The Impact of using New Technology in Art Exhibitions Essay

The Impact of employ New Technology in Art Exhibitions - Essay usageThis is followed by a thorough analysis of the various expert viewpoints regarding several issues, such as whether online arrangement seems likely to replace traditional exhibition completely. These viewpoints are extracted from different literatures. For the guileistic viewpoint, the research has used ways of Seeing and Management and the Arts, whereas, management books help elaborate the business viewpoint. 1. Traditional Exhibition scientific and technological advancement has dynamically altered the traditional exhibition industry, bringing in innovative engineering science into performance art, as is present in the London Design Museum. This has enhanced the ability of artistic techniques to elicit and generate emotion, and has also made the use of network form more efficient. Experts also write about how technological changes have affected the viewership and appreciation of the relevant art forms and the ir exhibitions. Technology has enabled a whole sensitive segment of visitors to visit these art exhibitions and museums to appreciate the work. These audiences are those present worldwide, who can now appreciate the art by visiting online galleries of these museums (Camp, MacFadden and Mercer, 2000). Thus, the visitors are no long-term limited to physical visits to the institutions. Their visits are no longer contingent on their geographical location, but simply on their passion and interest in art. Furthermore, technology has made it possible to sort out and cater to each of these virtual visitors individually, based on their educational backgrounds, ages and interests. This helps museums further achieve their goals of educating the public with the various lessons that art has to offer, and expanding their minds to further enable them to understand the depths of each baste of art. Thus, with this technological aide, museums are able to enrich the experience they provide to thei r visitors (Perlin 1998). Another relevant insight that the obtainable literatures had to offer was about the Contaminated Cultural Materials in Museum Collections workshop that the azimuth State Museum at the University of Arizona in Tuscon held. The planning and implementation was sponsored by a NAPGRA grant, and the event took place from March 16th to eighteenth in 2000 (Odegaard & Sadongei, 2005). The workshop was held for representatives of the twenty one American Indian tribes in Arizona, aiming to discuss the features and quantity of chemic contamination present on tribal cultural material that the museum possesses. Following this, it aimed to explain the need for using such poisons on the materials. This was accompanied by a brief overview of the health risks, which are potentially given over with preserving and restoring a functional object in order to display to a community. Finally, the workshop aimed to circulate the clearinghouse learning pertaining to medical refe rrals as well as toxicologists, chemical hygienists and other such health experts (Odegaard and Sadongei, p xi, 2005). expiration The workshop highlighted some important facts that need attention when museums and tribes plan to collaborate in the restoration of objects in the first place sending them back to their place of origin. It shed light on the importance of communication in this ordeal. It is the museums certificate of indebtedness to actively communicate all issue during consultations, and to keep the tribes informed during the whole process. The chances of uncovering a just health issue of