[MCN-L] Where did it start? / first audio guide

[Lenore Sarasan]

Two years ago the Museums Association held a 1-day presentation at the Tate
Modern sponsored by Antenna Audio.  The first presentation was absolutely
remarkable and gave the entire history of audio tours and included this
footage.  I can't remember the guy's name who gave the talk but it was one
of the best sessions I ever attended.  Contact the MA and I'm sure they can
give you the details.

-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Loic
Tallon
Sent: Monday, April 27, 2009 8:21 AM
To: mcn-l at mcn.edu
Subject: [MCN-L] Where did it start? / first audio guide

Dear all.

I dug this out for a blog post on Musematic, and thought I'd share it
here too.  It's a link to a piece of Dutch news footage from 1952
about (what I think was) the world's first audio guide.
I particularly like the commentator's emphasis of the words 'tape
recorder', the latest in new technologies!

See http://www.snipurl.com/stedelijk


Cheers,
Loic.


-- 
Freelance researcher / designer
Co-Editor, 'Digital Technologies and the Museum Experience' (Alta Mira
Press, August 2008).
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[MCN-L] Where did it start? / first audio guide

[Lenore Sarasan]

I thought your name was familiar.  It's a great name.  What is it?  Where
else have you given the talk?  Also, I recently did an in-depth analysis of
the Antenna Audio tour and the catalogue for the Frida Kahlo show that was
at the SFMOMA in the fall.  If you're interested in my analysis, email me
off-line and give me a number where I can call you.



-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Loic
Tallon
Sent: Monday, April 27, 2009 11:12 AM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Where did it start? / first audio guide

That was me who gave that presentation!
Its just that I've only recently found the footage online so can share
it better.  (I had limited copyright premissions for the original disc
copy I owned).

Its great you enjoyed the presentation so much though!!  :-)


Thanks,
Loic.


2009/4/27 Lenore Sarasan :
> Two years ago the Museums Association held a 1-day presentation at the
Tate
> Modern sponsored by Antenna Audio. ?The first presentation was absolutely
> remarkable and gave the entire history of audio tours and included this
> footage. ?I can't remember the guy's name who gave the talk but it was one
> of the best sessions I ever attended. ?Contact the MA and I'm sure they
can
> give you the details.
>
> -Original Message-
> From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of
Loic
> Tallon
> Sent: Monday, April 27, 2009 8:21 AM
> To: mcn-l at mcn.edu
> Subject: [MCN-L] Where did it start? / first audio guide
>
> Dear all.
>
> I dug this out for a blog post on Musematic, and thought I'd share it
> here too. ?It's a link to a piece of Dutch news footage from 1952
> about (what I think was) the world's first audio guide.
> I particularly like the commentator's emphasis of the words 'tape
> recorder', the latest in new technologies!
>
> See http://www.snipurl.com/stedelijk
>
>
> Cheers,
> Loic.
>
>
> --
> Freelance researcher / designer
> Co-Editor, 'Digital Technologies and the Museum Experience' (Alta Mira
> Press, August 2008).
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer
> Network (http://www.mcn.edu)
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-- 
E: loic.tallon at gmail.com
W: www.loictallon.com

Please check-out my new book, 'Digital Technologies and the Museum
Experience' (Alta Mira Press, August 2008).
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[MCN-L] Digital Photography Workflow

[Lenore Sarasan]

Maggie et alia,

Here's a book that is coming out that looks like it would be very useful to
you from O'Reilly Publishers.  Their publications are excellent.


The Digital Photography Workflow Handbook


>From Import to Output


By

Juergen Gulbins <http://www.oreillynet.com/pub/au/> , Uwe Steinmueller
<http://www.oreillynet.com/pub/au/2319> 

Publisher:

Rocky Nook

Released:

October 2010 (est.) 

Pages:

552 (est.)

The work that follows the capture of a photographic image - the workflow in
the digital darkroom - has a significant effect on the quality of the final
image. The Digital Photography Workflow Handbook will help you avoid crucial
mistakes as you master the craft of photographic post-processing.

This book provides a step-by-step guide through the photographic workflow,
from image capture, editing, and asset management, all the way to the
perfect photographic print. The workflow presented in this book focuses on
RAW images and is based on two of the most popular and powerful software
tools: Adobe Photoshop and Lightroom.

The Digital Photography Workflow Handbook can be used as a reference or
textbook by both aspiring amateur and professional photographers, as well as
by students.

Lenore Sarasan

CEO, Willoughby Associates, Limited

 

[MCN-L] DATABASE ACCESS FOR CURATORS

[Lenore Sarasan]

IN RESPONSE TO DATABASE ACCESS FOR CURATORS

 

In setting up "rules" for adding and editing information, the specific
features of the specific cms being used are critical to what you can do to
control errors and consistency.  With MIMSY XG, for example, the db
administrator is able to do the following while in other cms, these features
will not be available:

1.  Each curator can have his/her own set of screens -- each screen can be
customized to the curator's individual needs such as which fields to
include, which to exclude, what order the fields appear in, what the field
is called on the screen, help messages for each field specific to the
application or project, and vocabulary controls on any or all fields that
give specific instructions relevant to what the curator is doing.  Among
other elements.  

So, a natural history curator may have a entry/edit/query screen that looks
quite different than the screen used by her colleague in the paintings
department and neither curators' screens may look anything like the screen
needed by the conservator.  The db administrator can set fields to be
read-only or editable or not to appear at all.  The db administrator can
also limit what records in the database can be accessed by any staff member
within his/her security profile.  A single curator may have many sets of
screens, each for a specific project.  For example, if a survey is being
taken on whether arsenic preservatives may be present in bird specimens, the
ornithologist's screen for this project might contain read-only fields by
which the specimens can be located in storage and their identities verified
along with several fields that the ornithologist can record survey
information.  This same screen can be ported to a hand-held or tablet for
ease-of-use in a survey such as this where the curator needs to move around
and between storage areas.  Who updates the record and when is of course
recorded automatically based on the curator's security login.

2.  Accession numbers can only be changed by the db administrator.

3.  Numerous primary fields such as Other Number, Display Title, Maker,
Description, Date Made, etc, retain all changes made to them, who made the
changes and why, as part of an object's running history.  For example, the
decorative arts curator needs to change the attribution on a table from
Thomas Sheraton to Duncan Phyfe.  He has been assigned the ability to update
the Maker field as part of his set of screens.  He queries for the record by
any field value, the record appears on his screen.  When he starts typing
"Duncan Phyfe" into the Maker field, MIMSY XG will prompt the curator for
the reason why the change is being made.  The previous value and the new
value are both stored and each is separately accessible so that on reports,
the curator may want only the current attribution to appear, or in other
instances, the current attribution along with all previous ones.

4.  If a record for "Duncan Phyfe" already exists in the People Master File,
MIMSY will indicate this [regardless of whether "Duncan Phyfe" or "Phyfe,
Duncan" is entered] and automatically attach the object to Phyfe's record.
If "Duncan Phyfe" does not exist in the People Master File, MIMSY prompts
the user to create a record for him asking only whether the name is an
individual or a non-individual and then will automatically create a record
in the People Master File.  This is all done without the curator having to
leave the Object Master screen.  If a record is created in the People Master
File, it will automatically contain the name of the curator and the date he
added "Duncan Phyfe" into the file.  Essentially the same process occurs for
each of the mission-critical fields recorded about an Object as well as for
activities such as Location, Value, Condition, and other key processes.

5.  MIMSY is designed to record as many descriptions as desired, precisely
so that important information isn't lost when staff members' tastes change,
or an exhibition is in the works, or the education department needs a K-8
description.  Each description is retained along with its source, its
purpose (terms can be controlled through "closed" pop-up lists rather than
open-ended ones), its author, and so on.  So a single object may have one or
a hundred and one separate descriptions along with related information about
the description, each of which is separately recorded, and separately
accessible.  Educators can quickly find all of the "published catalogue"
descriptions.  This enables a museum to retain all of the original
information on the handwritten source cards through each exhibit label,
visitor's guide, exhibit catalogue, on-line web displays, physical
descriptions, art historical descriptions, docent tour descriptions, etc.

Sorry that's so long.  There is no reason that information should be lost
once it has gone from paper to electronic form yet I see this repeatedly.
It goes against basic collection management principles that were i

[MCN-L] History of Museum Gaming?

[Lenore Sarasan]

The Milwaukee Public Museum had public quiz stations installed way back in
the 1970s.  They were the work of Dr. Screvin, a fascinating pioneer in
museum audience evaluation.  

The Museum of Science and Industry in Chicago had a series of interactive
games throughout the museum back in maybe the 1980s.  Kids lined up to use
them and they weren't simplistic - some had to do with the economics of an
artificial community.  The Museum of Science and Industry also commissioned
a study of these kinds of interactives back then as well.  Oh ... and in
about 1990, the Indianapolis Children's Museum developed a series of games,
one of which was a racing game (Indianapolis 500 tie-in?) which were
designed and programmed by in-house staff, including this incredibly bright
kid from the U of Chicago, Charlie Barrows.  

On a tangent, there was a speaker at the summer seminar on hand-helds that
the Museums Association in the UK held this year at the Tate Modern who had
pretty thoroughly researched the use of "portable" narrative sound gallery
guides, starting way back in the 1950s? in Sweden and gave a wonderful
presentation that included film of people using these systems.  There were
250-300 people in attendance including, oh, maybe 5 people from North
America.  

BTW, Willoughby maintains an extensive library of several thousand books,
publications, unpublished manuscripts, bibliographies, informatics studies,
defunct newsletters, and articles on museums and computers as well as on
early computing reaching back to the projects in Oklahoma and Missouri that
were started in the 1960s.  

-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of
Suzanne Quigley
Sent: Monday, December 18, 2006 2:27 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] History of Museum Gaming?

Hi Richard,

I think I have a fairly complete file of all the Spectra issues in  
paper going back to the beginning.  If you know what issue(s) might  
have your info - let me know, I will scan and send... But I don't  
have the time to dig through them for references until February, I  
believe we had an archivist at one point in time - Does anyone  
remember who?  Someone at the SI?  There should be another complete  
set there.

The first Museum to have a website? Good question.   I remember the  
first collections to have images tied to their databases - back in  
the early 80's - the Eastman House Museum in Rochester New York and  
the Helen Allen Textile Collection at UW-Madison (WI). We were all  
envious at the first public kiosks - National Gallery London and  
Seattle Art Museum spring to mind - although it was a hot time for  
that and there were likely others.

Suzanne Quigley
art & artifact services
917 676 9039
squigle at panix.com
www.suzannequigley.com


On Dec 18, 2006, at 3:13 PM,  wrote:

> This message is a request to all those wise souls who have been  
> around for a while.
>
> We've had the conversation about "who was the first museum to have  
> a web site."  Here's mine. Do we know who was the first museum to  
> install public computers for the purpose of gaming/ virtual  
> environments (text-based, 2d, 3d, whatever)?
>
> I would gladly reimurse copying fees for anyone in possesion of  
> pre-1990s Spectra articles on the topic.
>
> Cheers,
>
> Richard Urban, Doctoral Student
> Graduate School of Library and Information Science
> University of Illinois at Urbana-Champaign
> rjurban at uiuc.edu
> http://www.inherentvice.net
>
>
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum  
> Computer Network (http://www.mcn.edu)
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[MCN-L] Displaying TGN terms

[Lenore Sarasan]

Isn't there a problem going from narrowest to broader regarding sorting?

On Mon, Sep 17, 2012 at 5:51 PM, Ruth Cuadra  wrote:

> David,
>
> Here is a reply to your question from Patricia Harpring, Managing Editor,
> Getty Vocabulary Program.
>
> >>>
> David,
>
> You ask a good question. At the Getty Vocabulary Program, we recommend
> that you concatenate a recommended Label to identify the place.
> In brief, the label that is probably most useful to you comprises these
> elements:
> the English preferred name (if any) of the target place (if none, default
> to overall record-preferred name),
> then in parens the parents in ascending order to the level of Nation,
> using for each parent the flagged Display name if any; if none, the English
> preferred name; if none, default to overall record-preferred name), and so
> on for each parent to level of Nation (i.e., to the place type = 81002
> "primary political unit" as place type #2). If no parent is a primary
> political unit, go to level of continent. Close parens.
> Then include the preferred place type for the target place in parens.
> Include subject_id of the target place.
> Like this: In this example, the city Orvieto has no English name, so you
> use the record-preferred name. For parents, "Terni province" is an example
> of using a display name for its record, and "Italy" is an example of using
> the preferred English name its record when displayed in horizontal Label
> displays.
>
> Orvieto (Terni province, Umbria, Italy) (inhabited place) [7005124]
>
>
> The topic is discussed in a few places on our Web site, including the
> links below. I hope that helps. Note the discussion of special display
> names that are flagged to accommodate horizontal displays of parents.
>
> On a related topic: As I presented at a few conferences this summer, we
> are investigating the possibility of developing URIs for the Getty
> vocabularies. Although we are not certain this will happen, many of us here
> are optimistic. We will announce progress on this front when it is resolved.
>
> Sincerely,
>
> Patricia
>
> Patricia Harpring, PhD
> Managing Editor, Getty Vocabulary Program
> pharpring at getty.edu
>
> >
> Labels for geographic places are succinctly described here:
>
> http://www.getty.edu/research/publications/electronic_publications/cdwa/30place.html#label
> Including examples; [I've added the TGN subject_ids here, which are
> missing because CDWA is speaking of labels in general, not of TGN
> specifically]
>
> - Orvieto (Terni province, Umbria, Italy) (inhabited place) [7005124]
> - Oldenburg (Franklin county, Indiana, United States) (inhabited place)
> [7013833]
> - Galatia (Turkey) (general region) [7016662]
> - Republic of Ireland (nation) [178]
> - Cyprus (Asia) (island) [1006894]
> - Belgica Prima (Gallia Belgica, Gaul) (former administrative division)
> [7030321]
>
> Labels for various purposes
> Labels with the inverted form of the preferred name followed by parents
> and place type are suited for alphabetical lists; note that only names of
> physical features will generally be inverted, as discussed in
> PLACE/LOCATION AUTHORITY - PLACE NAME.
> - Arrowsmith, Mount (Vancouver Island, British Columbia, Canada)
> (mountain) [1103769]
> - Erie, Lake (North and Central America) (lake) [7026039]
> - Hathala (Northwest Frontier, Pakistan) (inhabited place) [1083488]
> - Heicheng (Nei Mongol, China) (deserted settlement) [7001846]
> - Los Angeles (California, United States) (inhabited place) [7023900]
> - Zama (Siliana government, Tunisia) (lost settlement) [6006668]
>
> Labels with the natural order form of the preferred name followed by
> parents and place type are suited for wall labels, slide labels, and
> captions.
> - Mount Arrowsmith (Vancouver Island, British Columbia, Canada) (mountain)
> [1103769]
> - Lake Erie (North and Central America) (lake) [7026039]
> - Hathala (Northwest Frontier, Pakistan) (inhabited place) [1083488]
> - Heicheng (Nei Mongol, China) (deserted settlement) [7001846]
> - Los Angeles (California, United States) (inhabited place) [7023900]
> - Zama (Siliana government, Tunisia) (lost settlement) [6006668]
>
> Labels with the parents in descending order (as opposed to ascending
> order, illustrated in above examples), may be used for lists where results
> need to sort by parent; for example, all the places in one nation or state
> will sort together.
> Orl?ans .. (inhabited place)
>  (World, Europe, France, Centre region, Loiret) [7008337]
>
> Orl?ans .. (inhabited place)
>  (World, North and Central America, Canada, Ontario) [1014994]
>
> Orleans .. (inhabited place)
>  (World, North and Central America, United States, California, Humboldt
> county) [2013138]
>
> Orleans .. (inhabited place)
>  (World, North and Central America, United States, Illinois, Morgan
> county) [2029517]
>
> Orleans .. (inhabited place)
>  (World, North and 

[MCN-L] CMS/DAM system combos that work

[Lenore Sarasan]

The best of breed is Mimsy XG paired with Piction.  Not only are both
tightly integrated (unlike what museums typically are doing) but also each
offers an array of features not found in any other systems including
(particularly germane to your museum) multi-lingual capabilities so that
you can support not only English but also multiple Asian languages with no
compromises.  All the data fields are available in each language, not just
a handful as in other systems saying they are multi-lingual.  The
combination also offers support for shop sales and ticketing.  Good luck
with your project.

On Fri, Sep 28, 2012 at 6:33 PM, Cristina Lichauco
wrote:

> MCN'rs:
>
> We are looking to convert our current CMS from Argus Open Edition to
> something new.  At the same time,  we are also planning to implement a
> Digital Asset Management system (we have none) for object images as well
> as other media resources.  I would be very interested in hearing from
> institutions, particularly art museums, that have a DAM that plays well
> with your CMS.
>
> What combination of products to you use, and do they integrate well with
> one another? How involved is it to get data from the CMS and DAM into
> other systems, such as your web content manager?
>
> We have about 19,000 object records that we will be coverting, and many
> terabytes of images and video.
>
> I'd love to hear what you use. Thanks very much.
>
> Cristina Lichauco
> Assistant Registrar
> Asian Art Museum
> 200 Larkin St.
> San Francisco, CA 94102
> (415) 581-3674
>
> ___
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> Network (http://www.mcn.edu)
>
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>
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>
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>

[MCN-L] UBC Museum of Anthropology Collections Access System RFP

[Lenore Sarasan]

Did you see this?? 

-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of
Sivia Sadofsky
Sent: Thursday, November 06, 2008 6:42 PM
To: mcn-l at mcn.edu
Subject: [MCN-L] UBC Museum of Anthropology Collections Access System RFP

The Museum of Anthropology at UBC has issued and RFP for building a
collections access system to be used within the galleries.   If you know of
anyone who might be interested in bidding on this project, please pass this
to them so that they can look on the BC Bid site for the RFP and then
respond appropriately.

> UBC Bid Tender Notification
>  
> November 6, 2008
>   
> SENT VIA EMAIL November 6, 2008
>   
> RE:  Request for Proposals RFP# 2008010349- Museum of Anthropology 
> Collections Access System
>  
> The University has issued the subject RFP If your company would like 
> to respond to the University's request, A brief summary of this 
> project can be reviewed by selecting the RFP number on BC Bid website 
> at www.bcbid.gov.bc.ca  .
>  
> If you have any questions please contact the undersigned.
>  
> Yours truly,
>  
> The University of British Columbia
>  
> Janet Lodge
> Procurement Officer
> Email: janet.lodge at ubc.ca 
> Phone: (604) 822-2861
>  
> 
> Thanks,
> 
> Sivia Sadofsky
> Technology Program Manager
> UBC Museum of Anthropology
> 604-827-3161
> Sivia.Sadofsky at ubc.ca
> Http://www.moa.ubc.ca
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[MCN-L] Google Open Gallery or Google Cultural Institute, anyone?

[Lenore Sarasan]

The link doesn't seem to work -- message says that it can't access the
blog.  If you can send me some other way of getting to the information, I
would be very interested in learning more about it.

Lenore Sarasan


On Thu, Jan 23, 2014 at 12:59 PM, Ari Davidow  wrote:

> I am exploring ways to pull LOD together. Someone at the delightful
> #drinkingaboutmuseums:BOS last night pointed me to Google Open Gallery.
>
> At first glance, it appears to be a less capable Omeka--a way to dump some
> data online, but without any underlying linked data? From the Google blog
> post on the subject,
>
> http://googlepolicyeurope.blogspot.ca/2013/12/online-exhibitions-made-easy-with.htmlI
> get the impression that this is an extension of the existing Google
> Cultural Institute, but now open to the public.
>
> To find out more, it looks like I have to request an account--it's not yet
> automated. Has anyone already worked with either of these tools? Anything
> to report, good/bad/indifferent? (If not, I'm prepared to be the
> reporter-back)
>
> Thanks,
> ari
>
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer
> Network (http://www.mcn.edu)
>
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>
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>

Re: [MCN-L] Anybody using IMu for public API

[Lenore Sarasan]

Contact Axiell which now owns eMU as I believe they are working on
something.

On Thu, Feb 12, 2015 at 5:49 PM, Adrian Kingston 
wrote:

> Hi all
>
> We're (Te Papa) finally looking to use IMu a bit more from our EMu. We're
> thinking about a public facing API and a few more specialist uses. Does
> anyone have any experience they can share on successfully/unsuccessfully
> using IMu for external feeds/API etc?
>
> Cheers
>
> Adrian Kingston
> Digital Collections Senior Analyst
> Museum of New Zealand Te Papa Tongarewa
>
>
> +++
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> +++
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