Applied information technologies in the museum sphere. Information technologies in museum business. The latest information technologies in museum business

3. Implementation of information technologies in the activities of the museum

Modern computer information technologies have been introduced into museum activities for about 20 years. First of all, museums began to computerize their collections in order to create catalogs of their collections in electronic form. On the basis of these electronic catalogs, technologies for accounting for museum valuables in computers began to take shape. Technological progress and modern image processing technologies have allowed many museums to create image databases. Computer technologies have made an information revolution in the museum field. Everyone knows that, on average, museums exhibit no more than 5% of their collections. The rest of the values ​​are kept in funds. Thanks to computer information systems, this information material becomes available for study by specialists.

Computer technologies are being intensively introduced into various other areas of museum activity: these are restoration processes, the preparation of models for museum expositions and exhibitions, and educational programs for children. Computer systems are successfully used to serve visitors. With the help of these systems, anyone can book tickets to visit museums, exhibition halls or concerts. There is no doubt that the intensive development of the world information system INTERNET makes museums take advantage of its unique capabilities.

There are some achievements in the field of application of information technologies in the Kemerovo region. In large cities (we are talking about Kemerovo and Novokuznetsk), all museums are computerized, three museums in the region - the Kemerovo Regional Fine Arts Museum and the Novokuznetsk Museum of Local Lore and Art - use KAMIS, the Kemerovo Museum of Local Lore works with AIS-Museum 2, "Tomsk Pisanitsa" and the Museum of Kemerovo State University "Archaeology, Ethnography and Ecology of Siberia" have their own automated systems for accounting funds.

Three museums have representation on the Internet (Kemerovo fine arts - http://history.kemsu.ru/museum; the historical and natural museum-reserve "Tomsk Pisanitsa" - http://pisanitsa.narod.ru, the museum of the Kemerovo State University "Archaeology, ethnography and Ecology of Siberia" - http://vm.kemsu.ru/museum).

If we take the sphere of culture as a whole, then the web resources created in the region (however, not every resource is a full-fledged site with a professional design and a well-developed web scenario) are in their infancy. There are photo exhibitions, information about contemporary artists and cultural organizations, as for the actual information about the historical and cultural heritage, it is insignificant compared to what is real.

Understanding the objectivity of the difficulties in computerization and informatization that the museums of the region face, especially those that are located at a considerable distance from large settlements, since 1999, employees of the department of new information technologies of the Kemerovo Museum of Fine Arts, with the support of the Open Society Institute, have implemented three projects aimed at collecting, processing and promoting information about cultural resources concentrated in the museums of the region.

In 1999, a database of museums in the Kemerovo region was created and the reference book "Museums of Kuzbass" was published - the first such publication in the region.

In 2001, the museum staff created a virtual exposition "Museums of Kuzbass. Favorites" (www.history.kemsu.ru/mko), which is an independent site - an extended guide to the region's museums. This is the first experience of presenting a part of the cultural heritage of Kuzbass stored in museums to a wide range of Russian users. The Novokuznetsk Museum of Local Lore created a CD "Sights of Novokuznetsk".

We have to admit that the informatization of museums in the Kemerovo region is in its infancy, and it is quite obvious that in the near future most museums, especially small ones, will not even begin to solve these problems. So, for example, in our regional museum of local lore there are 2 computers, a scanner, a printer, a copier, but all these technical means work only for office documents.

Until now, the task of modern information support for activities in the field of culture is often understood as equipping cultural institutions with modern equipment and teaching staff how to work with it. However, it is obvious that the use of new information technologies implies not only a quantitative, but also a qualitative change in the professional activities of cultural workers, and work with information rises to a different, fundamentally new level.

4. The history of the formation of computerization and automation of museum activities

In 1993, at the invitation of the International Committee of SIDOK and thanks to a grant allocated by SIDOK, the head of the Department of Informatics of the Pushkin Museum im. A.S. Pushkina L.Ya. Zero and the head of the Department of Information Systems of the Moscow Kremlin State Museum-Reserve A.V.Dremailov took part in the annual SIDOK conference, which was organized in the capital of Slovenia, Ljubljana. This was the first acquaintance with the work of one of the international committees of ICOM, the organizational structure of SIDOK, national information museum projects in various countries, this was the first personal acquaintance with foreign specialists in the field of museum informatics.

Specialists from Russia made presentations, talked about the state of affairs in the implementation of information technologies in Russian museums, and became members of SIDOK. At the next two conferences in 1994 in the USA and in 1995 in Norway, discussions were held between Russian specialists and colleagues from the Organizing Bureau of SIDOK about the need to create a national Russian committee for documentation and informatization of museums for more intensive further activities. So, by 1996, on the initiative of the three largest Moscow museums - the State Museum-Reserve "Moscow Kremlin", the State Tretyakov Gallery and the State Museum of Fine Arts named after A.S. Pushkin, the Association for Documentation and New Information Technologies in Museums (ADIT) was established, and in June 1996 the Presidium of ICOM Russia voted for ADIT to accept the status of a professional committee of ICOM Russia on problems of museum informatics. In making this decision, it was stated that the Russian Committee of the International Council of Museums was interested in Russia's active participation in the activities of the SIDOK International Committee.

Thus, the Association for Documentation and New Information Technologies (ADIT), established in 1996, acquired the status of a professional committee of ICOM Russia on the problems of museum informatics.

The first annual ADIT conference was held in 1997 in St. Petersburg and was attended by employees from museums that had just embarked on the path of informatization. In order to attract as many participants from different territories as possible to the activities of ADIT, it was decided to hold all subsequent conferences not in capital cities.

Then they were held in the regions: the second in 1998 - in Ivanovo, where, along with the usual meetings, the first "Museum Computer Festival" was held; the third in 1999 - in Yaroslavl, the fourth in 2000 - in Vladimir, at which it was decided to transform ADIT from the national committee of ICOM into a non-profit partnership, which, while maintaining the same abbreviation, received a new name: "Automation of Museum Activities and Information Technologies" ( NP ADIT). The founders of this organization are the Main Information and Computing Center of the Ministry of Culture of the Russian Federation (GIVC), the Interregional Public Movement "Association of Museum Workers" (AMR), the State Educational Institution Academy of Retraining of Workers of Art, Culture and Tourism and individuals.

As part of the 2001 conference in Tula, a meeting of ADIT members was held, at which the organization's development strategy was adopted, worked out at a design and analytical seminar in Yasnaya Polyana immediately before the conference. In accordance with this strategy, the main goals of ADIT are: formation of an environment for professional communication of museum specialists in the field of informatization of cultural heritage and information policy in the field of cultural heritage; improvement of the system of museum documentation; creation of mechanisms for free and effective access of citizens to information about cultural heritage and assistance in the development of education, cultural tourism, preservation, research and popularization of historical and cultural monuments of Russia and assistance in the formation of a single world cultural and information space by including information about Russian cultural heritage in it.

In general terms, the activity of ADIT as a network organization of culture is aimed at the development of innovative and modernization processes in the field of informatization of cultural heritage, including the study of advanced methods, their popularization and support for research work, as well as the development of a system of partnerships and strengthening interaction between organizations, institutions and individual specialists in the field of informatization of cultural heritage and the development and implementation of educational programs for museum employees working in the field of information technology, teaching them the basics of information management.

One of the priority activities of ADIT in 2000−2001. was the development of standards for a brief description of cultural heritage objects. With the support of OSI, four projects were implemented, within which standards were created for describing four types of objects: "Immovable monument"; "Museum item"; "Cultural landscape"; "Monument of Archeology", as well as an expert seminar "Standards for the description of cultural heritage", the task of which was to combine the four standards into a single one and develop recommendations for its further improvement and use.

ADIT is a partner of a number of international projects of the European Council and thus represents the interests of Russian museums in the European program for the development of the information museum community.

Russia should enter the third millennium with a developed museum information infrastructure. To achieve this goal, first of all, it is necessary to unite Russian professional forces in the field of museum informatics. The Russian Committee of the International Council of Museums welcomes the undoubtedly timely initiative to create ADIT. The association should unite museum informatics professionals in Russia, hold an annual national conference and actively participate in the activities of the SIDOK international committee.

Bibliography:

1. Dremaylov A.V. ADIT - Open Society Institute - basics of interaction: // www.kremlin.museum.ru

2. Dukelsky V.Yu., Lebedev A.V. Virtual project in the space of the museum / V.Yu. Dukelsky, A.V. Lebedev // Handbook of the head of cultural institutions. - 2008, No. 1. - P.82-87

3. Znamensky A.V. Modernization of museum activities / A.V. Znamensky // Handbook of the head of a cultural institution. - 2003, No. 10. - P.70-75

4. Kalinina L.L. and others. Internet site as a tool for the work of a museum worker / L.L. Kalinina, I.V. Proletkin, M.E. Shpak. - 2007, No. 11. - P.83-87

5. Kalinina L.L. et al. Information space of the museum / L.L. Kalinina, I.V. Proletkin, M.E. Shpak. - 2006, No. 12. - P.83-88

6. Kalinina L.L. Museum news site: Main stages of creation and development prospects / L.L. Kalinina, M.E. Shpak, I.V. Proletkin, A.P. Turlov // Handbook of the head of a cultural institution. - 2003, No. 10. - P.75-81

7. Kokorina E.A. Informatization of museums / E.A. Kokorina // Handbook of the head of cultural institutions. - 2006, No. 5. - P.55-61

8. Lebedev A.V. Virtual exhibits: Modern means of displaying information in the museum exposition / A.V. Lebedev // Directory of the head of a cultural institution. - 2006, No. 7. - P.50-55

9. Museum funds and expositions in the scientific and educational process: Materials of the All-Russian Scientific Conference // www.window.edu.ru

requirements. Preserving the age-old tradition, a new stationary exposition on the history of Russia from ancient times to the beginning of the 20th century is being created hall after hall. The transfer to the State Historical Museum of the neighboring building of the former Museum of V.I. Over the past six...

Popularization, exhibiting, studying the results of search, local history activities is a school museum. The school museum is one of the forms of organized activities to fulfill the pedagogical goal. The model we created was based on the understanding of the museum as a form of educational work. We described pedagogical actions and modeled, i.e., designed a procedure for ...

Sections: History and social studies

The range of problems relevant for the current stage of development of the improvement of the educational and educational system "museum - school" is large. In this sense, serious tasks are entrusted to the museum. The nature of interest in the museum has changed significantly - the museum is becoming one of the most powerful means of education, since the museum today is not a collection of exhibits, but a complex unity of architecture, science, and art. Constantly developing and improving, the “museum-school” system requires both teachers and museum workers to have appropriate professional knowledge and skills. Obviously, in order to intensify contacts between the school and the museum, methodological recommendations are extremely important both for a teacher who wants to use the museum in the educational and educational process, and for a museum researcher who is interested in using the experience of colleagues as widely as possible in their work. It is the fact of the merging of some sections of pedagogy and museology that has become a platform for the creation of "museum pedagogy", the need to use which in the work of a general education school and a modern museum is dictated by time itself.

Some teachers think that a tour or a lecture at a museum can replace a lesson. But a visit to the museum should not repeat, but enrich the lesson. The help of the museum to the school is not in duplicating the lesson, but in expanding the children's understanding of the world around them, in the formation of aesthetic taste (Appendix 1). The museum exposition contributes to a special perception of the topic, a reliable assessment of the historical authenticity of an event or object. It is the object that is the object of comprehensive study by the museum, it is through the object as a monument of human culture that the museum communicates with the visitor. Therefore, one of the tasks of museum pedagogy is to create prerequisites and conditions for the activation of museum visitors, in particular, to improve contacts with museum objects, to organize the perception of the information contained in them.

At the heart of the work of any museum is the object. It is a carrier of social and natural-scientific information - an authentic source of knowledge and emotions, a cultural and historical value - a part of the national heritage. An important feature of the museum object, which distinguishes it from other sources, is the ability of the object to influence the emotional sphere of a person. It is no coincidence that all researchers, along with other properties of a museum object, such as informativeness, representativeness (reflection of reality), name the following: - expressiveness - the ability to influence a person through their signs, attractiveness - attracting attention, associativity - a sense of belonging, empathy (1, 89.). In addition, each item is a sign of its time, a reflection of the features of a particular era.

One of the main properties of the subject is informativeness. The use of various objects as visual material in the classroom is widespread and has the power of a methodological technique. The main difference between a museum object and an ordinary visual aid is its authenticity, the function of historical memory that stores the experience of past generations. A museum item must be a primary source of social information, be authentic, and be stored for a long time. No less important is the moral, aesthetic, memorial value of an object - everything that makes an object a cultural value.

Work on the basis of the museum allows you to collect a wide variety of sources in one space: written monuments, material relics, visual materials, photographs, archeological objects, numismatics, bonistics, philately, ethnography and many other materials. All this allows not only to show the variety of sources, but also to teach children the language of museum objects, to give them the basics of independent research work with sources. In modern families, there are few things that belonged to their ancestors, which would personify the “connection of generations”. Many children have never had the experience of studying ancient objects before visiting the museum. Therefore, one of the tasks is not just to draw attention to the museum object, but also to reveal its character, features, properties. This attention to the historical source is realized through a system of classes, one or another subject becomes the main character.

One of the main forms of museum educational work is an excursion. The basis of the tour is the presence of two elements: show and story. The excursion is the golden mean, where the guide needs a stable balance between showing visual objects and telling about them and the events associated with them. A show is an observation of an object under the guidance of a qualified guide. When shown, a person perceives not only the appearance of an object, a monument, but also, with the help of a guide, distinguishes individual parts in it, takes part in their analysis, with the help of additional materials: auxiliary visual aids. The story during the excursion is an addition to the analysis of the visual range, it is especially necessary in cases where the visual material is poorly preserved or completely lost. But stories should not be abused. As a rule, everything that is discussed in the excursion should be presented in the visual range, which is observed by the tourists. If there are no objects that reveal the topic, there can be no excursion itself. (2.144)

An attempt to prepare an excursion along the street where the student lives, or any other street, microdistrict, settlement, is an excellent final task for consolidating at once a large amount of information received in museum lessons. As an option and result of an integrated lesson of local history and informatics using museum technologies - a virtual tour in multimedia performance.

Another way to show the result of a student’s research, local history activities through museum technologies is to organize an exhibition on a given topic, make changes to the exposition of the school museum, update and supplement it. This work, as well as the preparation of the excursion, requires extensive preparatory research work and consolidates the acquired knowledge in practice, in addition, it contributes to the development of aesthetic skills in children, artistic taste.

Currently, the issue of local history work at school is relevant. We consider the solution of this issue from the point of view of integration of local history with general educational disciplines (historical local history, geographical and natural history, literary, etc.). The use of basic museum technologies will effectively, for many teachers, organize the educational process in a new way. Non-standard forms and methods of studying school discipline, creative control tasks, of course, will contribute to the activation of the student's mental activity, the development of his creative abilities, aesthetic perception and artistic taste. But most importantly, the totality of these innovations helps teachers of the school and the museum to solve one of the primary tasks of pedagogy - the upbringing of a sense of patriotism, which is achieved through knowledge of the history of the native land.

Extra-curricular activities should not be overlooked. Local history circles and sections, organization and maintenance of a school museum, active participation in local history competitions and olympiads are one of the important ways to conduct meaningful and interesting work with students, the main way to transfer knowledge and skills that are not provided for by the school curriculum. The strict scope of the lesson does not always allow answering many questions of interest to children, does not always provide an opportunity to help the child learn additional techniques and skills necessary for the success of the student's educational process. In this case, extra-curricular activities come to the rescue, in which students acquire the necessary knowledge.

The activities of the local history, museum circle are aimed at developing children the skills of independent search, research work in archives, libraries, museums, interviewing people of interest to the museum or researcher, etc. The cycle of classes should include an excursion visit to the above institutions, independent work to find the necessary information given by the teacher, its processing, analysis of the work done during the meetings of the circle, further planning of the study, determination of goals and objectives. Mastering the above skills forms the student's clear orientation in the information space, which in the future greatly facilitates the work of preparing various kinds of essays, local history research papers, etc. In addition, members of the circle provide practical assistance to the school museum, thereby, delving into the essence of its work, realize the importance and significance of the existence of the museum business, and join its activities.

The most receptive audience is children, and it is on them, first of all, that the educational activities of museums are oriented; It is with children that the school works, giving education and raising worthy citizens of their country from the younger generation.

References:

1. Lebedeva P.G. The specifics of working with a museum object in the Children's Historical Museum // Museum of the XXI century: a dream and a reality. - S-P .: 1999.
2. Ivashina N.N. Methods of preparing an exit excursion.//Belgorod Local History Bulletin. - Belgorod, 2001.

The latest information technologies in museum business

A.I. Smirnov, employee of the historical department

In our time of rapid development of information technologies, it is very important for museums to take an active position in the field of introducing digital systems for providing information to visitors. The latest technical means make it possible to significantly expand the capabilities of an exhibitor in displaying an exhibit, in providing additional textual and graphic information on an object or era, showing missing exhibits, and organizing virtual exhibitions. We plan to publish a series of articles on the application of modern technologies in museum business and decided to start with touch kiosks, the most common information systems in museums around the world.

Sensory information kiosks in museums around the world

M.Yu. Maleeva

Most often in museums in Russia (the Hermitage, the State Tretyakov Gallery, the Museum of the World Ocean, etc.), sensory kiosks act as an electronic consultant or reference and information system. As a manufacturing company, we were confident that kiosks didn't end there. To confirm our assumptions, we turned to the world experience of introducing kiosks into museums. And I must say, we were not disappointed.

It is easy to explain that the USA is the leader in the number of installations and the most original use of kiosks. Another country surprised us, it, oddly enough, turned out to be Thailand. I must say that almost all museums in Thailand have sensory kiosks to serve visitors. This is the Museum of Agriculture, and the Museum of Shipbuilding, the Museum of the History of the Development of the Press, the Museum of the Underwater World and many others. Kiosks offer visitors to view multimedia - a presentation accompanied by sound design.

In most museums in the United States, sensory kiosks, as well as in Russia, are used as an electronic consultant. Among the most famous, I would like to name: the Museum of History and Science (Texas), the American Museum of Natural History, the Museum of Science and High Technologies and many others.

The local history museum of the city of Nappa has long been concerned about attracting the general public. Museum workers were afraid that, apart from schoolchildren and students, none of the residents of the city would come to the museum. The problem was solved with the help of sensory kiosks installed in the exhibition halls. The kiosks provided an opportunity to see the exhibits, which for various reasons were not on display at the main exhibition. The visitor who used the services of the kiosk received more detailed information about the history of his native land. The information is organized in the form of multimedia presentations and is accompanied by voice explanations. Having learned about such a service, people of different ages began to visit the museum, having skills in communicating with a computer.

The sensory kiosk is installed in the Hall of Valor and Glory at the naval base in Virginia. Integrated with a 42-inch plasma panel, it is a memorial to fallen officers. The image that appears on the kiosk is duplicated on the plasma panel. The memorial contains the main milestones in the biography of the dead officers.

A kiosk installed next to the sculpture of David in Florence received a very original application. Everyone knows Michelangelo's masterpiece. Its dimensions are truly impressive: the height of the sculpture is 5.5 meters plus the height of the pedestal. Considering David is not so easy for a person of average height. The installation of a sensory kiosk allowed each visitor to “walk around” the sculpture from all sides, as well as examine it in detail. It should be noted that the installation of the kiosk coincided with the restoration of the masterpiece and, therefore, was especially in demand.

At the Sydney History Museum, the visitor can learn about the history of the mainland, from the Aborigines to modern day Australia, using a kiosk. Having found any object on the map of modern Australia (your home or office), you can project it onto a map of the ancient mainland and find out what was in this place many centuries ago.

The Chenectady Museum (Pennsylvania) is famous for keeping the history of all the inhabitants of this city. Kiosks are equipped with a video camera, and each visitor can make a two-minute video about himself. The video is recorded on various information media and is deposited in the archive. In addition, the visitor can view the videos of his three predecessors or choose from the list of residents those who are most interested in him. Unfortunately, it was not possible to find out how old this museum is and how many videos are stored in it.

At the Museum of History in Atlanta, kiosks are installed in the exhibition “Giants of the Mesozoic Era”. In addition to helping in the preparation of an individual visit program, the kiosks tell about reptiles that existed millions of years ago on our planet. The visitor is provided with information on each of the species: from the structure of the skeleton and the intended appearance to the diet. The kiosks also advertise the rest of the museum's exhibits and provide information on schedules and opening hours and locations.

The British Museum in London has installed touch terminals in the exhibition halls dedicated to the history of Ancient Egypt. Kiosks are positioned as educational for children from 10-15 years old. Children, and, most likely, not only them, receive information about each of the presented exhibits.

In the Louvre Museum, in the exposition of the History of the East, there are three kiosks. With their help, the public can slowly immerse themselves in more than 1000 years of history, from the birth of human communities to the emergence of the first cities to the "golden age" of Islamic culture. More than 6,000 photographs with explanations, more than 400 texts, as well as maps and diagrams - that's what the multimedia presentation is based on.

The Michigan Radio Museum is also equipped with touchscreen kiosks that tell the biographies of the most popular radio DJs.

Kiosks are used to organize access to Internet resources. It is very convenient, having come to one museum, to virtually "visit" all its branches or get acquainted with the exposition of museums located in another part of the world. Such kiosks are equipped with comfortable seats, as they are designed for a long time of work behind them.

From the above examples, it follows that the use of kiosks and the provision of various services with their help to visitors is limited only by one thing - human imagination.

Published with permission from Sensory Systems

With the advent of the media and the Internet, the role of the museum in society has been significantly transformed. Today, the main functions of disseminating culture, which previously belonged to the museum, have been transferred to print, television, radio, and the Internet. On the other hand, experts draw attention to the growing role of the museum and museum networks in the global "broadcast" of cultural heritage. Modern museum institutions of the world have received such a "translational" function with the widespread introduction of museum technologies and a new stage in the development of civilization, which Z. Brzezinski called the "open information society".

Back in the early 1980s, the International Council of Museums (ICOM) announced the need for the widespread introduction of information technology in the activities of museums. At the same time, a specialized subdivision was created in the Council of Museums - the Committee for Documentation (International Committee for Documentation - CIDOC). At the beginning of the XXI century. CIDOC unites about 800 specialists from 65 countries of the world. Every year at international conferences CIDOC they discuss general trends in the development of information technology and exchange experience. Particular attention is paid to national programs in the field of informatization of museum activities.

In recent years, on the initiative and technological support of CIDOC, international projects have been actively spreading, harmonizing and unifying the national programs of various countries in the field of creating and using museum information resources. So, at the beginning of the XXI century. CIDOC is transforming from a research and design and consultative and advisory structure into a transnational partner network structure that performs coordinating and consulting functions in the field of global museum communication.

In the strategy of the EU Fourth Framework Program (for 1994 - 1998), among other plans, with the aim of improving the sphere of culture during the transition to the information society, the following intention was declared: "To create conditions for the harmonious and balanced development of the market for services, software and telecommunications components, providing access to European cultural heritage."

On the joint initiative of the Commission of the European Community (European Commission's Directorate General XIII) and the ACTS (Advanced Communications Technologies and Services) program, two large-scale projects were implemented in 1 996 -2002 pp.:

"Multi-media Access to Europe's Cultural Heritage", abbreviated as "project Mo", implementation period 1 996 -1998 pp .;

"Multi-media for Education and Employment Through Integrated Cultural Initiatives", abbreviated as "MEDICI project", it was a continuation of the "Mo project" and was implemented from 1998 to 2002 pp.

As part of the implementation of the "Mo" project, the Commission of the European Community declared its positions in two basic documents: the "Memorandum of Understanding" and the "Charter on Electronic Access to the Cultural Heritage of Europe."

The main provisions of the first document are reduced to:

statement of the idea of ​​understanding. A memorandum of understanding is a voluntary agreement between organizations (museums and galleries, state and public organizations, educational and scientific centers, electronic publishing houses, companies that specialize in the field of telecommunications and hardware and software systems) that are ready to actively advocate for consensus on issues representing mutual interest;

determination of the responsibility of members. The Memorandum of Mutual Understanding does not impose statutory liability for the implementation of agreements concluded on its basis. It is only a public commitment to adhere to established principles and to strive for a certain common plan and consensus.

The memorandum of understanding was signed by 465 representatives of various institutions, including 297 museums, 47 state institutions (scientific and educational), 76 commercial companies and 45 non-governmental organizations. By signing the "Memorandum", the participants of the "Mo" project assumed certain obligations:

create conditions for cooperation between museums and galleries and the private sector;

make the necessary clarifications in the legislation in the field of intellectual property rights and copyright;

participate in the costs of creating electronic information resources, including in cases where this is not dictated by direct public or commercial interest;

promote cooperation and ensure the dissemination of information in schools, universities and public organizations;

support electronic marketing mechanisms (including protecting the commercial interests of museums and owners of copyrights and intellectual property).

Obligations of manufacturers (organizations dealing with hardware and software systems, operators of telecommunication networks, services and electronic publishing houses):

cooperate in the creation of high interoperability protocols, data retrieval, access procedures, etc.;

develop market mechanisms and technologies for the protection of intellectual property rights to regulate access, collect subscription fees and redistribute them among owners of collections and copyrights;

participate in the financing of the creation of electronic images of museum collections and a wide market for similar goods and services;

to promote that electronic access to the cultural heritage of Europe becomes part of the curricula of schools and universities.

Obligations of museums and galleries:

to ensure that access to a significant part of their collections is made possible through electronic networks;

establish a unified procedure for creating electronic images and network access to them;

agree on uniform rules and protocols for describing content, the order of network access, develop a pricing policy for individual users, for schools and universities in the European Union and beyond;

to agree on the organization of various levels of access to information resources;

promote electronic access to information resources of museums as an addition to direct visits to museums and a way to disseminate knowledge and ideas about the world's cultural heritage in the world.

The results obtained within the framework of the "Mo" project stimulated further initiatives of the Commission of the European Community through the implementation of the "MEDICI" project within the framework of the Fifth Framework Program of the EU (1999 -2002 pp.).

Within the framework of the project, a set of measures was implemented (separate subprojects are still ongoing) in four main areas:

inter-museum thematic virtual exhibitions;

cultural heritage and new information technologies in education;

cultural heritage and new information technologies in tourism;

preparation of a practical guide containing specific recommendations on the most important issues for the user (legal issues, standards, funding, etc.).

For standards, the International Organization for Standardization (ISO) recently adopted the ISO-10918 8 museum standard for computer image databases. This standard contains unified norms for the minimum description of a museum object ("label") presented on a computer image, and the only format for computer images. Indexing a computer image occurs by attaching a standardized short description directly inside the image file.

Based on this standard, a unified European network of computer images "Museum On Line" (MOL) has already been created, as well as a standardized package of service programs for informatization of world museums.

At the time of writing this study guide, the EU is taking further steps to expand European networking projects in the field of cultural heritage museums, education and tourism beyond the community, and above all to the EU's neighbours. At the beginning of the XXI century. Europe is interested and ready to come to Ukraine with a package of new information technologies for the humanization and democratization of our national museum heritage as a component of the global cultural heritage of mankind.

Under the conditions of the European integration course declared by the state, the museum institutions of Ukraine do not have the right to exist and develop outside the common European information and cultural space. Ukrainian museums now need to dynamically catch up with their European counterparts and actively engage in the implementation of joint museum and information projects. After all, behind them is the future of the museum business of the post-industrial society.

The information society is moving from bureaucratic to information management, which is based on the principle of information management and information management. Information management is the formation and organization of the information space, management with the help of information is the use of this space as an incentive to activity.

With the help of new technologies, today it is possible to form a developed information and communication structure, which includes not only the computerization and informatization of the museum, but also a system of permanent communication links and information exchange within the state and global network alliances and partnerships.

The best national standards in the world for such a management and communication information system are the national museum networks (data banks) "MONARCH" (Great Britain) and "MERIMEE" (France).

The state English electronic database "MONARCH" was created in the mid-1990s under the Royal Commission on the Historical Monuments of England (RCHME) and in 1999 p. integrated into the structure of the English Heritage Service (English Heritage). The official website of this service contains a statistical reference that the state computer database "MONARCH" has more than 400 thousand descriptions of archaeological sites, excavations and archives, architectural monuments, marine and other objects. Similar in terms of principles of construction and functioning, the structure and standards of information accumulation is the French state database created in the first half of the 1990s by the French Ministry of Culture and the Department of Heritage "MERIMEE". Compared to them, the Museum Fund of Ukraine, sadly to say, is a morally obsolete archive of a closed type with a very difficult for a researcher (especially a foreigner who does not have the opportunity to come directly to get acquainted with the collections of this fund) the regime of limited access.

Information technologies in the XXI century. permeate all areas of the museum: from information management and e-commerce to traditional exhibition activities.

In the global information field of the Internet, marketing services of all commercially successful museums in the world have launched their activities. Through the Internet, they conduct marketing research among those who have visited a particular museum, and rating polls of the popularity of museums among potential visitors. The Internet serves to conduct aggressive or image advertising campaigns, through the Internet the museum popularizes and instills modern cultural values ​​in society.

New information technologies provide the museum with a number of strategic advantages. Among them, in particular, are:

I. The creation of computer systems for museum accounting forms the preconditions for monitoring the state of museum collections to become possible not only on the part of government bodies, but also on the part of other museums and society itself.

III. Information channels of communication act as an effective tool for finding partners and interacting with them within the framework of joint museum programs and projects. Creation of corporate databanks and common portals for access to information resources, electronic correspondence, exchange of ideas during teleconferences, mutual operational consulting, remote development and coordination of joint action plans - all this activates technological processes, strengthens and expands the palette of partnerships between museums and other organizations spheres of culture and business.

IV. Thanks to the interactivity of the museum's website, its employees are able to provide a range of paid search, information, advisory and expert services to numerous users of the global Internet. Processing and maintenance of computer requests that are received daily on the sites of museums, according to statistics, at the beginning of the XXI century. will bring significant profits to thousands of European Union museums.

IV. With the availability of electronic catalogs and databases of images of museum objects, the solution of many research and popularization (in particular, publishing) tasks becomes possible even without removing objects from storage, which favorably affects their safety.

V. The use of new information technologies has significantly intensified the publishing activities of museums and accelerated the process of publishing scientific (monographs, catalogs) and popular (guides, encyclopedias) publications, including on electronic media (DVD, SD-R).

VI. The practice of pre-booking and selling museum tickets, catalogs, and souvenirs via the Internet is spreading. It is much more convenient for an individual, especially a corporate consumer of a museum product, it is beneficial for travel companies that form a program tourism product or provide cultural leisure for an individual tourist, it is much easier for a person of Western mentality, they are used to non-cash payments for consumed services, and it is also economical, because museums traditionally provide small discounts on tickets and items ordered online.

VII. The fund departments included in the local network of the museum become available to other departments of the museum and, therefore, are more actively involved in the production of the final museum product (both material - exposition, exhibition, printing - and virtual).

VIII. New information technologies significantly expand the audience of virtual visitors to the museum, provide an opportunity to express themselves or remind of their existence, popularize the collection, exposition and image of the museum all over the world. With their help, the user can quickly receive information about new events and museum promotions, about exhibited objects and their catalogs, take a virtual tour of the museum using an electronic guide, and the like.

It should be noted here for conservative-minded museum staff that a virtual tour cannot replace a real tour of the museum halls for a person. Small pictures on the monitor screen are not able to replace the artistic masterpieces exhibited in the halls of this or that museum, computer pictures are the usual information and psychological "bait" that is imprinted in a person's memory and makes him want to visit this museum on occasion. The target interest of a person of the computer age (which, by the way, is difficult to pull out somewhere due to the presence of a computer) in museum heritage is formed, artistic and general cultural values ​​are instilled in it, the Internet motivates a person to make educational travel trips, the mandatory or optional program of which includes visiting institutions culture (museums, animation skansens, galleries, art studios, theaters, etc.).

Conservative fund workers may oppose: "Isn't it stupidity and unprofitable wastefulness to post on the Internet images of museum masterpieces and collections that can be printed under exclusive copyright and sold very profitably to the population as printing and souvenir products? Who would want to buy a museum CD or a catalog book, if he has the opportunity to download information for himself from the Internet for free? ".

The answer to such skeptical questions is unequivocal: the global mass media space is developing within the strict framework of the principle of copyright protection defined by international law. Museums themselves have the copyright to museum collections. And publicly available free Internet images of museum objects are just low-quality replicated copies of them. The fact is that the image placed on the Internet is of poor quality - no matter how good it looks on the screen, this picture is not suitable for commercial printing. In fact, this is the same advertisement: "Look what we have! Pay - and you will receive both a high-quality digital image, and a printed slide, and the right to commercially replicate it, due to the corresponding legally prepared agreement between the museum and the commodity producer."

After all, museums were created in order to preserve and altruistically popularize natural and cultural heritage among all layers of contemporaries. Internet users are precisely the public whose interests the museum of the post-industrial era must satisfy. And the benefits of the virtualization of modern museums are much more obvious than certain petty losses.

Successful museums of the world have long had their representations on the Internet - interactive websites where you can get information about the composition of the funds and exposition, about the opening hours of the museum and its new exhibitions, and the like. There is such an unwritten rule: the site must be constantly updated by timely announcing museum events, posting new analytical articles and studies of individual museum exhibits, as well as changing the interface itself or the structure of the site, adding new sections, restocking catalogs and collections of images of museum objects "posted" on the site . These updates are necessary in order to constantly update the attention to the site (and, consequently, to the museum itself) of potential visitors, to interest them in the appearance of new products, blockbusters, cultural events (art parties and presentations), which are simply a sin to miss.

Among the conservatively minded part of museum workers, there is still another common stereotype (fear): a website should post the minimum necessary amount of information and faded, low-quality pictures so that on this site it replaces the museum itself and does not harm the sale of printing products of this museum. This is another myth that is easily debunked by the practice of open information museums in the information society.

Statistics, which operated with such indicators as the popularity of the museum among virtual and real visitors, the prestige of the museum, public awareness of the existence and activities of the museum, the commercial activity of the museum and the profitability of the museum, convincingly proved that they stay afloat in the information society, successfully compete with other institutions of the leisure industry , attract significant flows of visitors, receive stable profits and have the image of attractive and successful commercial partners, those museums that disseminate information about themselves as fully and widely as possible (lead a marketing strategy for a global virtual presence through banner exchanges, electronic mailing of press releases to all the world's mass media and etc.).

A simple example: going on a tourist trip to Europe, the average American usually looks on the Internet and browses American travel sites with general information about another country. This information is structured in such a way as to attract his attention in every possible way and lure him to other sites, which present a whole palette of information, say, about the Union of National Museums of France with thousands of bright full-color images of their masterpieces of European art. Of course, such a site cannot but be of interest, therefore, a potential tourist, already in the process of informational preparation for the upcoming trip, has an irresistible desire to be there - among the grandeur of museum halls with luxurious art canvases, expensive furniture and valuable accessories - by all means take all this (and yourself on this background) on your home video, so that later you can proudly demonstrate the impression ("and I was there") from visiting Europe to all your friends.

In the information society of mass consumption, another stereotype is spreading: if a museum is not effectively presented on the Internet, if it is not able to declare itself and present its collections virtually, then this is some kind of conservative, poor organization, a dusty sleepy kingdom, where for an ordinary tourist there is absolutely no nothing interesting. And the modern consumer agrees to spend his precious time only on the best offer.

It is very important that Internet users are mostly young people, that is, those for whom the choice - to go to a museum or to a bar - is often decided by the direct impression of what they see or hear, and for whom elementary information about the very existence of what - or a museum, although he may be thrice famous, not to mention finding out his location and the composition of his collection.

On the other hand, even for die-hard museum lovers, constantly updated information (news, press releases) about the novelties of the exhibition and cultural life of a museum familiar from childhood, read on the Internet, plays a decisive motivational role when choosing their leisure plans for the coming weekend. .

Along with this, in the era of mass tourism and a variety of leisure offers, contemporaries do not particularly bother looking for that particular museum. If there is no intriguing public information about him everywhere, the tourist will go to another, nearby museum, which has effectively advertised itself on the Internet and in travel brochures.

Modern museums are faced with a new informational reality: if you don’t loudly declare yourself and keep reminding yourself of your existence, society, in the conditions of consuming an excessive amount of diverse information, after a while simply forgets about the existence of this institution in your hometown. And for tourists from other regions and countries. In the information-saturated XXI century. there is an uncompromising formula: "If a museum is not on the Internet or on the pages of tourist guides, it does not exist at all."

Finally, let's return to the role of information technology in improving and illustrating museum displays. Without the involvement of computer products in the exposition activities, a significant part of Western museums at the beginning of the XXI century. no longer imagines its competitive existence. And the popularity among visitors to science and technology and natural science museums (for example, the London Science Museum or the Vienna Museum of Technology, which are widely known to Ukrainian tourists) is now directly limited by the scale and animation scope of the multimedia layout of their exposition halls.

We are talking about specially created audio, video and multimedia products that act as equal participants in the exposition along with traditional museum items. There are more than enough examples of the successful introduction of such products into the exposition practice of museums. For example, the well-known European Museum of Swarovski Diamonds near the city of Innsbruck (Austria) is fully multimediaized and light-illumination-animated. Its visitor, having crossed the threshold, is completely immersed in an enchanting illuminating-virtual world, where every step of yours reacts with an "explosion" of phantasmagoric flicker, where illumination paints glass walls in all colors of the rainbow, filled to the brim with diamonds, where the effect of contemplation of the world's largest artificially created diamond is animatedly enhanced by an unexpected play of light and shadows for the visitor, where you can get into the hall, as if inside a huge diamond, slowly moves around you and creates a unique feeling by the effect of light refraction, where there are relaxation rooms with soft wide sofas, where you can lie down even at dusk to classical music to contemplate a copy of the starry sky artificially created from diamonds with known and distant constellations and galactic clusters, and the like.

This practice is common in museum expositions, acquainting visitors with the origin of the Universe, the solar system, planet Earth and the main tectonics-geological stages of its development, with icing and periods of volcanic activity, with the origin and evolution of life on our planet. In this group of museums, modern means of displaying information turn out to be much more interesting and spectacular, and most importantly, more real, real than anything else (layouts, diagrams, etc.). Therefore, it is no longer material monuments, but multimedia products that take on the function of cognitive focus museum exposition, turn into the most popular full-fledged museum exhibits.

However, in museums of other profiles (artistic, historical, ethnological, etc.), the practice of expositional synthesis of computer multimedia and speech exhibits in the XXI century. is more of a norm than an innovation. Examples are, say, the expositional combination of a shaman's clothes with a broadcast of a video recording of his ritual dance (Museum of Ethnology, Leiden) stuffed animals with a broadcast of a video recording of his behavior and life in the natural environment (Naturalis Museum, Leiden) of a rare musical instrument and stereo broadcasting of its sound (Museum of Music, Stockholm, House of Music, Vienna), etc.

On the basis of our kindergarten, the work of an experimental site was organized according to the museum-pedagogical program "Hello, Museum!". The program was developed by specialists from the Russian Center for Museum Pedagogy and Children's Creativity of the Russian Museum.

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ICT in the implementation of the museum-pedagogical program

Hello Museum!

On the basis of our kindergarten, the work of an experimental site was organized according to the museum-pedagogical program "Hello, Museum!". The program was developed by specialists from the Russian Center for Museum Pedagogy and Children's Creativity of the Russian Museum.

The purpose of this program is to orient preschoolers of senior preschool age in the process of introducing them to domestic and world art values ​​by means of the museum, to form the foundations of artistic and visual culture. Fine art is considered in the program as an integral part of spiritual and material culture, embodying the whole variety of ideals, artistic and moral values ​​of different eras and cultures.

The program is focused not only on the traditional tasks of forming a child’s artistic culture and aesthetic experience, mastering the skills of material and artistic activity, but also on developing visual culture skills in children of the senior and preparatory groups, acquiring the experience of “observation”. Let me remind you that "Museum Pedagogy" is a field of activity that transfers cultural experience through the pedagogical process in a museum environment. The use of works of painting, sculpture, graphics, folk art, as well as architectural monuments provides the child with the opportunity to acquire a full-fledged artistic and aesthetic experience, which can contribute to solving the problems of educating tolerance and patriotism among preschoolers. The work is carried out on the material of the collections of the Russian and other domestic museums, city sights, natural objects. For example, in the museums of St. Petersburg, special departments have been created to work with preschoolers, where acquaintance with museum exhibits takes place during the game, because no child, even the most intellectually developed one, will “contemplate” a great masterpiece for a long time, as adults do. Our city is not a "museum city", and the only Art Museum does not have a special section for children. If there are no relevant conditions, the program developers recommend using information and communication technologies.

We see that ICT in preschool museum pedagogy makes it possible to succeed in the implementation of tasks in these areas: firstly, to improve the research activities of children by introducing new information technologies; secondly, to create a museum fund by the efforts of educators through the creation of an electronic museum; thirdly, to develop the communication skills of children on the basis of project activities; and, fourthly, to form the skills of information culture in children.

The experience of integrating ICT into museum pedagogy can be considered innovative. Our children are growing up in a digital world and, of course, the gap between the real interests of modern children and the traditions of art education in the modern world is getting deeper. It is art education that supports creative impulses in the child, and besides this, it is closely connected with tactile sensations. In art education, both traditional visualization tools and the latest technologies are harmoniously combined. How can these tools be effectively incorporated into creative development and learning?

The task of updating artistic development cannot be solved without the involvement of information and communication technologies.

For example, with the help of modern technologies, we can go on a virtual tour in the art gallery of the Russian Museum, see a virtual exhibition and play games that are recommended by the program for use in kindergarten and in the museum.

I want to introduce you to some of these games:

- "Hidden thing" - find in the picture an image of a certain object, flower or animal and tell about it.

- “Enter the picture” - children are invited to close their eyes and imagine that they are in the space of the chosen picture, and then answer the questions: What did you feel, see, hear, whom did you meet?

- "Guide" - the child tells himself about the chosen work, and answers the questions of other children.

- “Pick a palette” - children are invited to choose their favorite reproduction of the work and from the squares of different colors choose the colors that are used in the picture.

- “We will act out what we see” - when examining a work, children are invited to distribute roles, come up with a short dialogue and act out the depicted episode.

Thanks to these games, the experience of “observation” is enriched in children, artistic perception develops, the ability to respond emotionally, feel and understand what is depicted, children are introduced to the world of fine arts.

Now I want to introduce you to special sites designed to work with children in the framework of museum pedagogy, where there is a game, a work of art and ... a computer. Unfortunately, the site of the Russian Museum, on the basis of which the program was developed, provides information only about excursions.

Of the domestic museum sites, the State Hermitage site is the most interesting in terms of content, the principle of presentation of material, and the educational component. The IBM company, together with the museum staff, being the developers of this electronic resource, transferred the world standards of such Internet projects to Russian soil.

The site contains a section that allows using modern technologies to visit a virtual tour, see a virtual exhibition, visit a gallery of three-dimensional images.

The 3D gallery includes collections of items that are unlikely to be seen in a museum as they are offered on the site. These are small objects of arts and crafts, details of clothing, jewelry.

Such an opportunity to practically “touch” a museum exhibit makes this section especially relevant for us, who are geographically far from the Hermitage.

We also turned to the experience of foreign educational portals dedicated to the integration of art and ICT for education. Noteworthy are the projects Pixel Face and Collage Machine on the website of the children's educational center of the National Gallery of Washington. In terms of content, these are ready-made software products for creativity at home or in the classroom. Thus, Pixel Face is a program that allows using a variety of pixels (different in rhythmic structure, color, modulus) to create a kind of decorative canvas, which is based on a portrait of a famous artist. You can choose from 4 portraits of different artistic styles. As a kind of palette of tools, a library of various pixels, the possibility of drawing with a stamp brush, a tone selection function, and an eraser are proposed. In addition, the resulting work can be printed. For preschool children, such a program is interesting and useful, as it gives experience in working with a complex color spot that has a rhythmic structure,

with a module, with a wide range of color shades.

The next project, the Collage Machine project, has much more potential for creative activity. It is literally a "collage machine". Working in this technique helps to acquire the first skills of design, organization of composition on a plane, allows you to focus on the symbolism of color and color rhythm, the features of the interaction of colors. Collage also provides an opportunity for mobile and productive development of various compositional tasks. Also in this project there are tools (magnifying glass) that allow you to move, change the level of transparency, zoom in on the image. All these museum Internet projects designed for the comprehensive development of children once again confirm the ancient Chinese wisdom: "Tell me - and I will forget, show me - and I will remember, let me do it myself - and I will learn." I want to emphasize that new technologies make it possible to create innovative art products, to participate in new forms of communication for children, to learn how to incorporate modern means of communication into everyday life.

Also, many DVDs are now being released that are culturally educational in nature. For example, the program "Hello, Museum!" released a series of lessons of the World Art Gallery "Lessons from Aunt Owl", which are very popular with children.

After getting acquainted with works of art, enriching the experience of perception of paintings, the ability to observe, peer into natural phenomena, we move on to independent creative activity of children, where we use traditional and non-traditional materials to work on drawings, collages, modeling. For example, the use of collage technique in the productive activities of preschoolers. At the first stage, we examine the collage, note all the details. The second stage - we analyze, allocate and discuss funds, spatial arrangement. The third stage is the independent activity of children.

One of the options for the creative activity of children is to conduct integrated classes. For example, the lesson "Golden Autumn": we consider, reason, create our own work of art.

Pay attention to the advantages of using computer technology in the professional activities of a teacher. I would especially like to highlight interactive interaction, communication in the information and educational space, which is in great demand today.

Analyzing innovative educational products created on the basis of ICT, one can identify a number of advantages of computer technology as a learning tool. First of all, it is the possibility of combining logical and figurative ways of mastering information, activating the educational process by enhancing visibility, interactive interaction, communication in the information and educational space, and lastly, the child becomes not an object, but the subject of communicative communication with the teacher, which is important moment in the pedagogy of cooperation.

Thus, the experience of using interactive technologies is very interesting for us adults and, of course, for children.

It is too early to talk about the results, but we see that the children really like it and parents, visiting the Museums of the World website, improve their cultural level and become volunteers in the development and implementation of the new program.