Index
ISBN: 978-1-80455-615-3, eISBN: 978-1-80455-614-6
ISSN: 0065-2830
Publication date: 31 January 2024
This content is currently only available as a PDF
Citation
(2024), "Index", Nichols, J. and Mehra, B. (Ed.) Data Curation and Information Systems Design from Australasia: Implications for Cataloguing of Vernacular Knowledge in Galleries, Libraries, Archives, and Museums (Advances in Librarianship, Vol. 54), Emerald Publishing Limited, Leeds, pp. 319-326. https://doi.org/10.1108/S0065-283020240000054025
Publisher
:Emerald Publishing Limited
Copyright © 2024 Julie Nichols and Bharat Mehra
INDEX
Aboriginal and Torres Strait Islander (ATSI)
, 192
Material Culture
, 114
peoples
, 126
Aboriginal cultural centre design
, 138
Aboriginal cultural heritage
, 226
Aboriginal Cultural Heritage Act (ACH Act)
, 62–63
Aboriginal Cultural Materials Committee (ACMC)
, 59
Aboriginal culture
, 58, 121
Aboriginal Elders
, 59
Aboriginal ethno-architecture
, 157
Aboriginal knowledge systems (AKS)
, 10–11
Aboriginal people in Australia
, 60
Aboriginal/ngadjuri vernacular
, 98–100
Aceh Method
, 25
Adelaide Gaol Project
, 77–78, 252
Algorithm
, 274
Alternative descriptors
, 93
Aṉangu Pitjantjatjara Yankunytjatjara (APY)
, 121
Ann Newchurch (AN)
, 207–210
Anthropology
, 91
Archaeology
, 91
Architectural agency
, 155
Architectural communication
, 292
Architectural education
, 293
Archives
, 139
Art curators
, 127
Art gallery
, 139
Art making
, 127
Artefacts
, 42
and making
, 195–196
Artworks
, 127
Astronomy
, 237
Audiovisual (AV)
, 122, 262
Augmented reality (AR)
, 74, 116, 128, 252, 270
AACG fire exhibit and megafauna displays
, 255–257
in architecture
, 292
challenges
, 263–265
experience
, 278–279
Immerse App
, 122
ImmerseAR
, 261–263
immersive story construction in COVID-19 era
, 255
project design
, 257–261
SAM and UniSA
, 252–253
storytelling
, 253–255
AUSLAN (Australian sign language)
, 264
Australia
, 58, 114, 219, 226
Indigenous Advisory Committee
, 65
Australian Aboriginal art
, 126
Connection: Songlines From Australia’s First Peoples
, 131–133
visitor ’s immersive engagement
, 130–131
Australian Aboriginal Cultures Gallery (AACG)
, 86, 114–115, 252
aboriginal fire exhibit
, 120–121
building relationships
, 116–120
fire exhibit and megafauna displays
, 255–257
international precedent
, 115
limitations for change
, 115
long-term ambitions for improvements
, 122
short-term ambitions for improvements
, 121
technology
, 116
Australian Aboriginal peoples
, 7
Australian First Nations peoples
, 156
Australian Institute of Aboriginal and Torres Islander Studies (AIATSIS)
, 60
Australian International Council on Monuments and Sites (ICOMOS)
, 105
Australian Museums and Galleries Association (AMaGA)
, 173
Australian Research Data Commons (ARDC)
, 73
Authenticity
, 127
Authorised heritage discourse (AHD)
, 98
Bay Discovery Centre
, 172
Black drop effect
, 236
Boardgames
, 72
Bodies of experience
, 181–182
Body of Knowledge
, 85–87
Born Digital
, 29, 36
Burra Charter
, 97
Burra History Group’s website
, 102
Caring for country
, 214–215
Central Land Council (CLC)
, 76
Centrality of country
, 155–156
Chronophotography
, 239
Cinema
, 237
Cinematic VR
, 276–277
City of Holdfast Bay
, 171
City of Vienna’s online cultural treasures experiences, The
, 252
Clapsticks
, 138
country and culture
, 140
as cultural data
, 142–149
GLAM sector and cultural artefacts
, 140–142
Co-creation
, 73–78
methodology
, 25
Co-design
, 5, 12–14, 26, 138, 153
Collaborative Yarning Methodology (CYM)
, 187
Collections
, 58
Collective benefit, Authority to control, Responsibility, Ethics (CARE Principles)
, 29–30, 35
Colonial narratives
, 100–102
Colonial vernacular
, 91
Colonisation
, 154–158
Colonists
, 187
Commodification of cultural heritage
, 271
Commodity
, 220–222
Common sense 180° stereoscopic projection
, 280–283
Computer Automatic Virtual Environment (CAVE)
, 280
Computer games
, 69
Computer-generated imagery (CGI)
, 274
Conciliation
, 178
Connection: Songlines From Australia’s First Peoples
, 131
digital representation of painting materiality
, 131–132
digital storytelling of creative practices
, 132
immersive engagement
, 133
Content Management System (CMS)
, 9
Country
, 140, 156, 202–203
country-focussed design
, 156
and land management
, 203–204
and materials
, 204–205
responsive to aboriginal concept of
, 156–157
voices of Ngadjuri
, 205
Crowdsourcing
, 44
Cultural artefacts
, 140–142
Cultural burning
, 120–121
Cultural centres
, 14, 25, 144–145
design
, 184
as dynamic sites of indigenous knowledge
, 11–12
Cultural data
, 142–149
Cultural heritage
, 4, 58, 68, 90, 127, 202, 219–221
as co-creation
, 74–77
curation
, 24
trends in increased AI application in cultural heritage archiving
, 43–44
Cultural heritage management (CHM)
, 220
Cultural identity
, 127
Cultural knowledge
, 204
Cultural materials
, 10
Cultural records
, 152
Culture
, 140
Curation
, 138
Curatorial design strategies
, 129
Curatorial opportunities
, 143
Dark tourism
, 77
Data
, 139
Data curation
, 90
on Country
, 203
in GLAM
, 24–25
Data governance
in GLAM sector
, 28–29
in online world
, 27–28
David Weetra (DW)
, 212–215
Deep learning techniques on images for classification
, 43
Deep self-learning
, 104
Digital archives
, 28
Digital design
, 126
Digital flexibility
, 255
Digital games
, 68, 71
Digital heritage technologies
, 24
Digital humanities
, 70
Digital representation of painting materiality
, 131–132
Digital storytelling of creative practices
, 132
Digital technologies
, 28, 73, 129
Digital visualisation tools
, 293
Digitalisation, practicalities and ethics around
, 34–36
Digitisation
, 5
Dining table
, 273
disorder
, 294–295
Direct gaze
, 273–274
Drawing Plus (2021–2022)
, 302, 305
Dreaming
, 140
stories
, 100, 104
Dreamtime stories
, 140
Empathic Computing Laboratory (ECL)
, 270
EMu database
, 45
Endurance narratives
, 98
aboriginal/ngadjuri vernacular
, 98–100
colonial narratives
, 100–102
self-learning and self-healing narratives
, 102–105
Entwined vernaculars
, 91
background
, 94–98
endurance narratives
, 98–105
learnings as potential application in GLAM
, 107–108
vernacular narratives + mining heritage
, 105–107
Epic’s Unreal Engine
, 78
Ethics and cultural sensitivities of data management
, 24
IDG and ITS’ relevance to GLAM sector
, 27–32
implications
, 33–36
past structural injustices for indigenous peoples
, 36
practicalities and ethics around digitalisation and technology
, 34–36
respect for indigenous community protocols and process
, 35–36
setting scene
, 24–26
Ethno-architecture
, 157
Exhibition
, 285–286
design
, 126
Exploration-based immersion
, 131
Extended reality (XRs)
, 128, 230, 270
GLAM sector
, 279
positionality
, 271–272
relationships and making art
, 272
work
, 272–279
Fire
, 116–120
exhibit, foods, and medicines
, 122–124
First Nations peoples
, 11, 115, 222
First Nations world view
, 152
Fly-on-the-wall
, 277
Four Ways to Occupy a Hearth (2019)
, 296–299
Galleries, libraries, archives, and museums (GLAM)
, 1–2, 21–22, 24, 30–32, 68–69, 86, 92, 126, 152–153, 164, 182, 202, 219, 226, 229, 252
data curation
, 184
decolonisation
, 164
IDG and ITS’ relevance to
, 27–32
indigenisation
, 93
institutions
, 5, 7, 26
potential outings in
, 287
reconciliation
, 170
sector
, 140–142, 279
Gameplay
, 68
Games
, 68–69
designers
, 70
engines
, 69–70
indigenous games in Australia and virtual heritage
, 72–73
issues and challenges
, 78–80
mods
, 70
virtual heritage and co-creation
, 73–78
visualisation
, 292
for visualisation and simulation
, 69–72
Gamification
, 78
Graphical user interface (GUI)
, 50
Haptic HONGI
, 270, 283–285
Head-mounted displays (HMDs)
, 276
Healing
, 185
Heritage
, 68, 220, 222
Hindmarsh Island Bridge in South Australia
, 219
Historic Building Information Modelling (HBIM)
, 28
Human Computing Lab (HCL)
, 270
Image recognition
, 43
ImmerseAR
, 259, 261–263
Immersive engagement
, 133
Immersive museum exhibitions
, 127–128, 130
Immersive screens and projections
, 116
Immersive space
, 129
Immersive story construction in COVID-19 era
, 255
Immersive storytelling
, 254
Immersive technology
, 128
Indigenisation
, 170
Indigenous Archives Collective (2021)
, 35
Indigenous cultural and intellectual property (ICIP)
, 218
Indigenous cultural heritage
, 24
Indigenous cultures
, 26
Indigenous data
, 24
Indigenous Data Governance (IDG)
, 25, 30–32
Indigenous Data Sovereignty (IDS)
, 26, 29–32, 207
in culturally specific context
, 33
process
, 33–34
Indigenous games in Australia and virtual heritage
, 72–73
Indigenous knowledge
, 11–12
Indigenous peoples
, 202
Indigenous world views
, 9–11
Information systems
, 3
Information technology (IT)
, 34, 44
Intangible cultural heritage (ICH)
, 218
commodity
, 220–222
context
, 218–219
cultural heritage
, 219–220
future research
, 219
Intangible qualities
, 139
Intellectual soup model
, 25
Interdisciplinary collaboration
, 34
Intermittent motion mechanism
, 247
International Council of Museums (ICOM)
, 173
International Council on Archives Conference (ICA)
, 13
International museums
, 115
International Union for Conservation of Nature (IUCN)
, 222
Interpretation
, 147
Intersite of knowledge
, 233
Janssen’s apparatus as
, 236–240
Janssen’s apparatus
, 232–233
as ‘intersite of knowledge’
, 236–240
activating interconnected systems of knowledge for museum audiences
, 247–248
device in action
, 242–244
prototype development
, 244–247
techne as transferable system of knowing
, 240–241
Journalism Education and Research Association Australia (JERAA)
, 254
Julie Nichols (JNi)
, 205, 212
Juukan Gorge in Western Australia
, 219
Kaurna Advisory Group
, 171
Kaurna Nation
, 164
Kickstarter
, 72
Knowledge-based immersion
, 131
Land management
, 203–204
Learnings as potential application in GLAM
, 107–108
Libraries
, 68, 139
Library and Information Science (LIS)
, 8
LibraryCraft
, 71
LIBRAS (Brazilian sign language)
, 264
Light Register
, 296
Localised knowledge
, 205
Long-term ambitions for improvements
, 122
Luritja people
, 74
Lynette Newchurch (LN)
, 205–207
Mana motūhake
, 270
Māori women
, 270
Master of Architecture (MA)
, 292
Materiality
, 232
Measurement
, 232
Mechanical motion
, 240
Metahuman game technology
, 78
Metropolitan Museum of Art’s Met 360 Project, The
, 252
Microsoft’s Minecraft
, 70–71
Mining development
, 58
Mixed reality (MRs)
, 128
Modding
, 70
Monster Mine
, 102
Motion-based media
, 299
Mukurtu
, 9, 31–32, 35
Mungo National Park in New South Wales
, 219
Museum artefacts
, 235
Museum of Applied Arts and Sciences (MAAS)
, 243
Museums
, 42, 114, 129–130, 170
Museums Australia
, 128
Narrative
, 292
dining table disorder
, 294–295
educational ‘setting’
, 310
opening communication pathways
, 292–294
personal works
, 296–299
quotidian registers
, 295
student narratives and projects
, 299–302
National Broadband Network (NBN)
, 73
National Gallery in Canberra
, 228
National Museum of Australia (NMA)
, 131, 165
Native Title
, 221–222
Natural language processing (NLP)
, 44
rule-based approach using
, 44–48
New museology
, 128
New South Wales Art Gallery in Sydney
, 127
New Zealand
, 226
Ngadjuri cultural heritage
, 105, 184
Ngadjuri community and brief history
, 187–188
yarning
, 184–187
Ngadjuri Nation
, 25
Ngadjuri Nation Aboriginal Corporation (NNAC)
, 25, 34–35, 145, 181, 184, 202
Ngadjuri songlines
, 96
Ngadjuri voices
, 205
Non-Indigenous legislative acts
, 221
Online guides
, 28
Open Data
, 27
Open Science
, 27
Opinion piece
, 219
Organization for Economic Co-operation and Development (OECD)
, 28
Orientalism period
, 7
Orthodox plans
, 295
Ownership, Control, Access and Possession (OCAP)
, 30
Pandemic
, 252
Papua New Guinea (PNG)
, 48
Paradigm shift
, 156
Passive sensory immersion
, 131
Phenomenological vernacular
, 91
Pilot research project
, 24–25
Placemaking
, 158
Portable fire
, 118
Post-museum
, 168
Prison tourism experiences
, 78
Procedural rhetoric
, 69
Quandamooka
, 10
Quotidian registers
, 295
Real-world cultural heritage
, 71
Reality capture
, 274–276
Rebecca Agius (RA)
, 210–211
Recalibration of architectural agency
, 293
Reinforcing
, 257
Rejuvenescence Ngadjuri Cultural Centre (RNCC)
, 145–149
design philosophy
, 148
Digital Exhibition Space design
, 147
Keeping Place
, 143–144
Relational ontologies
, 9–11
Relationship building
, 172–175
Remembering
, 257
Repatriation
, 209
Repatriation processes
, 11
Representation
, 229–230
Research Fellow
, 114
Reskinning
, 257
Review process
, 15–16
Revolutionary Terrains (2019–2022)
, 300
Risk taker
, 174
Robert Rigney (RR)
, 191
Rule-based approach using NLP
, 44
requirements
, 45–46
research approach
, 44–45
Rules
, 48–52
Rulesets
, 48–52
S.T.A.L.K.E.R.
, 77
SAM Data Analyser
, 48
Sand Talk
, 187
Scar Tree
, 64
Science, technology, engineering, mathematics (STEM)
, 120, 304
Self-healing narratives
, 102–105
Self-learning narratives
, 102–105
Sequential imaging
, 240
Short-term ambitions for improvements
, 121
Simulation, games for
, 69–72
Skyrim
, 71
Social cohesion
, 153, 155
Social justice
, 8–9, 14
Solar parallax
, 236
South Australian Museum (SAM),
application on case study
, 52–53
AR partnership
, 252–253
strategic plan
, 43
South Australian Museum (SAM)
, 2, 42, 252
Spectacle in popular visual culture
, 237
Speculative curatorial ideas
, 143–144
Speed of light
, 238
Stereoscopic projection
, 280–283
Stories
, 74
Story-making
, 265
Storytelling
, 104, 132, 253–255, 292
Stronger Together
, 75, 77–79
Student narratives and projects
, 299–302
Tabletop games
, 71–72
Tangible qualities
, 139
Te Papa Museum in Wellington
, 226
Techne
, 235
as transferable system of knowing
, 240–241
Technology
, 116
practicalities and ethics around
, 34–36
technology-driven multi-sensory design
, 127
Terminal 3
, 278–279
Theory on electromagnetism
, 238
360-degree tour
, 128
Three-dimension (3D)
, 69
digitisation
, 79
games
, 69
universe
, 294
Tiati Wangkanthi Kumangka
, 165
Bay Discovery Centre
, 172
case study
, 170–172
conciliation
, 178
exhibition design
, 175–176
new perspectives
, 168–170
relationship building
, 172–175
small museums and local government
, 176–178
voice
, 165–168
Tjala Arts
, 123
Tjilbruke Spring
, 170
Traditional knowledge, contemporary applications of
, 158
Traditional Owner groups
, 59–60
Transdisciplinary team
, 274
Travelling While Black
, 277
Tribal Council
, 73
Truth-telling
, 100, 126
University of South Australia (UniSA)
, 25, 58, 91, 120, 202, 252, 292
AR partnership
, 252–253
User testing
, 80
User-contributed immersion
, 131
Vernacular documentation (VERNADOC)
, 92, 105
Vernacular heritage
, 6–7
Vernacular know-how
, 6
Vernacular knowledge
, 6–8, 14
Vernacular Knowledge Research Group (VKRG)
, 58
Vernacular narratives + mining heritage
, 105–107
Virtual heritage
, 73–78
Virtual reality (VR)
, 122, 128, 253
Virtual Systems Multimedia (VSMM)
, 79
Visitation
, 252
Visitor’s immersive engagement
, 130–131
Visual Art
, 114
Visual culture
, 239
Visualisation, games for
, 69–72
Wakefield Plan
, 165
Wallworth, Lynette
, 277–278
Western art markets
, 127
Western world view
, 152
architecture, colonisation and social conditions
, 154–158
problem of architecture
, 153–154
Whole body
, 131
Wikipedia
, 28
World Intellectual Property Organization (WIPO)
, 218
World views
, 14
Wurlies
, 99
Yacca leaves and grasses
, 99
Yandi Dish
, 64
Yarning
, 184–187, 205, 207
aboriginal ownership and building relationships
, 206–207
artefacts and ancestral knowledge
, 213–214
artefacts and making
, 195–196
caring for country
, 214–215
connection to country and ancestors
, 191–192
country
, 208
culture and country
, 210–211
everyday hopes and desires
, 194
ownership
, 209–210
racism and discrimination
, 192–194
repatriation
, 189–191
research methods
, 184
role of country and materials
, 205–206
role of government and voice
, 188–189
- Prelims
- Introduction: Co-design and Social Justice Opportunities in Data Curation and Information Systems Design
- Part 1: Infrastructure (Sectional Synopsis)
- Chapter 1: The Ethics and Cultural Sensitivities of Data Management: Some Considerations
- Chapter 2: Enhanced Material Management: Application of Natural Language Processing and Rule-based Modelling for Simplifying Storage Requirements in a Museum
- Chapter 3: Reflections from the Field: Country in a Plastic Bag
- Chapter 4: Galleries, Libraries, Archives, and Museums [GLAM]-focussed Games and Gamification
- Part 2: Body of Knowledge (Sectional Synopsis)
- Chapter 5: Entwined Vernaculars: Heritages of Tolerances, Reconciliation and Resistance
- Chapter 6: Working to Improve the Fire Exhibit at the Australian Aboriginal Cultures Gallery [AACG]
- Chapter 7: An Exploration of Digital Representation of Australian Aboriginal Art in Museums for Immersive Engagement
- Chapter 8: Clapsticks: Investigating Curatorial Opportunities and the Representation of Cultural Data
- Chapter 9: Investigating Alternate World Views: Implications for Design, Architecture and Cultural Records
- Chapter 10: More Than an Exhibition: Finding Voice, Tiati (Truth), and New Perspectives
- Part 3: Body of Experience (Sectional Synopsis)
- Chapter 11: Yarning Journeys: Ngadjuri Perspectives on Cultural Heritage
- Chapter 12: The Significance of Country: Ngadjuri Voices and Cultural Heritage
- Chapter 13: Agency and Authority in Intangible Cultural Heritage [ICH]
- Chapter 14: Aboriginal Cultural Heritage in South Australia: Where to Next?
- Part 4: Representation (Sectional Synopsis)
- Chapter 15: ‘Intersites of Knowledge’: Jules Janssen's Nineteenth-century Astronomical Apparatus and a Contemporary Moving Image System
- Chapter 16: Augmented Reality [AR] Storytelling for the Galleries, Libraries, Archives, and Museums [GLAM] Sector: A Case Study with the South Australian Museum Fire Exhibit and Megafauna Displays
- Chapter 17: Can the Transdisciplinary Co-creation of Extended Reality [XR] Artworks Help Decolonise the Glam Sector?
- Chapter 18: Beyond the Inanimate Line: Expanding Narratives of Drawings in Contemporary Creative Practice and Architectural Education
- Conclusions and Future Speculations
- Index