Masterarbeit, 2018
63 Seiten
1. INTRODUCTION
1.1 Background of the study
1.2 Thesis statement
1.3 Objective of the study
1.4. Significance of the study
1.5 Literature Review
1.6 Methodology
1.7 Definition of key terms
2. LITERATURE REVIEW
2.1 VR Applications in Museums: History Overview
2.2 Museological Trends Accelerating VR Technology Adoption
2.3 Challenges in the Museum Innovation Process
2.4 Strategic Partnerships for Digital Projects in the Art and Cultural Sector
3. RESEARCH METHODOLOGY
3.1 Institutional Analysis of the Tate Modern, the Hermitage Museum, the National Museum of Singapore
3.2 VR Exhibitions Production
3.3 System Thinking Framework
3.4 Field Study
3.5 Limitations of the Study
4. DISCUSSION OF FINDINGS
4.1 The Tate Modern
4.1.1 Institutional Analysis
4.1.2 The Modigliani VR: The Ochre Atelier
4.1.3 Conclusion
4.2. The Hermitage Museum
4.2.1. Institutional Analysis
4.2.2 The Virtual Jupiter Hall
4.2.3 Conclusion
4.3 The National Museum of Singapore
4.3.1 Institutional Analysis
4.3.2 The DigiMuse Programme
4.3.3 Conclusion
5. CONCLUSION AND RECOMMENDATIONS
5.1 Conclusions
5.1.1 In-house Value of VR Exhibitions
5.1.2 Online Value of VR Exhibitions
5.1.3 Outreach Value of VR Exhibitions
5.2 Recommendations
6. BIBLIOGRAPHY
This thesis investigates the role of Virtual Reality (VR) in contemporary museums, focusing on how immersive technology influences institutional practices, audience engagement, and the development of new collaborative ecosystems between cultural organizations and the tech industry. It specifically explores how museums can utilize VR to enhance their missions, create economic value, and address current museological trends.
The Modigliani VR: The Ochre Atelier
Secondly, this was Tate’s first venture into VR integrated with the wider exhibition, complementing the artworks, in order to enhance understanding of this greatest Italian artist.
The findings indicate that months of scrupulous historical research across the Tate’s departments in partnership with other galleries around the world, HTC Vive and Preloaded studio enabled the recreation of Modigliani’s final studio at 8 rue de la Grande-Chaumière in Paris, where he lived the last months of his life with his partner Jeanne Hébuterne (Tate Press Release). Indeed, this virtual piece is unique in terms of research work and quality of immersive experience. First of all, almost detective investigation conducted in order to create authenticity based on first-hand accounts from Modigliani’s friends, peers and sitters, archive records, photography as almost nothing tangible remained from that studio. Hilary Knight, the head of digital content at the Tate Modern, explained that the team had to recover lots of facts and materials about Modigliani’s chaotic bohemian life (Tate Press Release). As a result, the integrated collaboration has allowed to recreate more then 60 objects, furniture, artworks, including Modigliani’s final self-portrait in accurate detail.
Donning a headset, the immersive journey teleports to early twentieth century Paris enabling to witness the authentic atmosphere of Modigliani’s studio and gain an insight about the painter’s state of mind. The virtual experience allows one to hold a brush and pencil, walk around to see different parts of the studio - a stove with red-hot charcoal briquettes, a wooden palette, a burnt down candle, smoke spirals from a lit cigarette in an ashtray, empty bottles on a grubby couch, a mirror where his final self portrait is reflected. There are even heavy clouds rolling over the rooftops of Paris seen through an open window and rain drips into a bucket.
1. INTRODUCTION: Outlines the research background, thesis statement, and objectives, establishing the shift toward immersive technology in museums.
2. LITERATURE REVIEW: Reviews the history of VR in museums, museological trends, innovation challenges, and strategic partnership models.
3. RESEARCH METHODOLOGY: Details the mixed methodology, including institutional analysis, system thinking frameworks, and field observations of VR exhibits.
4. DISCUSSION OF FINDINGS: Provides in-depth case studies of the Tate Modern, the Hermitage Museum, and the National Museum of Singapore.
5. CONCLUSION AND RECOMMENDATIONS: Synthesizes findings regarding in-house, online, and outreach values, offering strategic recommendations for future museum VR projects.
6. BIBLIOGRAPHY: Lists the academic, primary, and secondary sources used in the research.
Virtual Reality, Museums, Digital Innovation, Collaborative Ecosystems, Museological Trends, Art and Technology, Strategic Partnerships, Immersive Narratives, Cultural Value, Audience Engagement, Museum Management, System Thinking, VR Exhibitions, Digital Strategy, Fundraising.
The research examines the implementation of Virtual Reality projects in major museums and how these technologies influence the collaborative landscape between the arts and technology sectors.
The study analyzes the Tate Modern, the State Hermitage Museum, and the National Museum of Singapore.
The goal is to identify factors influencing a museum's decision to adopt VR and to understand how these projects contribute to sustainable business models and enhanced educational proposals.
The author uses a mixed-methods approach, including institutional analysis, semi-structured interviews with industry experts, system thinking frameworks, and personal field observations.
It demonstrates that successful VR implementation requires a multidisciplinary collaborative ecosystem where museums partner with creative studios and technology companies.
Key themes include the evolution of visitor expectations, the necessity of innovative financing strategies, and the transformative potential of VR in storytelling and accessibility.
The Tate Modern created 'The Modigliani VR: The Ochre Atelier', which recreated the artist's final Paris studio using extensive research and advanced digital modeling.
The DigiMuse programme at the National Museum of Singapore serves as an experimentation platform for co-development and co-creation of digital cultural projects.
The Hermitage utilizes VR for both on-site educational entertainment, such as the 'Virtual Jupiter Hall', and for broader virtual tours to enhance collection accessibility.
Yes, the research highlights how museums are exploring new business models, including paid online versions of experiences and strategic partnerships to share production costs.
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