# data[].attributes.body
Finding some similarities in our artworks and sort them in groups to create a dialogue between the artworks.

Four sections
- Natural Installation
- Immersion with Nature
- Bring Nature to You
- Reemergence

# data[].attributes.body
We invite people to share the photo or texts of their green spaces with us.

# data[].attributes.body
- Where are we putting all the contributions?
Solution:
Set up a new page on the menu called Green Space for displaying all the contributions.

# data[].attributes.body
Taking advantage of the software technique and online resource can definitely  refine our website!

# data[].attributes.headline
Participation, some interesting examples: Art making activities for the kids during covid-19

# data[].attributes.subject
Participation, some interesting examples: Art making activities for the kids during covid-19

# data[].attributes.body
Getting involved with our visitors!

# data[].attributes.attachment_link.readable_text
Image courtesy of Laura Stewart DeRosa

Around the world, schools have closed and governments are issuing Stay at Home orders to stop the spread of Coronavirus (COVID-19). This means families are self-isolating and hunkering down at home. If you have kids, this may seem like both a blessing and a curse. Be it a toddler or a tween, you're probably scratching your head on how to fill the hours of the day, and most importantly, establish a sense of normalcy and calm in your household.

This is a time to be creative with how we engage with each other, especially our kids. As artists, we are an innovative bunch. Now is the time to embrace our ability to create ... with our children! Looking for inspiration? Here are a few ways families are using art to build connections.

Create space for making.

Our children have a right to a space in our home and, let's be honest, they already take up most of the home anyways. Create a dedicated spot for them to unleash their imagination and make art.

Denver-based artist Laura Stewart DeRosa has transformed her dining room into an "enticing space to create and learn" for her seven-year-old and four-year-old sons. "I put up a clothesline for artwork, gave them each a whiteboard and markers, and reorganized a bunch of art materials to seem like new again," she shares.

And, it's ok for these spaces to seep into the rest of the house. "We have nothing but time on our hands, so I am open to total destruction of the studio or kitchen for the sake of a creative experience," said Stewart DeRosa.

You can follow how other professional artists are juggling creating from home with their children through The Stay at Home Residency project (#TheStayAtHomeResidency) hosted by The New Art Gallery Walsall.

Get started at home. Share an artist's studio with your kids. Whitney Museum artists are giving virtual tours. And, Artist's Studio Museum Network lets you see famous artist studios around the world. One of our favorites from their site is Salvador Dalí's home and studio.

Be inspired by the Masters.

In art school we learn from the Masters; we study their techniques in museums and in the classroom. Our kids can learn from looking closely at artwork, too.

Sarah Levine, a mom sheltering-in-place in San Francisco, uses book covers to inspire her toddler. She gives him a head start by outlining some of the major shapes and then lets him interpret the book covers of classics like Eric Carle's The Hungry Caterpillar.

Get started at home: Try using the book covers of Beatrix Potter, Maurice Sendak and Artwork Archive user, Oliver Jeffers, who is also hosting live readings of his books on Instagram, every day at 2 pm EST!

Image courtesy of Andrew Cunningham.

Invest all of this time in a long-term project.

Everything is slowing down. We have (lots!) more time at home with our children. You can use this time to invest in longer-term projects like constructing sculptures, painting large works or creating a book.

One family is utilizing their backyard and exploring a new type of artmaking-woodworking! Andrew Cunningham, a sculptor in Gloucester, Massachusetts, is opening his shop to his 12-year old son and making impressive chairs out of sticks.

"We venture into our woods to cut down black birch saplings, haul the wood back up the hill, take measurements, make sketches, and then spend the rest of the day building," shares Cunningham.

Giving our kids time to collect materials and formulate plans is a wonderful way to ignite imagination and cultivate creative thinking.

"Art is providing them with an opportunity to keep their minds engaged, learn new skills, and spend their days. This new situation in which they have so much more free time is providing them an opportunity to explore new kinds of art making." Andrew Cunningham

Get started at home: Look up the works of Maya Lin, Patrick Dougherty and Andy Goldsworthy with your kids and try a project inspired by their environmental art.

Lead by example. Demonstrate for your kids.

"My son really likes to 'watch Mommy do it,'" says Sarah from San Francisco. And why not enjoy this downtime with our kids? Making art is great for us too! "I love art. Drawing with and for my son is so much fun for me," shares this maker mom. "And when I feel like a fun mom, I think I'm a better mom."

Denver artist, Laura, has her studio in her house. Her two sons join her in the studio to sit, and usually, wrestle. In Laura's words, "this time is valuable to me since my sons see me focused on something that I'm passionate about."

Get started at home: Exhausted? That's understandable! Let others take the lead virtually. Mo Willems hosts lunchtime doodle sessions. And, here is a list of virtual storytimes from Time Out.

Turn old artwork into a collage.

Are you using this extra time to clean out your house?

Are you irritated by clutter, but find it impossible to throw out your childrens' doodles from years ago?

Give the art a new life and turn them into a collage! You can use the time assembling the pieces to talk to your kids about the artworks or the times when they were created.

All of those magazines lying around are great collage content too!

Get started at home: Share the work of artists that work in collage, like Man Ray and Joseph Cornell.

Image courtesy of Laura Stewart DeRosa

Explore negative space.

Is being cooped up giving everyone in the household grumpy vibes?

Spin that negative attitude into something positive!

Create a piece of art with negative space. Apply tape to a canvas or paper and have your kids paint over the tape. When you pull away the tape, you'll magically reveal crisp white spaces. Ah, refreshing.

Get started at home: Introduce your kids to other artists that work with negative space like Rachel Whiteread and Jean Arp.

Explore new art tools.

You don't need a Dick Blick's in your house to create art. So many things in your home can be a tool to make art!

Have old credit cards? Spread paint with them.

Fetch leaves from the yard and incorporate them into your pieces.

Melt crayons with a blowdryer.

Make marbleized paper with shaving cream.

Image courtesy of Laura Stewart DeRosa

When Laura takes out cans of shaving cream it is also a time to draw in the foam and create sculptural heaps. "It is a total mess but it smells great and the activity keeps the boys engaged and calm," she shares.

Or make ice-pop brushes. Add food coloring to water in an ice cube tray, place a popsicle stick, or stick of any kind, into each cube and freeze. Once they are frozen, let your child paint with the melting "brush." This is great for toddlers.

Get started at home: Marcel Duchamp's Ready-Mades are wonderful artworks to share with this theme.

Take advantage of the surge of art prompts online!

We're seeing a lot of creative activities on the internet.

You can find coloring books to print like artist Mike Perry's.

Artwork Archive has a wonderful list of creative prompts like building sculptures out of those once precious toilet paper rolls, now naked cardboard tubes.

Or, you can find online art classes offered by artists like Erin McGee Pharell.

Art as an extension of in-home schooling.

Art is fabulous for motor, sensory and emotional development. Brit Korsch, an early-education educator from St. Johnsbury, Vermont, incorporates art into her daughter's daily schedule, COVID-19 or not.

"I find that when my daughter is creating art, she tells stories that give me insight into what she's processing each day," says Brit.

Art can be an extension of their schooling too. With school cancelled, you can incorporate any theme the teacher sends into an art activity. Our Vermonter mama shares, "I find it's an easy way to teach without the feeling of learning being 'work.'"

Make art for someone else.

Give the art a bit more meaning and purpose by asking your kids to make a postcard for a neighbor, nurse or first responder. What a wonderful surprise for someone to receive in their mailbox!

Get started at home: Put on a performance! Artwork Archive's Elysian Koglmeier's toddler watched an impromptu play across the street while socially distancing. Their neighbors put on a little show that we could watch from the comfort of our front yard. You can do the same with virtual tools like Facetime.

Art is not just a replacement of screen time.

Art forges mental, emotional and physical connections. Use this time to nourish your children's development. No one has to make a masterpiece. Let it be messy, unexpected, silly and wondrous!

Be open to the possibilities! Laura shares, "I am hoping to keep our family healthy, and to create alongside my kids whether that means working with oil paint, elephant toothpaste, or shaving cream."

And don't forget to record all of this!

This time shall pass and when it becomes a part of our memories, we'll want to pull out photos and videos of these sweet, creative moments. You can save and share them from your Artwork Archive account and create an archive of this time.

Itching for more activities? Join in on the creative fun with these art-making prompts!

Share This Article

Related Articles

# data[].attributes.attachment_link.title
Art Making Activities for Your Kids During COVID-19

# data[].attributes.attachment_link.description
Image courtesy of Laura Stewart DeRosa Around the world, schools have closed and governments are issuing Stay at Home orders to stop the spread of Coronavirus (COVID-19). This means families are self-isolating and hunkering down at home. If you have kids, this may seem like both a blessing and a curse.

# data[].attributes.body
Dilemma: How to present a Japanese artwork to the western audiences?
- Cross culture communication: presenting the Chinese and Japanese artworks to the public.
- Consistency: Since we wrote the texts for different parts independently, we had to nominate one person to unify all texts in a same tone.
- Open to feedback

# data[].attributes.attachment_link.title
1932.209 - Descending Geese at Katada (Katada rakugan), from...

# data[].attributes.body
Having the big idea and selected artworks, we' were focusing on doing research in order to support our big idea and the statement in the exhibition.

# data[].attributes.body
For people who hope to know more about the nature and wellbeing, we create a page at the end of the exhibition to share some useful information.

# data[].attributes.headline
Building Materials- Chicago Art Institution

# data[].attributes.subject
Building Materials- Chicago Art Institution

# data[].attributes.body
We're assigned with The Art Institute of Chicago. It's what we got to build up the whole exhibition. Let's start explore!

# data[].attributes.attachment_link.readable_text
Explore thousands of artworks in the museum's collection-from our renowned icons to lesser-known works from every corner of the globe-as well as our books, writings, reference materials, and other resources.

Show Hide Filters

On view

All results

Page 1

Featured articles

More featured articles

# data[].attributes.attachment_link.title
Discover Art & Artists | The Art Institute of Chicago

# data[].attributes.attachment_link.description
Discover art by Van Gogh, Picasso, Warhol & more in the Art Institute's collection spanning 5,000 years of creativity.

# data[].attributes.body
First step: searching for anything we were particularly interested in.

# data[].attributes.headline
Research: Public needs for nature is raise

# data[].attributes.subject
Research: Public needs for nature is raise

# data[].attributes.body
Reading lots of the research and academic studies to support and deep our exhibition.

# data[].attributes.attachment_link.title
Public love for nature during Covid-19 highlighted by new survey

# data[].attributes.attachment_link.description
Survey revealed that during April-June 2020 almost nine in 10 adults in England reported that protection of the environment is important to them personally.

# data[].attributes.body
I've learned basic knowledge about HTML and CSS coding during my bachelor degree. It was a nightmare, actually. So... it never came to me that I'll have to recall my memory back AGAIN!
I found it's quite useful skill when designing a website though. Now, I'm glad that I've learned the coding stuff before:)
A positive-learning-experience case get!

# data[].attributes.attachment_link.readable_text
Choosing the right font for your website is important!

Font Selection is Important

Choosing the right font has a huge impact on how the readers experience a website.

The right font can create a strong identity for your brand.

Using a font that is easy to read is important. The font adds value to your text. It is also important to choose the correct color and text size for the font.

Generic Font Families

In CSS there are five generic font families:

1. Serif fonts have a small stroke at the edges of each letter. They create a sense of formality and elegance.

2. Sans-serif fonts have clean lines (no small strokes attached). They create a modern and minimalistic look.

3. Monospace fonts - here all the letters have the same fixed width. They create a mechanical look.

4. Cursive fonts imitate human handwriting.

5. Fantasy fonts are decorative/playful fonts.

All the different font names belong to one of the generic font families.

Difference Between Serif and Sans-serif Fonts

Note: On computer screens, sans-serif fonts are considered easier to read than serif fonts.

Some Font Examples

The CSS font-family Property

In CSS, we use the font-family property to specify the font of a text.

Note: If the font name is more than one word, it must be in quotation marks, like: "Times New Roman".

Tip: The font-family property should hold several font names as a "fallback" system, to ensure maximum compatibility between browsers/operating systems. Start with the font you want, and end with a generic family (to let the browser pick a similar font in the generic family, if no other fonts are available). The font names should be separated with comma. Read more about fallback fonts in the next chapter.

Example

Specify some different fonts for three paragraphs:

Try it Yourself "

# data[].attributes.attachment_link.description
Choosing the right font for your website is important! Choosing the right font has a huge impact on how the readers experience a website. The right font can create a strong identity for your brand. Using a font that is easy to read is important. The font adds value to your text.

# data[].attributes.headline
Case study: The role of digital under the Covid19

# data[].attributes.subject
Case study: The role of digital under the Covid19

# data[].attributes.attachment_link.readable_text
Lead photo: Artists with Fishes and Wishes, East Durham Creates

Case Study 2: The role of digital engagement in place-based projects

by Kathryn Welch

As COVID-19 - and the resultant lockdown - forced us into physical distance from one another, digital tools and online engagement became key to maintaining connection, communication and friendship. For many CPP Places, what followed was a steep learning curve - an intense live experiment in the online delivery of creative projects. The urgent drive to move engagement online has been an opportunity to investigate the role that digital engagement can play in place-based projects, and to explore the factors that can best enable effective online delivery. We've been looking back on what's been learned through this intense period for digital engagement:

1 Moving projects online brought new opportunities for reach and engagement

Creative Scene (CPP for the West Yorkshire towns of Dewsbury, Batley, Mirfield, Cleckheaton and Heckmondwike), supported Small Contentments, a project by local organisation 6 Million+ to mark the 25th anniversary of the Srebrenica genocide. In place of meeting in person, project participants used a Whatsapp group, supplemented by hand-delivered creative packs and socially distanced artist visits in gardens. The Whatsapp group was conceived to support the project participants to share their experiences and check-in with one another.

Small Contentments - 6 Million +, Creative Scene

However, it quickly developed into a trusting, intimate and supportive space that the group could actively shape to meet their needs. The Whatsapp format was embraced by people of all ages (including one holocaust survivor aged 96, and those for whom English was not a first language), and enabled group members to support each other in ways - such as throughout the night - that would have been very difficult to realise without a digital element to the project.

Kim Strickson of 6 Million+ with Holocaust Survivor Iby Knill, Creative Scene

"I've found out that we're all keen gardeners, and some people cook the most wonderful food. I've been able to enjoy the process, enjoy the conversations on WhatsApp, and see what everyone else is doing"
Karen, Small Contentments participant

Project participants in Small Contentments already had a longstanding connection with 6 Million+, so came to the project with trust and relationships already in place. This is likely to have made the move to a digital environment considerably more straightforward.

The creation of a film at the end of the project offered a further opportunity for participants to share, reflect and celebrate the connections forged via the project - especially important in marking the project's conclusion in a time when the participants could not come together in person.

"For three months to stay in the house, it's very, very hard. Hopefully, it will come day when we can meet each other face to face" Jasmina, Small Contentments participant

For East Durham Creates, the Fishes and Wishes project combined a Facebook-based project with public art installations in the local environment. The art installations attracted public interest and intrigue ("Can you go viral if you're just in one place? We went locally viral"), drawing people into a Facebook group where they were supported to make and share their own creations, and to interact with a story as it developed. The digital element was key in engaging with the community in a socially-distant manner, and it enabled those who were shielding - and some people from beyond the local area - to participate.

2 Digital engagement has shaped community consultation and co-production

Community consultation and local co-production are inherent to the structure of CPP Places, and the move to digital spaces has shaped that element of delivery too. Whilst some CPPs found that their regular community participants and decision- makers were less available during lockdown, others found that digital events helped them to connect with new people. In some cases, for example, online meetings have been found to be more accessible than their real-world equivalents, enabling participation to be more easily juggled around work, caring commitments, disability or shielding:

"Decision making meetings have shifted very successfully online with no obvious barriers to participation, although we are very much aware of digital exclusion in the borough. We must continue to offer this as an option long term as it enables the involvement of a range of people who struggle to leave home for meetings" Creative People & Places Hounslow

As lockdown progressed, a gap was observed in some cases between those who quickly became familiar (and then increasingly fatigued by) Zoom calls, and those who were new to the technology and took longer to develop a familiarity with online meetings. In those cases, managing the very different skills and energy of individuals added a challenging additional layer to the successful facilitation of online meetings. Whilst Places are looking forward to being able to reconnect in person for decision-making meetings, where it can be easier to create deeper or more personal connections, many will be looking to incorporate digital elements into their planning and community engagement processes for the future.

"It think what it [lockdown] has given us is a range of options, so that people can be part of things in future in a way that best suits them" Creative Scene

Fishes and Wishes. East Durham Creates

3 Digital exclusion was a key concern

The move to digital engagement was not always straightforward. As delivery across a range of sectors (including schooling) rushed online, CPPs were extremely sensitive to the likelihood of digital exclusion for many of their community members. The demand on many families' limited digital capacity was high, and many CPPs were conscious of not adding to that burden, nor of reinforcing the exclusion already experienced by families with limited resources. In those cases, a mixed delivery model - with physical elements running alongside the virtual - were key.

"We've never relied solely on digital because as an area we have a higher than average level of digital exclusion as well as issues such as data poverty or in many households lack of access and/or shared devices. I think it's all about adjusting and working across lots of different platforms and particularly in places where there are high levels of digital exclusion and/or data poverty/ limited access then you have to consider digital as one output but not the be all and end all" East Durham Creates

Digital exclusion is understood by many Places as a complex and nuanced issue - not simply a case of whether or not internet access is available, but also encompassing issues around digital literacy, access (or not) to different types of device, concerns around personal safety, confidence to show what your home looks like, and access issues for people who struggle with their speech or have English as a second language.

"[There are] some people with issues feeling safe online and being able to have the camera off, or being self conscious about people seeing them and seeing where they live or seeing themselves on screen" Ideas Test

4 Attracting (and maintaining) public interest can be challenging

In East Durham Creates, one project encouraged local families to create a model village from recycled materials - offering a series of 30 online videos to coach families through the creative process in their own homes. The videos were distributed by email and are now hosted on the CPP website, where they are an attractive and high-quality collection. However, the Project Lead noted that the series asked a lot of participants' commitment at a time when lives were unpredictable and demands on energy felt high. The email distribution format (chosen to target local families) offered very few opportunities for two-way engagement, interaction or community-building. This echoes the experience of Museums Northumberland bait, who observed that this format "can feel like 'one- way traffic' with limited feedback on how people have used video step by step guides".

At Creative Scene, the Batley and Spen Youth Theatre company moved their summer school online. The young participants benefited from access to West End Theatre professionals - who were able to contribute a digital offer more easily than an in-person summer school. However, the Project Leads also noticed that it was harder to reach those young people who may have tagged along with a friend to an in- person event ("the value of positive peer pressure") but who lacked the confidence, motivation or inclination to join a digital offer.

5 Real-live creative activity often brings unexpected positive impacts

The move to digital during lockdown also offered an opportunity to consider the indirect impacts of creative activity when it is delivered live in communities, and to question what may have been missing as these events moved online.
In Creative People & Places Hounslow, a popular series of creative activity takes place regularly on Hounslow High Street and in Felton Town Centre. During lockdown, these dance classes moved online to Facebook Live - attracting very high numbers of participants, some international attendance, and a diverse audience. In contrast to the live events, however, there was relatively little opportunity for the team to understand the nuance of engagement (who came along, what brought them there, and what they got out of it) when compared to the opportunity simply to stand at the outskirts of a physical event and observe. The energy and excitement of public events can attract passers- by and spark conversations with those who wouldn't typically choose to attend a creative event. Equally, the energy and fun of these events can enliven an area, influence people's perceptions of their area, and bring joy and cheer to those who are simply passing by.

Art Boxes, Creative Scene

As some lockdown restrictions begin to be lifted, Creative Scene have recently returned to in-person creative events on Dewsbury Market - noticing the impromptu conversations, engagement with passers-by and chance encounters that deepen and widen connections with communities. These passing moments, that often happen on the sidelines of a creative event or with those who hadn't planned to participate in any formal way, can be absolutely at the heart of community creativity - but have proved enormously difficult to replicate online.

Similarly, Museums Northumberland bait noticed that it can be less easy, or simply not possible for facilitators to 'read the room' online in the same way as for live group activity. In one digital project led via a closed Facebook Group, they noted that whilst everyone in the group had watched posts, not everyone had chosen to share their own work.

"It takes a lot of confidence to share online, even in a closed group" Museums Northumberland bait

6 Adapting delivery to suit new contexts is at the heart of the CPP model of delivery

A number of Project Leads observed that it is in the very nature of the CPP model to deliver creative activity wherever it needs to happen, and to adapt delivery to work wherever people are - whether in a car park, a town hall, an open field or - this year in particular - online. CPPs translated their experience - consciously or otherwise - of adapting their work to different contexts to focus their energy on creating safe, engaging, welcoming and inclusive online spaces.

"In many ways, CPPs are perfectly designed to meet a crisis like this. We adapt to changing circumstances, we're flexible, and we adapt to deliver what the community needs" East Durham Creates

"CPPs always work outside of conventional arts infrastructure anyway - the work always happens where it needs to be. The town is our arts centre and we can take solace from that - we have expertise to bring and to share" Heart of Glass, St Helens

"It's the safeness of the space that is the thing - whether digital or in person" Creative Scene

Art Boxes, Creative Scene

COVID-19 and lockdown has stimulated a period of intense digital delivery, experimentation and learning in CPP Places this year. The accelerated pace of change has enabled progress in digital engagement that may have taken years to achieve under usual circumstances, and brought to the fore useful learning around in attracting and maintaining attention online, building deep and wide connections, and reaching those who may not consider creative activity to be for them. In many cases, a hybrid model of delivery - where some elements were delivered safely in person, and supported by a digital platform for further engagement - was found to combine the best of both worlds.

In-person activity offers deep personal connections and can better reach those who may not typically participate, including those with limited digital access. In tandem, a digital offer has been effectively used to help more people to get involved, to invite participants and artists to work collaboratively, and support new leaders to emerge. Looking ahead, Places will continue to explore how best to combine the flexibility of digital delivery with the very particular sparkle of real life delivery - supporting the CPP's distinctive approach to locally-led and place-based creative activity.

The action learning mindset that is at the heart of CPP delivery has helped Places to adapt nimbly to the intense digital learning that's taken place this year. Places have embraced the learning gathered from such an intense period online, and will use it to shape and inform their future delivery - both on and off line.

# data[].attributes.attachment_link.title
# 2: The role of digital engagement in place-based projects | Creative People and Places

# data[].attributes.attachment_link.description
Lead photo: Artists with Fishes and Wishes, East Durham Creates As COVID-19 - and the resultant lockdown - forced us into physical distance from one another, digital tools and online engagement became key to maintaining connection, communication and friendship.

# data[].attributes.headline
What we can do to support our health at home?

# data[].attributes.subject
What we can do to support our health at home?

# data[].attributes.attachment_link.readable_text
The news is filled with information about the novel corona virus. Day after day we receive updates about the number of people infected and are given further instructions on how to protect our physical well-being. Adherence to the guidelines provided is critical for reducing the strain on the health system and is estimated to save hundreds of thousands of lives. In comparison, the government only provided general information about how to maintain our mental health and well-being during these unprecedented times. However, understanding the brain can help us provide more detail on how to sustain mental well-being during lockdown.

With more people getting infected every day, we are all worried about the health of our loved ones, feeling helpless about the situation. Working from home brings its own challenges with many of us struggling to focus on the task at hand. Our weekly shopping has rarely been so stressful. And due to limited opportunities to socialize, the number of us experiencing loneliness has dramatically escalated. Naturally, all of this is taking its toll on our well-being, but as practitioners like Dr William Bird have been advocating, nature can counter these negative emotions. Research is increasingly supporting this view.

Spending time in nature within the guidelines provided by the government directly and positively affects our cognitive function. Scientists increasingly recognise the beneficial effects of nature exposure on immune functioning, mood and feelings of well-being. Experiencing nature has been shown to reduce stress levels, help people feel less overwhelmed and more in control of the situation. Indeed, my own research in the School of Psychology has shown that a walk in a park (versus along busy city street) can enhance our ability to ignore distractions subsequently. Taking a stroll in a leafy green area should, therefore, help people make the transition to working from home. The more positive emotions often experienced by being in nature can also help you overcome loneliness and low mood.

To maximise the benefits of nature, simply be present. Instead of connecting with people, connect with nature. Instead of thinking about the virus, think about what is growing and thriving around you. Turn off your phone and try to see, hear, smell and feel the unfolding of the beautiful English spring. Stop to smell the hundreds of flowers and blossoms appearing in front gardens and parks! The Japanese, creators of the shinrin-yuko (which literally means forest bathing), go as far as walking barefoot on the grass, feeling the leaves, branches and bark of trees with their hands and smelling flower blossoms. This might feel odd for some of you, especially at first, so ease into it by taking a short walk in a park or simply sitting in your garden, if you have one. Like many others, you will very quickly start to see the benefits for yourself.

There is no need to worry about adding something else to your already endless to-do list. Studies suggest that merely 20 minutes a day will allow you to benefit from nature exposure and you can easily combine this with other activities. For example, you can eat lunch in your garden, go to a park for your daily exercise or walk along a tree-lined street when running errands.

If these options are not right for you, you can bring nature into your home with a few simple steps. You can buy a houseplant or put flowers in a vase. In addition to bringing benefits, such as cleaner air, you will experience similar positive effects to spending time outside. And if you do not like to fill your home with plants, use essential oils to bring the smell of nature into your home, or simply fool your brain by watching a video of a nature walk, allowing you to experience nature at your convenience.

All of this should be easy to implement along with the government's current advice. At this time of great uncertainty, it is important to make the most of our restricted time outside. Looking after your well-being will not only benefit you but also your family and society at large. So, interact with nature and enjoy all the benefits it has on offer. Your brain will thank you!

# data[].attributes.attachment_link.title
Use nature to support your well-being during the Covid-19 pandemic

# data[].attributes.attachment_link.description
The news is filled with information about the novel corona virus. Day after day we receive updates about the number of people infected and are given further instructions on how to protect our physical well-being. Adherence to the guidelines provided is critical for reducing the strain on the health system and is estimated to save hundreds of thousands of lives.

# data[].attributes.attachment_link.description
Covid-19 is the subject of topical, colourful and attention-grabbing street art, whether it is for artistic, educational or political ends

# data[].attributes.headline
consult and discuss- Meet with Jade and Helen

# data[].attributes.subject
consult and discuss- Meet with Jade and Helen

# data[].attributes.headline
the statement from NPM exhibition 'She & Her'

# data[].attributes.subject
the statement from NPM exhibition 'She & Her'

# data[].attributes.attachment_link.readable_text
The average ratio of males to females in the human population of the world today is roughly even, and it goes without saying that the role of women and their contribution to civilization should neither be overlooked nor underestimated. Comparatively speaking, the National Palace Museum collection features not only a wealth of art on the subject of ladies but also a number of exceptional artworks by women themselves. Unfortunately, however, traditional Chinese society was basically developed and dominated by men over thousands of years. Hence, expressions in Chinese emerged such as "men above and women below," "a man's place is outside and a woman's at home," "a girl's beauty lies in her weakness," and "a girl's virtue is having no talent." They had a profound affect on women and led to many deep-rooted stereotypes, resulting in far too many ladies of talent being stifled and unable to fulfill their potential. Sympathy for and attention to the plight and situation of these women become all the more apparent in the works of art on and by them.

This special exhibition features a selection of 71 fine works of art from the National Palace Museum collection arranged by period and divided into two categories: "Norms of Female Beauty" and "Ladies of Artistic Talent." The first category offers a broad chronological perspective of paintings on ladies from the Five Dynasties era down to modern times as a way to clearly outline the diverse roles of women in art and the styles of these beautiful works. The second category presents painting, calligraphy, and textile works of art by women artists themselves. Though some of them have been recorded by name in the annals of history, compared to men, they are few and far between. Nevertheless, it is not too difficult to find exquisite and stylistically unique works in brush and ink from the hands of women artists in Chinese art history, the selections in this section of the exhibit fully revealing their talent in various fields.

In the 21 st century, during this continuing age of women power, the National Palace Museum hopes this special exhibition can display not only the beauty of art but also encourage further thought on subjects related to women to form new perspectives of epochal significance for the future.

Publication: She & Her: On Women and Their Art in Chinese History

# data[].attributes.attachment_link.keywords[]
she：women in chinese art and culture from the museum collection

# data[].attributes.attachment_link.title
She & Her: On Women and Their Art in Chinese History

# data[].attributes.attachment_link.description
The average ratio of males to females in the human population of the world today is roughly even, and it goes without saying that the role of women and their contribution to civilization should neither be overlooked nor underestimated.

# data[].attributes.body
Twitter  @SanctuaryUoL online!
I am the first follower!

# data[].attributes.attachment_link.readable_text
Luisa Rivera for Yale Environment 360

A growing body of research points to the beneficial effects that exposure to the natural world has on health, reducing stress and promoting healing. Now, policymakers, employers, and healthcare providers are increasingly considering the human need for nature in how they plan and operate.

How long does it take to get a dose of nature high enough to make people say they feel healthy and have a strong sense of well-being?

Precisely 120 minutes.

In a study of 20,000 people, a team led by Mathew White of the European Centre for Environment & Human Health at the University of Exeter, found that people who spent two hours a week in green spaces - local parks or other natural environments, either all at once or spaced over several visits - were substantially more likely to report good health and psychological well-being than those who don't. Two hours was a hard boundary: The study, published last June, showed there were no benefits for people who didn't meet that threshold.

The effects were robust, cutting across different occupations, ethnic groups, people from rich and poor areas, and people with chronic illnesses and disabilities.

"It's well-known that getting outdoors in nature can be good for people's health and well-being, but until now we've not been able to say how much is enough," White said. "Two hours a week is hopefully a realistic target for many people, especially given that it can be spread over an entire week to get the benefit."

The study by White and his colleagues is only the latest in a rapidly expanding area of research that finds nature has robust effects on people's health - physically, mentally, and emotionally.

The studies "point in one direction: Nature is not only nice to have, but it's a have-to-have for physical health and cognitive function."

"When I wrote Last Child in the Woods in 2005, this wasn't a hot topic," said Richard Louv, a journalist in San Diego whose book is largely credited with triggering this movement and who coined the term Nature Deficit Disorder. "This subject was virtually ignored by the academic world. I could find 60 studies that were good studies. Now it's approaching and about to pass 1,000 studies, and they point in one direction: Nature is not only nice to have, but it's a have-to-have for physical health and cognitive functioning."

These studies have shown that time in nature - as long as people feel safe - is an antidote for stress: It can lower blood pressure and stress hormone levels, reduce nervous system arousal, enhance immune system function, increase self-esteem, reduce anxiety, and improve mood. Attention Deficit Disorder and aggression lessen in natural environments, which also help speed the rate of healing. In a recent study, psychiatric unit researchers found that being in nature reduced feelings of isolation, promoted calm, and lifted mood among patients.

The growing body of research - combined with an intuitive understanding that nature is vital and increased concerns about the exploding use of smart phones and other forms of technology - has led to tipping point at which health experts, researchers, and government officials are now proposing widespread changes aimed at bringing nature into people's everyday lives.

For example, researchers and policymakers now talk about "park deserts" in urban areas. Cities are adding or enhancing parks, and schools and other institutions are being designed with large windows and access to trees and green space - or blue space, as in aquatic environments. Businesses are increasingly aware of the desire among employees for access to green spaces. "It's needed to attract a skilled work force," said Florence Williams, author of The Nature Fix. "Young people are demanding high-quality outdoor experiences."

The number of "forest schools" - which have long been a tradition in Scandinavia and where much of the learning takes place in natural settings in the outdoors - has mushroomed in the United States, up by 500 percent since 2012, according to Louv. Oregon recently passed a ballot measure to raise money for outdoor schools, and the state of Washington just became the first state to license outdoor preschools, where much of the play and learning occurs outside.

The organization Children & Nature Network, founded by Louv and others, advocates for more time in nature for children, tracks the research, and has a long list of abstracts that summarize studies on the subject on its website.

Hard-pressed Rust Belt cities go green to aid in urban revival. Read more.

And The Trust for Public Lands (TPL) has just finished a seven-year project to map the parks of the U.S., with the aim of identifying places in need of parkland. "We've mapped 14,000 communities, 86 percent of the nation, and looked at who does and doesn't live within a 10-minute walk of a park," said Adrian Benepe, a senior vice president of TPL. The organization has a Ten Minute Walk campaign to work with mayors across the U.S. to make sure all people have that kind of access.

An increasing number of healthcare providers are also embracing the back-to-nature paradigm. One organization, Park RX America, founded by Robert Zarr of Unity Healthcare in Washington, D.C., declares its mission "to decrease the burden of chronic disease, increase health and happiness, and foster environmental stewardship, by virtue of prescribing Nature during the routine delivery of healthcare by a diverse group of health care professionals." The organization has 10,000 parks in its "prescribing platform."

One expert says he's concerned that the growing interest in more contact with nature relies too much on only experiencing it visually.

The global Association of Nature and Forest Therapy Guides shows clients how to use immersion in nature for healing. "The forest is the therapist," the group's slogan reads. "The guides open the door."

Studies show that the effects of nature may go deeper than providing a sense of well-being, helping to reduce crime and aggression. A 2015 study of 2,000 people in the United Kingdom found that more exposure to nature translated into more community cohesion and substantially lower crime rates.

And while more vegetation is thought to encourage crime by providing security for criminals, another study found the opposite - vegetation abundance is associated with a reduction in assault, robbery, and burglary, although not theft.

Still, many of these studies are correlational rather than causal. That means it's hard to show that natural landscapes cause these effects, though these things happen when people are in a natural environment.

Sara L. Warber, professor of family medicine at the University of Michigan, noted that there are no "randomized, controlled studies" on the effects of nature on human health. Nonetheless, she said, there are epidemiological studies and measurements of before and after exposure to nature, and the results from this research are robust.

Peter H. Kahn, a professor of psychology at the University of Washington who has worked on these issues for decades, is encouraged by the new focus on the subject but concerned that the growing interest in more contact with nature relies too much on only experiencing it visually. "That's important, but an impoverished view of what it means to interact with the natural world," he said. "We need to deepen the forms of interaction with nature and make it more immersive."

Reconnecting with nature through green architecture: an interview with Stephen Kellert. Read more.

What are the active ingredients in a dose of nature? Pioneers in this work, Rachel and Stephen Kaplan, who began studying the subject in the 1970s, devised Attention Restoration Theory, which holds that paying attention in bustling cities, at work, or in other stressful environments requires a good deal of effortful attention. In a natural environment, however, the Kaplans found that people paid attention more broadly and in a less effortful way, which leads to far more relaxed body and mind.

Japanese researchers have studied "forest bathing" - a poetic name for walking in the woods. They suspect aerosols from the forests, inhaled during a walk, are behind elevated levels of Natural Killer or NK cells in the immune system, which fight tumors and infections. A subsequent study, in which essential oils from cedars were emitted in a hotel room where people slept, also caused a significant spike in NK cells.

However this growing field might be defined, it is gaining momentum. In a recent paper, 26 authors laid out a framework to create a formal role for the positive impacts nature has on mental health and to formulate a model for conserving nature in cities and integrating it into planning for these health effects.

"There is an awakening underway today to many of the values of nature and the risks and costs of its loss," says one researcher.

"We have entered the urban century, with two-thirds of humanity projected to be living in cities by 2050," said Gretchen Daily, director of the Natural Capital Project at Stanford University and a senior author of a recent paper arguing that the cognitive and emotional benefits of nature should be factored into economic ecosystem service models. "There is an awakening underway today to many of the values of nature and the risks and costs of its loss. This new work can help inform investments in livability and sustainability of the world's cities."

While the research has grown leaps and bounds, Kahn and others argue in a recent review paper that research into the topic is still lacking in many ways, and they lay out a research agenda they say would help formalize the role of nature in public health policy.

Habitat on the Edges: Making room for wildlife in an urbanized world. Read more.

Understanding nature's therapeutic effects may be arriving at a propitious moment. Some studies have found that anxiety over climate change is a growing phenomenon. Ironically, one of the best antidotes for that might be a dose of green space.

"If I am feeling depressed and anxious and worried about the environment," Warber said, "then one of the best things I can do is go out in nature."

# data[].attributes.attachment_link.title
Ecopsychology: How Immersion in Nature Benefits Your Health

# data[].attributes.attachment_link.description
A growing body of research points to the beneficial effects that exposure to the natural world has on health, reducing stress and promoting healing. Now, policymakers, employers, and healthcare providers are increasingly considering the human need for nature in how they plan and operate.

# data[].attributes.attachment_link.readable_text
The HTML style attribute is used to add styles to an element, such as color, font, size, and more.

The HTML Style Attribute

Setting the style of an HTML element, can be done with the style attribute.

The HTML style attribute has the following syntax:

The property is a CSS property. The value is a CSS value.

You will learn more about CSS later in this tutorial.

Background Color

The CSS background-color property defines the background color for an HTML element.

Example

Set the background color for a page to powderblue:

<body style="background-color:powderblue;">

</body>

Try it Yourself "

Example

Set background color for two different elements:

<body>

</body>

Try it Yourself "

Text Color

The CSS color property defines the text color for an HTML element:

Fonts

The CSS font-family property defines the font to be used for an HTML element:

Text Size

The CSS font-size property defines the text size for an HTML element:

Example

Try it Yourself "

Text Alignment

The CSS text-align property defines the horizontal text alignment for an HTML element:

Chapter Summary

Use the style attribute for styling HTML elements

Use background-color for background color

Use color for text colors

Use font-family for text fonts

Use font-size for text sizes

Use text-align for text alignment

HTML Exercises

# data[].attributes.attachment_link.description
W3Schools offers free online tutorials, references and exercises in all the major languages of the web. Covering popular subjects like HTML, CSS, JavaScript, Python, SQL, Java, and many, many more.

# data[].attributes.body
We have to find a key to our exhibition, that is 'Big Idea'. Though we had different concerns and interests at first, we still came to the conclusion quickly. As we all concern about Covid-19 and how it effect our daily life and how art and nature can help people, we decided to search some artworks related to this idea.

# data[].attributes.body
itemc→ollection→exhibits

# data[].attributes.body
It's important to get more understanding about techniques!

# data[].attributes.attachment_link.readable_text
Skip to main content

It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

Support

If you have questions after reading this guide, please contact Dan Tracy ( dtracy@illinois.edu), head of Scholarly Communication and Publishing.

If you are considering starting a journal or digital publication, the Illinois Open Publishing Network is here to help with consultations on digital publishing, open access, scholarly communication, and copyright.

About Omeka

Omeka is a software tool that enables you to create dynamic online exhibits that showcase collections of digital images, text, and other multi-media formats in one seamless site.

There are three versions of Omeka, each slightly differing in functionality and purpose. This guide is focused on getting started with Omeka.net which satisfies the needs of the average student or library user.

# data[].attributes.attachment_link.title
LibGuides: Omeka: A User's Guide: Introduction

# data[].attributes.attachment_link.description
Skip to main content It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

# data[].attributes.body
Colour: earthy, green, brown, natural
Tone: friendly, welcoming, peaceful
Navigation: simplified, one way going , easy to follow

# data[].attributes.body
I wrote the draft for news article and got some useful comment from my team members!
They are all really tolerant and patient to refine my English writing.

# data[].attributes.body
some useful advices
- simplify the navigation button
- clear intro (put them in Home page)
- more natural photos
- delete unnecessary information of item
- reduce the external links.

# data[].attributes.attachment_link.readable_text
In an age of frantic hand-washing, Slappey's surreal, sensuous paintings of hands (and other body parts) take on a strange new resonance. The artist is still busily working away.

A self-described "podcast junkie," Slappey used to listen to The Daily and PBS NewsHour while commuting to the studio, but she said that "lately I've been trying not to get bogged down in the panic, and have been listening to lighter discussions." That includes The Happiness Lab, Freakonomics, Reply All, Radiolab, This American Life, and "too many true-crime podcasts," including My Favorite Murder and Last Podcast on the Left. The latter shows, Slappey mused, make her cringe-laugh, "a response that I'm realizing extends into my paintings, as well."

# data[].attributes.attachment_link.title
How 10 Artists Are Staying Creative through COVID-19

# data[].attributes.attachment_link.description
In an age of frantic hand-washing, Slappey's surreal, sensuous paintings of hands (and other body parts) take on a strange new resonance. The artist is still busily working away. A self-described "podcast junkie," Slappey used to listen to The Daily and PBS NewsHour while commuting to the studio, but she said that "lately I've been trying not to get bogged down in the panic, and have been listening to lighter discussions."

# data[].attributes.body
Key themes

Covid19 isolation

Bringing nature into your life

Positive mental health

Nature representations in art

Ideas

Bring nature inside

Nature in art: connect to the outside

Positive wellbeing: nature in art

Art, nature and COVID-19

Connect with nature

Bringing nature to you

Natural encounters

Nature in isolation

Appreciating nature

Natural world

Immerse in nature

Outside in

Put on green

Green in Pandemic.

Sanctuary: A Digital Green Space.

# data[].attributes.body
The road toward an interpretator  never ends here.

# data[].attributes.attachment_link.description
Making the web more beautiful, fast, and open through great typography

# data[].attributes.headline
A Brief to my Interpretation work- a special experience on virtual exhibition.

# data[].attributes.subject
A Brief to my Interpretation work- a special experience on virtual exhibition.

# data[].attributes.body
This year, due to the pandemic, we couldn't have the onsite exhibition as before. Therefore, we had a completely different learning experience - to curate an online exhibition on Omeka. We had no idea what it was and how to do with it.  There isn't any rule to follow to build up our exhibition, our sanctuary. Instead, I would say it's more like a experimental process under this SPECIAL situation.
If you never try, you never know!
The most important of all, the idea, the method or the issue we had throughout the process of curating were all based on our personal thoughts, reflections to unexpectable situation at that time. So...  I would say this archive is not only a document for the explaining how we curated the exhibition but also kind of the first-hand observation on how Museum Studies students and the whole faculty tried to find a alternative way to deal with online course, to respond a new urgent change in the museum and gallery and the whole cultural industry during Covid-19.

# data[].attributes.attachment_link.readable_text
Color Lisa is a curated list of color palettes based on masterpieces of the worlds greatest artists. Each palette was painstakingly created by color obsessed designers, artists, museum curators, and masters of color theory. Palettes are constantly being added to help keep your designs colorful and fresh.

Color Lisa was made by Ryan McGuire, an artist, photographer, designer, and lover of color. Fun fact about Ryan: he drives a bright green (HEX #A5C955) and orange (HEX #E9AF42) 1971 VW Beetle he turned into a dinosaur. Questions, guest curator requests, and praise :) can be sent to ryan@mcguiremade.com.

# data[].attributes.attachment_link.title
Color Lisa - Curated Color Palette Masterpieces.

# data[].attributes.attachment_link.description
Color Lisa is a curated list of color palettes based on masterpieces of the worlds greatest artists. Each palette was painstakingly created by color obsessed designers, artists, museum curators, and masters of color theory. Palettes are constantly being added to help keep your designs colorful and fresh.

# data[].attributes.body
It seems that we have a long way to go....

# data[].attributes.headline
After first peer-to-peer feedback, we did some improvement for our exhibition

# data[].attributes.subject
After first peer-to-peer feedback, we did some improvement for our exhibition

# data[].attributes.body
The colour of text becomes more darker.
The font is sans-serif. (easy to read)
Put on our head title.

# data[].attributes.body
Adding more pic of green space to our website.

# data[].attributes.body
learn more about the digital interpretation in a digital era.

# data[].attributes.attachment_link.readable_text
Fiona Romeo and Lawrence Chiles, National Maritime Museum, UK

http://rmg.co.uk/collections

Abstract

This paper outlines how digital technology in physical spaces can offer a seamless experience centred firmly on the object. Museums could reveal more of their collections by producing dense displays of objects with limited fixed interpretation but with hooks into deep digital services and invitations to participate. As computer vision brings the possibility to refine this interaction and make it more magical, the object itself can be a "service avatar": all of the evocative power of an object, used to access digital experiences.

Keywords: archives, collections, objects, interaction, interpretation, augmented reality, mobile

In 2011, the National Maritime Museum (Museum) was transformed by the Sammy Ofer Wing, a capital-build project that doubled the usable volume of the Museum's south-west wing and sensitively introduced a contemporary aesthetic. As part of this project, 1,000 cubic meters of archival material moved to the new wing, enabling the Museum's Caird Library to dramatically reduce collection-retrieval times from days to minutes.
Figure 1: Film still of archive move into the new Sammy Ofer Wing stores http://vimeo.com/36043893
Responding to this opportunity-and building on ten years of sustained digitization-the Museum developed a physical space and new website to showcase its vast collection and invite visitors to use objects in a more active way.;.

1. Introduction to projects

Collection website

The Research Information Network report (2008) found that "what researchers need above all is online access to the records in museum and collection databases to be provided as quickly as possible, whatever the perceived imperfections or gaps in the records."

While we were determined to produce a beautiful new website that led with large collection images ( http://rmg.co.uk/collections), we also resolved to make as many records as possible available to the public. By redefining the mandatory fields to include just object ID, description, and credit line, we were able to increase the number of publicly available records from 80,000 to over 400,000.

The redesigned website promotes a more active engagement: Users can tag or share objects, save searches, create their own groupings, download images, order prints, or request an item to view in the library. The website is also linked to external sites and services such as print on demand ( http://prints.rmg.co.uk/), the library and archive retrieval system ( https://archiveandlibrary.rmg.co.uk/aeon/), WorldCat ( http://www.worldcat.org/), and social media networks.

Further to this, members of the public are invited to contribute their own knowledge to the catalogue, and verified contributions are credited on the object records.
Figure 2: Screenshot of collection website homepage
The Museum is already a sector leader in contributions to sharing initiatives, such as The Commons on Flickr ( http://www.flickr.com/photos/nationalmaritimemuseum/), Wikimedia UK ( http://en.wikipedia.org/wiki/Wikipedia:GLAM/NMM), Europeana ( http://www.europeana.eu/portal), and the BBC's Your Paintings ( http://www.bbc.co.uk/arts/yourpaintings/), but we wanted to encourage self-facilitated reuse of our data. The Museum therefore changed the end-user license to Creative Commons (CC0 for data and CC3 for images), exposed the underlying Application Programming Interface (API), and created a SPARQL endpoint. The API enables developers to create applications or interactives using the Museum's collection data. The SPARQL endpoint makes it easier for developers to query multiple data-sets, for example, to combine museum collections.

Launched in July 2011, the API delivers content to the Museum's own on-gallery services and interactives, and is already being used by sector-wide aggregators, such as Culture Grid ( http://www.culturegrid.org.uk/), Europeana, The Digital Public Space (a cultural sector and BBC Archive prototype), and the Public Catalogue Foundation ( http://www.thepcf.org.uk/).

Taken together, these changes reposition our collection website as a dynamic provider and receiver of information.

Compass Lounge

The Compass Lounge, designed with Kin ( http://kin-design.com), is a comfortable space that invites visitors to take their time exploring and discussing the collection. It comprises three "interactives" that creatively display over 5,000 digital reproductions in order to expose the connections between objects.

The space is wallpapered with large graphics that mix maps and charts from our archive with modern references, such as the distinctive marker pins from Google Maps. This background is overlaid with a mixed-media display that is to be updated biannually through a process of co-curation with selected community groups.

The display is made up of eight large frames for print material and nine small screens for digital images and video.
Figure 3: View of the Compass Lounge
Co-curated display

For the opening in 2011, there was a selection of historic photographs displayed as large prints, each labelled with a call-to-action to contribute to the Museum's records via the collection website:

Help describe this photograph: add a tag online

rmg.co.uk/collections

Accompanying small screens displayed selections assembled by Museum staff and encouraged visitors to create their own groupings:

Create your own collection online

rmg.co.uk/collections

Horizon installation

The Horizon is a multi-screen visualisation of the Museum's collection. Over 4,000 images from five collections-ship models, oil paintings, flags, uniforms, and coins/medals-are grouped by visual similarity. This aesthetic arrangement began by using "computer vision" software from the University of Dundee to extract and compare colour and texture information. Computer vision aims to equip computers and robots with the ability to understand images. Professor Stephen McKenna, chair of computer vision at the University of Dundee, describes it as a "means [of] enabling machines to recognise people and actions in videos... or retrieve images similar to example ones from large repositories" (University of Dundee, 2011).
Fig 4: 2D layout of the National Maritime Museum collection of uniforms. Image by University of Dundee School of Computing.
This unique configuration of objects, produced on a two-dimensional (2D) plane, was then placed within a 3D environment, creating a stream of images that the viewer explores by rolling an oversize trackball. The objects are presented "fit to screen" across the five 40*inch screens, rather than being accessed via a thumbnail, and are shown without text descriptions. The images are all presented at the same scale so each object has equal status.
Figure 5: Horizon installation. Image by Kin.
Plan Chest installation

The Plan Chest is a physical embodiment of the Museum's collection website. Wooden drawers are pulled out to reveal large touchscreens, each showing high-resolution images of the most popular objects-that is, the objects that have been the most viewed, shared, collected, or tagged. In doing so, the Plan Chest showcases the collection in use.
Figure 6: Plan Chest installation. Image by Kin.
A linked light-emitting-diode display shows the relevant accession number, highlighting this unique key to all of the Museum's information about an object.

Compass card

Every visitor to the Museum is given their own Compass card to reveal the hidden connections between people and the objects in the collection, in the form of beautifully packaged stories.
Figure 7: Compass Card explanatory film (http://vimeo.com/36045405)
The visitor begins his or her journey either by visiting the Compass Lounge or by collecting selected objects in galleries.

The card is stamped at distinctive Compass units that accompany selected objects; this activity is recorded digitally via the unique barcode and physically through an embossed symbol. Once the visitor has collected an object, he or she returns to the Compass Lounge to unlock the corresponding stories or visits the website at home to do the same.

Each story takes the visitor on a journey through the collection from the starting object to connected people, objects, and archive material. This content is presented as stories with dramatic titles such as The Intrepid Amateurs, The Legends of Hull, and The Hunt for the Lost Explorer.

As soon as visitors register their cards, they're sent a free, personalised e-book, which is determined by the objects they collected during their visit to the Museum. This e-book is a book from the Museum's Caird Library collection that also happens to have been digitized by Project Gutenberg ( http://www.gutenberg.org/).
Figure 8: A Compass e-book, by Kin
The symbols on the cover are the same as the ones visitors happened to collect on their card during their visit. The email containing the e-book also has an invitation to visit the Caird Library in order to view the "real thing." Visitors simply use the "request an item to view" feature of the collection website to plan their visit. In so doing, the visitor has taken a journey from a selected object in a gallery to a hands-on experience with relatively hidden archival material in the library.
Figure 9: Bloggers' preview of new Caird Library research and reading room, by Dianne Tanner
2. Design and interpretation

The design of the Compass Lounge was led by five interpretative principles:

1. A playful fusion of the physical and digital can stimulate curiosity;

2. Objects with limited or no imposed interpretation can provoke extended reflection and conversation;

3. "Peopling the collection" makes archives more accessible;

4. Visitors need to understand that the collection is there for them to use-and how to go about it;

5. An object can be a start, rather than end, point.

Physical-digital interplay

There is a constant interplay between the physical and the digital in the Compass Lounge and a deliberate playfulness in the transitions between the two states. The furniture objects themselves stimulate curiosity by introducing digital experiences in novel ways.

Each furniture object suggests a different kind of interaction: a seated, in-depth experience with the Compass; a playful exploration of the Horizon; and hidden things to uncover in the Plan Chest.

For example, the over-sized drawers of the Plan Chest reference the physical structure of the archive. By placing digital reproductions within this evocative furniture, we invite visitors to discover things in new ways.

There is a carefully crafted balance of things the visitors expect and things they don't. Digital technology allows us to do this in really interesting ways. The Compass units contain an embosser so cards are stamped with tactile symbols as stories are collected. The units have no obvious digital expression-despite their internal use of barcode technology-so their memory of visitor actions is more delightful.

Visualising the collection

The view of the collection offered by the Horizon transcends museum classifications, allowing thousands of objects to be seen without imposed interpretation. It was a deliberate challenge to the conventional overview offered on a collection website, where text predominates and objects are visually represented by thumbnails.

In the Horizon, the images are presented at the same scale so each object has equal status. In this view, Nelson's Trafalgar uniform demands no more attention than any other blue frock coat.

Representing collections in this way exposes patterns. As information design specialist Edward R. Tufte says in Visual Explanations (2002), "Multiple images reveal repetition and change, pattern and surprise - the defining elements in the idea of information... Multiples amplify, intensify, and reinforce the meaning of images."

Looking at the uniforms, a visitor may see swathes of the particular blue that inspired the naming of the colour navy blue. Their eye may also be drawn to part of the collection that is often overlooked, the Marines' uniforms, in a small but noticeably red band. Ordering the ship models by texture exposes technological development, seen in the clusters of sails, oars, and masts. Looking through the layers of flags, it becomes apparent that their restricted colour palette was honed to improve visibility at sea.

This form of display can bring the viewer closer to individual objects. The coins are shown larger than their real size, which reveals details that might be missed when looking at the original object.

In his Canvas prototype ( http://timwray.net/2011/12/canvas), museum informatics student Tim Wray uses similar clustering techniques to a very different end. Wray was inspired by Tufte's (2002) criticism of the absence of scale in reproductions:

Although the physical scope of a work of art is not always a relevant variable, for some works - Lichtenstein's mural, Monet's water lilies... colossal statues of David or the People's Heroic Leader, posters, delicate and precious miniatures, postage stamps, typography - their size is surely an expressive factor. How then can tiny, irregularly scaled reproductions tell us about measure, magnitude, presence, absolute or relative size?

Wray developed Canvas both to restore comparative scale to a museum catalogue and present looser connections between objects: "Clusters of objects are arranged, laid out and scaled according to their real dimensions... and join other, branching paths that diverge and form new pathways" (Wray, 2012).

Where the Horizon installation and Canvas prototype are similar is that they both invite the viewer to be an active interpreter of the collection, making contrasts and comparisons. In describing the effect of the sequential presentation of images, Tufte (2002) observes that "the perceiving mind itself actively works to detect and indeed generate links, clusters, and matches among assorted visual elements."

Peopling the collection

The Compass Lounge aims to move visitors by telling stories about people. The Compass stories are micro-biographies of both "great men" and "silent voices" drawn from the Museum's archives. They range from the heroic figure of Admiral Nelson to the relatively unknown George William Smith, a Hull fisherman who was killed at sea and whose death nearly triggered a war between Britain and Russia.

Similarly, the adjacent orientation gallery, Voyagers, displays over 200 objects, organised according to the emotions they symbolise (i.e., anticipation, love, sadness, aggression, pride, joy) and interpreted through individual stories, such as:

A letter from Horatio Nelson to Lady Emma Hamilton, written from Victory in 1803. In this letter, Nelson tells Emma she will be ''my own Duchess of Bronte."

A teddy bear mascot called Humphrey belonging to Tracy Edwards and carried on the racing-yacht Maiden during the 1989-90 Whitbread Round the World Yacht Race. The toy has lost its legs, its right arm is partially missing, and it has no eyes-the result of falling during a storm into a bilge pump from which it was retrieved some weeks later.

This is further developed through a series of video portraits of people from all over the world-coastguards, émigrés, naval officers, schoolchildren-each telling his or her own story of the sea.

The first co-curated display in the Compass Lounge was conceived by the Museum's Youth Advisory Group and opened in February 2012. For this display, the Youth Advisory Group selected two people that they felt were under-represented in the Museum's Traders gallery-Jamsetjee Bomanjee Wadia (1756-1821) and Sake Deen Mohamed (1759-1851)-and worked with photographer Maisie Maud Broadhead ( http://www.maisiebroadhead.com/) to reenact imagined scenes from the lives of these characters. The resulting photographs use contemporary references to suggest the enduring relevance of trade between Britain and India. The accompanying small screens show related objects from the Museum's collection researched by the group.
Figure 10: Photograph by National Maritime Museum Youth Advisory Group and Maisie Maud Broadhead
Many other museums are actively uncovering "people stories" and using digital technology to do so: crowd-sourcing and computer vision techniques have proved particularly effective.

The London Lives website ( http://www.londonlives.org) makes available over 240,000 digitized manuscript and printed pages, providing access to over 3.35 million name instances, many of them for the otherwise invisible classes of the eighteenth century. Users are invited to collect and link together records relating to the same individual, and to compile biographies of the best-documented individuals. According to Heller (2012), "London Lives allows us to begin to trace individual life trajectories of the labouring poor and of Londoners caught up in the criminal justice system. It is now possible in a matter of days or weeks to assemble evidence related to single individuals that would previously have taken years or decades to amass."

In Faces of the First World War ( http://www.1914. org/faces/), the Imperial War Museum shared 100 portraits on Flickr, inviting the public to help identify the men who fought for Britain and the Commonwealth during the First World War. This is just the first phase of an ambitious project to uncover millions of life stories through volunteer annotations of letters, diaries, and photographs.

The real face of white Australia( http://invisibleaustralians.org/faces/) is an experimental prototype by digital humanist Tim Sherratt. Sherratt used computer vision to find and extract photographs of people from the records of the White Australia Policy, held by the National Archives of Australia. Having identified 7,247 photographs, Sherratt then presented them as a visual interface to the records, "not as the remnants of bureaucratic processes, but as windows onto the lives of people. This is also a finding aid... that brings the people to the front" (Sherratt, 2011).

Showing the collection in use

Visitors need to understand that the collection is there for them to use-and how to go about it. The Compass Lounge brings more of the Museum's collection to the attention of the public by using a starting object or collection to highlight how each object is part of a larger story, or has connections to other objects and archival material. At each point of his or her experience, the visitor is made aware of the collection website and how he or she can interact with it.

Every object on display in the Museum-whether a ship model, map, or photograph has its own unique reference, known as an accession number. This number is used to identify, locate, and store information about an object. The panel interpreting the Plan Chest explains how to read the number, and how to use it to access everything the Museum knows about an object:
How to read the number
Most of the Museum's accession numbers start with a three-letter code. In some cases, this reveals the type of collection the object belongs to: e.g., SCU is for sculptures, GLB for globes, and AST for astronomical instruments.

The four numbers following the code uniquely identify a particular object.

Sometimes you will see that an accession number has a decimal point and another number. This shows that the item is made of several parts, such as a sword (WPN1000) and the sword's scabbard (WPN1000.1). This helps to keep related objects together.

We are now developing an accompanying mobile website, optimised for quick accession-number searches.

The P lan Chest also visualises public use of the collection: the objects that appear in the drawers are determined by what is being viewed, tagged, and shared online. In the future, we hope to find ways to similarly represent research activity and creative reuse of the collection.

For example, every object on the Powerhouse Museum's collection website ( http://www.powerhousemuseum.com/collection/) includes Wikipedia citation code, which both promotes attribution and serves as a call to action. Brooklyn Museum takes this further by actively tracking and reporting on the uses that Wikipedia contributors have made of the thousands of images the museum has uploaded to Wikimedia Commons: Where in the Wikiverse is the Brooklyn Museum?( http://www.brooklynmuseum.org/opencollection/labs/whereinthewiki.php).

Object as starting point

Some museums are moving towards having dense displays of objects, arranged pretty much as they would be in a back-of-house store, and limited, if any, fixed interpretation.

Brooklyn Museum has a 5,000-square-foot Visible Storage Study Center ( http://www.brooklynmuseum.org/exhibitions/luce/). Whereas only about 350 works are on view in the adjacent exhibition, the visible storage facility gives open access to some 2,000 of the many thousands of objects held in storage, which are available for viewing and research by the public. There is an accompanying leaflet that explains how the accession number can be used to access more information about the objects on display.

Similarly, theNo. 1 Smithery( http://www.rmg.co.uk/no-1-smithery/) is a collections research area founded by the National Maritime Museum, in collaboration with the Chatham Historic Dockyard Trust and the Imperial War Museum. Here, more than 3,000 ship models are available to view, by appointment. To facilitate this experience, the entire ship model collection was digitized and made available online.

For its temporary display of 650 red and white quilts from the collection of Joanne Rose, the American Folk Art Museum created a spectacular sculptural installation free of any labels: Infinite Variety( http://www.folkartmuseum.org/infinitevariety). Visitors who wanted more interpretation could download a free app.

Similarly, for an exhibition of women pop artists, Seductive Subversion: Women Pop Artists ( http://www.brooklynmuseum.org/exhibitions/seductive_subversion/wiki/), Brooklyn Museum dispensed with traditional interpretative labels. Instead, the exhibition curator edited the twenty-five Wikipedia articles relating to the artists and showed these pages on iPads at each end of the gallery. In this way, the paintings are an entry point to all knowledge about the artists-not just that held by the museum-and invited visitors to make their own contribution.

3. Evaluation

A formal evaluation of the Compass Lounge was carried out in November-December 2011 to discover what questions and conversations are provoked by a display of objects with little or no interpretation; to understand whether "peopling the collection" really makes archives more accessible; and to establish whether visitors understand that the collection is there for them to use, and how to go about it.

Observations and interviews

The evaluation took the form of observations and interviews both in the Compass Lounge and in two galleries that include Compass units: Voyagers and Traders. The aim was to observe visitors, especially inter-generational groups, as they dwelt in the space and/or used the three interactives.

A total of eighty-seven visitors were observed, and twenty interviews were carried out with visitors over thirteen years of age. For sixteen interviewees, it was their first time in the Compass Lounge. Four interviewees had been before-one of them many times.

A further twenty-five visitors were interviewed at the exits of the Voyagers and Traders galleries. Gallery interviewees were asked whether they had a Compasscard; how they discovered it; whether they had collected stories from the gallery or other galleries; if they intended to collect other stories; and what they expected to get when they took their card to the Compass Lounge or accessed the information gathered at home.

Key findings

The Compass Lounge inspires conversation

One of the primary aims of the Compass Lounge was to inspire collection-related dialogue between visitors. We found that visitors used the Compass card together, discussed the mechanics of how it worked, reacted positively to the stories collected, and talked about following up at home.

Interactions at the Plan Chest included selecting objects on the screens, reading the short descriptions, looking closely at details of the objects, and discussing with others what was found. For example, a child looking at the Plan Chest was joined by his grandfather:

"Oh wow, look at that, do you know what that was used for?" [The child's grandfather then gave further explanation of spitfires. They returned a few minutes later:] "I think I've found a gunship."

Inter-generational groups were particularly attracted to the Horizon. Families were observed taking turns and giving each other instructions: "forward, back" and "up, down." There were involved discussions of the categories, objects, and details.

Children liked the soundscape and being able to roll the ball around to see images:

"Look dad, wow look what I have found... I'm fast-forwarding... Look at these flags... It's fun going backwards."

Other visitors liked the controls, the variety of images and being able to zoom in to see details:

"I would stay in it all day... It was great to interact with paintings, to see the detail, see texture. You could see the overall impression of trends, styles evolving."

Groups also made up stories of their own around ships and battles and talked about people featured in the images. For example, a five-year-old boy asked his mother, "Where's Jack Sparrow?"

Another child said:

"I liked the coins. I would like a big boat in this space. I saw a flag but it was only blue and red (and had) no white on it-so not the English flag."

Visitors are made aware of how to access the wider collection

Over half of the interviewees who had looked at the Plan Chest or mixed-media display said that they would use the collection website after their visit. A slightly smaller proportion understood that each object had an accession number and that this number could be used to find out more about a particular object. One in five interviewees expressed an interest in visiting the new research and reading room in the Caird Library to see the Museum's prints, letters, and charts.

A small number of visitors requested additional-but still limited-information; for example: "A way to pull up captions on the Horizon. Maybe with a time stamp, a quick idea of the artist or era."

Visitors do not spend as long in the lounge as anticipated

The Compass Lounge was designed to be a space where visitors felt comfortable "hanging out," having a rest, reading, or using their own devices. Flexible furniture, free public wifi, and accessible power boards were installed for this purpose. However, while visitors are engaging with the Horizon, Plan Chest, and Compass Card, the space is not being used for long periods as a "lounge."

While the majority of visitors take advantage of the seating, most do not use their own technology, and only a quarter of visitors rest in the Compass Lounge for more than ten minutes. However, most visitors do describe the lounge as comfortable, and some parents use the Horizon to take some time out. For example, one father sat on the seats reading the free Greenwich paper while his son explored the Horizon.

Table 1: Time spent in the Compass Lounge

Web metrics

In the six months since launching the new collection website and Compass card, there have been:

Over 5,000 registered users of the card.

Four referrals per day to the print-on-demand website.

180 records updated in response to contributions from the public; for example:

Dear Madam/Sir, This is not "Konia" inscribed on the plan. This is "Копия," which means "Copy" in English. Inscriptions under Body plan are "Plan of a seagoing vessel" with principal dimensions.

( http://collections.rmg.co.uk/collections/objects/84971.html)

Fred Bell was a guard on the railways in Hull. At the time of this portrait he was working as a docks manager or deputy docks manager in Hull. He was also a member of the local home guard, guarding the docks in Hull. Fred Bell was a decorated soldier from the First World War.

( http://collections.rmg.co.uk/collections/objects/14019.html)

The model of the Sirron engine has been dated too early. This type of engine did not appear until 1942 for the development prototype and 1944 for the first production engine. It is believed that the model you have was made for display at the 'Festival of Britain'. I trust this is helpful. I have no idea where to search for specific display area at the festival but I will let you know if I get anywhere.

( http://collections.rmg.co.uk/collections/objects/68075.html)

4. Next steps

Planned improvements

Gallery dispensers for the cards

Staff do not always distribute Compass cards at the entrance to the Museum, and cards are most likely to be requested by visitors when they're in a gallery with Compass objects. Introductory panels and dispensers, using the distinctive graphic language of the Compass Lounge, are therefore being integrated within the relevant galleries. (The Compass card is already featured in the wayfinding system and distributed at visitor information points.)

Continued rollout of the system

The Museum has a master plan for the next ten years that covers the redevelopment of all its permanent galleries. As such, the Compass card will eventually feature in every permanent gallery. Further card readers will be introduced to other public areas so that visitors are able to register and view stories without necessarily having to return to the Compass Lounge.

Volunteer hosts in the lounge

Shortly after the Compass Lounge opened, the Museum assigned volunteers to host the space, helping with the technology, directing visitors to the relevant galleries, and assisting with the public wifi. We're keen to develop this role beyond the practical help that is already offered.

The Compass Lounge is deliberately light on interpretation, and while this prompts visitors to look closely at the objects and develop their own thoughts, it also leads to questions. We would like to equip our volunteers with the resources that would help them answer questions about the collection.
Figure 11: Steve, a Compass Lounge volunteer
Children's card

Our evaluation has shown that the Compass system is incredibly popular with children. It was designed for family groups, but observation has shown that young children take the lead: They are given the card to collect objects and return to look at the content with family members. We will therefore add a layer of content created specifically for children aged seven to eleven. The starting objects will remain the same, but children will discover stories that are more meaningful to them.

Mobile interpretation platform

We've almost completed development of a new system that reinterprets galleries on the fly for specific audiences, such as schools and family groups. An augmented reality layer will be delivered via an Android tablet, shared within small groups of two to three people, to promote a social experience. The tablet works like a porthole to the galleries, with a live video feed acting as the background to the interface.

Figure 12: Screenshot from the mobile learning platform (in development)

The tablet uses location tracking and computer vision to provide three different kinds of interactions:

1. Discovery: the tablet automatically presents new objects and media in real time, responding to visitors' movements

2. Enquiry: visitors can use the tablet to request more information or media relating to a site of interest

3. Manipulation: visitors create and/or control digital objects.

To enable real-time tracking of visitors' movement in Museum spaces, we are using a mix of wifi positioning and an ultra-wideband radio tracking system. To identify particular objects, or more granular locations, we're using a system for intelligent image recognition, provided by Cortexia (http://www.cortexica.com/). In short, this works by matching visitors' photographs to a predefined database of images.

5. Conclusion

At the National Maritime Museum, we're designing object-based museum experiences that seamlessly traverse physical spaces and digital platforms. We contend that museums could reveal more of their collections by producing dense displays of objects with limited fixed interpretation but hooks into deep digital services and invitations to participate, especially as computer vision brings the possibility to refine this interaction and make it more magical. The object can then act as a "service avatar": all of the evocative power of an object, used to access digital experiences.

Acknowledgements

Thank you to our colleagues Lucinda Blaser, Henry Holland, Stephen Warwick, and Jane Findlay. Thanks also to Kin ( http://kin-design.com), the lead designers of the Compass Lounge-especially Matt Wade and Panja Göbel. Our evaluation study was carried out by Nicky Boyd ( http://www.nickyboyd.co.uk).

References

Heller, B. (2012). Review of London Lives 1690-1800-Crime, Poverty and Social Policy in the Metropolis (review no. 1001). Consulted January 29, 2012. Available at: http://www.history.ac.uk/reviews/review/1001

Research Information Network. (2008). Discovering physical objects: Meeting researchers' needs. Consulted January 29, 2012. Available at: www.museumsassociation.org/download?id=17925

Tufte, E.R. (2002). Visual Explanations: Images and Quantities, Evidence and Narrative. Cheshire, Connecticut: Graphics Press.

University of Dundee. (2011). "University to host computer vision conference." Consulted January 29, 2012. Available at: http://www.dundee.ac.uk/pressreleases/2011/august11/computingconference.htm

# data[].attributes.attachment_link.title
The Future of Digital Interpretation: Gallery Objects as Service Avatars

# data[].attributes.attachment_link.description
http://rmg.co.uk/collections This paper outlines how digital technology in physical spaces can offer a seamless experience centred firmly on the object. Museums could reveal more of their collections by producing dense displays of objects with limited fixed interpretation but with hooks into deep digital services and invitations to participate.

# data[].attributes.body
Searching key words: nature, green, garden, isolation, human, ecology

# data[].attributes.body
Helen reminded us something important when designing the participation page.
1. personal information (only collect minimum and necessary information)
2. how to use the photo and text (inform the participant fully in advance)
3. the copy right issue

# data[].attributes.body
Terms and Condition.

# data[].attributes.headline
Talking with Helen about the ethnic issue.

# data[].attributes.subject
Talking with Helen about the ethnic issue.

# data[].attributes.body
Some information that are important for us might not be necessary for the visitors therefore we decided to delete some of the details below the artworks to simplify our interface and make it more clear for the audiences.

# data[].attributes.attachment_link.provider_name
General Data Protection Regulation (GDPR)

# data[].attributes.attachment_link.readable_text
Welcome to gdpr-info.eu. Here you can find the official PDF of the Regulation (EU) 2016/679 (General Data Protection Regulation) in the current version of the OJ L 119, 04.05.2016; cor. OJ L 127, 23.5.2018 as a neatly arranged website. All Articles of the GDPR are linked with suitable recitals. The European Data Protection Regulation is applicable as of May 25th, 2018 in all member states to harmonize data privacy laws across Europe. If you find the page useful, feel free to support us by sharing the project.

Quick Access

Key Issues

Table of Contents

Chapter 1 General provisions

Chapter 4 Controller and processor

Section 1 General obligations

Section 2 Security of personal data

Section 4 Data protection officer

Section 1 Independent status

Chapter 11 Final provisions

# data[].attributes.attachment_link.title
General Data Protection Regulation (GDPR) - Legal Text

# data[].attributes.attachment_link.description
The official PDF of the Regulation (EU) 2016/679 - known as GDPR - its recitals & key issues as a neatly arranged website.

# data[].attributes.body
Cloe, Cat and Alek and Me!

# data[].attributes.body
Using CSS code to fix out some technique problem.

# data[].attributes.body
making note for the presentation.

# data[].attributes.attachment_link.title
Mind in Brighton and Hove, promoting good mental health in our city and across Sussex.

# data[].attributes.attachment_link.description
Join the fight for better mental health. Support Mind in Brighton and Hove today by donating, fundraising, volunteering or sharing.

# data[].attributes.body
Thank you everyone for joining us!

# data[].attributes.body
We won the Most Engaging Participation!
Cheers! Thanks everyone!

# data[].attributes.body
Being struggled when I started to use Omeka... find this forum is quite useful:)
It gave lots of information and advices on getting start with Omeka and how to use the 'plugins'.

# data[].attributes.attachment_link.readable_text
To post new topics and read the latest discussions, please see the new forums.

Get started with Omeka

Report any problems you encounter when using Omeka, and get help resolving them

Add and archive items and media

Control how your archive looks and works with themes and exhibits

Install, configure, and use plugins to extend the functionality of Omeka

Need an Omeka designer or developer? Got Omeka skills? Find each other here.

Import and export content with Omeka

How are you using Omeka?

Want a new feature for Omeka? Let us know.

Help make Omeka better and easier to use

# data[].attributes.attachment_link.description
To post new topics and read the latest discussions, please see the new forums. Get started with Omeka Report any problems you encounter when using Omeka, and get help resolving them Add and archive items and media Control how your archive looks and works with themes and exhibits Install, configure, and use plugins to extend the functionality of Omeka Need an Omeka designer or developer?

# data[].attributes.body
Dec. 7th
Ready for the opening !

# data[].attributes.body
On school web

# data[].attributes.body
Making good use of the plugin: CSS editor, one of the useful tool!

# data[].attributes.headline
taking advantage of the plugin:  Image Annotation

# data[].attributes.subject
taking advantage of the plugin:  Image Annotation

# data[].attributes.body
It helps us to point out the interesting part of the artwork without putting too many texts on the website.

# data[].attributes.body
using the plugin- exhibits