Elisa Bonacini

A piece of peace in sWARajevo: Locally and globally interesting stories for virtual museums

Summary form only given. We present a method how to create locally and globally interesting stories for virtual museums in a relatively short time. The local interestingness is understood in a Koestlerian way (AH, AHA, HAHA bisociation effects). Global interestingness is achieved by discovering, within the given unique material, options for relating unrelated contexts, internal poetry and/or change of the narration mode. The craft of storytelling resulted in five short movies, completed during the South-East European Virtual Heritage School: Digital Storytelling for Virtual Museums. These intereStories“ are intentionally aimed at overcoming multiple limitations of backtelling, frequent in virtual museums. The five themes include Bosnian blues Sevdah, fate of Sephardic Jews, existing and nonexisting urban area, and traditional Bosnian coffee. The stories were coauthored by 15 beginners storytellers in groups (24 authors) in 5 days alongside with the 12 lectures on theory and narrative case studies from V-must network good practice. Besides the brainstormings, speed-up focused brainwritting feedback was provided twice: once for preexistent stories, second for betaversions. The final creations were produced in Adobe Premiere Pro and published at YouTube.

Il Museo Salinas: un case study di social museum … a porte chiuse / The Salinas Museum: a case study of social museums… behind closed doors

“ Chiusi per restauro, aperti per vocazione ” e lo slogan con cui il Museo Archeologico “Antonino Salinas” di Palermo ha iniziato a rilanciare la sua immagine circa un anno fa. Chiuso da quattro anni per il restauro del complesso architettonico che lo ospita, la seicentesca Casa dei Padri Filippini all’Olivella, il museo ha deciso di aprirsi al pubblico attraverso un mix strategico di attivita culturali e didattiche, mostre, spot visuali sui vari social network (Facebook, Twitter, Youtube, Google+, Pinterest) e attraverso l’adesione alle campagne sociali di rilancio dei musei, da #invasionidigitali a #museumweek . Il risultato, a un anno di distanza, e di un successo senza precedenti, la creazione di un vero e proprio marchio e una “reputazione” del museo totalmente rinnovata. “ Closed for renovation, open by vocation ” that is the slogan with which the archaeological museum “Antonino Salinas” in Palermo began to revive its image about a year ago. Closed for four years for the restoration of the architectural complex that houses it, the seventeenth-century Olivella’ s House of the Philippine Fathers, the museum has decided to open up to the public through a strategic mix of cultural and educational activities, exhibitions, advertising visual campaigns on various social networks (Facebook, Twitter, Youtube, Google+, Pinterest) and throgh adhesion to social improvement campaigns for museums, from # invasionidigitali to # museumweek . The result, after a year, it is of an unprecedented success and of the creation of a real brand and total renovation of the museum’s reputation.

Il museo partecipativo sul web: forme di partecipazione dell’utente alla produzione culturale e alla creazione di valore culturale / The participatory museum on the Web: forms of user participation in cultural production and the creation of cultural value

Obiettivo di questo lavoro e un inquadramento sia del nuovo rapporto fra il museo partecipativo e l’utenza che delle forme di partecipazione dell’utenza alla produzione culturale e alla creazione di valore culturale, alla luce delle potenzialita offerte dalle ICT, soprattutto dal web e dai vari social media. Questo nuovo rapporto, che ha le sue radici piu profonde proprio nell’ampia adozione di tutte le piattaforme tecnologiche oggi in uso, consente anche una reinterpretazione del significato stesso di cultural value. Il quadro, che viene qui delineato ed arricchito da numerosi esempi soprattutto stranieri, chiarisce anche quanto l’aspetto partecipativo e l’utilizzo di tags, folksonomie e user generated contents possano incidere sulla fidelizzazione dell’utenza. Infine, in una tabella presentata a fine del contributo, si evidenziano le maggiori componenti che caratterizzano il definitivo passaggio dalla fase Museo 1.0 alla fase Museo 2.0. The aim of this paper is a framework both of the new relationship between the participatory museum and the audience and a framework of multiple forms of audience participation in cultural production and in the creation of cultural value, given the potential offered by ICTs, especially the web and various social media. This new relationship, which has its deepest roots just in the adoption of all technology platforms in use today, also allows for a reinterpretation of the meaning of cultural value. The framework, outlined here and enriched by numerous examples especially foreigners, also makes clear that participation and use of tags, folksonomies and user-generated contents may have an impact on users loyalty. Finally, presented in a table at the end of the paper, we highlight the most important features characterizing the transition from the Museum 1.0 phase to the Museum 2.0 one.

IL CAPITALE CULTURALE. Studies on the Value of Cultural Heritage 5/2012

Il n. 5/2012 raccoglie contributi di Annalisa Banzi, Elisa Bonacini, Pierluigi Feliciati, Luca Gulli, Lucia Nardi, Chiara Piva, Emilio Sereni, Francesca Talo, Federico Valacchi e Mattia Voltaggio. Issue n. 5/2012 collects papers by Annalisa Banzi, Elisa Bonacini, Pierluigi Feliciati, Luca Gulli, Lucia Nardi, Chiara Piva, Emilio Sereni, Francesca Talo, Federico Valacchi and Mattia Voltaggio.