Digital Transformations: The History and Future of Gallery Education in the Context of Participatory Media

目标1.批判性地评估数字实践在画廊教育和文化联合制作的扩展领域中不断变化的作用。对数字化实践如何增强、扩展和与物理制造商相互关联产生新的理解。3.研究如何在数字平台内重新制定可能会挑战过去和现在的档案惯例。目标1.进行详细的项目研究和地图;关键人物网络，事件，网站和位置2。共同制作画廊教育的新行为，激活档案和数字技术3。通过让一系列参与者参与，使档案多样化4。让潜在的用户和主题（或档案馆本身的人）参与共同设计档案5。测试协作数字平台（例如Graph Commons，Zooniverse）和基于位置的应用程序的功能和潜在应用研究成果合作生产的新模式合作生产的数字文化以何种方式发展和映射新的通信模式，交换和社会构建的知识？公共艺术机构在与网络社区共同制作和共同设计时，会面临哪些风险和机遇？艺术机构在走向联合制作时需要做出哪些调整？物理和数字物理如何增强数字？离线参与体验如何影响在线体验（反之亦然）？特定地点的口述历史记录、再现和数字文化如何共同作用，瓦解时间并将过去与现在结合起来？当重演从一种媒体转移到另一种媒体时会发生什么？访问和多样性数字档案馆是为谁而设的？谁应该参与共同制作？谁的声音不见了？离线时需要哪些便利和支持，以确保多样化的公众可以为数字参与式档案做出贡献？研究方法我的方法是由我的背景作为一个画廊教育家和更广泛的话语围绕数字文化，合作生产，档案科学，口述历史，重演和现场艺术。与现场艺术，画廊教育包括创造经验，往往是时间，具体和网站特定的多样化的做法。这些品质可能使研究过去的事件具有挑战性。例如，当我访问档案馆时，我发现论文主要是内部制作和编辑的。经过仔细检查，我开始发现可以辩论，重新制定和追踪的细节，包括：匆忙手写的笔记，暗示分歧，激进行动的令人回味的照片以及我可以随时追踪的项目参与者名单。我关心的是破坏萨拉托雷斯维加所说的画廊教育档案的“机构记忆”，通过使一系列其他声音渗透和增加内容，包括那些目前的观点和经验;缺席，遗忘，隐藏，短暂或丢失。丽贝卡·施耐德（Rebecca Schneider）在现场艺术和历史重演的背景下，广泛地讲述了过去的表演遗迹。Gabriella Giannachi教授建议，在开发“数字遗产”项目的同时，必须通过非在线的参与性促进来“代理信息收集”和“确保参与”。我建议查明;艺术家，教育工作者，观众，参与者，工作人员和档案馆的其他利益相关者，并与他们合作，使Arnolfini的教育档案中剩下的东西生动起来。我们将共同测试当重新制定，口述历史和联合制作与基于位置的应用程序和协作平台一起发挥作用时会发生什么，并共同设计原型档案。有关项目包括城市档案和制图研究项目。

Aims1. Critically assess the changing role of digital practices within the expanded fields of gallery education & cultural co-production.2. Generate new understandings of the ways digital practices can augment, extend & inter-relate with physical encounters.3. Examine how re-enactment within digital platforms might challenge conventions of the past & present in archives.Objectives1. Undertake detailed item research & map; key people networks, events, sites & locations2. Co-produce new acts of gallery education that activate the archive & digital technologies3. Diversify the archive through involving a range of participants4. Engage potential users, & subjects (or people in the archive itself), to co-design the archive5. Test the functionality & potential application of collaborative digital platforms (e.g. Graph Commons, Zooniverse) & location based appsResearch QuestionsNew Models of Co-productionIn what ways can co-produced digital cultures evolve & map new modes of communication, exchange & socially constructed knowledge? What are the risks & opportunities for public arts institutions when co-producing & co-designing with networked communities? What adjustments do arts institutions need to make as they toward co-production? Physical & Digital How can the physical augment the digital? How can offline participatory experiences effect online experience (& vice versa)? How can site-specific oral history recordings, re-enactments & digital culture work together to, collapse time & bring the past into play with the present? What happens when re-enactment is moved from one media into another? Access & Diversity Who is the digital archive for & who should be involved in co-producing it? Whose voices are missing? What facilitation & support are necessary offline to ensure a diverse public can contribute to the digital participatory archive?Research MethodologiesMy approach is informed by my background as a gallery educator & wider discourses around digital culture, co-production, archival science, oral history, re-enactment & live art. As with Live Art, Gallery education encompasses diverse practices that create experiences which tend to be temporal, embodied & site specific. These qualities can make it challenging to research past events. E.g. when I visited the archive, I found papers that were mainly, produced & edited internally. On closer inspection I began to find details that could be debated, re-enacted & traced including; hastily hand-written notes alluding to disagreements, evocative photographs of radical actions & lists of project participants I could readily track down. I am concerned with disrupting what Sara Torres Vega refers to as the 'institutional memory' of gallery education archives, by enabling a range of other voices to permeate & augment the contents, including those whose perspectives & experiences are currently; absent, forgotten, hidden, ephemeral or lost. Rebecca Schneider writes extensively about performing remains from the past, both in the context of live art and historical re-enactment. Professor Gabriella Giannachi suggests that whilst developing a 'digital heritage' project, it is essential to 'broker information gathering' and 'ensure participation' through participatory facilitation that is not online. I propose identifying; artists, educators, audiences, participants, staff and other stakeholders from the archive, & collaborating with them to animate what remains in Arnolfini's education archive. Together we will test what happens when re-enactments, oral histories & co-production are brought into play with location-based apps & collaborative platforms, & co-design a prototype archive. Relevant projects include Urban Archive & the Cartography Research Project.