Hannah Lewi is a Professor in the Faculty of Architecture, Building and Planning at the University of Melbourne. She has broad research interests in architecture history, heritage, conservation and new media. Wally Smith is an Associate Professor in Human–Computer Interaction in the Melbourne School of Engineering at the University of Melbourne. His research investigates the design and use of new digital technologies and their broader social foundations and implications. Recent projects are in the areas of health informatics, digital heritage and artificial intelligence.Dirk vom Lehn is Reader in Organisational Sociology at the King’s Business School, King’s College London, and member of the Work, Interaction and Technology Research Group (WIT). His research is primarily concerned with the ways in which people explore, respond to and make sense of exhibits and exhibitions.Steven Cooke is a Senior Lecturer in Cultural Heritage and course director for the Cultural Heritage and Museum Studies Programme at Deakin University, Melbourne. He is a cultural and historical geographer with interests in heritage, memory and identity.

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• FRAMING INTERVIEWS; Interview with Seb Chan, ACMI; Interview with Dave Patten, Science Museum London; Interview with Rory Hyde, V&A Museum; Interview with Keir Winesmith, SFMOMA; PART 1. THE EMERGING GLOBAL DIGITAL GLAM SECTOR; Digitizations, users and curatorial agency within complex global machinic jurisdictions; The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum; The distributed museum is already here–it’s just not very evenly distributed; Speculative Collections and the Emancipatory Library; Chinese Museums’ Digital Heritage Profile: An Evaluation of Digital Technology Adoption in Cultural Heritage Institutions; Hacking heritage: understanding the limits of online access; From Planned Oblivion to Digital Exposition: The Digital Museum of Afro-Brazilian Heritage; Shared Digital Experiences Supporting Collaborative Meaning-Making at Heritage Sites; PART 2. ANIMATING THE ARCHIVE; Neither A Beginning Nor An End: Applying An Ethics of Care to Digitizing Archival Collections in South Asia; Digital Archives in Africa and the Endangered Archives Programme Graeme Counsel; The Alan Vaughan-Richards Archive: recovering tropical modernism in Lagos; Museum Crowdsourcing—Detecting the Limits: eMunch.no and the Digitisation of Letters Addressed to Edvard Munch; Digital and hybrid archives: a case study of the William J Mitchell collection; Preserving Chinese Shadow Puppetry Culture Through Digitisation; Be Engaged: Facilitating Creative Re-use at the Netherlands Institute for Sound and Vision; Cultural Antinomies, Creative Complicities: Agan Harahap's Digital Hoaxes; PART 3. DESIGNING ENGAGED EXPERIENCE; On Virtual Auras: The Cultural Heritage Object in the Age of 3D Digital Reproduction; Configuring Slow Technology Through Social and Embodied Interaction: Making Time for Reflection in Augmenter Reality Museum Experiences with Young Visitors; Exhibition Design and Professional Theories: the Development of an Astronomy Exhibition; Meeting the Challenge of the Immoveable: Experiencing Mogao Grottoes Cave 45 With Immersive Technology; Immersive Engagement: Designing and Testing a Virtual IRS Exhibition; Hemispheres: transdisciplinary architectures and museum-university collaboration; Digital Media and Human-Centred Design; Unlocking the Glass Case; The law of feeling: experiments in a Yolngu museology; Henry VR: designing affect-oriented virtual reality exhibitions for art museums; Website as publishing platform; From the Shelf onto the Net: First Reflections on the O’Donnell Marginalia Project; Interpreting the Future; PART 4. LOCATING IN PLACE; What Could Have Bean? A Digital Construction of Charles Bean’s Australian War Memorial; Succession: A Generative Approach to Digital Collections; Rephotography and the Situating of Then-and-Now; Hospicio Cabañas: Seeing World Heritage Through Google’s Eyes; The Experience of Using Digital Walking Tours to Explore Urban Histories; Traces—Olion: Creating a Bilingual ‘Subtlemob’ for National Museum Wales; Investigating ‘Ordinary’ Landscapes: Using Visual Research Methods to Understand Heritage Digital Technologies and Sense of Place; Massive Digital Community Archives in Colombia: An International Partnership Towards Peace; Mapping an Archive of Emotions: Place, Memory and the Affective Histories of Perth’s Riverscape; Afterword

Hannah Lewi is a Professor in the Faculty of Architecture, Building and Planning at the University of Melbourne. She has broad research interests in architecture history, heritage, conservation and new media. Wally Smith is an Associate Professor in Human–Computer Interaction in the Melbourne School of Engineering at the University of Melbourne. His research investigates the design and use of new digital technologies and their broader social foundations and implications. Recent projects are in the areas of health informatics, digital heritage and artificial intelligence.Dirk vom Lehn is Reader in Organisational Sociology at the King’s Business School, King’s College London, and member of the Work, Interaction and Technology Research Group (WIT). His research is primarily concerned with the ways in which people explore, respond to and make sense of exhibits and exhibitions.Steven Cooke is a Senior Lecturer in Cultural Heritage and course director for the Cultural Heritage and Museum Studies Programme at Deakin University, Melbourne. He is a cultural and historical geographer with interests in heritage, memory and identity.

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• FRAMING INTERVIEWS; Interview with Seb Chan, ACMI; Interview with Dave Patten, Science Museum London; Interview with Rory Hyde, V&A Museum; Interview with Keir Winesmith, SFMOMA; PART 1. THE EMERGING GLOBAL DIGITAL GLAM SECTOR; Digitizations, users and curatorial agency within complex global machinic jurisdictions; The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum; The distributed museum is already here–it’s just not very evenly distributed; Speculative Collections and the Emancipatory Library; Chinese Museums’ Digital Heritage Profile: An Evaluation of Digital Technology Adoption in Cultural Heritage Institutions; Hacking heritage: understanding the limits of online access; From Planned Oblivion to Digital Exposition: The Digital Museum of Afro-Brazilian Heritage; Shared Digital Experiences Supporting Collaborative Meaning-Making at Heritage Sites; PART 2. ANIMATING THE ARCHIVE; Neither A Beginning Nor An End: Applying An Ethics of Care to Digitizing Archival Collections in South Asia; Digital Archives in Africa and the Endangered Archives Programme Graeme Counsel; The Alan Vaughan-Richards Archive: recovering tropical modernism in Lagos; Museum Crowdsourcing—Detecting the Limits: eMunch.no and the Digitisation of Letters Addressed to Edvard Munch; Digital and hybrid archives: a case study of the William J Mitchell collection; Preserving Chinese Shadow Puppetry Culture Through Digitisation; Be Engaged: Facilitating Creative Re-use at the Netherlands Institute for Sound and Vision; Cultural Antinomies, Creative Complicities: Agan Harahap's Digital Hoaxes; PART 3. DESIGNING ENGAGED EXPERIENCE; On Virtual Auras: The Cultural Heritage Object in the Age of 3D Digital Reproduction; Configuring Slow Technology Through Social and Embodied Interaction: Making Time for Reflection in Augmenter Reality Museum Experiences with Young Visitors; Exhibition Design and Professional Theories: the Development of an Astronomy Exhibition; Meeting the Challenge of the Immoveable: Experiencing Mogao Grottoes Cave 45 With Immersive Technology; Immersive Engagement: Designing and Testing a Virtual IRS Exhibition; Hemispheres: transdisciplinary architectures and museum-university collaboration; Digital Media and Human-Centred Design; Unlocking the Glass Case; The law of feeling: experiments in a Yolngu museology; Henry VR: designing affect-oriented virtual reality exhibitions for art museums; Website as publishing platform; From the Shelf onto the Net: First Reflections on the O’Donnell Marginalia Project; Interpreting the Future; PART 4. LOCATING IN PLACE; What Could Have Bean? A Digital Construction of Charles Bean’s Australian War Memorial; Succession: A Generative Approach to Digital Collections; Rephotography and the Situating of Then-and-Now; Hospicio Cabañas: Seeing World Heritage Through Google’s Eyes; The Experience of Using Digital Walking Tours to Explore Urban Histories; Traces—Olion: Creating a Bilingual ‘Subtlemob’ for National Museum Wales; Investigating ‘Ordinary’ Landscapes: Using Visual Research Methods to Understand Heritage Digital Technologies and Sense of Place; Massive Digital Community Archives in Colombia: An International Partnership Towards Peace; Mapping an Archive of Emotions: Place, Memory and the Affective Histories of Perth’s Riverscape; Afterword

Hannah Lewi is a Professor in the Faculty of Architecture, Building and Planning at the University of Melbourne. She has broad research interests in architecture history, heritage, conservation and new media. Wally Smith is an Associate Professor in Human–Computer Interaction in the Melbourne School of Engineering at the University of Melbourne. His research investigates the design and use of new digital technologies and their broader social foundations and implications. Recent projects are in the areas of health informatics, digital heritage and artificial intelligence.Dirk vom Lehn is Reader in Organisational Sociology at the King’s Business School, King’s College London, and member of the Work, Interaction and Technology Research Group (WIT). His research is primarily concerned with the ways in which people explore, respond to and make sense of exhibits and exhibitions.Steven Cooke is a Senior Lecturer in Cultural Heritage and course director for the Cultural Heritage and Museum Studies Programme at Deakin University, Melbourne. He is a cultural and historical geographer with interests in heritage, memory and identity.

Select Guide Rating

• FRAMING INTERVIEWS; Interview with Seb Chan, ACMI; Interview with Dave Patten, Science Museum London; Interview with Rory Hyde, V&A Museum; Interview with Keir Winesmith, SFMOMA; PART 1. THE EMERGING GLOBAL DIGITAL GLAM SECTOR; Digitizations, users and curatorial agency within complex global machinic jurisdictions; The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum; The distributed museum is already here–it’s just not very evenly distributed; Speculative Collections and the Emancipatory Library; Chinese Museums’ Digital Heritage Profile: An Evaluation of Digital Technology Adoption in Cultural Heritage Institutions; Hacking heritage: understanding the limits of online access; From Planned Oblivion to Digital Exposition: The Digital Museum of Afro-Brazilian Heritage; Shared Digital Experiences Supporting Collaborative Meaning-Making at Heritage Sites; PART 2. ANIMATING THE ARCHIVE; Neither A Beginning Nor An End: Applying An Ethics of Care to Digitizing Archival Collections in South Asia; Digital Archives in Africa and the Endangered Archives Programme Graeme Counsel; The Alan Vaughan-Richards Archive: recovering tropical modernism in Lagos; Museum Crowdsourcing—Detecting the Limits: eMunch.no and the Digitisation of Letters Addressed to Edvard Munch; Digital and hybrid archives: a case study of the William J Mitchell collection; Preserving Chinese Shadow Puppetry Culture Through Digitisation; Be Engaged: Facilitating Creative Re-use at the Netherlands Institute for Sound and Vision; Cultural Antinomies, Creative Complicities: Agan Harahap's Digital Hoaxes; PART 3. DESIGNING ENGAGED EXPERIENCE; On Virtual Auras: The Cultural Heritage Object in the Age of 3D Digital Reproduction; Configuring Slow Technology Through Social and Embodied Interaction: Making Time for Reflection in Augmenter Reality Museum Experiences with Young Visitors; Exhibition Design and Professional Theories: the Development of an Astronomy Exhibition; Meeting the Challenge of the Immoveable: Experiencing Mogao Grottoes Cave 45 With Immersive Technology; Immersive Engagement: Designing and Testing a Virtual IRS Exhibition; Hemispheres: transdisciplinary architectures and museum-university collaboration; Digital Media and Human-Centred Design; Unlocking the Glass Case; The law of feeling: experiments in a Yolngu museology; Henry VR: designing affect-oriented virtual reality exhibitions for art museums; Website as publishing platform; From the Shelf onto the Net: First Reflections on the O’Donnell Marginalia Project; Interpreting the Future; PART 4. LOCATING IN PLACE; What Could Have Bean? A Digital Construction of Charles Bean’s Australian War Memorial; Succession: A Generative Approach to Digital Collections; Rephotography and the Situating of Then-and-Now; Hospicio Cabañas: Seeing World Heritage Through Google’s Eyes; The Experience of Using Digital Walking Tours to Explore Urban Histories; Traces—Olion: Creating a Bilingual ‘Subtlemob’ for National Museum Wales; Investigating ‘Ordinary’ Landscapes: Using Visual Research Methods to Understand Heritage Digital Technologies and Sense of Place; Massive Digital Community Archives in Colombia: An International Partnership Towards Peace; Mapping an Archive of Emotions: Place, Memory and the Affective Histories of Perth’s Riverscape; Afterword