An Overview of Online Exhibitions
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paper_title: Multimedia kiosks in retailing

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Reviews the very wide potential for the application of multimedia kiosks. It is important that all retailing organizations understand the scope of these applications since kiosks have the potential for eroding the traditional boundaries between retailing, banking, education and training and the provision of information and advice, both to the general public, and also within organizations to employees. Potentially, applications in many of these previously distinct areas could be interlinked. Currently, multimedia kiosks are being tested in a number of different applications. Kiosks can be viewed as a medium through which it is possible to inform, educate, train, persuade or perform information‐based transactions. Their potential attraction in all of these roles consists of their relative novelty and the range of different media that can be used to reinforce the message. The future for multimedia kiosks remains unclear. The present tests in a wide range of different application areas should permit the ident...
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paper_title: The Museum Wearable: real-time sensor-driven understanding of visitors' interests for personalized visually-augmented museum experiences

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This paper describes the museum wearable: a wearabl e computer which orchestrates an audiovisual narration as a function of the visitor's interests gathered from his/her physical path in the museum and length of stops. The wearable is made by a lightweight and small computer that people carry inside a shoulder pack. It offers an audiovisual augmentation of the surrounding environment using a small, lightweight eye-piece display (often called private-eye) attached to conventional headphones. Using custom built infrared location sensors distributed in the museum space, and statistical mathematical modeling, the museum wearable builds a progressively refined user model and uses it to deliver a personalized audiovisual narration to the visitor. This device will enrich and personalize the museum visit as a visual and auditory storyteller that is able to adapt its story to the audience's interests and guide the public through the path of the exhibit.
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paper_title: Designing Web Graphics.3

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From the Publisher: ::: This full-color guide will teach you the most successful methods for designing and preparing graphics for the World Wide Web. Completely updated and expanded to include the latest on file formats, file sizes, compression methods, cross-platform web color, and browser-specific techniques, Designing Web Graphics.2 is the definitive graphics guide for all web publishers. Step-by-step instruction in a conversational and easy-to-read style from one of the leaders in the field will help you understand the best methods and techniques for preparing graphics and media for any web site.
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paper_title: Social Classification and Folksonomy in Art Museums: early data from the steve.museum tagger prototype

paper_content:

The collections of art museums have been assembled over hundreds of years and described, organized and classified according to traditions of art historical research and discourse. Art museums, in their role as curators and interpreters of the cultural record, have developed standards for the description of works of art (such as the Categories for the Description of Works of Art, CDWA) that emphasize the physical nature of art as artefact, the authorial role of the creator, the temporal and cultural context of creation and ownership, and the scholarly significance of the work over time. Collections managers have recorded conservation, exhibition, loan and publication history, along with significant volumes of internal documentation of acquisition and storage, that support the custody and care of artefacts of significant cultural value. But the systems of documentation and classification that support the professional discourse of art history and the management of museum collections have failed to represent the interests, perspectives or passions of those who visit [use?] museum collections, both on-site and online. As museums move to reflect the breadth of their audiences and the diversity of their perspectives, so must museum documentation change to reflect concerns other than the traditionally art historical and museological. Social tagging offers a direct way for museums to learn what museum-goers see in works of art, what they judge as significant and where they find or make meaning. Within the steve collaboration(http://www.steve.museum), a group of art museums is collectively exploring the role of social tagging and studying the resulting folksonomy (Bearman and Trant, 2005; Chun, Cherry, Hiwiller, Trant, and Wyman, 2006; Trant and Wyman, 2006). Analysis of terms collected in the prototype steve tagger suggests that social tagging of art museum objects can in fact augment museum documentation with unique access points not found in traditional cataloguing. Terms collected through social tagging tools are being compared to museum documentation, to establish the actual contributions made by naive users to the accessibility of art museum collections and to see if social classification provides a way to bridge the semantic gap between art historians and art museums’ publics.
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Title: An Overview of Online Exhibitions
Section 1: INTRODUCTION
Description 1: Provide an introduction to the impact of technology on heritage information delivery and the need for heritage exhibitions.

Section 2: EXHIBITIONS
Description 2: Define exhibitions and describe the three major types: industrial, regional, and universal.

Section 3: The Need for Exhibitions
Description 3: Discuss the primary objectives and reasons for exhibitions, including communication and marketing goals.

Section 4: Physical Exhibitions
Description 4: Describe traditional physical exhibitions, their factors, and the importance of visitor interaction.

Section 5: Limitations of Physical Exhibitions
Description 5: Explain the limitations of physical exhibitions, such as size, location, mobility, and cost issues.

Section 6: The Shift from Physical to Online Exhibitions
Description 6: Describe the transition from physical to online exhibitions and the advent of interactive multimedia kiosks.

Section 7: Online vs Physical Exhibitions
Description 7: Compare the advantages of online exhibitions over physical ones, such as cost-effectiveness and accessibility.

Section 8: Benefits of Online Exhibitions
Description 8: Enumerate the benefits of online exhibitions for institutions, teachers, and students, including enhanced learning and broader access.

Section 9: Drawbacks of Online Exhibitions
Description 9: Discuss the potential drawbacks of online exhibitions, focusing on visitor experience and educational impact.

Section 10: Virtual Exhibitions
Description 10: Define virtual exhibitions and distinguish them from other online exhibitions, providing examples.

Section 11: Web-based Exhibitions as Educational Tools
Description 11: Explore how web-based exhibitions serve as educational tools, facilitating active learning and international collaboration.

Section 12: DESIGN AND DEVELOPMENT OF USER INTERFACES
Description 12: Detail the considerations and best practices for designing user interfaces for online exhibitions.

Section 13: METADATA IN ONLINE EXHIBITIONS
Description 13: Explain the role of metadata in categorizing and accessing online exhibition content.

Section 14: AUTHORING TOOLS
Description 14: Describe the tools used to create and manage online exhibitions, including software like CONTENTdm and Multi MIMSY 2000.

Section 15: REVIEW OF ONLINE EXHIBITIONS
Description 15: Review various online exhibitions across topics like art, history, and science, highlighting their unique features.

Section 16: FUTURE TRENDS IN ONLINE EXHIBITIONS
Description 16: Discuss future trends in online exhibitions, including the use of multimedia systems, virtual reality, and Web 2.0 tools.

Section 17: CONCLUSION
Description 17: Summarize the impact of technological advancements on online exhibitions and their potential for future development.
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