Glossary
Glossary term | References |
---|---|
Accessibility determined by how easy audience can reach and use a Virtual Museum. In terms of digital content it refers to how users can reach, examine, and access digital assets. |
“Deliverable 2.1”. 2014. |
Cultural Heritage Traditions or living expressions inherited from our ancestors and passed on to our descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts |
“UNESCO convention for the safeguarding of the intangible cultural heritage”. . |
Cultural Presence Derives from the concept of “Sense of Presence”, which refers to the idea of “being there” of an individual placed in a virtual environment. In practice, it is a way of expressing an internal perception of the environment and ourselves in relation to it, depending on various factors: physical immersion, perceptual realism, naturalness of the interaction, emotional involvement, attention, unconscious reactions, etc. Cultural Presence stresses the contextual, social and symbolic, communicational aspects of presence, and also, implicitly, a learning aim. Through interaction and collaboration, presence becomes a being, not only physically but also culturally, there and then. |
“Measuring presence: A response to the Witmer and Singer presence questionnaire”, Presence-Teleoperators and Virtual Environments, vol. 8, no. 5, pp. 560 - 565, 1999. | ,
Cultural Presence Derives from the concept of “Sense of Presence”, which refers to the idea of “being there” of an individual placed in a virtual environment. In practice, it is a way of expressing an internal perception of the environment and ourselves in relation to it, depending on various factors: physical immersion, perceptual realism, naturalness of the interaction, emotional involvement, attention, unconscious reactions, etc. Cultural Presence stresses the contextual, social and symbolic, communicational aspects of presence, and also, implicitly, a learning aim. Through interaction and collaboration, presence becomes a being, not only physically but also culturally, there and then. |
“A Critical Examination of Presence Applied to Cultural Heritage. ”, the 10th Annual International Workshop on Presence. PRESENCE 2007, Barcelona, Spain, 25 – 27 October 2007, pp. 245-256, 2007. | ,
Cyber Museum The term “Cyber Museum”, is often confused with [Virtual Museum]. the traditional definition describes a Cyber Museum as “a logically related collection of digital objects composed in a variety of media which, through its connectivity and its multi-accessible nature, lends itself to transcending traditional methods of communicating and interacting with visitors.; it has no real place or space; its objects and the related information can be disseminated all over the world”. This definition probably derived from the newly-born examples of “Virtual” applications and it appears somehow misinterpreting. Likely according to McKenzie, in these museums, it is expressed the synergistic effect of classical and online museum with a slight tilt toward the domination of the classical museum. |
“Creation and Typology Definition of the Museum on the Internet”, Collegium Antropologicum, vol. 34, no. 2, pp. 587-594, 2010. | ,
Cyber Museum The term “Cyber Museum”, is often confused with [Virtual Museum]. the traditional definition describes a Cyber Museum as “a logically related collection of digital objects composed in a variety of media which, through its connectivity and its multi-accessible nature, lends itself to transcending traditional methods of communicating and interacting with visitors.; it has no real place or space; its objects and the related information can be disseminated all over the world”. This definition probably derived from the newly-born examples of “Virtual” applications and it appears somehow misinterpreting. Likely according to McKenzie, in these museums, it is expressed the synergistic effect of classical and online museum with a slight tilt toward the domination of the classical museum. |
“Le musée virtuel”, ICOM News, vol. 57, no. 3, 2004. | ,
Descriptive Virtual Museum a Virtual Museum characterized by a mode of communication in which eventsdigital preservation, monuments, artifacts, artworks, customs or beliefs are defined, described and interpreted by a "Sender" who aims at informing and making aware the "Receiver". Description or Exposition may also rely on schematic/ conceptual representations via charts, concept maps, ontologies, outlines, etc... This mode of communication also refers to the organized presentation of items displayed in the form of Exhibitions (temporary or permanent). |
“Deliverable 2.1”. 2014. |
Design for all is about ensuring that environments, products, services and interfaces work for people of all ages and abilities in different situations and under various circumstances (EDeAN, 2011). The Council for Museums, Archives and Libraries (2001) provides guidance for all museums and galleries in improving their services to disabled people based on the Design for All philosophy. |
“European Design for All e-Accessibility Network ”, 2011. [Online]. Available: http://www.edean.org . |
Device-based interaction refers to interaction with an application which is facilitated through the use of an input device, such as, but not limited to: keyboard, pointing devices (mouse), composite devices (game controllers, Wiimote), video and imaging input devices (webcam, motion sensor, scanner), and/or audio input devices (microphone). |
“Deliverable 2.1”. 2014. |
Digital Archiving The process of backup and ongoing maintenance of digital objects and the associated software and hardware, as opposed to strategies for digital preservation |
“Digital Preservation Handbook”. 2010. |
Digital Collection Any collection or defined set of digital objects/data that are made available via online shareable platform organized by a collection management systems and/or website on a non-temporary basis for the purpose of preservation and/or enhanced access. Digital collections use new formats, licensed contents, and third-party information over which the library has little or no direct curatorial control. |
“UO Libraries (2014) [online]”. 2014. |
Digital Collection Any collection or defined set of digital objects/data that are made available via online shareable platform organized by a collection management systems and/or website on a non-temporary basis for the purpose of preservation and/or enhanced access. Digital collections use new formats, licensed contents, and third-party information over which the library has little or no direct curatorial control. |
“Why in the World Wide Web. Technology & Learning.”, Now on the educational Technology journal, vol. 6, no. 6, 1997. | ,
Digital Exhibition See [Digital Museum]. It involves a real or virtual location for a special digital collection or defining set of digital objects, on a temporary base. |
“UO Libraries (2014) [online]”. 2014. |
Digital Library a possibly virtual organization that comprehensively collects, manages, and preserves for the long term rich digital content, and offers to its user communities specialized functionality on that content, of measurable quality and according to codified policies. (possibly add Digital Library System and Digital Library Management System as reference point out) |
“The DELOS Manifesto from DELOS NOE”. 2007. | ,
Digital Museum See [Digital Collection]. It involves a real or virtual location for the digital collection or defining set of digital objects, on a permanent base. |
“UO Libraries (2014) [online]”. 2014. |
Digital Museum See [Digital Collection]. It involves a real or virtual location for the digital collection or defining set of digital objects, on a permanent base. |
“Why in the World Wide Web. Technology & Learning.”, Now on the educational Technology journal, vol. 6, no. 6, 1997. | ,
Digital Object A general term used for the body of digital material, includes digital files, both online and offline, born-digital and digitised |
“Networking for Digital Preservation: Current Practice in 15 National Libraries. ”, 2006. [Online]. Available: http://www.ifla.org/files/assets/hq/publications/ifla-publications-series-119.pdf . | ,
Digital Preservation See [preservation] |
“Code of Conduct and Policy on the Governance of Good Research Conduct: Integrity, Clarity, and Good Management”, 2008. [Online]. Available: http://www.rcuk.ac.uk/documents/reviews/grc/goodresearchconductcode.pdf . |
Digital Preservation See [preservation] |
Definitions of digital preservation. . Chicago: Chicago: American Library Association, 2007. | ,
Digital Preservation See [preservation] |
“Reference Model for an Open Archival Information System (OAIS)”, Consultative Committee for Space Data Systems, Washington DC, 650.0-B-1, 2002. |
Digital Reconstruction see also below [3d Reconstructed model] |
“Deliverable 2.1”. 2014. |
Distributed Virtual Museum This category includes all Virtual Museums distributed in any format and technology. |
“Deliverable 2.1”. 2014. |
Dramatization A mode of communication where the "Sender" delivers a message/information by reconstructing and presenting events, novel stories, actions and items in a capturing and engaging way so as to directly and deeply involve the "receiver". |
“Deliverable 2.1”. 2014. |
Educational Virtual Museum All VM applications that have been conceived and implemented having in mind specific instructional purposes; these applications have clear and well-defined educational objectives and are directed to a well set up and identifiable target population which possesses definite prerequisites; they are often thought to be used in formal educational settings (schools; Universities, professional training…). |
“Deliverable 2.1”. 2014. |
Edutainment Virtual Museum The term edutainment was used as early as 1948 by The Walt Disney Company to describe the True Life Adventures series. The noun edutainment is a neologistic portmanteau used by Robert Heyman in 1973 while producing documentaries for the National Geographic Society. It was also used by Dr. Chris Daniels in 1975 to encapsulate the theme of his Millennium Project. This project later became known as The Elysian World Project. To Buckingham and Scanlon (2000) “Edu-tainment”, is a hybrid genre that relies heavily on visual material, on narrative or game-like formats, and on more informal, less didactic styles of address. The purpose of edutainment is to attract and hold the attention of the learners by engaging their emotions through visual stimuli full of vividly coloured animations. It involves an interactive pedagogy and, in Buckingham et al’s words, totally depends on an obsessive insistence that learning is inevitably “fun”. Educational entertainment is any entertainment content that is designed to educate as well as to amuse. Content with a high degree of both educational and entertainment value is known as edutainment. Edutainment is a growing paradigm within the museum community. This approach emphasizes fun and enjoyment, potentially at the expense of educational content (Zühal Okan, 2003) |
“That is edutainment: media, pedagogy and the market place. ”, in International Forum of Researchers on Young People and the Media, Sydney, 2000. | ,
Edutainment Virtual Museum The term edutainment was used as early as 1948 by The Walt Disney Company to describe the True Life Adventures series. The noun edutainment is a neologistic portmanteau used by Robert Heyman in 1973 while producing documentaries for the National Geographic Society. It was also used by Dr. Chris Daniels in 1975 to encapsulate the theme of his Millennium Project. This project later became known as The Elysian World Project. To Buckingham and Scanlon (2000) “Edu-tainment”, is a hybrid genre that relies heavily on visual material, on narrative or game-like formats, and on more informal, less didactic styles of address. The purpose of edutainment is to attract and hold the attention of the learners by engaging their emotions through visual stimuli full of vividly coloured animations. It involves an interactive pedagogy and, in Buckingham et al’s words, totally depends on an obsessive insistence that learning is inevitably “fun”. Educational entertainment is any entertainment content that is designed to educate as well as to amuse. Content with a high degree of both educational and entertainment value is known as edutainment. Edutainment is a growing paradigm within the museum community. This approach emphasizes fun and enjoyment, potentially at the expense of educational content (Zühal Okan, 2003) |
“British Journal of Educational Technology”. 2003. | ,
Enhancement of visitor experience concerns VM applications that provide additional or complementary information to a non-virtual museum |
“Deliverable 2.1”. 2014. |
Entertainment Virtual Museum VM applications that have been conceived and developed for the users’ fun and enjoyment. They nevertheless may convey significant and valuable information on cultural heritage, thus also sustaining informal learning processes |
“Deliverable 2.1”. 2014. |
Ethnographic Virtual Museum A virtual museum concerned with Ethnography and having major collections in Ethnology or Anthropology. More in depth, Ethnography may be defined as both a qualitative research process or method (one conducts an ethnography) and product (the outcome of this process is an ethnography) whose aim is cultural interpretation. |
“Deliverable 2.1”. 2014. |
Ex-changeability possibility of a virtual museum to be exchanged, as a complete set-up or as a specific sub-set (digital content, software, etc.) |
“Deliverable 2.1”. 2014. |
Exposition A mode of communication in which events, monuments, artifacts, customs or beliefs are defined, described and interpreted by a "Sender" who aims at informing and making aware the "Receiver". Exposition may also rely on schematic/conceptual representations via charts, concept maps, ontologies, outlines, etc... The exposition mode of communication also refers to the organized presentation of items displayed in the form of exhibitions (temporary or permanent). |
“Deliverable 2.1”. 2014. |
Free-form Gestural User Interface It is an interface that works as a line of motion sensing input devices. It enables users to control and interact with consoles or computers without any devices (i.e. mouse, joystick etc.), using natural body gestures. |
“Deliverable 2.1”. 2014. |
Gamification Gamification is using game-based mechanics, aesthetics and game thinking to engage people, motivate action, promote learning, and solve problems |
The Gamification of Learning and Instruction: Game-based Methods and Strategies for Training and Education, vol. The Gamification of Learning and Instruction: Game-based Methods and Strategies for Training and Education. John Wiley & Sons, 2012. | ,
Gesture any physical movement that a digital system can sense and response to without the aid of a traditional pointing device such as a mouse or stylus. A wave, a head nod, a touch, a toe tap, and even a raised eyebrow can be a gesture |
Designing Gestural Interfaces, vol. Designing Gestural Interfaces. O’Reilly Media Inc, 2008. | ,
Gesture-based Interaction a type of interaction that allows users to communicate with a digital system using gestures. A gesture can here be defined as any human movement that conveys meaningful information, such as waving with the hand or raising the eye brows. With gesture-based interaction it is often easier to achieve a more natural and intuitive user interface compared to for example device-based interaction using mouse and keyboard. It includes [Touch-user Inteface] and [Tangible User Interface] |
“Deliverable 2.1”. 2014. |
High Sense of presence a system whom technical features reveal high immersion in terms of “being there” such as a CAVE with a multichannel sound system. |
“Deliverable 2.1”. 2014. |