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2020/2021

Creation and Management of Digital Projects on Cultural Matters

Code: 44255 ECTS Credits: 6
Degree Type Year Semester
4317127 Digital Humanities and Heritage OB 0 2
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
César Carreras
Email:
Cesar.Carreras@uab.cat

Use of Languages

Principal working language:
catalan (cat)

Teachers

Paloma González Marcén
Clara Masriera Esquerra

Prerequisites

To attend these studies, the general prerequisites of the MA degree on Humanities and Digital Heritage are necessary. In general, the student should have already some studies at BA-level on Humanities and / or Social Sciences disciplines. The course can also be useful to computer science graduates who want to specialize in the use of digital technologies in the field of Humanities and cultural studies, although they do not have previous experience on Humanities nor Cultural studies. Familiarity, at use level, with computers and standard office software is required. Although not mandatory, prior training, at a basic level, in the use of computerized databases, computer-assisted cartography, digital photography and statistics is recommended.

The basic and reference bibliography is in English, as well as the software to be used. Knowledge of English at the level of specialized reading is therefore recommended.

Objectives and Contextualisation

This module pretends to enter to the alumnado in the integral planning of projects of cultural innovation and of humanities in some fully digital surroundings. They provide  the materials and the methods that allow to schedule the project using digital tools, determining the potential public, the accessibility to the cultural data, humanistic, patrimoniales for all the population, his territorial and institutional field and the social agents involved. Special emphasis loans  in the budgetary part, possibilities of public finance and/or private, in the strategies of communication and juridical frame, in management of human and political resources of marketing.

Competences

  • Act in a creative and original way with solidarity and spirit of scientific collaboration.
  • Critically analyse a particular scientific problem based on specific documentation.
  • Design and plan impact and cultural innovation projects which use the possibilities offered by information and computer technologies.
  • Ensure value and quality, self-discipline, rigour and responsibility in scientific work and dissemination.
  • Evaluate the possibilities offered by technology in the production of new forms of cultural, social and humanistic creation and co-creation.
  • Knowledge and understanding that provide a basis or opportunity for originality in developing and / or applying ideas, often in a research context.
  • Manage cultural projects that use information and computer technologies in any area.
  • Recognise and value the social consequences of the work carried out, taking into account the diversity of human communities in questions of gender, identity and multiculturality.
  • Recognise the main challenges in the area of study of digital humanities and heritage.
  • Students can communicate their conclusions and the knowledge and rationale underpinning these to specialist and non-specialist audiences clearly and unambiguously.
  • That students are able to integrate knowledge and handle complexity and formulate judgments based on information that was incomplete or limited, include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgments.
  • That students have the learning skills that enable them to continue studying in a way that will be largely self-directed or autonomous.
  • That the students can apply their knowledge and their ability to solve problems in new or unfamiliar environments within broader (or multidisciplinary) contexts related to their field of study.
  • Work in interdisciplinary teams.

Learning Outcomes

  1. Adapt information technologies applied in humanistic and cultural studies to different audiences and contexts.
  2. Analyse and evaluate the financing requirements for different kinds of digital cultural projects.
  3. Analyse the current state of professional development and employment in the area of cultural management.
  4. Apply criteria of scientific rigour in the production of academic and professional work.
  5. Apply ethical aspects in the analysis of cultural needs for a broad range of audiences.
  6. Evaluate the objective impact of digital projects in different situations and institutional settings.
  7. Evaluate the possibilities offered by co-creation strategies and innovation platforms for the creation and management of digital projects.
  8. Evaluate the real possibilities of reaching the public through cultural action.
  9. Form part of multidisciplinary working teams in which academic reflections and procedures are central.
  10. Highlight ethical aspects in cultural projects and respect for different opinions and way of being and doing things.
  11. Include proposals and reflections of work carried out linked to the perspectives of: gender, universal accessibility, multiculturality and intergenerationality.
  12. Interpret legislation on heritage and its effect on the design of cultural projects.
  13. Justify the results obtained by computer tools for co-creation using case studies.
  14. Knowledge and understanding that provide a basis or opportunity for originality in developing and / or applying ideas, often in a research context.
  15. Make innovations incorporating creativity and originality in humanistic and cultural studies with a clear commitment to quality.
  16. Make use of digital management tools.
  17. Observe and explain computerised data analysis in the field of cultural management.
  18. Observe and explain the application of digitization and computer vision in the field of cultural management.
  19. Observe and explain the application of the person-computer interaction in the field of cultural management.
  20. Propose innovative and competitive ideas based on knowledge acquired in fields which are not directly related a priori .
  21. Students can communicate their conclusions and the knowledge and rationale underpinning these to specialist and non-specialist audiences clearly and unambiguously.
  22. Summarise advanced knowledge existing in the field.
  23. That students are able to integrate knowledge and handle complexity and formulate judgments based on information that was incomplete or limited, include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgments.
  24. That students have the learning skills that enable them to continue studying in a way that will be largely self-directed or autonomous.
  25. That the students can apply their knowledge and their ability to solve problems in new or unfamiliar environments within broader (or multidisciplinary) contexts related to their field of study.

Content

1) Typology of cultural projects,

2) Management of projects and models of business in the digital era.

3) Prototype of cultural and humanistic products.

4) The limits of the market: legislation on heritage and culture.

5) economic Appearances of a digital project. Public and private finance. Crowdfundfing.

6) Co-Creation and Cultural Innovation.

7) on-line Marketing.

8) Evaluation of a digital project. Studies of public.

9) Evaluation of a digital project. Usabilidad, utility and accessibility

Methodology

Guided activities: theoretical classes with an explanation of the theoretical and methodological foundations for the creation of a cultural project. Seminars of critical discussion of specialized texts

Supervised activities: Presentation of case studies similar to those that students should create. Individualized tutorials to monitor the activities and work entrusted. and to apply the knowledge and skills acquired in the final work of the module.

Autonomous activities: the elaboration of the prototype of a cultural project that uses computer technology at some point in its design, implementation or evaluation.

The guided activities can be face-to-face or online.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Explaining the theoretical framwwork 36 1.44 1, 2, 3, 4, 5, 6, 10, 16, 11, 15, 9, 12, 13, 17, 18, 19, 20, 23, 25, 21, 24, 22, 14, 7, 8
Type: Supervised      
Case studies 25 1 1, 2, 3, 4, 5, 6, 10, 16, 11, 15, 9, 12, 13, 17, 18, 19, 20, 23, 25, 21, 24, 22, 14, 7, 8
Type: Autonomous      
Creation of a Cultural Project prototype 81 3.24 1, 2, 3, 4, 5, 6, 10, 16, 11, 15, 9, 12, 13, 17, 18, 19, 20, 23, 25, 21, 24, 22, 14, 7, 8

Assessment

Evaluation of the cultural project presented -oral and / or written- (30%). It can be a prospective study that assesses the need to apply any digital technology in the field of humanities or cultural heritage studies, a critical bibliographic study on computer methodology and its theoretical implications, where a practical application of one of the techniques explained with students' own data. EWs recommend that it be related to activities performed in external internships.

Reports and written work (individually or in groups). Text and bibliographic comments (25% of the final grade)

Written summaries of the practical sessions, seminars and parallel conferences on case studies, emphasizing the positive and negative aspects of the techniques and methods explained (25% of the final grade).

Class participation (face-to-face or online), attendance at tutorials (face-to-face or online). 10% of the final grade.

Participation in conferences scheduled for the coordination of the master's degree and other complementary activities (10%).

At the time of carrying out / delivering each assessable activity, the teacher will inform (Moodle, SIA) of the procedure and date of review of the grades.

The student will receive the grade of Not evaluable as long as he / she has not submitted the requested cultural project.

In the event that the student commits any irregularity that could lead to a significant variation in the grade of an assessment act, this assessment act will be graded with 0, regardless of the disciplinary process that may be instructed. In the event of several irregularities in the evaluation acts of the same subject, the final grade for this subject will be 0.

In the event that the tests cannot be done in person, their format will be adapted (maintaining their weighting) to the possibilities offered by the UAB’s virtual tools. Homework, activities and class participation will be done through forums, wikis and / or exercise discussions through Moodle, Teams, etc. The teacher will ensure that the student can access it or offer alternative means, which are available to them.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Assistance and taking active part classroom activities 10% 0 0 2, 4, 5, 6, 10, 16, 11, 15, 9, 13, 20, 22, 7, 8
Assistance to lectures and complementary activities 10% 8 0.32 1, 2, 3, 4, 5, 6, 10, 16, 11, 15, 9, 12, 13, 17, 18, 19, 20, 23, 25, 21, 24, 22, 14, 7, 8
Presentation of the project 30% 0 0 1, 2, 3, 4, 5, 6, 10, 16, 11, 15, 9, 12, 13, 17, 18, 19, 20, 23, 25, 21, 24, 22, 14, 7, 8
Submission of reports/homework 25% 0 0 1, 2, 3, 4, 5, 6, 10, 16, 11, 15, 9, 12, 13, 17, 18, 19, 20, 23, 25, 21, 24, 22, 14, 7, 8
Written comments based on a case study 25% 0 0 1, 2, 3, 4, 5, 6, 10, 16, 11, 15, 9, 12, 13, 17, 18, 19, 20, 23, 25, 21, 24, 22, 14, 7, 8

Bibliography

AMD (2017) Guidelines for the use of copyrighted material and works of art by Art Museums. Oakland.

Asenjo, E.; Asensio, M. (2011) Lazos de luz azul. Museos y tecnologia 1, 2 y 3.0. Barcelona.

Capone, F.; Sartori, A.; Lazzeretti, L. (2016). “Small firms and the digitization of cultural heritage. The case of Centrica and the Uffizi Gallery”. En: Management in a Digital World. Decisions, Production, Communication. University of Udine, pp. 535-547

Carreras, C. (2009) Evaluación TIC en el patrimonio cultural: metodologías y estudios de caso. Barcelona.

Carreras, C.; Munilla, G. (2005) Patrimonio digital: un nuevo medio al servicio de las Instituciones culturales (Grupo Òliba 1999-2004). Barcelona

Casas, R. ( 2008) “La propiedad intelectual en los museus”. Revista de la Subdirección General de Museos estatales nº 4, pp.76-96.

Casprini, E.; Pucci, T.; Zanni, L. (2014). “Business model shifts: a case study on firms that apply high technology to cultural goods”. Technology analysis & strategic management, 26(2), 171-187.

Damala, A.; Ruthven, I.; Hornecker, E. (2019) The Musetech companion: Navigating the matrix.

Elster, R. (2013) La gestión de la propiedad intelectual de los museus.

Falk, J.H. (2006) “Understanding Museum visitors’. Motivations and learning”. Pp.110-125.

Fernández, A. (2016) “Originalidad es la clave. Propiedad Intelectual, Dominio Público y el acceso a las colecciones culturales”. Cuadernos de Arte de la Universidad de Granada, 47: 131-146.

Luebkeman, Ch. (2013) Museums in the digital age. London.

Mancini, F.; Carreras, C. (2010) “Techno-society at the service of memory institutions. Web 2.0 in museums”. Catalan Journal of Communication & Cultural Studies 2 (1), 59-76

Marchegiani, L. (2018). “From mecenatism to crowdfunding: engagement and identification in cultural-creative projects”. Journal of Heritage Tourism, 13(2), pp. 143-151.

Mateos, S. (2013) “Museos y Content Marketing. Hacia un nuevo modelo de generación de contenidos culturales”. ZER vol.18 nº 34, pp.13-28.

Moschini, S. (2012) Claves del márketing digital. Barcelona.

Moussouri, T. (2014) “Mobile sensing, BYOD and Big Data Analytics: New technologies for audience researchin Museums”. Journal of Audience & Reception Studies, vol.11, issue 1, pp.270-285. 

Orduña-Malea, E. (2014) “Caracterización y rendimiento del sistema museístico de la Comunidad Valenciana a través de un análisis cibermétrico”. En: Vicent Giménez Chornet (coord.). Gestión cultural: innovación y tendencias. Valencia: Tirant lo Blanch, pp. 13-43.

Pagel, J. (2015) “El museo y los derechos de autor en Europa: una encuesta y unas recomendaciones”. PH 88, octubre 2015, pp.36-40.

Pitti, D. V. (2004). “Designing sustainable projects and publications”. En: Susan Schreibman, Ray Siemens, John Unsworth (eds.). A Companion to Digital Humanities. Oxford: Blackwell, pp. 471-87.

Reyes-Menendez, A.; Saura, J. R.; Palos-Sánchez, P. (2018). “Crowdfunding y financiación 2.0. Un estudio exploratorio sobre el turismo cultural”. International Journal of Information Systems and Tourism (IJIST), 3(1), pp. 23-34.

Richani, E.; Papaioannau, G.; Banou, Ch. (2016) “Emerging opportunities: the internet, marketing and museums”. MATEC Web of Conferences 76.

Rosselló, D. (2004) Diseño y evaluación de proyectos culturales. Barcelona, Ed.Ariel

Taylor, J., & Gibson, L. K. (2017). “Digitisation, digital interaction and social media: embedded barriers to democratic heritage”. International Journal of Heritage Studies, 23(5), 408-420.

Terras, M. (2016). “Crowdsourcing in the Digital Humanities.” En Schreibman, S.; Siemens, R.; Unsworth, J. (eds), A New Companion to Digital Humanities. Londres: Wiley-Blackwell, pp.420-439.

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Zapater, D. (2019) “Del Java a Google. Exposicions online i museus, una parella de fet”. Mnemòsine 9