Online Exhibition Research Articles

Buildings of Texas

This note describes an ongoing project at the University of Texas Libraries (UTL) that is transforming the way we think about place, people, and events in managing archival collections. This project was developed around a dataset donated by architectural historians, Gerald Moorhead and Mario Sánchez to the Alexander Architectural Archives. This dataset was collected by a team of researchers studying architecturally significant buildings for the two-volume publication, Buildings of Texas. Our team at UT Libraries has used it as a test-bed for geolocating built works in Texas and mapping our Architectural collections. This dataset presented a clear opportunity to develop map-based digital exhibitions and finding aids for archival material, but also posed several challenges due to naming ambiguities, vague building location descriptions, and repeated references to people and architectural firms that were difficult to disambiguate and interconnect. In an attempt to overcome these challenges and develop a set of methods for dealing with similar and related collections, our cross-disciplinary team is evaluating ways to develop a flat spreadsheet into a collection of inter-related datasets. Our goal was a system that could be managed more flexibly, be easily represented through spatial and non-spatial visualizations, and—crucially—contain references to concepts and typologies defined in widely-used ontologies. We have also sought ways to contribute our data as a local authority to both the Getty vocabularies and Wikidata, as a means to broaden representation and allow for multivocality and multiplicity. We have found unique advantages to a team-approach to the cleaning and data normalization process that transformed a single spreadsheet into a graph database. Our experimentation in this process has facilitated our own visualization of the connections between places, people, and events and, in turn, has informed the way we will present this material in our online exhibitions. In addition to the graph database, we explored traditional relational database technologies, which turned out to be much easier to use for mapping the data and managing it with GIS software. Throughout the project, we have been mindful of breaking down traditional modes of archival description, of contributing to but also looking beyond perceived authorities, and about the value of the work we do for architectural artifacts and landscapes, but also any cultural heritage community of practice seeking to meaningfully describe artifacts, events, people, and places over time.

From the physical to the digital: Encounters in the KKNK online gallery

This study explores the processes and curatorial techniques that support corporeal engagements with online exhibitions. Exhibitions, physical and otherwise, are a complex interplay between spaces - real and imagined -audiences, and tangible or intangible objects. This is a guiding notion of this article, supported by Merleau-Ponty's perspective of the relation between internal human experiences and the external bodily encounters that shape them. I maintain that differing digital curatorial presentations can enhance or subdue the embodied interaction of visitors. By relying on my lived experience of navigating the transfer of the Klein Karoo National Arts Festival's visual arts programme of 2020 to the online sphere, I discuss various strategies deployed to encourage embodied engagement. Amongst other findings, the study underscores the need to consider audience preferences and allowing visitors a sense of agency to choose how they want to engage artwork online. Even though the arena of exchange might differ, I argue that all exhibitions, whether online or brick-and-mortar, provide audiences with the possibility of an engaging experience. In addition to the exhibition itself, viewers embody another energy - and it is the viewer's deliberate performance and choice to interact that produces the distinctive experience of an exhibition.

Adaptation of the e-servicescape model to the online exhibition industry

PurposeThe servicescape model has been widely adapted in various service industries, but this model may not be applicable if the exhibition is transformed from physical to online. Moreover, there is only a handful of research on online exhibitions; studies focusing on visitor behaviors from various types of online exhibitions and the differences between genders are still lacking. This study aims to examine the different variables in the e-servicescape model and discuss how e-servicescape affects visitor behavior based on the exhibition types and gender differences.Design/methodology/approachThe e-servicescape model is adapted in this study. Qualitative interviews were conducted prior to a quantitative online survey to examine by regression analysis the relationships among the dimensions in e-servicescape and how it affects visitor subsequent behavior. Data analyses are based on the differences between exhibition types and gender differences in response to the three environmental dimensions, namely, aesthetic appeal, layout and functionality, and security concern.FindingsThe findings show that visitors pay more attention to artistic enjoyment in art-related exhibitions and focus on informative issues in other types of exhibitions. “Aesthetic appeal” and “layout and functionality” are important to both genders, but little concern is shown to computer security issues. Female visitors are concerned with aesthetic design and male visitors stress layout and functionality elements. In terms of the security concerns, females have no concern about cookies function, while males have no concern on leaving search history on the website.Originality/valueThere is no previous relevant research on the relationships and influence between e-servicescape and online exhibition; this study focuses on the application of e-servicescape to the online exhibition industry and helps fill this research gap.

Evaluation of Local Online Exhibition Practice under the Guidance of the Model of Analysis of Online Exhibition: A Case Study

Due to the widespread application of the World Wide Web (WWW) and virtual reality (VR), online exhibition has become a popular choice among museums, especially after the COVID-19 pandemic struck the industry. The evaluation and analysis of online/virtual exhibitions conducted by previous research studies were abundant. However, the online exhibition held by local and small-scale museums needs further research. Therefore, the study took the online exhibition of the National Exhibition of Outstanding Works of Calligraphy and Seal-cutting launched by the Tianjin Art Museum, a relatively small and local museum, as an example. Using the "Model of Analysis of Online Exhibitions", it looked at the online exhibition from three dimensions, namely, design of interaction, content, and degree of correspondence. The evaluation directed by the observation methodology found that the exhibition's interaction design was limited, while faithfully representing the physical one and having a high level of correspondence. Through the analysis, the study aimed to reflect on local practices and inspire better planning of online exhibitions in the future.

Інноваційні маркетингові інструменти просування промислової продукції в мережі Інтернет

The article is devoted to the study of features of promotion of industrial products in the network. The publication is aimed at studying the peculiarities of using innovative digital marketing tools in the process of transforming the relationship between the brand of industrial products and the consumer. The characteristic features of using actual client-oriented means of promoting products on the Internet are investigated and generalized: non-standard advertising media; online exhibitions, online auctions; web conferencing; systems of interaction with sellers; methods of website promotion in social networks; mobile advertising; augmented reality. It is proved that the integrated use and innovative updating of marketing tools allows constantly expanding the customer base, increasing the level of competitiveness of industrial products, stimulating customer loyalty, strengthening ties with the target audience, and also contributes to reputation strengthening, organic growth in the number of users of products, increasing the level of retention of the target audience, increasing the number of repeat purchases, increasing the amount medium check, increasing the company’s profits. It is noted that this is facilitated by the fullest use of the possibilities of personalizing customer experience, increasing customer satisfaction due to maximum convenience of product consumption, guaranteed satisfaction of expectations, ensuring effective feedback, meticulous and thoughtful work with negative customer reactions. The modern tools of the Marketing 4.0 concept considered in the publication and the peculiarities of their use in the digital environment of the Internet presented in detail formed the basis of the formulated proposals for the introduction of new brand development strategies, the content of which is to attract customers to the development and updating of the concept of industrial products, its adjustment in accordance with the personal preferences of consumers, the creation of “ideal” offers. The use of digital marketing opportunities in combination with the combined application of the latest strategies for promoting industrial products allows more efficient use of dynamic pricing tools, promotes the practical introduction of many channel sales of products, maximizes the processes of attracting customers to the formation of added value of the manufacturer, really saves the marketing budget, optimizes in real time the level of production workload capacities of manufacturers of industrial products.

I’m Free Because I’m a Fugitive—I’m a Fugitive Because I’m Not Free

I’m Free Because I’m a Fugitive—I’m a Fugitive Because I’m Not Free

A Letter from the Editors-in-Chief

A Letter from the Editors-in-Chief

Panteleimon Kulish’s Scientific and Creative Heritage in Digital Funds of Ukrainian Libraries and Archives

The purpose of the study is to examine the activity of libraries and archives as social memory institutions in digitising process of the scientific, creative, and epistolary heritage of the Ukrainian culture outstanding figures, in particular Panteleimon Kulish, who was the most prominent representative of the "new Ukrainian intelligentsia" of the 19th century, which stood at the origins of the Ukrainian cultural regeneration. The research methodology has been based on the information-analytical method, objectivity principle, informational and complex approaches. Scientific novelty. The dissemination of biographical knowledge about P. Kulish in modern biographistical and biobibliographical studies through creating online exhibitions based on digitised information sources about the life and work of P. Kulish is available in scientific practice and posted on the websites of archives and libraries of Ukraine. These include the books published within the writer’s lifetime, publications that have long been considered as bibliographic rarities, copies of the “Osnova” (“The Foundation” journal)) recognised as national cultural property, as well as P. Kulish's correspondence with contemporaries have been impartially explored from the scientific objectivity and Panteleimon Kulish digital personal funds popularisation points of view. Conclusions. Modern perspective directions of Ukrainian libraries and archives practice related to the reproduction of information sources about P. Kulish in digital formats with the help of informational and communicational technologies in online exhibitions enable the implementation of the created integrated information resource into the global humanitarian practice space; as well as the captivation of users wide range and their involvement into the social memory institutions. Key words: Panteleimon Kulish, P. Kulish’s scientific and creative heritage, P. Kulish’s epistolary heritage, National Archival Fund, Ukraine. digitalisation, Internet.

ІННОВАЦІЇ В ПІДГОТОВЦІ МАЙБУТНІХ УЧИТЕЛІВ ТЕХНОЛОГІЙ В УМОВАХ ДИСТАНЦІЙНОГО НАВЧАННЯ

The article updates the issue of professional training of future technology teachers to work in the conditions of the New Ukrainian School. The necessity of forming students' awareness of Ukrainian traditional culture, the study of folk decorative art, which is an important component of the national culture of the Ukrainian people, is noted. The relevance of the issue of finding and implementing innovative teaching methods in the educational process is proven, which should ensure the effective training of future technology teachers in the conditions of distance learning, contribute to the improvement of the quality of education in academic disciplines, effectively prepare students for future work, and form their readiness to use the best heritage of Ukrainian culture in the implementation of tasks of technological education of schoolchildren. Attention is focused on the fact that the organization of the educational process of future teachers of technology according to the educational components «Decorative and applied creativity», «Technology workshop», «Folk crafts of Ukraine», «Design and decorative art» needs appropriate visualization, familiarization with exhibits of ethnographic collections and collections in museums and ethno galleries. It is noted that in today's conditions, during the martial law, virtual projects have become an alternative to traditional tours of the pre-war period, access to which is realized through the Internet. Museums, ethno-galleries are digitizing their collections, placing them in the format of catalogs or virtual galleries on their own websites. They also create online exhibitions and virtual exhibition projects. This makes it possible to attract young students to the heritage of Ukrainian culture at a completely new level of distance learning. It was concluded that the focus of modern technologies on deepening the experience of interaction with art and cultural heritage, expanding the capabilities of the observer, allows us to provide adequate conditions for the study of educational components related to decorative art. It also creates conditions for informal education and gaining knowledge about Ukrainian traditional culture. Key words: future technology teacher, distance learning, decorative and applied arts, virtual project, online exhibition, Virtual 3D exhibition, educational process.

Patient Zer0

Patient Zer0 is an interactive generative artwork, designed around the poem “In Memory of Anyone Unknown to Me” by Elizabeth Jennings and created during the first confinements imposed by the COVID-19 pandemic in 2020. While it has been showcased in several online exhibitions, this article details and analyses, for the first time, the artwork's algorithmic approach, as well as its aesthetics, the different media components, and the artist's intentions behind their inclusion and combination. In line with Springgay's, Irwin's, and Kind's a/r/tography, a recent creative research method is presented here, a/r/cography, which is complemented by a phenomenological dimension, as the author experienced the events from a physical, intellectual, and emotional perspective, in isolation, while at home in Portugal. The whole process was documented in a digital journal, which not only supported the underlying research but also documented the artwork variants and evolution. Patient Zer0 was entirely coded in Processing.js.

Introduction to Special issue

Introduction to Special issue

Two Poems from Shadow and Light: Part of the Al-Mutannabi Street Starts Here Project

Two Poems from Shadow and LightPart of the Al-Mutannabi Street Starts Here Project Persis Karim (bio) Click for larger view View full resolution Click for larger view View full resolution [End Page 32] Shadow and Light was instigated by San Francisco Bay Area poet and activist Beau Beausoleil as part of a recent ancillary project of Al-Mutanabbi Street Starts Here (to learn more about this project, see WLT, Sept. 2013, 72). Al-Mutanabbi Street Starts Here began as a response to the bombing that occurred on March 5, 2007, in the street of the booksellers in Baghdad, Iraq. He was compelled to respond to this horrific bombing; it began as a reading at the San Francisco Public Library where I first met Beau and asked to be a part of this project. Beausoleil saw the bombing as an assault on ideas, on books, on free speech, and on the very idea of culture itself; at the time, he himself was a San Francisco bookseller, and it felt close to him. Since 2007 Al-Mutanabbi Street Starts Here has grown from a series of readings to an edited volume of poems, a book exhibit, a collection of broadsides, and annual readings around the world to commemorate the Al-Mutanabbi Street bombing. Shadow and Light specifically memorializes the lives of academics, teachers, and educators who were killed in targeted assassinations between 2003 and 2013, a time frame roughly paralleling the US-led invasion and occupation of Iraq. Those who have contributed to Shadow and Light are writers, photographers, and poets from all over the world who select the name of an assassinated Iraqi academic from a list of 324 murdered academics compiled by a Spanish NGO, take a picture, and respond to the photo and the information about the person who was killed. Beau has specifically asked those connected to Al-Mutanabbi Street Starts Here to participate in this open project, but Beausoleil wants as many others, who wish to, to participate in these acts of solidarity and witnessing. "Honoring the lives of those who were killed for the simple act of teaching/educating is an impossible task—that is why we must attempt to do it again and again," writes Beausoleil in his many emails of invitation to respond to the call. During their lifetimes, the men and women memorialized in Shadow and Light enriched diverse fields of knowledge—from history to calligraphy to the study of bees. Each assassination represented an attack on the underlying principle of education—to share knowledge—and served as a threat to scholars throughout Iraq that they were at risk. Estimates of the total number slain is about seven-hundred-plus individuals. Some of their names are still unknown, and many died with little information recorded about them. In a statement, the 2021 UC Santa Barbara online exhibition describes Shadow and Light as operating "as both a collective and artistic response but also constitut[ing] an archive, as both a testament to the lives of Iraqis and of international solidarity." Those who respond to the accompanying photographs they submit convey stories and bits of information pieced together from news sources about each person's life and death. To date, there are more than seventy-five contributors to "Shadow and Light." Exhibits and readings have been held in San Francisco (2022), UC Santa Barbara (2021), and London (2021); forthcoming exhibits of Shadow and Light will be held at London's P21 Gallery, the University of Iowa, University of Pennsylvania, University of Michigan, and University of Illinois in 2023. This project is still open, and Beau Beausoleil invites others to write to him to participate and receive the guidelines. You can email him at overlandbooks@earthlink.net. One needn't be a professional photographer to join. What follows are my contributions of photos and poems about a wife and husband, both law professors in Mosul, who were murdered on two separate occasions between 2004 and 2005. Click for larger view View full resolution [End Page 33] In the Time of Cherries by Persis Karim This is your name, not just your death, the daysomeone gunned you down at the brokenstone gates in...

An Online Art Project Based on the Affirmative Model of Disability in Japan

AbstractIn recent years, disability has become a site for knowledge and artistic creation. In this study, local governments, universities, art museums and non‐profit organisations collaborated from 2019 to 2022 to implement an online art project for people with disabilities during the Covid‐19 era. The project's goal was to enhance the identity of people with disabilities, promote their interest in museums and artwork as local resources and engage them in society. The project was conducted in three phases with a sequence of connections using the affirmative model of disability by Swain and French (2000) as the theoretical framework. In Phase 1, we surveyed 370 people with disabilities and their supporters living in Hiroshima Prefecture to clarify the conditions promoting or hindering their appreciation of art exhibitions and the use of digital devices. In Phase 2, we conducted an online interactive appreciation workshop at a museum for seven people with disabilities based on the Phase 1 survey results. In Phase 3, an online exhibition was held using the artwork seen in Phase 2, and words and photographs were used as methods of expression. The interactive appreciation workshop and exhibition was built to provide the participants a safe and comfortable online alternative space, which led to individual empowerment and enhanced collaboration in the disability community. This study advocates the value of coexisting and co‐prosperous inclusion rather than inclusion that necessitates people gathering in the same place.

Preparing an exhibition in the post-pandemic era: Evidence from an O2O-based exhibition of B2B firms

This study investigates an O2O-based exhibition, and specifically examines how the perceived trust toward the online exhibition affects the offline exhibition based on the trust transfer theory. To solve this research question, a survey was administered in the Korea Machinery Fair (KOMAF) exhibition from October 22 to October 25, 2019. A total of 205 responses from the participants of B2B firms were analyzed, and the results indicated that participants' perceived trust from the online influencers, including the O2O platform, organizer, and exhibitors, positively influenced online satisfaction. An increased online trust-satisfaction also positively affected offline value-satisfaction toward the exhibition consisting of reduced perceived risk as well as utilitarian, hedonic, and social value. Finally, the online and offline satisfaction of B2B firms toward the exhibition helped increase O2O loyalty in the Exhibition.

Psychological distance and user engagement in online exhibitions: Visualization of moiré patterns based on electroencephalography signals.

The COVID-19 pandemic has significantly affected the exhibition of artworks in museums and galleries. Many have displayed their collection online. In this context, experiencing an online exhibition is essential for visitors to appreciate and understand the artwork. Compared with offline exhibitions, visitors to online exhibitions are often unable to communicate their experiences with other visitors. Therefore, in this study, by facilitating communication via Zoom call, we established a system that allows two people to visit the museum together through the Google Arts and Culture (GA&C) website. To reduce the psychological distance between online visitors and help increase user engagement, we designed and developed a media device based on moiré pattern visualization of electroencephalography (EEG) signals. The participants were divided into two groups to visit the online museum, communicating remotely through Zoom. The objective of this study was to test whether a real-time EEG signal visualization device could help close the psychological distance between participants and whether it could increase user engagement with the online exhibition. Participants were randomly assigned to either the normal online exhibition experience (NOEE) group or EEG signal visualization device (ESVD) group. Participants in the NOEE group experienced four online exhibitions (Task1, Task2, Task3, and Task4) together (two participants per test unit). The conditions for participants in the ESVD group remained the same, apart from adding a media device to enable them to visualize EEG signals. A total of 40 university students participated in this study. Independent samples t-tests revealed that participants in the ESVD group perceived a significantly closer psychological distance between themselves and the participants on the opposite side than those in the NOEE group (t = −2.699; p = 0.008 < 0.05). A one-way ANOVA revealed that participants experienced Task3 with significantly closer psychological distance assessments than Task1 (p = 0.002 < 0.05), Task2 (p = 0.000 < 0.05), and Task4 (p = 0.001 < 0.05). Repeated ANOVAs revealed that participants in the ESVD group had higher overall user engagement than those in the NOEE group, with marginal significance (p = 0.056 < 0.1). Thus, this study shows that EEG visualization media devices can reduce the psychological distance between two participants when experiencing an online exhibition. Moreover, it can increase user engagement to some extent.

Khatt Islāmi: Sacred Scripts from Islamic Africa

Khatt Islāmi: Sacred Scripts from Islamic Africa

After All Is Said and Done: On Fluid Solidarity and Survival

After All Is Said and Done: On Fluid Solidarity and Survival

메타버스환경에서 온라인 개인 전시 방법 연구

This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.

Can a Brief Interaction With Online, Digital Art Improve Wellbeing? A Comparative Study of the Impact of Online Art and Culture Presentations on Mood, State-Anxiety, Subjective Wellbeing, and Loneliness.

When experienced in-person, engagement with art has been associated—in a growing body of evidence—with positive outcomes in wellbeing and mental health. This represents an exciting new field for psychology, curation, and health interventions, suggesting a widely-accessible, cost-effective, and non-pharmaceutical means of regulating factors such as mood or anxiety. However, can similar impacts be found with online presentations? If so, this would open up positive outcomes to an even-wider population—a trend accelerating due to the current COVID-19 pandemic. Despite its promise, this question, and the underlying mechanisms of art interventions and impacts, has largely not been explored. Participants (N = 84) were asked to engage with one of two online exhibitions from Google Arts and Culture (a Monet painting or a similarly-formatted display of Japanese culinary traditions). With just 1–2 min exposure, both improved negative mood, state-anxiety, loneliness, and wellbeing. Stepdown analysis suggested the changes can be explained primarily via negative mood, while improvements in mood correlated with aesthetic appraisals and cognitive-emotional experience of the exhibition. However, no difference was found between exhibitions. We discuss the findings in terms of applications and targets for future research.

What If Artificial Intelligence Become Completely Ambient in Our Daily Lives? Exploring Future Human-AI Interaction through High Fidelity Illustrations

As artificial intelligence (AI) has become prevalent in users’ daily lives, it is becoming critical for HCI designers to envision and design future human-AI interactions. Recent studies have highlighted the importance of exploring user-centered future design directions before implementing a technology in users’ lives. However, it is challenging for HCI designers to envision the societal impact of future technology that does not exist and understand potential users’ perceptions. Therefore, to comprehensively envision future human-AI interactions and their impact and elicit potential users’ perceptions of the future technologies, we created high-fidelity illustrations with designers and illustrators for immersive experience. Subsequently, through an online exhibition of these illustrations, we derived potential users’ perceptions, expectations, and concerns about the future. Based on our findings, we explored user-centered considerations for implementing AI in users’ daily lives through elaborately articulated human-AI interactions.