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

Aims1。批判性地评估数字实践在画廊教育和文化合作领域不断变化的作用。对数字实践可以增强、扩展和相互关联的方式产生新的理解。研究数字平台中的重演如何挑战档案中过去和现在的惯例。承担详细的项目研究和制图；关键人物、网络、事件、地点和地点共同产生激活档案和数字技术的画廊教育新行为。通过让一系列参与者参与进来，使档案多样化。吸引潜在的用户和主题（或档案本身的人）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问题合作生产的新模式共同生产的数字文化可以通过什么方式发展和绘制新的通信，交换和社会构建知识模式？公共艺术机构与网络社区合作制作和设计的风险和机遇是什么？艺术机构在合作制作的过程中需要做出哪些调整？物理与数字物理如何增强数字？线下参与式体验如何影响线上体验（反之亦然）？特定地点的口述历史记录、重演和数字文化如何协同工作，瓦解时间，将过去与现在结合起来？当re-enactment从一种媒介转移到另一种媒介时会发生什么？访问与多样性数字档案是为谁服务的？谁应该参与联合制作？谁的声音不见了？线下需要什么样的促进和支持来确保多样化的公众能够为数字参与性档案做出贡献？研究方法我的研究方法是基于我作为画廊教育者的背景，以及关于数字文化、联合制作、档案科学、口述历史、重演和现场艺术的更广泛的论述。与现场艺术一样，画廊教育包含了多种实践，这些实践创造的体验往往是暂时的，具体的和特定于现场的。这些特性使得研究过去的事件具有挑战性。例如，当我参观档案馆时，我发现论文主要是内部制作和编辑的。仔细观察后，我开始发现可以辩论、重新制定和追溯的细节，包括；匆忙手写的暗示分歧的笔记，激进行动的令人回味的照片和我可以轻易找到的项目参与者名单。我关心的是打破Sara Torres Vega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强内容，包括那些目前的观点和经验；缺席、遗忘、隐藏、短暂或失落。丽贝卡·施耐德（Rebecca Schneider）在现场艺术和历史重演的背景下，对过去的表演遗迹进行了广泛的研究。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“中介信息收集”和“确保参与”。我建议识别；艺术家、教育工作者、观众、参与者、工作人员和档案中的其他利益相关者，并与他们合作，使阿尔诺菲尼教育档案中的剩余内容充满活力。我们将一起测试将重演、口述历史和联合制作与基于位置的应用程序和协作平台结合起来会发生什么，并共同设计一个原型档案。相关项目包括城市档案和地图学研究项目。

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.