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(Museums) -- why does the Houston Holocaust museum look like this.

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(Museums) -- why does the Houston Holocaust museum look like this.

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Such as the roof-- as you get further into the museum the roof gets smaller and smaller until you are at the end of the exhibition, this makes the setting of the museum kind of saddening because we few like we have lnowhere to go and the only way out is one path, which to the People living in the concentration camps could possibly mean death.

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Interactive ScreensAdvertising your brand at a trade show is imperative, but big branding is useless if you aren’t explaining what you do. Interactive walls, floors or screens can engage visitors by allowing them to connect with your brand in immersive, digital ways.Exhibition stand providers Skyline Whitespace point out that you can also reduce the need for repetitive sales presentation through the use of interactive technology. Interactive screens can display vital information using eye-catching graphics, images or video, engaging with numerous customers simultaneously.Brighton-based production studio Bliink was commissioned to create an interactive app to feature at Adweek Europe. Visitors to the event could use the app to view images, take a quiz, view time-scripted event information and tweet into a live feed using a hashtag.Augmented RealityHot tech topic, augmented reality permits the overlay of computer-generated graphics on the real world. It includes scanning the real-world environment and enhancing it by adding virtual information. Augmented reality technology is easy to access through applications developed for mobile devices.A proven powerful marketing tool, augmented reality sets itself apart by allowing the user to merge engagement across the physical and digital spaces. Additionally, it can help you to collect data to refine the process.Market research company GfK introduced augmented reality technology onto their exhibition stand designs in 2013. Visitors could scan the company’s logo and see GfK’s showreel on their smartphones or tablet devices. Absolut’s augmented reality campaign AbsolutTruths showed customers how vodka is made using an AR tag hung on bottles.QR CodesQuick response (QR) codes offer fast and reliable links to your website, online material or mobile apps. QR codes are immediately saved on the mobile device’s memory meaning the user can return to your information after the event.It is important to provide clear benefits for users to scanning your QR code, such as access to further information, exclusive promotions or simple sign ups. Zagzig at TFMA 2014 had bar codes printed on their displays, providing a faster route to their online app while encouraging interaction and highlighting their app to both new and old consumers.Triggered TechnologiesTriggered technology can transform an exhibition stand into an attraction with visitors wanting to come and have a go. Light, sound, video and special effects can all be good attention-grabbers, particularly when triggered by visitor action such as walking past a certain spot. Using multiple senses is proven to evoke emotionally charged memories, making your brand more memorable.Mobile technology such as iBeacon uses Bluetooth low energy proximity sensing to transmit unique identifiers to a compatible app. Essentially, the identifier can be used to determine the device’s physical location, track customers and trigger a location-based action on the device such as a social media check-in or a push notification.One of the most successful examples is the iBeacon powered Scavenger Hunt at Consumer Electronics Show 2014. Customers were encouraged by the app to explore various exhibits at the show, while collecting badges as rewards from each beacon they encountered.

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Interactive ScreensAdvertising your brand at a trade show is imperative, but big branding is useless if you aren’t explaining what you do. Interactive walls, floors or screens can engage visitors by allowing them to connect with your brand in immersive, digital ways.Exhibition stand providers Skyline Whitespace point out that you can also reduce the need for repetitive sales presentation through the use of interactive technology. Interactive screens can display vital information using eye-catching graphics, images or video, engaging with numerous customers simultaneously.Brighton-based production studio Bliink was commissioned to create an interactive app to feature at Adweek Europe. Visitors to the event could use the app to view images, take a quiz, view time-scripted event information and tweet into a live feed using a hashtag.Augmented RealityHot tech topic, augmented reality permits the overlay of computer-generated graphics on the real world. It includes scanning the real-world environment and enhancing it by adding virtual information. Augmented reality technology is easy to access through applications developed for mobile devices.A proven powerful marketing tool, augmented reality sets itself apart by allowing the user to merge engagement across the physical and digital spaces. Additionally, it can help you to collect data to refine the process.Market research company GfK introduced augmented reality technology onto their exhibition stand designs in 2013. Visitors could scan the company’s logo and see GfK’s showreel on their smartphones or tablet devices. Absolut’s augmented reality campaign AbsolutTruths showed customers how vodka is made using an AR tag hung on bottles.QR CodesQuick response (QR) codes offer fast and reliable links to your website, online material or mobile apps. QR codes are immediately saved on the mobile device’s memory meaning the user can return to your information after the event.It is important to provide clear benefits for users to scanning your QR code, such as access to further information, exclusive promotions or simple sign ups. Zagzig at TFMA 2014 had bar codes printed on their displays, providing a faster route to their online app while encouraging interaction and highlighting their app to both new and old consumers.Triggered TechnologiesTriggered technology can transform an exhibition stand into an attraction with visitors wanting to come and have a go. Light, sound, video and special effects can all be good attention-grabbers, particularly when triggered by visitor action such as walking past a certain spot. Using multiple senses is proven to evoke emotionally charged memories, making your brand more memorable.Mobile technology such as iBeacon uses Bluetooth low energy proximity sensing to transmit unique identifiers to a compatible app. Essentially, the identifier can be used to determine the device’s physical location, track customers and trigger a location-based action on the device such as a social media check-in or a push notification.One of the most successful examples is the iBeacon powered Scavenger Hunt at Consumer Electronics Show 2014. Customers were encouraged by the app to explore various exhibits at the show, while collecting badges as rewards from each beacon they encountered.

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Frame this as a question

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This looks like it's got great potential. Really interesting start

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The key element of the project is the ability of the system to interpret questions being asked and find the most relevant response. ICT pioneered the natural language understanding technology that is used in New Dimensions in Testimony to provide viewers with a truly immersive experience. Whether people ask, “Where were you born?” “Do you believe in God?” “How did you survive?” Data is captured and processed into video segments that can be played back verbatim, precisely as the survivors delivered them. The playback technology enables the survivor to seamlessly answer the question posed and is able to recognize similarities between word patterns in questions and answers. Still in development, the playback system allows the testimony to be viewed in 3-D from the front, as if it were given in a classroom or museum setting, diffusely lit to blend with the environment. ICT has developed a number of virtual human characters with this capability for a variety of purposes, but this is the first time a real person has been integrated into the technology.Words such as “hologram” and “avatar” fail to accurately describe New Dimensions in Testimony. Rather, New Dimensions in Testimony is a “virtual conversation.” What sets New Dimensions in Testimony apart is the ability to engage conversationally with the survivor by asking questions that trigger relevant, spoken responses.Years from now, long after the last survivor has left us, New Dimensions in Testimony will be able to provide a valuable opportunity to engage with a survivor and ask them questions directly, encouraging them, each in their own way, to reflect on the deep and meaningful consequences of the Holocaust. Being able to ask a survivor questions will allow students to be active participants in their learning and develop important communication and critical-thinking skills. Being able to ask their own questions will teach students things about the Holocaust they never could learn from just reading a history book. By providing valuable points of view from someone who was there, students can better understand the human story behind the Holocaust and understand the impact it had on real people in a manner that is responsive and engaging, making history more relevant to their lives.Conscience Display envisioned the idea and brought it to USC Shoah Foundation and ICT. USC Shoah Foundation supports the overall coordination and production of the project, advises and consults partners in collection development, coordinates implementation in a museum setting, and works with other partners to develop the questions. USC Shoah Foundation will also preserve the video testimony files and resulting metadata (questions and answers). ICT is developing all technology for the project; advanced filming, natural language processing, and display technologies.A pilot installation was developed with the Illinois Holocaust Museum and Education Center.Funding for New Dimensions in Testimony was provided in part by Pears Foundation; The Louis Franklin Smith Foundation; and Melinda Goldrich & Andrea Clayton The Goldrich Family Foundation, in honor of Jona Goldrich.New Dimensions in Testimony is expanding the scope of research in the field of Holocaust and genocide studies and represents a compelling addition to the nearly 55,000 eyewitness testimonies currently in USC Shoah Foundation’s Visual History Archive.

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The key element of the project is the ability of the system to interpret questions being asked and find the most relevant response. ICT pioneered the natural language understanding technology that is used in New Dimensions in Testimony to provide viewers with a truly immersive experience. Whether people ask, “Where were you born?” “Do you believe in God?” “How did you survive?” Data is captured and processed into video segments that can be played back verbatim, precisely as the survivors delivered them. The playback technology enables the survivor to seamlessly answer the question posed and is able to recognize similarities between word patterns in questions and answers. Still in development, the playback system allows the testimony to be viewed in 3-D from the front, as if it were given in a classroom or museum setting, diffusely lit to blend with the environment. ICT has developed a number of virtual human characters with this capability for a variety of purposes, but this is the first time a real person has been integrated into the technology.Words such as “hologram” and “avatar” fail to accurately describe New Dimensions in Testimony. Rather, New Dimensions in Testimony is a “virtual conversation.” What sets New Dimensions in Testimony apart is the ability to engage conversationally with the survivor by asking questions that trigger relevant, spoken responses.Years from now, long after the last survivor has left us, New Dimensions in Testimony will be able to provide a valuable opportunity to engage with a survivor and ask them questions directly, encouraging them, each in their own way, to reflect on the deep and meaningful consequences of the Holocaust. Being able to ask a survivor questions will allow students to be active participants in their learning and develop important communication and critical-thinking skills. Being able to ask their own questions will teach students things about the Holocaust they never could learn from just reading a history book. By providing valuable points of view from someone who was there, students can better understand the human story behind the Holocaust and understand the impact it had on real people in a manner that is responsive and engaging, making history more relevant to their lives.Conscience Display envisioned the idea and brought it to USC Shoah Foundation and ICT. USC Shoah Foundation supports the overall coordination and production of the project, advises and consults partners in collection development, coordinates implementation in a museum setting, and works with other partners to develop the questions. USC Shoah Foundation will also preserve the video testimony files and resulting metadata (questions and answers). ICT is developing all technology for the project; advanced filming, natural language processing, and display technologies.A pilot installation was developed with the Illinois Holocaust Museum and Education Center.Funding for New Dimensions in Testimony was provided in part by Pears Foundation; The Louis Franklin Smith Foundation; and Melinda Goldrich & Andrea Clayton The Goldrich Family Foundation, in honor of Jona Goldrich.New Dimensions in Testimony is expanding the scope of research in the field of Holocaust and genocide studies and represents a compelling addition to the nearly 55,000 eyewitness testimonies currently in USC Shoah Foundation’s Visual History Archive.

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PINCHAS GUTTER (Biography)Born into a well-established Hasidic family, who can trace their roots back 400 years in Poland, Pinchas was born in Lodz and was 7 years old when the war broke out. He, along with his twin sister and entire family fled to what they thought was safety in Warsaw after his father had been brutally beaten by Nazis in Lodz. Pinchas and his family were incarcerated in the Warsaw Ghetto for three and a half years until April 1943. During the first three weeks of the Ghetto uprising, his family’s bunker was discovered and they were deported to the death camp, Majdanek. The day the family arrived after a horrendous journey, Pinchas' father, mother and twin sister were murdered by the Nazis.Pinchas was sent to a work camp where people were beaten, shot or worked to death. He passed through several other concentration camps, including Buchenwald, and worked at loading and unloading enormous weights of iron and other slave work. Towards the end of the war he was forced on a death march from Germany to Therenstadt in Czechoslovakia which he barely survived.He was liberated by the Russians on May 8, 1945, and under the auspices of United Nations Relief and Rehabilitation Administration, was taken to Britain with other children for rehabilitation. After spending many years in South Africa he immigrated to Canada where he resides.Pinchas divides his time between speaking out against the Holocaust, volunteering as a chaplain and is an honourary full time Cantor in the Kiever Shul. 

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PINCHAS GUTTER (Biography)Born into a well-established Hasidic family, who can trace their roots back 400 years in Poland, Pinchas was born in Lodz and was 7 years old when the war broke out. He, along with his twin sister and entire family fled to what they thought was safety in Warsaw after his father had been brutally beaten by Nazis in Lodz. Pinchas and his family were incarcerated in the Warsaw Ghetto for three and a half years until April 1943. During the first three weeks of the Ghetto uprising, his family’s bunker was discovered and they were deported to the death camp, Majdanek. The day the family arrived after a horrendous journey, Pinchas' father, mother and twin sister were murdered by the Nazis.Pinchas was sent to a work camp where people were beaten, shot or worked to death. He passed through several other concentration camps, including Buchenwald, and worked at loading and unloading enormous weights of iron and other slave work. Towards the end of the war he was forced on a death march from Germany to Therenstadt in Czechoslovakia which he barely survived.He was liberated by the Russians on May 8, 1945, and under the auspices of United Nations Relief and Rehabilitation Administration, was taken to Britain with other children for rehabilitation. After spending many years in South Africa he immigrated to Canada where he resides.Pinchas divides his time between speaking out against the Holocaust, volunteering as a chaplain and is an honourary full time Cantor in the Kiever Shul. 

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How technology is displayed in exhibits 

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How technology is displayed in exhibits 

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Maus Is a graphic novelist's representation of the holocaust.  It is about Art Spiegleman's father, Vladek and his times during the Holocaust. It takes us through his love life, and the horrors of the Nazi camps.

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I saw some of you really focused in the Agora today and it was really interesting to hear what you are planning.

a couple of points to work on... keep the padlet up to day with you work, it's pretty good how it embeds live docs from google docs , one drive etc so let everyone see your progress.. when you share we all know where we are at and can help and support.

Questions, frame your enquiries as open questions, this will ensure that your focus has a beginning, middle and end - in other words it gives it direction and isn't just a random assortment of information - it will give it wider meaning.

Looking forward to seeing how this progresses over the next week, especially as it's innovations week - try to find an hour to work on it at home.

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Presenting art and talking about it

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Life is beautiful
The pianist
Schindlers list

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Jews = Mice/Rats
Poles = Pigs
Germans = Cats
French = Frogs
Americans = Dogs
Swedes = Reindeers

The Author has shown Jews hiding as mice with Pig masks, and Nazis discovering them as ripping the masks off.

The angry Poles are often shown

Maus is written in a style of Black and White, with quite a scratchy style of drawing.

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different poems

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Museums about the Holcaust and other museums around the world that are to do with the Holocaust and the world war.
what to add
more case studies and different museums, how they represent the holocaust

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You should be sat with the other members of your group.

Discuss your initial thoughts on your gallery. Make a list of the things that could be covered in your gallery.

Complete initial research on your gallery individually, there is a link to quality resources at the bottom of this page. You should individually spend around 40 minutes  getting ideas for possible focuses that will help to explore the theme of your gallery.

Be prepared to feedback to the group possible ideas for focuses by taking notes.

Using the Padlet Focuses 1 to 8, 'storyboard' your gallery with the 'What' for each focus. In other words 'What' will the focus cover. At this stage you also need to think about 'How' you are going to create your focus

How will you use online resources and which ones will you research from?

What form will your gallery take, will there be mixed media for example?

'Why', why is the focus you have chosen important for exploring the issue? 'Why' are you choosing this as your focus from the many others that you could have chosen from?

Complete the 'What, How and Why focus' at the top of your individual focus Pad.

Home Learning: complete research on the 'What' - be prepared to present and feedback your ideas on your individual Padl during next lesson.