2024.Jan.17

REPORTS

Report on the 16th B’AI Book Club
Tula Giannini and Jonathan P. Bowen eds. (2019) Museums and Digital Culture: New Perspectives and Research.

On December 20, the 16th session of the B’AI Book Club, an online book review event for project members and stakeholders of the B’AI Global Forum, occurred. In this session, B’AI Research Assistant Nozomi Ohtsuki introduced the book “Museums and Digital Culture: New Perspectives and Research” (2019).

The book explores how digital culture transforms museums in the 21st century, presenting research and case studies from various perspectives, including (digital) artists, scholars, and museum professionals. It delves into the fundamental changes occurring in the societal context and purposes of museum exhibitions and collections, the work of museum professionals, and the expectations of real and virtual visitors due to the ubiquitous use of digital tools and technology in daily life. The narrative describes how museums evolve into dynamic and socially conscious institutions, adapting to the changing landscape. Exhibits, outreach programs, and experiences designed based on a visitor-centric model seamlessly integrate digital culture, thinking, aesthetics, vision, and sound, contributing to shaping the identity of dynamic and innovative museums of the future.

During the book club, participants engaged in discussions on topics that particularly piqued their interest. One essential discussion revolved around the need for education tailored to experts and artists in the digital age. The importance of providing digital technology and culture education to those working in museums, especially current professionals, was emphasised. Unlike traditional museum education, which often focuses on educating school-age visitors using materials from the museum’s collection or collaborating with school education, the book highlights the significance of offering opportunities for education in digital technology and culture to those working in museum settings. For the increasing number of digital artists in the future, museums must provide education from a digital perspective about the social significance and various possibilities of the works they create. In Japan, there is still a shortage of education tailored for such experts and artists, and many professionals may lack sufficient opportunities for training on digital technology and societal changes. Even in small or regional museums, the demand for digitising and handling digital materials is growing. In the contemporary era, where artistic activities and works can be globally disseminated by artists themselves, it would be beneficial to offer educational opportunities not only through university curator programs or art-related departments but also through activities of relevant associations or initiatives led by artistic organisations.

Moreover, as a problem in Japanese museums, it has been pointed out that while the content and tasks related to materials are diverse, the expertise of curators responsible for handling them is not necessarily diverse. Additionally, in some museums, there are few curators, sometimes only one, and they may need to handle a wide range of materials from archaeology to fine art alone. Due to the limited opportunities to work in teams, issues such as a lack of awareness of gender equality in exhibition content may arise without notice. In addition, in many cases, curators take curatorial courses during their four years of undergraduate studies and find employment, so the number of curators with professional degrees such as master’s and doctoral degrees is small, and a large number of non-regular employees and low salary levels are also challenges.

Furthermore, regarding the diverse engagement of citizens with museums, traditional exhibitions and curation, which were previously confined to the museum premises, have expanded beyond the museum walls through the utilisation of digital technology, especially internet technology. This allows them to be easily seen and felt by various people. The proliferation of installations through the fusion of digital technology, museum materials, and art has changed how materials are viewed and attracted visitors who were previously uninterested in museums. Given these circumstances, museums must build new communities and engage visitors in cultural activities. The book highlights the use of AI-powered chatbots as a case to support the participation of diverse citizens in museums. While acknowledging the ethical responsibilities and privacy challenges associated with chatbots, the book suggests the potential for creating new paradigms and interactions with visitors. It emphasises that museums can support citizens participating as stakeholders to ensure that the museum remains a trusted learning organisation for the community.

The book emphasises the importance of museums adapting to the changing ways people use technology in the face of digital culture. It states that it would be challenging for museums to accept and succeed without such adaptation. Considering the shift in behaviours and presence within the shared space called the digital ecosystem, people compare their lives through the internet while seeking fundamental rights such as freedom, democracy, life, liberty, and the pursuit of happiness. Museums and their materials are positioned within this digital ecosystem, constantly viewed globally, requiring them to be mindful of this positioning. Previously marginalised individuals in the real world can now voice their opinions within the digital ecosystem. Museums are exploring dialogues and reconsidering their methods of interaction. In the discussions, the significance of museums in this era was highlighted. It was suggested that museums play a role in curating from many materials, considering societal situations such as war and the increasing awareness of gender equality, and considering the perspectives of stakeholders and various possibilities of reception.

Furthermore, with the digitisation of materials and the emergence of born-digital materials (generated in digital form from the outset), the knowledge held by cultural institutions is being compressed into databases and transitioning to the web. It is anticipated that as digital technology evolves, more realistic experiences will become possible and increasingly sought after. Additionally, during discussions on the pros and cons of viewing museum materials through digital technology or enjoying them via VR at home, there was a suggestion that the discussions tend to revolve around individuals who can physically visit museums. It was pointed out that for those who don’t have the luxury of visiting museums, utilising digital technology to easily access materials can be beneficial. Furthermore, participants introduced examples of museums abroad offering VR experiences, and there was speculation about the reasons for the lack of Japanese-language support for VR, whether it’s due to a lack of capacity or other reasons. Additionally, it was noted that large-scale museum VR experiences may not be feasible without significant capital funding.

In summary, the interaction between museums and digital technology is continuously growing. Attention is focused on the digitisation of existing materials and online dissemination and the new forms of communication that emerge from these processes. As initiatives for gender equality and diversity are being promoted throughout society, including within museums, leveraging digital technology may contribute to achieving these goals. The collection and utilisation of born-digital materials, as well as the involvement of museums in digital art, are areas where contributions are needed. Education for individuals creating and managing these digital assets is also in demand. By providing materials that respond to evolving societal demands, museums will demonstrate their significance within the digital ecosystem.