The Virtual Museum of Folk Musical Instruments for Children (VMuFoMIC) originated in late 2010– early 2011 from the joint efforts of the authors (lead curators) and a number of secondary school students (co-curators) from the Paradeisi High School on the island of Rhodes, Greece. It was a participatory museum project using digital tools according to the students' educational/curricular requirements. The process involved: (1) the definition of digital co-curatorial objectives, rules and roles; (2) the input of the co-curators (students); and (3) meetings, discussions, co-decisions and continuous feedback on the VMuFoMIC interface, content and applications. In conclusion, the digital co-curatorial process that led to VMuFoMIC was a demanding undertaking with a well-received outcome, since all parties involved enjoyed and benefited from it.
The Co-Curation and the Public History of Science & Technology Workshop was organized by the Science Museum in London in October 22–24, 2010. It was the beginning of the PHoSTEM co-curation project by the Science Museum in London (http://ccphworkshop.pbworks.com/w/page/30073926/CCHPWorkshopWiki, accessed 30/9/2012).
The two publications are: (1) RobertsJ.L., Jasper Johns/In Press: The Crosshatch Works and the Logic of Print, Cambridge Massachusetts: Harvard Art Museums and Hatje Cantz Verlag, 2012, and (2) RobertsJ.L., (ed.), Jasper Johns in Press/Companion Essays, Cambridge Massachusetts: Harvard Art Museums and Hatje Cantz Verlag, 2012.
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GaventaJ., Towards Participatory Governance: Assessing the Transformative Possibilities. In: HickeyS.MohanG., Participation: From Tyranny to Transformation? Exploring New Approaches to Participation in Development, New York: Zed Books, 2004, 25–41.
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VigodaE., From Responsiveness to Collaboration: Governance, Citizens, and the Next Generation of Public Administration, Public Administration Review, 2002, vol. 62, no. 5, 527–540.
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OstromE., Crossing the Great Divide: Coproduction, Synergy, and Development. In: EvansP., State-Society Synergy: Government and Social Capital in Development, University of California, Berkeley, 1997, 85–118. Available at http://www.escholarship.org/uc/item/8mp05335#page-1 (accessed 30/09/2012).
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TaxénG., Introducing participatory design in museums. In Proceedings of the Eight Conference on Participatory Design: Artful Integration: Interweaving Media, Material and Practices, v. 1, Toronto, Ontario: ACM Press, 2004, Vol. 1, 204–213.
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The quote is the last phrase from a blog-post entitled “The audience is dead – let's talk participants instead” on the Museum Next blog, posted by Jim Richardson on July 6th, 2011: http://www.museumnext.org/2010/blog/museum_audience_development (accessed: 30/9/2012).
NightingaleJ., People power, Museum Practice, 2008, no. 44, 50–51.
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HarrisonJ., Shaping Collaboration: Considering Institutional Culture, Museum Management and Curatorship, 2005, vol. 20, no. 3, 195–212.
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LynchB.T., Custom-made Reflective Practice: Can Museums Realise their Capabilities in Helping Others Realising Theirs?, Museum Management and Curatorship, 2011, vol. 26, no. 5, 441–458.
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GiolfiL.BannonL.J.FernströmM., Including Visitor Contributions in Cultural Heritage Installations: Designing for Participation, Museum Management and Curatorship, 2008, vol. 23, no. 4, 353–365.
Vom LehnD.HeathC.HindmarshJ., Exhibiting Interaction: Conduct and Collaboration in Museums and Galleries, Symbolic Interaction, 2001, vol. 24, no. 2, 189–216.
HealS., Be My Guest, Museums Journal, 2009, vol. 109, no. 2, 28–33.
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DaviesS.M., The co-production of temporary museum exhibition, Museum Management and Curatorship, 2010, vol. 25, n. 3, 305–321.
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TaxénG., Introducing participatory design in museums. In Proceedings of the Eight Conference on Participatory Design: Artful Integration: Interweaving Media, Material and Practices, v. 1, Toronto, Ontario: ACM Press, 2004, Vol. 1, 204–213.
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AfflekJ.KvanT., A Virtual Community as the Context of Discursive Interpretation: A Role in Cultural Heritage Engagement, International Journal of Heritage Studies, 2008, vol. 14, no. 3, 268–280.
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CameronF.R., Object-oriented Democracies: Conceptualising Museum Collections in Networks, Museum Management and Curatorship, 2008, vol. 23, n. 3, 229–243.
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ChalmersM.GalaniA., Can you see me? Exploring Co-visiting between Physical and Virtual Visitors. In: BearmanD.TrantJ., (eds.), Museums and the Web 2002, Selected Papers from an International Conference, 2002, 31–40.
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DaviesP., Developing a Twitter-Based Project. In: Twitter for Museums, Strategies and Tactics for Success, a collection of essays, Edinburg, 2010, 370–387.
GiolfiL.BannonL.J.FernströmM., Including Visitor Contributions in Cultural Heritage Installations: Designing for Participation, Museum Management and Curatorship, 2008, vol. 23, no.4, 353–365.
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GiolfiL., Supporting Affective Experiences of Place through Interaction Design, Co-design, 2007, vol. 3, no. S1, 183–198.
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The quote is the last phrase from a blog-post entitled “Co-production, co-creation, co-curation” on the ‘Thinking about museums thoughts on museums, content, design, and why they matter’, posted by Ed Rodley July 13th, 2011: http://exhibitdev.wordpress.com/2011/07/(accessed 30/09/2012).
33.
LynchB.T., Custom-made Reflective Practice: Can Museums Realise their Capabilities in Helping Others Realising Theirs?, Museum Management and Curatorship, 2011, vol. 26, no. 5, 441–458. Also, see LynchB.T., Whose Cake is it anyway? A Collaborative Investigation into Engagement and Participation in Twelve Museums and Galleries in the UK, The Paul Hamlyn Foundation, 2011. Also available via the website of the The Paul Hamlyn Foundation: http://issuu.com/paulhamlynfoundation/docs/phf_museums_galleries?viewMode=magazine&mode=embed (accessed 30/09/2012).
34.
SimonN., The Participatory Museum, published by Museum 2.0, 2012, 183–191 (available at http://www.participatorymuseum.org/, accessed 30/9/2012).
StergiakiA., Museum and digital technology: The development of a virtual museum on Greek traditional musical instruments for children, unpublished Msc thesis, Artistotle University of Thessaloniki, 2012 (in greek). Note that a paper on VMuFoMIC's design, technical implementation and limitations is currently under preparation with contributions from the authors and Prof. G. Papanikolaou, acoustics and multimedia applications expert.
37.
The ‘EMMELEIA musical village’software was designed and implemented by a team music professional and educators. It aims to support the music classes of the Greek elementary school by providing multimedia information and material with audio examples. The project was co-funded by the European Union and the Greek State. It is available for free download at http://www.pi-schools.gr/software/dimotiko/mousiki_a_st_dim.zip (in Greek, accessed 30/09/2012).
38.
The Phoibos Anogiannakis Museum of Greek Folk Musical Instruments is situated in Athens. It is the most important institution and research centre on Greek Folk Musical Instruments. The museum has a very informative website: www.instruments-museum.gr (accessed 15/8/2012).
39.
For more information on the Digital Class project, visit www.espa.gr (accessed 30/09/2012) and search for ‘Digital Class’.
