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== Kopfzeile ==== <big>Towards The Electronic Kunst- und Wunderkammer: Spinning on the European MuseumsNetwork EMN</big>
by Achim Lipp <ref>Visual Resources, Vol. X, pp. 101-118, ©Gordon and Breach Science Publishers S.A., 1994
.</ref>==
Two special programs have been developed in 0S7 based on the requirements of the museum experts.
a. The multimedia acquisition program MDA is designed as an input tool for museum scientists and educators, and is orientated towards the needs of the lay user. lt it is unique in its overall concept, and it is user friendly lt it covers most aspects of multimedia in-house production; it is flexible in its handling, processing, and clarification of all information types. Its multi-media data-design lends a hand in seven languages to the untrained &Tut user and offers a dear scope of media integrating screens.
Images, graphics, sounds, text, and video may be incorporated into information units. These consolidated, may be accessed differently in the visitor system—via hot areas in texts or images, or via indexes.
Additionally, each exhibit needs to be furnished with a set of keywords; this provides the links to other objects. The pool of more than 1,000 terms has been developed by museum experts and is valid for all exhibits. The composer and producer associates up to 50 terms out of the pool and provides the seemingly boundless lirddng power of the exhibit. This power comes into play and is unfolded in the adventurous nagivation of the visitor system.
b. The visitor program of the EMN system provides two different approaches: <big>Keyword-Navigation </big> and <big>Guided Tours</big>. Guided Tours follow a more traditional way of teaching and informing. They are composed by museum experts, e.g., educators and curators, or by teachers and professors. The visitor can explore their topics by a series of simple steps and gather information, in a new way, from participating museums and research sources. The eight museums involved specialize in the following areas: fine arts, ethnography, technics, archaeology, and science. lt It can be, therefore, guaranteed that from this creative and informative potential an all-embracing grasp of a topic can be developed from an individual aspect. The variety of materials and sources represented by the eight museums allows the user to be innovative and to discover themes and topics, and to elaborate and visualize them, in a new way. Once fixed as a Guided Tour, the same program may be retrieved by every user.
<big>The Keyword -Navigation is the most important, and the truly innovative, part of the program. </big> The navigation by keywords is dedicated to a general public that may prefer a more gamelike approach to exhibits of cultural relevance—a public without specific or scientific interests which dislikes being taught. The users themselves find the coordinates of their routes through the museum landscape. The discovery tour stimulates them to find their very own interests while dealing with museum artefacts. By following his or her own inspiration, the user may get closer to the correlation between the artefacts and their meaning, motives, and values.
The adventurous tour starts with a local museum object. Once chosen, the system displays the object on the screen. Having explored different aspects offered in its information packages, the user is ready to face the attributed keyword pool. A maximum of 50 everyday life words outline the scope of meaning, sense, and associative power radiated by the object. (By the way, the content of the keyword pool is in permanent discussion, and the discussion will go on.)
Finally, the EMN systems gives the user a summary of what has passed during the adventurous tour. The user may select which items he or she wants to be printed out for taking home (software not implemented yet).
<gallery>
Vision1.jpg|Vision 1
Vision2.jpg|Vision 2
Vision3.jpg|Vision 3
Vision4.jpg|Vision 4
</gallery>
== VISION ==
There are many ideas not realized in the current system. For instance, the Vision of the visitor's cabinet: the user installs his or her selected exhibits in a virtual 3-D space, gives it a verbal comment and defines how he or she would like the onlooker to walk through the exhibition to perceive the intended context.
The electronic visitors cabinet is your own cabinet.
===Installation:=== synopsis of the linked items and the linkage elements, final decision and selection, preparation for the electronic exhibition: frames, pedestals, any other kind of outfit and attributes to be picked out of a special repertoire, light setting, special effects, definition of size and details; arrangement in the 3-D exhibition space, context and order.
===Request:=== discover and register missing links, ordering more or less specified new input, request to the experts; growth of The Electronic Kunstkammer guided by interest, meaning, knowledge, understanding and curiosity—not just systematical and formal.
===Walking:=== the preferred route; look through the eye of the beholder, walking through the gallery space; define the mode of perception—define the way of understanding the concept of installed gallery; title at top and description at the bottom.
The target of the aimed application is to have the user experience more than a concerned meaningful constellation. The understanding user would interact further with the man-machine interface to visualize, install, and finally absorb, that meaningful constellation. Following a set of rules, the system offers him to assimilate his contribution and make it—part it part of the game.
== FLASH BACK: THE KUNST- UND WUNDERKAMMER ==