By Kirsten Drotner, Kim Christian Schrøder
Customer engagement and studying, outreach, and inclusion are ideas that experience lengthy ruled expert museum discourses. the new quick uptake of assorted sorts of social media in lots of components of the area, despite the fact that, demands a reformulation of commonplace possibilities and stumbling blocks in museum debates and practices. teenagers, as either early adopters of electronic kinds of verbal exchange and latecomers to museums, more and more determine as a key aim staff for plenty of museums. This quantity provides and discusses the main complex study at the a number of ways that social media operates to rework museum communications in nations as diversified as Australia, Denmark, Germany, Norway, the united kingdom, and the United States. It examines the socio-cultural contexts, organizational and schooling results, and methodological implications of those transformations.
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Additional info for Museum Communication and Social Media: The Connected Museum
Example text
Analysts suggest some participatory strategies such as ‘social bookmarking’, together with more interactive information tagging, emphasizes that the museum is now part of a broader folksonomy, and therefore its unique claims to legitimacy and authority are being eroded. The term “ ‘folksonomy’, in fact, might be placed in deliberate tension with the word ‘taxonomy’ being a way of arranging and collecting information that is anti-hierarchical and horizontal” (de Groot, 2010, p. 97). It is the claim to uniqueness and authenticity and the counterclaim to democratization that is the most telling area of dissonance discussed in this chapter.
The result is that museums strive to be accurate and authoritative on the web. It is through this highly evidenced, informational and controlled presence that museums have traditionally sought to be both trusted and differentiated online. Bringing the Fictive Tradition to the Museum Online And yet, there is something curious (an irony even) about this posture that museums have typically taken online when confronted with the ambiguities of trust and accuracy that are seen to pervade the anomic web.
It is in this way that virtuality and mimesis can contribute to the museum’s reasoning in accommodating (and appreciating) the illusory and fictive qualities of the web. When the web is viewed as ‘virtual’ and its content ‘mimetic’, then the museum has the rationale for occupying that space, and the reassurance for producing content that is knowingly artificial. Conceiving the web as the virtual, and the museum’s web-based content as mimetic, frees the museum from the need to continually defer to an absent ‘real’.
