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Creation and Management of Digital Projects on Cultural Matters

Code: 44255 ECTS Credits: 6
2024/2025
Degree Type Year
4317127 Digital Humanities and Heritage OB 0

Contact

Name:
Maria de la Paloma González Marcén
Email:
paloma.gonzalez@uab.cat

Teachers

Maria de la Paloma González Marcén
Clara Masriera

Teaching groups languages

You can view this information at the end of this document.


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 digital cultural projects

2) Prototyping cultural and humanistic products: design thinking

3) Successful models of digital cultural projects

4) The limits of digital cultural products: legislation on digital heritage and culture.

5) Viability and sustainability of cultural digital projects. Public and private funding. Business models. 

6) Evaluations of digital cultural projects.


Activities and Methodology

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

Guided activities: theoretical classes with an explanation of the theoretical and methodological foundations for the creation of a digital cultural project. 
Supervised activities: Seminars of critical discussion of digital projects Individualized monitoring the activities and work entrusted and to apply the knowledge and skills acquired in the final assignment of the module.
Autonomous activities: Elaboration of the prototype of a cultural project that uses computer technology at some point in its design, implementation or evaluation.

 

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Assessment

Continous Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Final project report 40% 3.2 0.13 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25
Project development (proposal, tracking and oral presentation) 40% 3.2 0.13 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25
Taking active part in classroom activities 20% 1.6 0.06 2, 4, 5, 6, 7, 8, 9, 10, 11, 13, 15, 16, 20, 22

Participation and attendance in class, tutorials (20% of the final grade)

Development of a digital-based cultural prototype (project) (40% of the final mark)

  • It will consist of the presentation and discussion of the initial idea, follow-up in seminars of the realization of the different aspects of the project and final oral presentation in class. Each step in the development of the project will require the preparation of files and follow-up reports.
  • The project may be a prospective study that assesses the need to apply any digital technology in the field of humanities or cultural heritage studies or a practical application of one or more of the techniques explained throughout the Master's with the students' own data .
  • The project can be developed exclusively within the framework of the module or, after assessment by the teaching staff of the module, it can be related to the activities carried out in the external practices of the Master's or with the Master's Final Project.

Final report of the project (40% of the final mark)

  • The final report model and the guidelines for its writing will be available on the module's Moodle from the beginning of the course.

 

At the time of completion/delivery of each assessable activity, the teaching staff will inform via Moodle of the procedure and date of review of the qualifications.

The student will receive the grade of Not Assessable as long as she/he has not delivered the files and follow-up reports or presented 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 instituted. In the event that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject willbe 0.

This subject/module does not incorporate single assessment. 


Bibliography

GENERAL ISSUES AND CASE STUDIES

  • Asenjo, E.; Asensio, M. (2011) Lazos de luz azul. Museos y tecnologia 1, 2 y 3.0. Barcelona.
  • Carreras, C.& Munilla, G. (2005) Patrimonio digital: un nuevo medio al servicio de las Instituciones culturales (Grupo Òliba 1999-2004). Barcelona
  • Champion, E., & Rahaman, H. (2020). Survey of 3D digital heritage repositories and platforms. Virtual Archaeology Review, 11(23), 1-15.
  • Crompton, C., Lane, R. J., & Siemens, R. G. (Eds.). (2020). Doing More Digital Humanities. Routledge/Taylor & Francis Group.
  • Drotner, K., Dziekan, V., Parry, R., & Schrøder, K. C. (2019). The Routledge handbook of museums, media and communication. London
  • European Comission (2018)   Cultural Heritage: Digitisation, Online Accessibility And Digital Preservation
  • Pawlicka-Deger, U., & Thomson, C. (Eds.). (2023). Digital Humanities and Laboratories: Perspectives on Knowledge, Infrastructure and Culture. Taylor & Francis.
  • 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.
  • Watrall, E., & Goldstein, L. (Eds.). (2022). Digital heritage and archaeology in practice: presentation, teaching, and engagement. University Press of Florida.
  • Wiens, B., Ruecker, S., Roberts-Smith, J., Radzikowska, M., & MacDonald, S. (2020). Materializing Data: New Research Methods for Feminist Digital Humanities. Digital Studies/Le champ numérique, 10(1).
  • Zapater, D. (2019) “Del Java a Google. Exposicions online i museus, una parella de fet”. Mnemòsine 9 
  • Yates, D. (2018). “Crowdsourcing antiquities crime fighting: a review of GlobalXplorer”. Advances in Archaeological Practice, 6(2), pp. 173-178.

PROJECT DESIGN

  • Brown, Tim, & Jocelyn Wyatt. (2010) "Design thinking for social innovation." Development Outreach 12.1 (2010): 29-43.
  • Brown, T. (2009) Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation
  • Mason, M., & Vavoula, G. (2021). Digital cultural heritage design practice: a conceptual framework. The Design Journal, 24(3), 405-424.
  • Mason, M. (2022). The contribution of design thinking to museum digital transformation in post-pandemic times. Multimodal Technologies and Interaction, 6(9), 79.
  • Roselló Cerezuela, D. (2006). Diseño y evaluación de proyectos culturales. Ariel.

FUNDING AND SUSTAINABILITY

  • Benghozi, P. J., & Paris, T. (2016). The cultural economy in the digital age: a revolution in intermediation?. City, Culture and Society, 7(2), 75-80.
  • Lazzeretti, L., & Sartori, A. (2016). Digitisation of cultural heritage and business model innovation: The case of the Uffizi Gallery in Florence. Il Capitale Culturale. Studies on the Value of Cultural Heritage, (14), 945-970.
  • Loots, E. et alii (2022) Special Issue: New forms of finance and funding in the cultural and creative industries. Introduction to the special issue. Journal of Cultural Economics, 2022, Vol.46 (2).
  • 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), 23-34.
  • Rius Ulldemolins, J. (2014). Modelos de política cultural y modelos de equipamientos culturales: de los modelos nacionales a los modelos locales. Análisis del caso de Barcelona. Política y sociedad, 51(2), 399-422.
  • Russo-Spena, T., Tregua, M., D'Auria, A., & Bifulco, F.(2022). A digital business model: an illustrated framework from the cultural heritage business. International Journal of Entrepreneurial Behavior & Research, 28(8), 2000-2023.
  • Simone, C., Cerquetti, M., & La Sala, A. (2021). Museums in the Infosphere: Reshaping value creation. Museum Management and Curatorship, 36(4), 322-341.

LEGISLATION

  • AMD (2017) Guidelines for the use of copyrighted material and works of art by Art Museums. Oakland.
  • 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.
  • OMPI (2016) Principios básicos del derecho de autor y los derechos conexos. https://www.wipo.int/edocs/pubdocs/es/wipo_pub_909_2016.pdf
  • Pagel, J. (2015) “El museo y los derechos de autor en Europa: una encuesta y unas recomendaciones”. PH 88, octubre 2015, pp.36-40.
  • Richart, J. L. (ed.) (2023). Digitalización, acceso a contenidos y propiedad intelectual. ESIC.

EVALUATION

  • Carreras Monfort, C., Ardèvol Piera, E., Pagés, R., & Mancini, F. (2011). Análisis automatizado de la movilidad del público en los museos: el proyecto Museum-Track. Revista Electrónica de Patrimonio 8
  • Carreras, C. (2009) Evaluación TIC en el patrimonio cultural: metodologías y estudios de caso. Barcelona.
  • Carreras, C., & Rius, J. (2011). Evaluation of ICT Applications in the New Lleida Museum, Spain. Visitor Studies, 14(2), 219-232.
  • Roselló Cerezuela, D. (2006). Diseño y evaluación de proyectos culturales. Ariel.

 


Software

Software treated and recommended throughout the different modules of the Master.


Language list

Name Group Language Semester Turn
(SEMm) Seminars (master) 1 Spanish second semester afternoon