https://journals.uic.edu/ojs/index.php/UC/issue/feedUncommon Culture2018-06-29T09:00:28-07:00Maria SliwinskaUC@icimss.edu.plOpen Journal Systems<p>Uncommon Culture provides unique perspectives on a rich variety of cultural activities in Europe. Examining cultural institutions and their collections, this magazine gives new insight into diverse cultural activities.</p>https://journals.uic.edu/ojs/index.php/UC/article/view/9231Foreword2018-06-21T11:41:58-07:00Tadeusz Zwiefkatadeusz.zwiefka@europarl.europa.eu2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9232Introduction2018-06-21T17:48:43-07:00Monika Hagedorn-Saupem.hagedorn@smb.spk-berlin.deMaria SliwinskaUC@icimss.edu.pl2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9240<b>Croatia</b>: <em>Božica Dea Matasić: “In-Version”</em>2018-06-21T11:42:05-07:00Jasmina Fučkanjasmina.fuckan@muo.hr2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9241<b>Germany</b>: Grasping Historical People's Relationships: Let the Objects Speak2018-06-21T11:42:06-07:00Joshua Ramon Enslinjenslin@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9242<b>Hungary</b>: Hundreds of Megabytes of Petticoat: A Digital Cross-section of the Object Culture of the Ethnic Germans in Hungary2018-06-21T11:42:07-07:00Krisztián Fonyódifonyodi@uncommonculture.orgJános Bednárikbednarik@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9244<b>Italy</b>: Tourism and Technological Innovation: the Spectacularization of Cultural Heritage in Rome and Cerveteri2018-06-21T11:42:09-07:00Maria Teresa Natalemariateresa.natale@gmail.comMarzia Piccininnopiccininno@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9245<b>Poland</b>: The Academic Library in Virtual World2018-06-21T11:42:12-07:00Justyna Jasiewiczjustyna.jasiewicz@uw.edu.pl2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9247<b>Poland</b>: The Non-Existent Object: An Inspiriting Technology2018-06-21T11:42:13-07:00Anna Kompanowskakomannes@fizyka.umk.pl2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9248<b>Spain/Catalonia</b>: Life Models Theatricals: Sources of Cultural Heritage for Digital Storytelling2018-06-21T11:42:13-07:00Jordi Pons i Busquetpons@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9249<b>Ukraine</b>: Archaeological Research of the Castle/Palace in Rivne: 3D Models of Archaeological Excavations2018-06-21T11:43:34-07:00Dmytro Maslovmaslov@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9250<b>Ukraine</b>: Using 3D Models for Conservation and Study of the Wooden Architecture Heritage in Lviv Skansen2018-06-29T09:00:28-07:00Marta Tsymbrovskatsymbrovsky@gmail.comIhor Tsymbrovskyiihor@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9251<b>Ukraine</b>: The Emergency Recording and Public Crowdsourcing of Materials for Cultural Heritage Digitization in Developing Postindustrial Regions of the Historical Cities2018-06-21T11:42:16-07:00Fedor Boytsovfboitsov@uncommonculture.orgIana Boytsovaiana@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9239Do It Yourself Digital Cultural Heritage: Three Services Developed by Europeana Space that Support the Creative Reuse of Digital Cultural Heritage Content2018-06-21T11:42:05-07:00Monika Hagedorn-Saupem.hagedorn@smb.spk-berlin.deArlene Peukertpeukert@uncommonculture.org2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9296DIGITIZED HERITAGE Events – from Studying to Actions or the Ukrainian Digital Movement2018-06-21T11:42:18-07:00Olga Barkovaolgabarkova@gmail.com2018-06-21T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9233Developing a Digital Collaborative Research Environment: the Getty Scholars' Workspace®2018-06-21T11:41:58-07:00Murtha Bacambaca@getty.eduMarissa Cliffordmclifford@uncommonculture.orgBuilding on decades of experience in the digital realm, leveraging its unique capacity to develop new tools and methods for conducting, publishing, and sharing art-historical research, and recognizing the importance of digital tools for the future of art history, the Getty Research Institute (GRI) established a Digital Art History1 (DAH) program in 2009. The newly-formed program at the GRI was fortunate to benefit from years of experience digitizing primary source materials, using principles of information science, and fostering a collaborative, interdisciplinary approach that has characterized the Getty since the early days of the Art History Information Program (AHIP), later re-named the Getty Information Institute2 (GII); when the GII dissolved, its key staff with experience in the use of technology for art and cultural history transferred to the GRI. As the GRI’s DAH program has evolved, its work has been increasingly informed by an emphasis on project planning and project management, an awareness of the issues and challenges surrounding publishing humanities resources online, and a prioritization of apparatuses for thinking critically about the intersections of the digital and the traditional in humanities scholarship.2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9234Is There a Future for Library and Information Work?2018-06-21T11:41:59-07:00Thomas D. Wilsonwilsontd@gmail.comForecasts affecting the future of librarians and information workers have come and gone over the years. Some, like Lancaster’s forecast of the paperless society (1978), have failed completely, since the consumption of paper is now higher than it ever was, and shows no signs of faltering, in spite of the decline of the newspaper industry (Who killed..., 2006; Meyer, 2009). Others, like Lewis’s ‘doomsday scenario’ (1980) were, perhaps, a little early in their estimation of the ‘death of libraries’.2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9235Pedagogical Strategies for Special Collections2018-06-21T11:41:59-07:00Edward J. Valauskasejv@uic.eduRare books are powerful and important objects. They stimulate their users to investigate their significance, placing these works in a larger historical context. Too often, these books, because of their value and scarcity, are isolated, restricted in access to those with verifiable qualifications and status. For the public at large, rare books remain caged, stored in unique environments, put on view only in guarded and secure exhibits, tended by trained guardians.2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9236On the Economics of Physical and Digital Collections in Museums2018-06-21T11:42:00-07:00Trilce Navarretetnavarette@uncommonculture.orgMuseums have been studied by economists in terms of their contribution to the eco nomy, by the creation of jobs or attraction of tourists, and in terms of their structure and behaviour as firms. In this chapter, we will draw an organizational framework to discuss the market conditions where museums perform, determined by costs and use of technology, which define market concentration and product differentiation as well as ability to innovate. We close with a discussion on organizational performance as it may be applied to museums managing physical and digital collections.2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9237Documenting Past Exhibitions: Why and How Information Technology Could Help to Preserve Dismantled Shows2018-06-21T11:42:00-07:00Werner SchweibenzWerner.Schweibenz@bsz-bw.deRoberto Scopignoroberto.scopigno@isti.cnr.itThe paper reflects why past exhibitions should be documented virtually. It states that exhibitions are manifestations reflective of a time and place, and therefore interpretative, which makes them interesting for future research. It describes how information techno logy can help to preserve museum displays.2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culturehttps://journals.uic.edu/ojs/index.php/UC/article/view/9238Gamification for Education of the Digitally Native Generation by Means of Virtual Reality, Augmented Reality, Machine Learning, and Brain-Computing Interfaces in Museums2018-06-21T11:42:01-07:00Olga Barkovaolgabarkova@gmail.comNatalia Pysarevskatalal311@ukr.netOleg Alleninalienin@uncommonculture.orgSerhii Hamotskyhamotsky@uncommonculture.orgNikita Gordienkongordienko@uncommonculture.orgVladyslav Sarnatskyisarnatskyi@uncommonculture.orgVadym Ovcharenkoovcharenko@uncommonculture.orgMariia Tkachenkotkachenko@uncommonculture.orgYurii Gordienkoygordienko@uncommonculture.orgSergei Stirenkostirenko@uncommonculture.orgParticularly close attention is being paid today among researchers in social science disciplines to aspects of learning in the digital age, especially for the Digitally Native Generation. In the context of museums, the question is: how can rich learning experiences be provided for increasingly technologically advanced young visitors in museums? Which high-tech platforms and solutions do museums need to focus on? At the same time, the software games business is growing fast and now finding its way into non-entertainment contexts, helping to deliver substantial benefits, particularly in education, training, research, and health. This article outlines some aspects facing Digitally Native learners in museums through an analysis of several radically new key technologies: Interactivity, Wearables, Virtual Reality, and Augmented Reality. Special attention is paid to use cases for application of games-based scenarios via these technologies in non-leisure contexts—and specifically for educational purposes in museums.2018-06-19T00:00:00-07:00Copyright (c) 2018 Uncommon Culture