{"id":1349,"date":"2019-01-03T20:41:38","date_gmt":"2019-01-03T20:41:38","guid":{"rendered":"http:\/\/avicom.icom.cust.oxymium.net\/archives\/2008-2\/speakers-and-conferences-2\/"},"modified":"2019-01-03T20:46:38","modified_gmt":"2019-01-03T20:46:38","slug":"speakers-and-conferences-2","status":"publish","type":"page","link":"https:\/\/avicom.mini.icom.museum\/es\/archives\/2008-2\/speakers-and-conferences-2\/","title":{"rendered":"Speakers and conferences"},"content":{"rendered":"<div id=\"RTE_CONTENT\"> <!--TYPO3SEARCH_begin--> \t<!--  CONTENT ELEMENT, uid:6004\/textpic [begin] --> \t\t<\/p>\n<div id=\"c6004\"> \t\t<!--  Header: [begin] --> \t\t\t<\/p>\n<h2>Archives<\/h2>\n<p> \t\t<!--  Header: [end] --> \t\t\t \t\t<!--  Image block: [begin] --> \t\t\t<\/p>\n<div>\n<div><img decoding=\"async\" src=\"http:\/\/avicom.mini.icom.museum\/wp-content\/uploads\/sites\/3\/2019\/01\/logo_fiamp_43.jpg\" alt=\"\"><\/div>\n<div> \t\t<!--  Text: [begin] --> \t\t\t<\/p>\n<h2>FIAMP.2008<\/h2>\n<h3>Gatineau-Ottawa, Canada, October 16 &#8211; 17, 2008 <\/h3>\n<p>Download the program and speakers: <\/p>\n<ul>\n<li><a href=\"http:\/\/www.learningtimes.net\/fiamp\/program.html\" target=\"_blank\">HTML<\/a><\/li>\n<li><a href=\"http:\/\/www.learningtimes.net\/fiamp\/Program\" title=\"speakers\" target=\"and\">PDF <\/a><\/li>\n<\/ul>\n<table>\n<tr>\n<td valign=\"top\">\n<p><strong>Angelina Russo<\/strong><br \/>       Associate Professor, Ph.D. <br \/>       Swinburne University of Technology <br \/>       Melbourne, Australia     <\/p>\n<p><strong>Transformations in cultural and scientific communication : creating new museum audiences with social media<\/strong><br \/>     We are witnessing a shift in the ways in which cultural organisations view their relationships with their online audiences. Participatory media technologies are enabling new types of three-way communication to occur at project and institutional level. Yet how does this transform cultural and scientific communication? This paper addresses some of the transformations in cultural and scientific communication and their impact on museum practices. It suggests that the creation of future interactive experiences will benefit from addressing the paradigms of user-generated content and co-creation. The paper introduces some exceptional multi-platform communication initiatives and discusses the impact of these on learning and communication. <\/p>\n<p>Associate Professor Angelina Russo leads the research project Engaging with Social Media in Museums at Swinburne University, which brings together 3 Australian museums and the Smithsonian Institution to explore the impact of social media on museum learning and communication. She also leads the research project New Literacy, New Audiences which examines the development of user-generated content in collaboration with six major Australian cultural institutions.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Jean-Baptiste Minchelli<\/strong><br \/> Director of Technology<br \/> Id\u00e9eclic<br \/> Gatineau, Qu\u00e9bec <\/p>\n<h2>Conference &#8211; Dissemination: Mobile Technologies in 2008<\/h2>\n<p><strong>\u00ab\u00a0Au croisement de la d\u00e9couverte et de l\u2019innovation : les appareils mobiles et GPS\u00a0\u00bb<\/strong><br \/>   Depuis 10 ans, la cybermus\u00e9ologie s\u2019est ancr\u00e9e au domaine de l\u2019Internet et du Multim\u00e9dia. Les innovations dans le domaine se sont depuis lors ax\u00e9es vers l\u2019immersion des utilisateurs ; jusqu\u2019\u00e0 l\u2019av\u00e8nement du Web 2.0. L\u2019Internet mobile existe quant \u00e0 lui depuis presque 10 ans mais n\u2019arrive qu\u2019aujourd\u2019hui \u00e0 maturit\u00e9. Les sites arch\u00e9ologiques, les sites historiques et urbains, les parcs naturels et culturels ont maintenant la possibilit\u00e9 d\u2019offrir \u00e0 leurs visiteurs des outils d\u2019animation et d\u2019interpr\u00e9tation g\u00e9o r\u00e9f\u00e9renc\u00e9s faciles \u00e0 utiliser. Ce \u00ab partage d\u2019exp\u00e9rience \u00bb livrera les grandes tendances de l\u2019univers de la mobilit\u00e9 appliqu\u00e9es aux pratiques de la cybermus\u00e9ologie. Il y sera pr\u00e9sent\u00e9 un cas r\u00e9el d\u2019utilisation : un circuit GPS (Global Positioning System) r\u00e9alis\u00e9 pour la Biosph\u00e8re d&#8217;Environnement Canada, le mus\u00e9e de l&#8217;environnement situ\u00e9 \u00e0 Montr\u00e9al, au Qu\u00e9bec. Il s\u2019agit d\u2019une application interactive de g\u00e9olocalisation permettant l&#8217;affichage dynamique de contenus sur un ordinateur-GPS portatif. De cette r\u00e9alisation, seront partag\u00e9es les le\u00e7ons apprises ainsi que les facteurs clefs de succ\u00e8s pour la mise en place de tels outils. <\/p>\n<p>Jean-Baptiste joined the Id\u00e9eclic team as Director of Technology in August 2007. Jean-Baptiste brings more than 8 years of experience and expertise to Id\u00e9eclic from analyst\/services firms, IT operations in large organizations and a software vendor. His experience includes planning and executing web strategies for fortune 500 companies including business, functional and technical consulting, program and project management and training. Jean-Baptiste holds a Master&#8217;s of Science in Computer Engineering from \u00c9cole Pour l\u2019Informatique et les Techniques Avanc\u00e9es de Paris (France) and is currently finishing a Master&#8217;s of Business Administration at the University of Ottawa (Canada). His duties at Id\u00e9eclic include research and development management and innovation, and along with the company\u2019s CEO, Alain Mass\u00e9, Jean-Baptiste is also responsible for project management, human resources, subcontracting, proposals, quality control, procedures, communications, client satisfaction, planning and team coordination. Jean-Baptiste is involved in all projects at Id\u00e9eclic requiring technical innovation, such as the recent GPS guided tour of the Montreal Biosphere. <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Tamara Tarasoff <\/strong><br \/> National Product Specialist <br \/> New Media and Exhibition <br \/> Parks Canada <\/p>\n<h2><strong>Conference &#8211; Dissemination: Mobile Technologies in 2008<\/strong><\/h2>\n<p><strong>Explora, Le projet pilote sur la technologie mobile g\u00e9o r\u00e9f\u00e9renc\u00e9e de Parcs Canada<\/strong><br \/>   How do GPS-triggered, handheld location-based devices affect visitor learning and experience in outdoor settings? What resources and expertise are needed to develop location-based technology projects, and how can these projects be developed in a way that is sustainable for a large, decentralized organization with a long history of interpretation? In 2008, Parks Canada undertook the Explora pilot project to answer these questions. Over an 8-month period, staff at a national park, a national historic site and the new media unit worked with an outside technology provider to create Explora. More than 1000 visitors used Explora on hiking trails during the 2-month pilot period. This session will present this project from inception through to delivery, evaluation and next steps.<\/p>\n<p>Tamara Tarasoff is the National Products Specialist for New Media and Exhibits at Parks Canada. This rather long title means that she pilots and evaluates new technologies that have the potential to enhance visitor experience and learning at national parks and national historic sites. She holds a Masters in Museum Studies, and has over 20 years of experience in delivering, developing, evaluating and managing a wide array of interpretive and educational programs at our national museums and heritage institutions. <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Ashish Bhagrath<\/strong><br \/> Web Manager<br \/> National Gallery of Canada<br \/> Ottawa, Ontario <\/p>\n<h2>Conf\u00e9rence &#8211; Education: Engaging Interest <\/h2>\n<p><strong>Engaging the User: From Kindergarden to Ph.D.<\/strong><br \/>   In contrast to the endless streams of sound-bite information broadcast in cyberspace, CyberMuse offers quality art education experiences designed to enhance users\u2019 understanding and enjoyment of art. Through engaging interactive content, digital images, text and audiovisual materials, CyberMuse provides worldwide access to the collections, knowledge, and expertise of the National Gallery of Canada. This session will present CyberMuse as a powerful educational resource. Special emphasis will be placed on the learning outcomes identified for target audiences, and on the development and evaluation processes.<\/p>\n<p>Ashish Bhagrath is the Manager for the National Gallery of Canada\u2019s five websites and assumes overall responsibility for the web and web-related projects. Ashish leads the web development team at the Gallery and manages web content providers, editors, and those responsible for web architecture, hardware, software, design and standards. <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Michel Groulx<\/strong><br \/> Gestionnaire, Recherche et contenu<br \/> Centre des sciences de Montr\u00e9al<br \/> Montr\u00e9al, Qu\u00e9bec <\/p>\n<h2>Conference &#8211; Education: Engaging Interest <\/h2>\n<p><strong>Le multim\u00e9dia immersif pour vulgariser la science<\/strong><br \/>   En novembre 2007, le Centre des sciences de Montr\u00e9al a ouvert une nouvelle g\u00e9n\u00e9ration d\u2019expositions interactives bas\u00e9es en bonne partie sur les technologies num\u00e9riques et multim\u00e9dia. Nous proposons une r\u00e9flexion sur la mani\u00e8re dont ces technologies ont \u00e9t\u00e9 utilis\u00e9es afin de cr\u00e9er des exp\u00e9riences signifiantes, originales et distinctives dans deux de ces expositions. Imagine ! est une exp\u00e9rience immersive visant \u00e0 faire r\u00eaver le visiteur aux possibilit\u00e9s futures de la science et de la technologie. idTV invite les visiteurs \u00e0 r\u00e9aliser un reportage scientifique dans un environnement de salle de nouvelles. Bien que tr\u00e8s distinctes, ces deux exp\u00e9riences visent le m\u00eame objectif : sensibiliser la client\u00e8le du Centre des sciences, soit les jeunes de 9-14 ans, \u00e0 une d\u00e9marche citoyenne.<\/p>\n<p>D\u00e9tenteur d\u2019une ma\u00eetrise en biologie de l\u2019Universit\u00e9 McGill, Michel Groulx a \u0153uvr\u00e9 pendant 12 ans comme journaliste scientifique pour la presse \u00e9crite et la t\u00e9l\u00e9vision. Il a \u00e9crit de nombreux articles de vulgarisation et des s\u00e9ries t\u00e9l\u00e9vis\u00e9es sur la science. Depuis 1998, il travaille au sein de la direction des expositions du Centre des sciences de Montr\u00e9al, o\u00f9 il est chef de la recherche et des contenus. Il a fait partie de l\u2019\u00e9quipe de mise en \u0153uvre du Centre des sciences de Montr\u00e9al en 1998. Plus r\u00e9cemment, il a travaill\u00e9 \u00e0 la cr\u00e9ation d\u2019une nouvelle g\u00e9n\u00e9ration d\u2019expositions permanentes au Centre des sciences. <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Steve Quirion <\/strong><br \/> Conseiller p\u00e9dagogique<br \/> Commission scolaire de la Pointe-de-l\u2019\u00cele de Montr\u00e9al, Montr\u00e9al, Qu\u00e9bec <\/p>\n<h2>Conference &#8211; Education: Engaging Interest <\/h2>\n<p><strong>Ligne du temps virtuelle<\/strong><br \/>         Le temps est le \u00ab mat\u00e9riau fondamental \u00bb de l\u2019historien. Celui-ci parcourt le temps sans rel\u00e2che dans un aller-retour continuel entre le pass\u00e9 et le pr\u00e9sent. Ce temps qu\u2019il arpente sans cesse peut \u00eatre dat\u00e9, d\u00e9coup\u00e9, structur\u00e9 et diff\u00e9renci\u00e9. Il peut \u00e0 un moment sembler amorcer une course folle et \u00e0 un autre \u00ab\u00a0ralentir \u00a0\u00bb. Ce temps de l\u2019histoire est construit et interpr\u00e9t\u00e9 par l\u2019historien. Quels sont les outils \u00e0 la disposition de l\u2019historien qui lui permettent de repr\u00e9senter et construire le temps? La ligne du temps est-elle un de ces outils? Jumel\u00e9e \u00e0 une m\u00e9thodologie, des techniques et des outils conceptuels, pourrait-elle contribuer \u00e0 la repr\u00e9sentation du temps historique?      L\u2019atelier vise \u00e0 pr\u00e9senter l\u2019application Web de la ligne du temps (<a href=\"http:\/\/www.lignedutemps.qc.ca\" target=\"_blank\">www.lignedutemps.qc.ca<\/a>) qui est un outil libre de droits (sous licence GNU GPL) et gratuit, con\u00e7u pour le monde de l\u2019\u00e9ducation, du niveau primaire au niveau universitaire. <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Alain Depocas<\/strong><br \/> Directeur du centre <br \/> de recherche et <br \/> de documentation (CR+D)<br \/> Fondation Daniel Langlois, <br \/> Montr\u00e9al, Qu\u00e9bec<\/p>\n<h2>Conference &#8211; Dissemination: Web 2.0 and Cybermuseology<\/h2>\n<p><strong>Amateur 2.0 : outils et mod\u00e8les de participation<\/strong><br \/>         Depuis quelques ann\u00e9es, avec l\u2019apparition de nouveaux modes de production, diffusion et de remixage des contenus issus du Web 2.0, une nouvelle communaut\u00e9 d\u2019amateurs d\u2019art \u00e9merge et g\u00e9n\u00e8re une importante quantit\u00e9 de contenu en ligne, souvent de mani\u00e8re collaborative, par le biais de sites participatifs.<\/p>\n<p>         De nouveaux enjeux, d\u00e9bats et strat\u00e9gies \u00e9mergent de ces nouvelles pratiques. Un nouveau paysage documentaire apparait d\u00e9j\u00e0 \u00e0 l\u2019horizon, avec une \u00e9cologie modifi\u00e9e. Plus que jamais, des mod\u00e8les de ressources structur\u00e9es, normalis\u00e9es, \u00ab savantes \u00bb, ont \u00e0 cohabiter avec d\u2019autres, tr\u00e8s ouvertes, non centralis\u00e9es, mais tr\u00e8s interconnect\u00e9es, et souvent mal contextualis\u00e9es.<\/p>\n<p>     Les diverses institutions oeuvrant dans le domaine artistique, et les mus\u00e9es en particulier, ne peuvent se permettre d\u2019ignorer le ph\u00e9nom\u00e8ne et de ne pas profiter de l\u2019apport important qu\u2019il repr\u00e9sente. De nouvelles interrogations \u00e9mergent : quels seront les incitatifs pour les participants, pour les communaut\u00e9s d\u2019int\u00e9r\u00eats, pour les \u00ab t\u00e9moins \u00bb historiques que sont les artistes, les critiques, le public ? Comment d\u00e9velopper des mod\u00e8les de production et de diffusion permettant aux usagers de reconfigurer les donn\u00e9es, les informations, le contenu ? Comment ces nouvelles pratiques favorisant la r\u00e9appropriation, la recontextualisation, le remixage pourront-elles cohabiter de fa\u00e7on productive avec les ressources ferm\u00e9es traditionnelles ?<\/p>\n<p>Responsable du Centre de recherche et de documentation (CR+D) de la fondation Daniel Langlois depuis septembre 1999, Alain Depocas a \u00e9t\u00e9 nomm\u00e9  directeur du CR+D en mars 2003. \u00c0 ce titre, il g\u00e8re une collection documentaire portant sur l&#8217;histoire, les \u0153uvres d&#8217;art et les pratiques associ\u00e9es aux arts m\u00e9diatiques, \u00e9lectroniques et num\u00e9riques. Il a \u00e9galement mis en place une base de donn\u00e9es g\u00e9rant la collection et l&#8217;information relative aux champs d&#8217;int\u00e9r\u00eat du CR+D. Apr\u00e8s des \u00e9tudes en histoire de l&#8217;art \u00e0 l&#8217;Universit\u00e9 de Montr\u00e9al et l&#8217;obtention, en 1991, d&#8217;une ma\u00eetrise portant sur l&#8217;histoire des th\u00e9ories de la photographie, intitul\u00e9e Les paradoxes de la photographie, il a travaill\u00e9 de 1991 \u00e0 1999 comme recherchiste puis documentaliste au Mus\u00e9e d&#8217;art contemporain de Montr\u00e9al (MACM). Responsable du site Web de la M\u00e9diath\u00e8que du MACM, il a pris part, entre autres, \u00e0 l&#8217;\u00e9laboration d&#8217;un projet de veille th\u00e9matique en art contemporain. De 2002 \u00e0 2004, il codirige le R\u00e9seau des m\u00e9dias variables [<a href=\"http:\/\/www.variablemedia.net\" target=\"_blank\">www.variablemedia.net<\/a>] dans le cadre d&#8217;un partenariat entre le Guggenheim Museum de New York. Depuis 2005, il est le directeur de la recherche de DOCAM [<a href=\"http:\/\/www.docam.ca\" target=\"_blank\">www.docam.ca<\/a>]. <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Beth Harris, Ph.D<\/strong><br \/> Founding Partner<br \/> smARThistory.org <br \/> New York, NY <\/p>\n<p> Beth Harris is professor of art history at the Fashion Institute of Technology, where she served for several years as the Director of Distance Learning. She is the editor of Famine and Fashion: Needlewomen in the Nineteenth Century, London: Ashgate, 2005 and has taught art history at the college level for nearly twenty years. She co-authored, &#8220;The Slide Library: A Posthumous Assessment in the Service of Our Digital Future,&#8221; Teaching Art History with Technology: Case Studies, Kelly Donohue, editor, Cambridge Scholars Press (2008). She has also published numerous book reviews and has many numerous papers on topics in Victorian Studies and teaching with technology. Beth Harris received her Ph.D. from the Graduate Center of the City University of New York.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Steven Zucker, Ph.D<\/strong><br \/> Founding partner<br \/> smARThistory.org<br \/> New York (NY), USA<\/p>\n<h2>Conference &#8211; Dissemination: Web 2.0 and Cybermuseology<\/h2>\n<p><strong>smARThistory: Art. History. Conversation.<\/strong><br \/>         In the era of the read-write web and wikipedia, knowledge is created by broad communities, rendering the museum audio guide, with its omnipotent authorial voice, a relic of the analog era. We propose smARThistory as a new model to support the education of museum visitors, students, and informal learners. In smARThistory, we have created multi-media conversations (in the form of audio and video) about key monuments and themes that can be accessed and organized from multiple perspectives. smARThistory has already been visited over 100,000 times, by visitors from over 100 countries. <\/p>\n<p>         Thanks to the generous support of the Samuel H. Kress Foundation, smARThistory has been redesigned, and we are now seeking to build a community of colleagues to contribute content and re-think the ways we use art history to help the museum visitor develop meaning about cultural heritage objects.<\/p>\n<p>         smARThistory attempts to create reliable content and a delivery model that is entertaining and even sometimes playful. Our podcasts and screencasts are spontaneous conversations where we are not afraid to disagree with each other or art history orthodoxy. Unlike readers, listeners expect conversation and give-and-take. The unpredictable nature of discussion is, after all, far more compelling than a monologue. A conversation is obviously far less premeditated \u2014 its spontaneity is full of risk and improvisation and this is all very clear to those listening. And it is because discussion has twists and turns and false starts and blind alleys that the listener remains engaged with both the content and the pas de deux enacted by the speakers. <\/p>\n<p>     Perhaps most importantly, the process of conversation can model learning because it is learning. Visitors can witness new ideas take shape rather than receive them fully formed. Ideas are introduced somewhat chaotically, as one concept collides with another and then another in dialectical progression. When listeners witness these shifts of meaning as each speaker seeks to understand the other \u2014 to learn from the other, they rehearse this process as it models exactly the experience we want them to have \u2014 a willingness to bravely encounter unfamiliar art and transform it in ways that make it meaningful to them. And importantly, these conversations mimic on a small scale the millions of overlapping conversations that have been enabled by Web 2.0.<\/p>\n<p>Steven Zucker, a specialist in 19th and 20th-century art, received his Ph.D. from the City University of New York. He teaches at Fashion Institute of Technology, SUNY. Dr. Zucker is a recipient of the SUNY chancellor\u2019s award for excellence in teaching. With Dr. Beth Harris, he created the FIT digital image library and organized two national conferences on the discipline-specific technologies reshaping the practice of teaching and co-authored \u201cThe Image Library as Learning Environment,\u201d for CAA News. He has published on Abstract Expressionism including his essay \u201cConfrontations with Radical Evil: The Ambiguity of Myth and the Inadequacy of Representation,\u201d in Art History. He is co-editor of the blog and web-book project smARThistory. SmARThistory.org has been featured in FastCompany and on Public Radio International and WNYC\u2019s program, \u201cStudio 360.\u201d <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Rob Stephenson <\/strong><br \/> Curator<br \/> The Tech Museum of Innovation <br \/> San Jose, CA <\/p>\n<h2>Conference &#8211; Dissemination: Web 2.0 and Cybermuseology<\/h2>\n<p><em><strong>Une pierre trois coups avec Second Life<\/strong><\/em><\/p>\n<p>Rob is a neuroscientist, e-learning designer and architect of virtual open source and open content collaborations. He is Curator of the Tech Virtual Museum Workshop at The Tech Museum of Innovation in San Jose, CA, USA. A recovering academic, he has taught and conducted research at Purdue University, the Universit\u00e9 Mohammed V in Rabat, Morocco and most recently Wayne State University in Detroit, MI. He founded the Harvey Project, an international collaboration to build free learning objects for physiology and OpenCourse.Org, a foundry for open courseware. Rob also served as Manager of the Education Community at java.net, Sun Microsystems&#8217; foundry for open source educational software and courseware. Rob holds an A.B. in physics from Princeton, an M.S. in physics from MIT and a Ph.D. in neuroscience from MIT. He also has Java programming certification from Sun Microsystems. <\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Eric Langlois<\/strong><br \/> Directeur et professeur, <br \/> Programme en cybermus\u00e9ologie <br \/> \u00c9MI &#8211; \u00c9cole multidisciplinaire de l\u2019image <br \/> Universit\u00e9 du Qu\u00e9bec en Outaouais<br \/> Gatineau,Qu\u00e9bec<br \/> Commissaire aux relations interuniversitaires, <br \/> AVICOM<\/p>\n<p><em>Le professeur Eric Langlois s\u2019int\u00e9resse, depuis 10 ans d\u00e9j\u00e0, aux questions relatives \u00e0 la cybermus\u00e9ologie. Sa pratique professionnelle initiale a \u00e9t\u00e9 le design graphique, puis, en 1997, il a joint l\u2019\u00e9quipe de l\u2019entreprise Id\u00e9eclic, pionni\u00e8re mondiale de la cybermus\u00e9ologie. Il y a occup\u00e9 les fonctions de directeur de la conception pendant 4 ans. Ce praticien de la cybermus\u00e9ologie a \u00e9galement enseign\u00e9 le graphisme, comme charg\u00e9e de cours, pour une p\u00e9riode de 5 ans au sein de l\u2019Universit\u00e9 du Qu\u00e9bec en Outaouais. En 2002, il a joint l\u2019\u00e9quipe de l\u2019\u00c9cole multidisciplinaire de l\u2019image (\u00c9MI), de cette m\u00eame universit\u00e9, \u00e0 titre de professeur r\u00e9gulier. Ses \u00e9tudes de deuxi\u00e8me cycle en mus\u00e9ologie (Universit\u00e9 de Montr\u00e9al) lui ont permis de s\u2019initier aux questions relatives \u00e0 la recherche de son domaine de pr\u00e9dilection, la cybermus\u00e9ologie. En 2003, il a travaill\u00e9 au Service de l\u2019\u00e9dition et du multim\u00e9dia, du Ch\u00e2teau de Versailles, sous la direction de madame B\u00e9atrix Saule, conservateur en chef. Depuis une dizaine d\u2019ann\u00e9es, son implication \u00e0 l\u2019internationale s\u2019est surtout effectu\u00e9e en France \u2013 Printemps du Qu\u00e9bec \u00e0 Paris, Universit\u00e9 d\u2019\u00e9t\u00e9 d\u2019Hourtin, AVICOM. En 2006, il a \u00e9labor\u00e9 la premi\u00e8re formation universitaire de premier cycle en cybermus\u00e9ologie. C\u2019est \u00e0 l\u2019\u00c9MI que cette formation a vu le jour d\u00e8s l\u2019automne 2007. Depuis, il a \u00e9galement \u00e9labor\u00e9, avec sa coll\u00e8gue Nada Guzin Lukic, la premi\u00e8re formation universitaire de premier cycle en mus\u00e9ologie au Canada. Celle-ci d\u00e9butera \u00e0 l\u2019automne 2009. Outre ses fonctions de professeur et de directeur de l\u2019\u00c9cole multidisciplinaire de l\u2019image, il agit \u00e9galement \u00e0 titre de vice-pr\u00e9sident du conseil d\u2019administration de la firme Id\u00e9eclic et si\u00e8ge \u00e9galement au sein du conseil consultatif du centre mus\u00e9op\u00e9dagogique du Mus\u00e9e de la civilisation de Qu\u00e9bec. Bien qu\u2019ayant toujours suivi les activit\u00e9s de l\u2019AVICOM, c\u2019est en d\u00e9cembre 2006 qu\u2019il s\u2019y implique. De fait, il a \u00e9t\u00e9 membre du jury du Fiamp 2006, s\u2019est occup\u00e9 de l\u2019organisation de la journ\u00e9e de conf\u00e9rences de l\u2019AVICOM, qui a lieu \u00e0 Vienne le 21 ao\u00fbt 2007, lors de la 21e conf\u00e9rence g\u00e9n\u00e9rale de l\u2019ICOM. Il fait maintenant partie du comit\u00e9 organisateur du Fiamp 2008. <\/em><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Nada Guzin Lukic <\/strong><br \/> Professeur,<br \/> Programme de cybermus\u00e9ologie <br \/> \u00c9MI &#8211; \u00c9cole multidisciplinaire de l\u2019image <br \/> Universit\u00e9 du Qu\u00e9bec en Outaouais<br \/> Gatineau, Qu\u00e9bec<\/p>\n<h2>Conference &#8211; Cybermuseology as a Discipline<\/h2>\n<p><strong>Cybermus\u00e9ologie : une discipline universitaire en \u00e9mergence<\/strong><br \/>   L\u2019\u00e9mergence de la cybermus\u00e9ologie rel\u00e8ve \u00e0 la fois d\u2019une pratique mus\u00e9ale contemporaine et de la construction d\u2019un champ d\u2019\u00e9tude sp\u00e9cifique. Sa construction disciplinaire actuelle repose sur les fonctions mus\u00e9ales (collection, recherche et communication) et correspond d\u2019une part aux divers secteurs du milieu mus\u00e9al et de l\u2019autre, \u00e0 l\u2019approche conceptuelle propre \u00e0 la mus\u00e9ologie. Toutefois, les limites de ces migrations des concepts de la mus\u00e9ologie vers la cybermus\u00e9ologie se font rapidement sentir. En effet, la cybermus\u00e9ologie ne concerne pas seulement les mus\u00e9es dans leur relation avec l\u2019Internet, mais \u00e9galement une nouvelle r\u00e9alit\u00e9 mus\u00e9ale construite en cyberespace. Par ailleurs, la cybermus\u00e9ologie remet en question les fondements des mus\u00e9es : leur relation avec la m\u00e9moire, les traces du pass\u00e9, le patrimoine, l\u2019exp\u00e9rience de la visite et la constitution du savoir. Cette communication esquisse les balises d\u2019une discipline en \u00e9mergence qui est en train de remettre en question \u00e0 la fois les concepts de la mus\u00e9ologie et la compr\u00e9hension du mus\u00e9e.<\/p>\n<p><em>Nada Guzin Lukic est professeure de mus\u00e9ologie \u00e0 l\u2019Universit\u00e9 du Qu\u00e9bec en Outaouais. Titulaire d\u2019un doctorat en ethnologie, ses recherches portent sur les th\u00e9ories et les pratiques de la mus\u00e9ologie, le rapport entre le mus\u00e9e et la soci\u00e9t\u00e9, les repr\u00e9sentations mus\u00e9ales des identit\u00e9s culturelles. Elle interroge le potentiel des mus\u00e9es, du patrimoine et des institutions culturelles dans l\u2019inclusion sociale et la m\u00e9diation interculturelle. Dans le champ de la cybermus\u00e9ologie ses recherches concernent l\u2019espace cr\u00e9atif de la constitution des connaissances sur les arts et les patrimoines. Un autre axe de recherche examine la relation entre l\u2019\u00e9motion, la culture et le mus\u00e9e. Elle a publi\u00e9 plusieurs articles dans des ouvrages collectifs et dans des revues scientifiques.<\/em><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Yves Bergeron<\/strong><br \/> Professeur, programme de mus\u00e9ologie <br \/> Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al<br \/> Montr\u00e9al, Qu\u00e9bec<\/p>\n<h2>Conference &#8211; Cybermuseology as a Discipline<\/h2>\n<p><strong>En amont de la cybermus\u00e9ologie : l\u2019ouverture du r\u00e9seau des mus\u00e9es \u00e0 une vitrine sur Internet<\/strong><br \/><em>La cybermus\u00e9ologie s\u2019est impos\u00e9e au cours des derni\u00e8res ann\u00e9es comme une avenue originale permettant aux mus\u00e9es d\u2019explorer de nouvelles formes de diffusions. De nombreux mus\u00e9es ont emprunt\u00e9 cette nouvelle voie avec succ\u00e8s. Mais qu\u2019en est-il globalement de l\u2019utilisation d\u2019Internet dans l\u2019ensemble du r\u00e9seau des institutions mus\u00e9ales au Qu\u00e9bec ? Quelle est la position des mus\u00e9es \u00e0 l\u2019\u00e9gard de la diffusion sur Internet ? Analyse et reflexion sur l\u2019\u00e9tat des lieux de la cybermus\u00e9ologie au Qu\u00e9bec. <\/em><\/p>\n<p><em>Yves Bergeron est professeur de mus\u00e9ologie et de patrimoine \u00e0 l\u2019Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al o\u00f9 il assure la direction de la ma\u00eetrise en mus\u00e9ologie et du doctorat international UQAM-Avignon en mus\u00e9ologie, patrimoine et m\u00e9diation culturelle. D\u00e9tenteur d\u2019un doctorat en ethnologie, Yves Bergeron s\u2019est notamment consacr\u00e9 \u00e0 la recherche dans le champ de la culture mat\u00e9rielle et de la mus\u00e9ologie. Ses travaux portent notamment sur le collectionnement, l\u2019histoire de la mus\u00e9ologie et les pratiques culturelles. Il a \u0153uvr\u00e9 \u00e0 titre de conservateur  \u00e0 Parcs Canada et au Mus\u00e9e de l\u2019Am\u00e9rique fran\u00e7aise avant d\u2019occuper le poste de directeur du Service de la recherche et de l\u2019\u00e9valuation au Mus\u00e9e de la civilisation (1999-2005). Il a publi\u00e9 de nombreux articles sur le sens des objets et l\u2019histoire de la mus\u00e9ologie. Depuis 2005, il codirige avec Laurier Turgeon, titulaire de la chaire du Canada en patrimoine ethnologique \u00e0 l\u2019Universit\u00e9 Laval, le projet d\u2019Encyclop\u00e9die du patrimoine culturel de l\u2019Am\u00e9rique fran\u00e7aise. Il pr\u00e9pare une \u00e9tude synth\u00e8se sur l\u2019\u00e9tat de l\u2019univers du patrimoine et des institutions mus\u00e9ales au Qu\u00e9bec pour L\u2019Observatoire de la Culture et des Communications du Qu\u00e9bec.<\/em><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Ross Parry <\/strong><br \/>       Program Director, Digital Heritage <br \/>       University of Leicester<br \/>       United Kingdom      <\/p>\n<p><strong>The museum reprogrammed: how computing became the metonym (rather than the antonym) of the modern museum<\/strong><br \/>     By drawing upon new media theory and attempting a historical perspective (two things not always, until recently, associated with studies of museum computing), this presentation will explore some of the enduring tensions between today\u2019s museum and today\u2019s digital technology. Tracing a narrative from the \u2018automation moment\u2019 in the 1960s, a fundamental historical incompatibly is suggested between the concept of a museum and the concept of the computer. However, what also emerges, in contrast, is a second narrative \u2013 regarding the practices and formations that are over-riding any \u2018disconnect\u2019. This is the new compatibility between museum and computer that is allowing us to find alternative ways (new places, new channels, new expectations) to frame and position the provision and experiences of our museums.<\/p>\n<p>Dr. Ross Parry is Senior Lecturer in the Department of Museum Studies at the University of Leicester (UK), and programme director for its new Masters degree in Digital Heritage. Since 2004 he has co-convened the annual UK Museums on the Web (UKMW) conference and in 2005 he was made a HIRF Innovations Fellow for his work on developing in-gallery digital media. Since 2006 he has been chair of judges for the national Jodi Awards &#8211; recognising excellence within the heritage sector in the use of digital media for improving the experiences of disabled visitors. He is co-editor (Digital Heritage) for the Journal of Museum Management and Curatorship, as well as acting chair of the Museums Computer Group.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\n<p><strong>Rina Elster Pantalony <\/strong><br \/> Head of New Media Initiatives <br \/> Smithsonian American Art Museum, <br \/> Washington, D.C. <\/p>\n<h2>Conference &#8211; Collection: Universal Databases and Copyright <\/h2>\n<p><strong>Creativity and Permissions: Cultural Heritage Institutions and Intellectual Property Law<\/strong><br \/>   Digital invention and innovative means of communication have altered the way art can be created, communicated and consumed. Artists now use new media as a creative tool, either to reach out to their public or as a medium for their creativity. Cultural heritage institutions use new media as a means of both direct communication about art and as a means of providing the public with immediate access to and interaction with art. By contrast, the legal concepts of property, and in particular, intellectual property reward individual and not necessarily collective processes, thereby creating noticeable tensions. Such tensions transcend both creativity and communication and affect both organizations and individuals either claiming ownership and the related economic benefits or in wanting to create anew. In addition, cultural heritage institutions must transcend these tensions in order to carry out their own mandates of preservation and access. This talk will explore the points of tension created by intellectual property law for the cultural heritage institution in collecting, communicating, interpreting and preserving collections created and communicated using new media.<\/p>\n<p>Rina Elster Pantalony obtained her undergraduate degree from Dalhousie University at Halifax, Canada and her Law Degree from Dalhousie Law School. She is admitted as a member of the Law Society of Upper Canada and is a copyright lawyer with the Department of Justice, Canada. In 2000, she was appointed intellectual property counsel to a joint Internet venture between The Tate and The Museum of Modern Art, and in 2002, Ms. Elster Pantalony re-joined the Canadian Justice Department to represent the Virtual Museum of Canada and the Library and Archives of Canada as their Legal Counsel, carrying out her responsibilities from New York. She is also adjunct faculty at the Tisch School for the Arts, New York University. She has published and spoken extensively on intellectual property issues affecting cultural heritage. Her most recent publication, \u201cThe WIPO Guide on Managing Intellectual Property for Museums\u201d, published by the World Intellectual Property Organization in 2007, is <a href=\"http:\/\/www.wipo.int\/copyright\/en\/museums_ip\/\" target=\"_blank\">available on-line<\/a> and in print in Spanish, English and French. <\/p>\n<\/td>\n<\/tr>\n<\/table>\n<p> <!--  Text: [end] --> <\/div>\n<\/p><\/div>\n<div><!-- --><\/div>\n<p> \t\t<!--  Image block: [end] --> \t\t\t   \t<!--  \t\tBEGIN: Content of extension \"hpo_relatedlink\", plugin \"tx_hporelatedlink_pi1\"  \t--> \t<\/p>\n<div> \t\t \t<\/div>\n<p> \t \t<!-- END: Content of extension \"hpo_relatedlink\", plugin \"tx_hporelatedlink_pi1\" -->  \t<\/div>\n<p> \t<!--  CONTENT ELEMENT, uid:6004\/textpic [end] --> \t\t<!--TYPO3SEARCH_end--> <\/div>\n","protected":false},"excerpt":{"rendered":"<p>Archives FIAMP.2008 Gatineau-Ottawa, Canada, October 16 &#8211; 17, 2008 Download the program and speakers: HTML PDF Angelina Russo Associate Professor, Ph.D. Swinburne University of Technology Melbourne, Australia Transformations in cultural and scientific communication : creating new museum audiences with social media We are witnessing a shift in the ways in which cultural organisations view their [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":627,"menu_order":10,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"yst_prominent_words":[],"acf":[],"_links":{"self":[{"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/pages\/1349"}],"collection":[{"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/comments?post=1349"}],"version-history":[{"count":1,"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/pages\/1349\/revisions"}],"predecessor-version":[{"id":2134,"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/pages\/1349\/revisions\/2134"}],"up":[{"embeddable":true,"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/pages\/627"}],"wp:attachment":[{"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/media?parent=1349"}],"wp:term":[{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/avicom.mini.icom.museum\/es\/wp-json\/wp\/v2\/yst_prominent_words?post=1349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}