Best Chapter: We Digital Sensemakers
\nThe essence of what I think librarians need to be doing is 'digital senesemaking' and the quote at the start of this chapter hits home:
\n\"The creative challenge is not so much about gathering information as it in asking the right questions.\"
\nThere are different metrics for evaluating information: social, computational, trainable, interconnected. \"These metrics help sensemakers find answers and the right questions\" (58)
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\nEssentially, a group of online finding aids or groups of digitized images put on the web by an archive of museum is a digital collection, not an online exhibition.
\nFinally the distinction is made:
\n(3) \"Though a collection may have an idea behind it (e.g. the \"Making of America\" project cited above), what separates an exhibition from a collection is that an exhibition has a tight connection between its idea, objects, and script that ties them all together. It is this tight connection that is vital; otherwise a virtual exhibition will \"amount to little more than disorganized and decontextualized digital collections\" (Silver 1997, 826)
\nThere are types of exhibitions: (3)
\naesthetic: organized around the beauty of the objects
\nemotive: designed to illicit an emotion of the viewer
\nevocative: designed to create an atmosphere
\ndidactic: constructed to teach about something specific
\nentertaining: presented just for fun!
\n(9)
\nThe most effective or most successful exhibits have an IDEA behind them. The concept should drive planning and implementation of the exhibit.
\nChapter 3 talks a lot about having exhibition policies to guide what gets displayed and what doesn't or what should be showcased and what shouldn't.
\n(27) There's discussion about object selection, what guides object selection? Is it tied to a larger goal of the institution? Is it to showcase previously hidden collections? The key is to have consistent policies for object selection in each exhibit since the context behind each of them is so different.
\n(35) Drawing from Thomas and Boily, \"Virtual Exhibition Production: A Reference Guide.\" Here are elements of a good online exhibition:
\n1. providing an opportunity to visit museum exhibitions more than once
\n2. allowing for surprise and wonder, promoting dreaming and creation
\n3. giving an overall impression of the site on the homepage
\n4. updating the site on a regular basis to attaract visitors and keep them coming back
\n5. using source material provided by the medium to enhance meaning
\n6. displaying images that can be used on the internet
\n7. designing the project like research tool
\n8. providing access to normally incacessible documents
\n9. ensuring reserach projects have international dissementation
\n10. hooking visitings by making browsing pleasant
\n11. touching users' emotions
\n(39)-staff needed for an exhibition:
\n1. library or archive director
\n2. curator
\n3. designer
\n4. technical staff
\n5. conservator
\n6. editor (copyright/ip issues & copy editor)
\n7. education consultant
\n8. production staff
\n9. other
\nThe next chapter touches on technical issues for digitizing, but I think there are updated standards we can find elsewhere.
\nThe design chapter is okay, but pulling from Nedda Ahmed's work on designing libguides acomplishes the same goals and is better explained and up to date.
\nChapter 9 outlines case studies and awards. I think if this book was taught, we could have students look for the elements of success that last across time and look to apply those standards of excellence in contemporary contexts. This goes back to the teaching tool suggested by Laura McGrane at Tri-Colleges of giving students websites to read and analyze to development ideas about how to create their own. But we can work on our own criteria of what's a great online exhibition?
\n\n
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