Direito à moradia: as ações do Museu das Remoções durante a pandemia

A luta pelo direito à moradia no Brasil continuou existindo durante a pandemia de Covid-19 e precisou adotar novas estratégias diante das restrições sanitárias. Este artigo aborda as reivindicações do movimento do Museu das Remoções e sua atuação em defesa do direito à moradia. A pesquisa baseia-se em dados qualitativos da transcrição de debates realizados em 2020 e 2021 pelo Museu das Remoções com outros movimentos sociais na Internet. Os resultados revelam que os principais desafios enfrentados por movimentos sociais durante a pandemia foram a insuficiência do Estado brasileiro em assegurar o direito à moradia com dignidade nas cidades e a contínua violência nos despejos e nas remoções ocorridos mesmo diante das restrições sanitárias. A pesquisa mostra que a disputa por territórios nos centros urbanos atende fundamentalmente aos interesses do capitalismo imobiliário, capaz de inviabilizar inclusive o cumprimento de medidas sanitárias em saúde pública em meio a uma pandemia com elevada letalidade.Alternate :The struggle for the right to housing in Brazil continued to exist during the Covid-19 pandemic and had to adopt new strategies in the face of health restrictions. This article addresses the demands of the Museum of Removals movement and its performance in defense of the right to housing. The research is based on qualitative data from the transcript of debates held in 2020 and 2021 by the Removals Museum with other social movements on the internet. The results reveal that the main challenges faced by social movements during the pandemic were the failure of the Brazilian State to ensure the right to housing with dignity in cities and the continuous violence in evictions and removals that occurred even in the face of health restrictions. The research shows that the dispute over territories in urban centers fundamentally serves the interests of real estate capitalism, capable of even making it impossible to comply with sanitary measures in public health in the midst of a pandemic with high lethality.

Grading the Level of Inclusiveness in Museum Buildings: Istanbul Modern Museum

Contemporary museums serve for education, research, and enjoyment, and their primary objectives are collection, documentation, and exhibition of cultural heritage. Thus, museum buildings have become common spaces of urban life through these new functions and activities rather than isolated exhibition spaces. They define inclusive complexes with educational research and social and public areas, establishing more effective interaction with society. These activities can be performed competently and appropriately depending on the multi-functional spatial configuration to provide urban experiences with participation and inclusiveness. In this context, this paper aims to study the level of inclusiveness of the first contemporary art museum of Istanbul-Istanbul Modern Museum-through detailed examinations of the architectural configuration with grading criteria based on spatial relations in terms of various facilities of the museum. The story of Istanbul Modern started by re-functioning the old Bosphorus dock's warehouses in 2004. The museum temporarily moved to another historic building in 2018, where it has also experienced new COVID19 pandemic conditions. Istanbul Modern is still in a process of moving back to its former location into a new building designed as a museum by Renzo Piano Building Workshop Architects. Through three phases, inclusivity and participation of buildings will be cross-examined on a developed rating-scale technique based on included sociocultural activities by their spatial sizes and relations through quantitative analysis. This methodology will provide preliminary knowledge for future research on museum architectonics.

Listening Whom, Listening What: Investigating Museum Audio Guides in Translation

This article addresses the role of language and quality translation in museum communication. The production of texts in museums is increasingly demanding as institutions are asked to rethink audience-oriented actions in co-design and diversity. This study is based on data provided by audio guides made available online to engage the public and provide free educational materials, something especially relevant in response to the COVID-19 pandemic. The analysis indicates that quality materials are crucial in understanding the exhibits and that accessibility may profit from multilingualism. We argue that tailoring texts can improve translation quality and provide more stimulating materials to diverse audiences.

Conducting Remote Design Research on Embodied, Collaborative Museum Exhibits

Research activities in interaction design and HCI were widely altered by the COVID-19 pandemic, with many studies shifting online as health concerns inhibited in-person research. Tangible and collaborative activities are often used in informal learning spaces and child-computer interaction, but they are neither designed for nor easily adapted to online formats. In this case study, I present findings and reflections on my experience adapting an in-situ study of embodied, collaborative museum exhibits to a remote user study during COVID-19. I identify several considerations and notes of inspiration for researchers working on similar projects, which I hope can aid in furthering iterative design research on embodied and/or collaborative activities both during the ongoing pandemic and in other current and future contexts that require remote research or interactions. The reflections I present in this case study additionally play a role in documenting the ongoing history of interaction design as researchers adapt to the rapidly changing global circumstances caused by COVID-19. © 2023 Owner/Author.

Interactive Communication Robot Handling Crowd Management and Content Delivery in Museums Employing Crowd Counting

Through the last decade, and particularly after the Covid period (2020 - 2022), crowd counting and localization have attracted much attention of AI researchers due to its potential applicability in crowd monitoring and control, public safety, space design, interactive content delivery etc. Once delivery objectives for a system are envisaged and the premises are fixed, we can always construct manifold technology architecture that delivers the set goals. However, in the Indian context a solution of choice needs to be optimized on frugality and ease of adaptability. In this paper we report an economic and replicable application of crowd counting and interactive content delivery in museums through unbiased knowledge systems embedded in robotic museum assistants. We intend to demonstrate a robotic system that can deliver any gallery content to groups of visitors keeping special focus on the exhibits that are popular choices. Crowd counting is used here to enable the content presentation to a group of choice in an interactive way. There are some market-ready solutions available for interactive gallery demonstration by moveable robots but they require not only huge capital investment but are also of limited use within controlled environments. Our proposed design is to multiplex an existing infrastructure of surveillance system as a smart crowd counting and gallery demonstration system along with crowd management with minimum additional hardware infusion. © 2023 IEEE.

Making cultural and tourist attractions accessible and inclusive for people with disability through value co-creation amidst COVID-19: a critical discourse analysis

People with disabilities (PwD) are a COVID-19 vulnerable group, and globally they are experiencing even higher rates of social exclusion than before the pandemic. Value co-creation is a process whereby firms and their customers work together to develop service offerings and provides a tool for service improvement during disruptions such as health crises. Although many cultural and tourist attractions have access and inclusion as part of their strategic plans not all of them have turned to value co-creation to address access and inclusion in response to the COVID-19 pandemic. They also have varying degrees of understandings about what facilitates social inclusion. Using Critical Discourse Analysis, this study explores how museums have addressed access and inclusion in response to the COVID-19 pandemic, the degree of uptake, discourses of value co-creation, and how their responses can be categorised. The research design included semi-structured, participatory interviews with 15 managers from eight museums;and ethnographic observation and semi-structured, post-museum visit interviews with 12 PwD. Then, an iterative data analysis process using ATLAS-ti was undertaken. The results provide insight into the social inclusion of PwD in museums during the COVID-19 pandemic.

Imagining Online Exhibition in the Pandemic: A Translational Perspective

The lockdowns brought about by the COVID-19 pandemic have rendered many people unable or reluctant to go to museums, so online exhibitions with texts in more than one language and with visitor-friendly arrangement are in high demand. Translation functions in online exhibitions to convey one heritage to an audience that belongs to culturally and linguistically different communities. In order to create a satisfactory online visiting experience, the design of webpages, the aesthetics conveyed, the ways artefacts are presented, and the audiovisual devices installed, are obviously more important than ever before. Using the concept of multimodal translation as the theoretical underpinning, this study examines four offline museums in Singapore, London, Hong Kong and Vienna, with the aim of providing insights into how the COVID-19 pandemic can potentially inspire effective visiting experiences online. It reveals how elements of translation are embedded yet largely hidden in offline museum spaces, which are closely related to online ones. Connections are made between physical and online exhibitions, and the relevance and inspiration of the former to the latter is what this chapter attempts to demonstrate, thus this research is more deductive and analytical than empirical. From the perspective of multimodal translation, there is an integration of textual, visual, audio and digital information, as applied to online exhibitions. This perspective affords cross-cultural understanding of how to create a satisfactory online visiting experience. © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd. 2021.

Conclusion

A particularity of fashion heritage lies in its capacity to renew the narrative forms of appearance woven between designers, producers and consumers, considering that forms of appearance are forms of expression of the "I” and the "We” (Simmel, G., American Journal of Sociology 62, 541-548, 1957;Crane, D., Fashion and its social agendas: class, gender, and identity in clothing. The University of Chicago Press, Chicago and London, 2000), with a strong repercussion in social terms, influencing the wellbeing and the construction of the life project of each and every individual. From this fact derives the power that fashion has been exercising throughout history. The diversity of fashion objects and the techniques and expertise related to their production, selling and use, and the multidisciplinary research based on all these aspects, contribute to the transmission of these narratives, raising the question of the definition and justification of heritage. Each of the case studies in this book reveals different social, political, economic and cultural motivations for the desire to ‘make heritage'. In a context of climate change and the unprecedented health crisis linked to the Covid-19 epidemic, the fashion and clothing industries have lessons to learn from the past and a reflection to make about the present and the future. It is within this frame that we propose a reflection on the role narratives play in the construction of knowledge and creativity, with knowledge and creativity at the core of what may be considered fashion heritage. © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2022

Evaluating Extended Reality Application for a Virtual Museum. Case Study: Remigio Crespo Museum

The COVID-19 pandemic was the main reason why many organisations decided to include information and communication technologies in their processes to allow them to continue with their activities, be it providing services to users (food, medicine, etc.), training/education or disseminating culture. In the field of culture, some museums incorporated technology into their operating environment, moving from face-to-face visits to virtual visits. However, in many museums, the lack of apps designed to solve the problem of virtual visits caused some to stop receiving visitors during the pandemic. In this context, this paper describes the development of an application with a user-centred design that incorporates extended reality to allow virtual visits to the Remigio Crespo Museum in the city of Cuenca (Ecuador). The evaluation carried out to verify the application's usability and learnability is also included. The results obtained indicate that users/visitors found the application usable and easy to learn. © 2022 IEEE.

The impact of COVID-19 on museums in the digital era: Practices and challenges in Hong Kong

PurposeDuring the coronavirus disease 2019 (COVID-19) pandemic, museums, as public gathering places for citizens, have encountered unprecedented difficulties due to limitations to operate as usual for their traditional exhibitions and curations. Thus, museums made corresponding emergency attempts to accelerate digital resource and service platform constructions. Such difficulties aroused many potential problems with the applicability of electronic resources and the mismatch between user expectations and museum services. This study investigates the challenges faced by Hong Kong museums under COVID-19, emergency responses and deliberate practices of Hong Kong museums from the perspective of both museum staff and visitors, and COVID-19's influence on the roles and functions of Hong Kong museums.Design/methodology/approachQualitative interviews with museum staff and visitors were conducted to collect opinions and experiences in the construction and maintenance of museums during the pandemic. Further thematic analyses of museum websites, evaluations, and suggestions were formulated guided by the PEST (Political, Economic, Social, Technological) and AIDA (Attention, Interest, Desire, Action) models.FindingsFindings revealed many online interactions and offline renovations, but the perceptions of visitors and staff differed considerably. While online resources and virtual museums were expanded and well received, long-term prohibitions and repressions drove physical visit desire. Participants emphasized finding a balance between user expectations and realistic practices.Originality/valueScant studies focus on the impact of COVID-19 on the cultural industry, especially in East Asia. This study also highlights new practices of digitalization and the challenges of functional transformation. The authors' findings and suggestions provide hints to optimize the curation of information resources and improve museum service quality in the new digital era. This study also serves as a reliable and meaningful record of COVID-19 impacts on Hong Kong museums.

Interaction with Immersive Cultural Heritage Environments: Using XR Technologies to represent multiple perspectives on Serralves Museum

Museums have increasingly been using digital approaches to explore new ways to provide new experiences with Cultural Heritage (CH). The need for these solutions exploded with the COVID-19 pandemic forcing museums and cultural organizations to move towards a digital transformation to engage their audiences. Although, with a lack of guidelines on how to create eXtended Reality (XR) experiences with multiple perspectives for CH environments. This project aims to provide Museums with novel approaches to include interactive and immersive activities targeted at the cultural assets of their exhibitions and educational activities. Firstly, we will map and critically access current participatory practices in museums;then, we will develop a new methodology for creating and implementing experiences using XR technology in a range of workshops. The concept of multiple perspectives on cultural heritage will be explored through the application of co-creation practices, towards engaging different communities with cultural heritage contents from Serralves Museum. © 2022 ACM.

PEDAGOGICAL POTENTIAL OF ONLINE MUSEUM LEARNING RESOURCES

The COVID-19 era has changed the way most institutions operate, including museums and their educational activities. The aim of this paper is to investigate the types of online learning resources represented on museum websites, as well as to analyse their pedagogical features. Mixed research was applied, while the sample consists of museums included in the relevant portals that provide visibility for cultural institutions in Serbia. The analysis of the research results made it possible to determine the current level of development of pedagogical features of online museum learning resources and to identify opportunities for their improvement. © 2022 Avtor(ji)/The Author(s)

Reinventing the Museum of Esposende: a polynuclear museum

The Esposende Municipal Museum reflects the land where it was created. It is home to several maritime, fishing and agro-fishing communities, and its museum collections hold several representative pieces of these com-munities. It is the only municipality with a maritime beach in the District of Braga, a Summer destination since the end of the 19th century for inland populations. The visit to the museum is associated with the concept of a tourism visit and it is expected that the experience will be as satisfying as possible, responding to the search for emotions that characterizes the current visitor.The Esposende Polynucleate Museum project emerged as a response to the loss of audiences caused by the Covid pandemic (2020-2022). By identifying the natural and cultural heritage (material and immaterial) of the municipality of Esposende and valuing it from a tourist point of view (heritagisation) and presenting it to the public through museum tools, a new cultural product is made available by the Esposende Museum service. © 2022, Edicoes Universitarias Lusofonas. All rights reserved.

The Role of Digital 3D Models in the Context of Museum Display of Sculpture

In the midst of the COVID-19 pandemic and following the Zagreb earthquake, the debate on the proper use of digital technologies in museums became increasingly important and heated. Precisely because they are very popular and increasingly available, digital technologies as a tool require a precise methodological basis for their optimal application. This paper specifically tackles the use of virtual 3D models in a museum context by using examples of sculpture as a specifically three-dimensional art form, and attempts to define the role of a 3D model in relation to the original. As a museum exhibit, sculpture seems to receive little attention compared to other art forms. There are multiple reasons for this, but some of the most important ones are the differences in the production of three-dimensional versus two-dimensional artworks, as well as specific difficulties with exhibiting sculptures. Also, the relative unpopularity of sculpture as a three-dimensional medium, especially among the younger generations, should be attributed to the dominant culture of images, especially virtual ones, which are accessible through the ubiquitous screens of smartphones, tablets and similar electronic devices. Museums around the world, and thus in Croatia as well, have readily embraced the possibilities offered by digital technologies to enrich the experience of their visitors. When exhibiting three-dimensional art forms and objects, they frequently use 3D models of exhibits available in the space of the actual museum or on its websites, complex 3D displays of an entire space, or even computer simulations of the so-called virtual or augmented reality (virtual reality — abbreviated VR, and augmented reality — abbreviated AR), with the aim of reconstructing entire historical spaces in which the viewer is "immersed”, thus becoming a part of it. Still, regardless of the range of possibilities, when designing virtual exhibitions as well as in the general use of 3D models in the museum context, the emphasis must be placed on a clear idea that is conveyed by that exhibition and on clear meta- and para-data that facilitates the communication of its message — focus, therefore, must be on the narrative. This is supported by the results of recent research, which showed that the authentic experience of a 3D model increases if, in addition to the element of interactivity (the possibility of manipulating the model), there is also an element of contextualizing the object as widely as possible. Using Ivo Maroević's categorization of replacement museum objects, we viewed 3D models as museum objects in a digital form, intended for display, which serve as an aid in education, presentation and strengthening the communication and interactive potential of the original object. In order to examine whether 3D models have the same effect on observers as the original objects, we used the concepts of an aura, as defined by Walter Benjamin, and authenticity which, following division, we divided into two categories — nominal and expressive. We also used the results of several studies that examined the experience of 3D models in and out of the museum context. Based on the above reasoning, we came to the conclusion that observers can experience a 3D model as authentic and auratic, but that such experience is predicated upon being in a museum and having enough information that contextualize the object. Finally, it is important to highlight the difference between experiencing a sculpture, as a specific type of artwork, and its 3D model, with regard to its material presence in space. Namely, an encounter with a sculpture is a multisensory experience defined by the awareness of one's own body and the kinetic potential of the sculpture located in the same space. In the case of viewing a 3D model on a screen, this experience is absent. That is why we believe that 3D models and the original sculptures definitely cannot and should not be treated the same way: in the right context, 3D models can evoke an impression of auraticity and authenticity, but they find t eir best use as substitute museum objects whose primary role is to enrich the museum experience of visitors through strengthening the interpretation possibilities of the original. © 2022 Institute of Art History. All rights reserved.

Engaging citizen resources as catalysts of museum innovation

The key claim of the article is that the Covid pandemic has offered museums important new opportunities to foster more, and more diverse, citizen engagements;and such engagements may be key to sustainable museum innovation in the future. The claims are underpinned by first mapping the characteristics of two leading paradigms in existing museum interaction with the world: a technology paradigm and a personalisation paradigm. Second, the article provides three empirical examples on how museums may apply participatory designs to foster more inclusive and diverse citizen engagements. The examples are based on case studies conducted at a Danish R&D programme, Our Museum. By way of conclusion, it is discussed how and why citizen engagements can catalyse sustainable museum innovation. © 2023, Edicoes Universitarias Lusofonas. All rights reserved.

Digitisation and Sharing of Collections: Museum Practices and Copyright During the COVID-19 Pandemic.

This article concerns the conflict between copyright and museums' digitisation and online sharing of collections. This issue has recently become particularly important in connection with the COVID-19 pandemic. The authors outline the concept of a virtual museum and present the most important copyright provisions in EU law that may create obstacles for cultural institutions in realising virtual counterparts. To perceive copyright as the main obstacle in the process of digitisation and online sharing of collections is not unusual. Hence, the article briefly presents legal framework of the European copyright applicable to such situations. The authors argue that although copyright offers a range of possibilities for museums interested in digitising their collections, at the same time it is responsible for a chilling effect, resulting in fear of potential infringement and liability. The authors conclude that the EU's development of new legislation, coinciding with the need for digitisation and online sharing of cultural heritage caused by the pandemic, has favoured public interest at the expense of creators' rights, but still lacks satisfactory legal tools for effectively allowing cultural institutions to digitise and share their collections.

SOCIAL RESPONSIBILITY OF PUBLIC CULTURAL INSTITUTIONS: THE EXAMPLE OF MUSEOLOGY. OBSERVATIONS, REFLECTIONS AND PRELIMINARY ANALYSIS: SUMMARY OF THE FOCUS GROUP STAGE

The term ‘social responsibility of museums' implies various associations, most frequently referring to the sphere of management and the activities of commercial entities in accordance with the ISO 26000 standard. In this article, we report on some of the tasks performed in connection with a project based on a sociological perspective and addressing the social responsibility of public cultural institutions such as museums. As this concept is relatively new, we decided to check how it is understood in the social world of Polish museum professionals. The research was therefore carried out using elements of the grounded theory methodology, i.e., the concepts (categories) were not defined at the outset, but defined and characterised in the course of the research according to the understanding of the respondents. Using a triangulation of methods, an analysis of found data, individual interviews in Polish museums (IDI) and focus group interviews (FGI) in Polish and international groups were conducted. A particularly interesting strand of the Project was museum education and its growing importance. This article focuses on the conducted focus group interviews (FGI). A specific commentary on the findings is provided by the reflections given during a guest lecture by Dr Bernadette Lynch organised as part of the Project. © 2022 Universidade Federal de Goias. All rights reserved.

VISITORS OF ON-LINE MUSEUMS: ANALYSIS OF THE PUBLIC OF VIRTUAL EXHIBITIONS IN POLAND

Virtual exhibitions have become a tool increasingly more frequently applied by Polish museums in order to reach a wider public. Using cyberdisplays as a digital product, not only do the institutions disseminate knowledge of their collection, but also reach new public. The potential and challenges entailed in designing e-museums have been a topic vivid in museology since the late 1990s. During the COVID-19 pandemic the discussion on tasks and purposes of digital displays was resumed. The paper presents the results of the CAWI research among visitors of digital museums;it also points to their motivation, while analysing the demand for such tools classifying individuals who use them into various categories. © 2022 Universidade Federal de Goias. All rights reserved.

Teaching beyond control? On situating a fence and the agonizing effect of graffiti-based cultural practices as challenge and chance for museum education

In autumn 2020 the open-air construction fence exhibition Face It! of Vienna's city museum (Wien Museum) was repeatedly damaged and marked with graffiti during demonstrations against measures taken by the government to fight the COVID-19 pandemic. Ultimately, the museum decided to re-curate the initial exhibition and exhibited the protesters' graffiti markings instead. Approaching these events through situational analysis, I interrogate their political and politicizing dimension in reference to Chantal Mouffe's idea of ‘agonistic pluralism' and a radical democratic conceptualization of museum practice. By delineating their agonizing effect, I argue for a conflict-attuned notion of graffiti-based cultural practices in order to foster their democratic potential. In the end, I assess the muse-um's decision to re-curate and ask if it contributes to a democratization of its practice and furthermore which role (re-politicized) museum education did and could play in this context. © 2022 Intellect Ltd Article. English language.

Symbolic power for student curators as social agents: the emergence of the museum of World Languages at Shanghai International Studies University during the COVID-19 era

The COVID-19 pandemic has hindered the effectiveness of museum management and curatorship, a growing concern for the movement of international heritage conservation. Accordingly, this participatory action research explores the emergence of the Museum of World Languages at Shanghai International Studies University during the COVID-19 pandemic. By drawing insights from Pierre Bourdieu's concepts of symbolic power and social agency in the new museology, this paper explores the educative, social, and political roles of the new language museum and the experiences of student curators with the new language museum. This paper promotes scholarly conversations about the curatorial narration of the language halls, the new coordinator's responsibility, curatorial philosophy, experiential learning, social responsibility, political savvy, and intercultural communication and digital literacy competencies among the student curators. This study enhances the theoretical rigor and provides practical action agendas for diverse stakeholders in higher education administration and museum management beyond the COVID-19 pandemic. © 2023 Informa UK Limited, trading as Taylor & Francis Group.