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I can't say I ever had this problem... #introvert #Leavemealone

Source: https://weburbanist.com/2015/02/04/classical-art-in-modern-contexts-25-clever-art-remixes/

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When he tries to sneak out the morning after.. #GOMA #Euromasterpieces

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These spot the differences are getting harder and harder... #GOMA #Euromasterpieces #dayout #spotthedifference

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The exhibition itself was quite analog, excluding one room which was an "engagement space" rather than the exhibition itself. For context, the exhibition was set out in eras; the first room was art from the renaissance, the second was the enlightenment period, and the third and fourth sections were revolution/post-revolution.

The sole use of digital technology that accompanied the main exhibit was a physical map with a QR code on it which linked to this website: https://metgoma.art/qr which allows those attending the exhibition to "discover more about each artwork, choose a self-guided tour on your smartphone, zoom into works and save your favourites." The website itself was quite interesting - particularly the tab called "artworks" which had the artworks numbered in the order you walk through the gallery, and had information about the artist, the purpose/vision of the artwork, the mise en scene in the artwork itself, the era the artwork was created in, other pieces in the exhibition that are similar, and further essays/readings on each art piece. I think the use of this website is something I would look at before I attended, and afterwards, rather than using it as I walked through the museum. It is useful in terms of telling me about the artwork as I am in front of it; however the further reading on each piece that is also recommended would be something I wouldn't engage in while attending the exhibition, as I wanted to engage in the artwork in front of me.

The QR code would be useful for accessibility, as I attended the gallery with some friends-one of which was blind-and the information she was given in braille was in a quite large folder and she mentioned she struggled to engage with it while walking around, whereas listening to myself or a friend describe the art and read the background on each piece was much more enjoyable for her.

The "engagement space" utilised a lot of digital technology, and I found it quite clever. It was situated before the final exhibition room, and gave people a minute to stop and think about the pieces they had just seen. They had interactive spaces - such as the one seen on my "spot the difference" post, as well as "draw your own art" spaces which could be digitally uploaded into frames on the wall. It was a fun, colourful space which utilised digital technology to engage people in the analog, and my friends and I had a really fun time recreating art pieces, reading more about the art we had just seen, and discussing the previous rooms.

Overall, I loved this exhibition, and I think the "less is more" approach with digital technology worked really well. It allowed people to choose if they wanted to participate in the digital, whilst still providing enough information to those choosing to be analog.

The collection itself being set out chronologically was my favourite part because, as a history buff, I enjoyed seeing how the art pieces changed to reflect the social/economic/political focuses of each period. The "engagement space" struck a good balance between analog and digital, and overall the entire exhibition was convivial and educational.

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Digital Museum of Digital Art: An introvert's dream museum

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Digital Museum of Digital Art: An introvert's dream museum

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I'm just saying.. if I don't have to leave the house.. 😉

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We seem to be moving more and more to digital spaces, which, given the numerous "DIGITAL TECHNOLOGY IS DESTROYING GLAM SECTORS" article rants I see on the regular, it does make me think... is there a point where the integration of digital technology in both the creation and curation of art becomes more of a drawback than a useful way to engage audiences or tell stories? Will GLAM organisations end up being all online? If I can see everything in clearer quality digitally, what's the point of travelling somewhere to see it? What's the pull card to engage audiences in the analog?

Personally, I love being present and being in front of artefacts and art; I like holding books and being in buildings. I also love technology, and the way it can be used to engage and make GLAM more accessible. The big question then is: how far is too far [to take the digitalisation of the GLAM sector]?

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I LOVE seeing classical art modernised! How cool is this! I wish there were art galleries dedicated to the reimagining of art; not just old stuff vs new stuff. Don't get me wrong places like Tate Britain and Tate Modern are amazing.. but reimagining art just adds so many cool nuances to it, and I think could be useful to engage audiences and send messages!

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The tell-tale sign of a great work of art is timelessness. That's why it's no surprise that many artists today often look to art history's many masterworks for inspiration. While some contemporary creatives' nods to the past are understated-perhaps an appropriated color palette or the adoption of a subtly similar style-others pay particularly straightforward homages to the past by putting a present-day spin on age-old masterpieces.

From digitally manipulated photographs and hypnotic animations to sculptural reinterpretations and old-meets-new street art, this curated collection of classic works of art modernized proves that, like fine art, a little creativity never gets old.

Classical Couture

In Paint Me Over, photographer Marina Danilova captures a series of gorgeous gowns adorned with art inspired by age-old oil paintings. Designed by Svetlana Lyalina, each couture dress juxtaposes traditional textile patterns and detailing with figurative scenes worthy of a wall in a museum.

All Dressed Up With Nowhere to Go

Street Stone, a silly series by photographer Lo Caillard digitally dresses classical sculptures in modern ensembles. Caillard states that the purpose of the project is "to catch the eye of the beholder by the marriage of two worlds so different."

A Museum-Worthy Tattoo

Using skin as his canvas, Korean tattoo artist OOZY creates eye-catching, meticulously detailed body art. While his inked portfolio portrays an eclectic array of subject matter, he is often commissioned to create reproductions of the classics, with The Great Wave off Kanagawa by Hokusai remaining a popular request among his clients.

Frida's Mermaid Makeover

In his Logo + Art series, pop artist Eisen Bernardo overlays famous works of art with stencil-like reproductions of contemporary and commercial symbols. Intended as "an examination of art and consumerism; of expression and function; of personal and corporate," the digital project cleverly comments on the relationship between iconic iconography of the past and present. In this piece, Bernardo creatively combines Frida Kahlo's Self-portrait with Thorn Necklace and Hummingbird with Starbucks's famed two-tailed siren.

A Singer-Sargent Striking a Pose

Eisen Bernardo's Mag + Art series playfully places modern magazine covers on top of well-known works of art. Here, covergirl Natalie Portman morphs into Jean Singer-Sargent's Portrait of Frances Sherborne Ridley Watts as she poses for an issue of W Magazine.

From Metropolis to Museum

In an effort to brighten up Paris' billboard-laden metro stations and streets, tongue-in-cheek artist Etienne Lavie replaced the metropolis' publicly-placed advertisements with site-specific reproductions of classical art. Humorously titled OMG Who Stole My Ads? the series emphasized Paris' cultural roots with French paintings like Delacroix's La Liberté guidant le peuple, Renoir's La lecture, and, as seen above, Fragonard's Renaud dans les jardins d'Armide.

Plastic Post-Impressionism

In Running the Numbers II: Portraits of Global Mass Culture, artist Chris Jordan recreates beloved masterworks with unconventional materials. Each unique, upcycled creation comments on the excessive pollution and waste produced across the globe today. For his spot-on reproduction of Van Gogh's Starry Night, Jordan used 50,000 brightly colored lighters as an inventive alternative to the artist's signature brushstrokes.

Moving Pictures

Sometimes, all an old painting needs in order to be modernized is a bit of animation. Specializing in video art, Italian artist Rino Stefano Tagliafierro transforms static works of art into moving masterpieces-a trick that somehow manages to make Bouguereau's Birth of Venus evenmore ethereal and Caravaggio's David with the Head of Goliath even darker!

Hopper Gets an Instagram

While, during Edward Hopper's life, the world was decades away from social media shares and outlandish emojis, artist Nastya Ptichek proves that his melancholic painting, Sunday, still somehow captures the emotions of the digital age. This cleverly edited image is part of Ptichek's Emoji-nation series.

Rococo Deconstructed

Inspired by the work of French artist Jean-Honoré Fragonard, artist Yinka Shonibare has inventively recreated his most famous piece, The Swing. The Swing (After Fragonard) Rococo painting, reimagining it as a minimalist and deconstructed installation.

Madonna and Child on the Metro

Ukrainian artist and art director Alexey Kondakov seamlessly superimposes figures from iconic paintings, like Bouguereau's Song of the Angels, into mundane scenes of daily life, turning contemporary Kiev into a real-life classical canvas.

Auto-mechanics' Anatomy Lesson

For his Renaissance Series, photographer Freddy Fabris captured a group of mechanics' dramatic yet comical reenactments of master paintings. In each photo, the men creatively mimic the poses and facial expressions of painted figures from pieces like Leonardo's Last Supper, Michelangelo's Creation of Adam, and Rembrandt's Anatomy Lesson, above. They even replace props from the paintings with tools from their garage to give the pieces a fully modern feel.

Cut-up Classical Sculpture

Brooklyn-based artist Nick van Woert's Dissect is a traditional work with a twist. The female figure has been horizontally incised, resulting in fourteen rotatable layers. Additionally, although the sectioned sculpture may look like it's made out marble, it is actually composed of urethane and garbage!

Adam and Eve on the Streets

To French street artist Zilda, nothing is more important than connecting with one's surroundings. "It is essential to know the social and architectural stratification of a city," she explains. "To get familiar with its streets, its quarters, and to view that urban setting as a constraint that stimulates the staging of my ideas." To engage with her environment, she paints and pastes classical art-inspired images-like the above depiction of the expulsion of Adam and Eve- throughout cities across France and Italy.

The Modern Art Connoisseur

Like many of the famed illustrator's magazine covers, Norman Rockwell's The Connoisseur has become a beloved work of art in its own right. Now, thanks to Tumblr, the iconic piece been given the 21st Century treatment; it has been magically transformed into a quirky collection of animated GIFS.

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20 Classic Works of Art Modernized by Clever Contemporary Artists

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The tell-tale sign of a great work of art is timelessness. That's why it's no surprise that many artists today often look to art history's many masterworks for inspiration. While some contemporary creatives' nods to the past are understated-perhaps an appropriated color palette or the adoption of a subtly similar style-others pay particularly straightforward homages to the past by putting a present-day spin on age-old masterpieces.

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#girlwiththeappleairpod

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Another interesting link! https://weburbanist.com/2015/11/04/classic-art-in-a-modern-world-35-masterpieces-reimagined/

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This is what I mean when I say “I’m funny” in my *nonexistent* tinder profile.

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Me @ every Nigerian prince in my dms

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If I'm completely honest; the merging of classical art and online meme culture is one of the only ways to get me engaged in art. In fact, when I visit art galleries I tend to take pictures of the art just to caption it myself. Don't get me wrong, I like learning the history behind the art, and sometimes its fun to get a bit intellectual; but laughter? That's my favourite thing. Personally I think art memes are a great way to draw audiences in.. or at least draw attention.

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50 Classical Art Memes That Will Keep You Laughing For Hours

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"Bitch I might be." -Hamlet. H/T: Classical Art Memes .

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My cats anytime I feed them 👀 #quantityoverquality

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I know the old adage is often 'quality over quantity' and often having something of better quality is better than having multiple objects of poorer quality rings true, however when it comes to digital heritage, I think quantity doesn't necessarily negate quality. I have made previous posts on my interest in meme culture in GLAM, as well as modern-classical art, both of which can be seen as low-brow or poor quality in comparison to their original sources-- I argue that the product/s of the crossover between internet culture and the GLAM sector are not of lower quality than their original counterparts, but rather of different quality. The mass quantity of art inspired memes and modernised takes on classical pieces are accessible to a greater audience than the original pieces they're based upon; by creating a mass digital quantity of memes and mod-art, creators are able to reach not only anyone that has access to the internet, but also draw in audiences into cultural institutions through engaging people (who may have little interest in the GLAM sector) with heritage. Furthermore, GLAM sectors can utilise digital takes on their collections, through their social media (humour is a fan favourite), as well as through their gift stores (a tote bag with 'the girl with an airbud' YES PLEASE). So rather at looking down on digital curation, I think GLAM sectors should be looking at it as an opportunity to access a different kind of audience, and engage more people in their institutions.

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Working on my photogrammetry blog and trying to figure out how to turn the 2D images into a 3D model ... first issue: I HAVE A MAC UGH  #sendhelp But nevertheless I persisted and I did find a free software that runs on Mac, called Regard3D, so not all hope is lost.. but navigating it is a whole new foreign language for me #bilingual #learning #techsavvy

Thank goodness for tutorials!

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Tutotial in Spanish/Traducción al español del tutorial realizada por Daniela Ávido
After installation, please walk through this tutorial to get accustomed to the way Regard3D works. After that, you should know how to create your own projects!

First, make yourself comfortable with the 3D-control of Regard3D. After Regard3D is started, you will see the name "Regard 3D" in actual 3D. Try to rotate it by using the left mouse button, zoom in and out using the mouse wheel or the middle mouse button, and pan using the right mouse button.

If you would like to change the mouse button or wheel assignments, go to the Menu Options -> Properties... to change them. Here you can also change the default project folder.

I suggest to use a small test data set from the internet. Here are some good sources:

A small dataset is called "kermit" and is part of bundler by Noah Snavely. Go to this site: Bundler homepage, then download the most recent source package. Extract it, and you will find the pictures under examples/kermit. These images are very small (640x480) and are processed within seconds.

Another relatively small dataset is the "Sceaux Castle" by Pierre Moulon. You can download it by clicking on this link: Sceaux Castle. Extract the ZIP file somewhere on your hard disk.

A high-quality dataset has been created by Romuald Perrot: Reconstruction Data Set. These images have a very high resolution and take long to process, but they lead to high-quality results.

There are many more data sets on the internet. Please always respect the license conditions of the contributors.

Now, let's create our first project. Click on the "Create new project"-button (the one with an empty sheet and a big green plus sign) or use the menu File -> New Project... . Check whether the directory is correct, and enter a project name.

After clicking OK, you will see a new item on the left labeled "Project: kermit" (or whatever your project name was). This is the project tree, which we will fill in the next few steps of this tutorial.

Make sure the project item is selected, and click on the button "Add Picture Set.." below (or use the context menu with the same name). A new dialog pops up, where you can define the picture set. As the name suggests, a picture set consists of a number of pictures of the same object. Add the pictures you downloaded earlier. Eventually it will look similar to this:

Click OK. The project tree consists now of an additional element, the Picture Set 0.

The next step is called "compute matches". It will detect keypoints in each image and match them with keypoints from other images. To start, select the picture set item in the project tree and click on "Compute matches...". A new dialog appears:

For a small dataset like kermit, move both sliders fully to the right. For larger images, start with a small value and only increase the settings if necessary.

After clicking OK, your computer will compute the matches. Depending on the amount of pictures, the size of the pictures and the selected parameters this will take from a few seconds to minutes.

Tips:

For big datasets, start with the lowest settings (sliders to the left). If you do not receive satisfying results, increase the keypoint sensitivity first. If you still need more matches, increase the matching ratio.

Add TBMR if you need more keypoints in some areas (TBMR tends to distribute the keyponts better than A-KAZE)

Use the other settings on their defaults

When the matches are computed, you can start the triangulation step. Make sure the "Matches 0" item in the project tree is selected and click on the "Triangulation..." button. A new dialog appears:

You have the possibility to select one of two triangulation engines:

Incremental: It starts off with the selected image pair and tries adding other images. Each step will perform a bundle adjustment to determine the camera parameters and the 3D positions of the keypoints ("tracks").

Global: This engine tries to find the camera parameters and 3D positions of the keypoints globally by using all images in one step. In the current version, this engine is only available if all pictures are taken from the same camera and with the same zoom setting ("focal length").

After clicking "OK" the selected engine will run. When it is finished, a dialog will show the results. The most important figures are "Cameras calibrated/total". For example, if it says "11/11", all cameras have been calibrated, i.e. the 3D positions and parameters of all pictures has been found. If not all cameras have been calibrated, you can try again using a different method or different starting pair.

The triangulated keypoints ("tracks") and the cameras are now displayed in the 3D view. To improve visibility, increase the point size with the slider on the top right.

The triangulated point cloud is rather sparse, it is difficult to make out the original object. To densify the point cloud, make sure the Triangulation item in the project view is selected and click on "Create dense pointcloud...". The following dialog appears:

You have the option of two different sets of tools:

I suggest to try out all of them to find out their advantages and disadvantages.

Tips:

For small projects, deselect "Use visibility information (CMVS)". CMVS tends to generously throw away pictures.

For large projects (many pictures) CMVS is necessary, otherwise PMVS's memory consumption and running time will "explode".

For a first try, set parameters such that the result is computed quickly: Level 2 or 3/Scale 2 or 3, and then decrease these parameters to produce improved results

If too much outliers are produced, increase the threshold

Since we still have a "point cloud" (a set of 3D points with color), we would like to generate a surface that connects (most of) these points. Select the Densification in the project tree and click on "Create Surface...".

Here we have again the option of two different set of tools:

If the densification was done using CMVS/PMVS, only Poisson Surface Reconstruction can be used. If MVE was used for densification, I suggest to use FSSR.

For both methods, the most important parameter is the depth (Poisson)/levels (FSSR) which defines how fine the resulting mesh will be.

For colorization, two methods can be used:

Colorizing vertices: Each vertex (edge) will have a color

Textures: Create textures to have much finer color detail

I suggest to first use colored vertices to see the result of the surface reconstruction. If this is satisfying, create another surface using textures.

Creating textures requires much more time and memory.

Congratulations! You have made it through the tutorial of Regard3D. Now you know the basics of how to create a 3D model with Regard3D.

The project will be stored on your computer including all intermediate results. You can delete intermediate steps, add new runs with different parameters etc. To see an intermediate result in 3D, simply double-click it in the project tree.

If you want to export models (only possible for densifications and surfaces), select them in the project tree and click on "Export point cloud"/"Export surface". They will be exported in either PLY format (Stanford Polygon, densifications and surfaces without textures) or OBJ format (Alias Wavefront object).

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Tutotial in Spanish/Traducción al español del tutorial realizada por Daniela Ávido After installation, please walk through this tutorial to get accustomed to the way Regard3D works. After that, you should know how to create your own projects! First, make yourself comfortable with the 3D-control of Regard3D.

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#gettingthere #progress

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This article describes the basic Workflow for building 3D model of an object. We also recommend to think through the process of photography. You can found more detailed recommendations in the section - Image Capture Tips. The workflow described in this tutorial is suitable for Professiona and Standard versions.

Add Photos

1. To add photos select Add Photos... command from the Workflow menu.

2. In the Add Photos dialog browse the source folder and select files to be processed.

Note: Recommended to mask all irrelevant elements on the source photos (background, accidental, foreground, etc.). You can find more information in the tutorial - Masks.

Align Photos

At this stage Metashape estimates the camera position for each photo and builds the sparse point cloud.

1. Select Align Photos command from the Workflow menu.

2. Set the following recommended values for the parameters in the Align Photos dialog:
Note:

If you have a large number of images (more than 100), we recommend to enable - Generic preselection option, to reduce processing time;

We do not recommend using parameters: Guided image matching, Adaptive camera model fitting;

For Key point limit the recommended range of 20 000 to 100 000;

For Tie point limit the recommended range of 2 000 to 40 000.

3. Click OK button to start photo alignment.

After photo alignment is finished, refine bounding box position and orientation to fit the desired volume for reconstruction:

This step is optional since Metashape calculates bounding box dimensions, orientation and location automatically. But it is recommended to check if any correction is needed, because further reconstruction step deals only with the data inside the volume. Bounding box can be resized, moved and rotated with the help Resize Region, Move Region and Rotate Region tools.

Build Dense Cloud

Based on the estimated camera positions the program calculates depth information for each camera to be combined into a single dense point cloud.

1. Select Build Dense Cloud command from the Workflow menu. Set the following recommended values for the parameters in the Build Dense Cloud dialog:
Note:

We recommend to use Medium quality. Higher quality takes quite a long time and demands more computational resources, but allows for more detailed results generation.

If the geometry of the scene to be reconstructed is complex with numerous small detail on the foreground, then it is recommended to set Mild depth filtering mode, for important features not to be sorted out).

Note: Points from the dense cloud can be removed with the help of selection tools and Delete/Crop instruments located on the Toolbar.

Build Mesh

After the dense point cloud has been reconstructed it is possible to generate polygonal mesh model based on the dense cloud data or depth maps data. The second approach supports GPU-acceleration and mostly provides better results for the same depth maps quality for objects and scenes with a big number of minor details.

1. Select Build Mesh command from the Workflow menu. Set the following recommended values for the parameters in the Build Mesh dialog:
Note:
If at the previous stage - Depth maps were built and save in project, we recommend using the parameter - Reuse depth maps.

2. Click OK button to start building geometry.

Build Texture

1. Select Build Texture command from the Workflow menu. Set the following recommended values for the parameters in the Build Textur e dialog:

2. Click OK button to start building texture.
Note:
Usually, the texture atlas size in the range of 4096 - 16 384 pixels is sufficient.

Export Model

1. In case the model should be exported to the file, select Export Model... command from the File menu.

2. In the Export Model... in the dialog box, select options to export the 3D model.

Note: In the Export Model dialog indicate the desired export parameters. Note that the list of available exporting parameters depends on the selected file format. In the example *.fbx format was selected.

Upload Data

Metashape supports direct uploading of the generated data (Dense cloud, Textured Model) to various online resources: 4DMapper, PointBox, Pointscene, Sketchfab.

To publish your model online use Upload Data... command from the File menu.

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This article describes the basic Workflow for building 3D model of an object. We also recommend to think through the process of photography. You can found more detailed recommendations in the section - Image Capture Tips. The workflow described i...

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nOOOO pls Vincent Stay

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I heard about this on the radio, and after looking it up, I have promptly decided that The Van Gogh Alive Experience looks phenomenal! As a young child I loved looking at his sunflowers, and as a young adult I enjoyed visiting his resting place in France and learning about the man behind the myth. The experience of bringing art work to life through technology in a multi-sensory way is still so new to the Australian GLAM scene, so I think I would be curious even if it wasn't an artist I liked. I think the interactive element draws me back to being a kid, but the content pulls at my adult mind. I have already booked tickets and cannot wait to experience what is sure to be something unique !

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Book your tickets here! #gottogogh

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Van Gogh Alive Australia - The most visited multi-sensory experience in the world

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Van Gogh Alive. The most visited multi-sensory experience in the world. immerse yourself in the life and works of Vincent Van Gogh under the Grand Pavilion.

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Can you believe that this old man is better at technology than me? #thanksDad

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I got the {pleasure} of being the editor for a podcast, and since I chose to do that aspect of it (rather than have to actually speak to people..) I guess I shouldn't complain too much 😅

The process really deepened my respect of techies and audio nerds, because even though I have a fairly good grasp on digital technology, I still had to call my dad up and ask about EQ/Frequency and how to edit out the static that my team insisted on creating in their recordings 😜

Obviously when my dad took time out from his farming career to pursue a degree in audio engineering he was thinking in advance to when his daughter would decide to get techie with friends..

Honestly, I loved the process of making a podcast, but it makes me less critical of GLAM sectors who don't always know how to approach digital technology --that sh** is hard!--and who don't necessarily have the funding to hire someone who actually knows what they're doing (i.e. not a history nerd who's only used audacity to run the sound booth at church 👀😶).

I guessss what I am trying to admit is that the process humbled me... and gave me a greater appreciation of my jack-of-all-trades-one-of-a-kind Dad 🥰

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I love tiktok sm. SOOO MUCH. I probably spend way too much time on there.. and I do follow a lot of GLAM sector institutions (yessss we have established I am nerd, k)... and I have noticed a big divide in the way GLAM sectors engage in social media. You either get accounts which are clearly run by people who know how to use the tiktoks.. or ones that don't.  AND there's usually a big dichotomy between styles - are they Funny or Factual?... The best GLAM sector accounts are a mix of fun and facts; they advertise events and show what's going on in a way that makes the viewer feel like they're a part of the inside joke. To show you what I mean, I'll post a couple from two of my favourite institutions-- The Victoria and Albert Museum in London, and the MET in New York...

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Factual? not really but it does show me what's in the museum in an engaging way!

Fun? yessssssssssssss

Makes me wanna go? YESS

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Factual? Yes

Fun? No.

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Factual? I MEAN IT IS MAD FACTS HOW GOOD HE BE LOOKING
Fun? YAS

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Factual? Kinda - shows me the artist names and titles!
Fun? YESSSSSS -- I love love and art and cute songs in backgrounds!

Makes me want to go? PLEASE

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Look, it's obvious I love the V & A museum and their content curation... but I thought I'd add this one, because even though it isn't 'smooth' or show anything about the museum, it is funny, and it does show the V&A staff as down to earth, educated, and able to crack a joke about how ridiculous some of our history actually is.

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Honestly, this train would crush it in a game of spotlight #workshopsrailmuseum #choochoo #spotlight #fernygrove

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Recently I went to the Workshops Railway Museum in Ipswich, and boy oh boy did it make my inner nerd child ✨happy✨ !
There was the COOLEST model train set up and I could have watched those little works of art go round and round for hours.
Considering the outdated technology used in the exhibits, and the fact that I love tech, I was surprised with how much I enjoyed my visit. To paint a picture, the only digitalisation of the exhibits were these old grainy mini tv screens you could press a button to interact with, and a few audio segments over an intercom, an underwhelming “cinema” and a couple of interactive stations like “drive a train.” If a technology fueled vibrant sensory overload is what you’re after, this is not the space for you. But… if an afternoon with your family(i.e chasing kids around the extremely accessible floor layout) engaging with hands on science experiments, ooohing and ahhing over the detail in miniature, and learning that train drivers’ jobs are faaar more complex than you gave them credit for… then this is the perfect museum experience for you

Honestly, for the most part the digital aspects were outdated but the analog was what made it the experience it is. Whilst technology could definitely improve/add to the experience, I think the appealing factor was that it was an opportunity to engage in real physical moments. The workshops rail museum has chosen it’s audience: ancient decrepits who bowl over from a slight breeze (I.e those that lived when coal became steam and steam became electric), train nerds, and families who just want to decompress and be in a public space where their little crazy-beans can run around and touch and play and there’s no fear things will break or other patrons will be upset. It may not be appealing to those of us who live and breath sensory technological experiences, but the workshops rail museum has carved out its niche and stuck to its guns, and overall the experience is one I could definitely repeat ☺️

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Museum of Contemporary Digital Art (MoCDA)

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Museum of Contemporary Digital Art (MoCDA)