After an introduction of the project, from the original ideas that initiated it to its actual production, we will share our experience with the delegates. We will review both the technical and human difficulties that were faced throughout its production.
Our overall aim is to raise questions on the future of museums in the digital age, opening up a debate. Is it this the future of the temporary exhibition? Will technology offer an alternative to broadcast our collections and enable museums to stay economically sustainable? Will future generations still be more likely to visit museums if we only can display digital or 3D printed duplicated masterpieces in order to protect our cultural patrimony? How to find the good balance between entertainment and scientific researches? And what about the "aura" of the pieces of art (W. Benjamin)? By being the 21st century museums, we need to redefine our fundamental missions.
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