What is the "circle fan" for online exhibitions (culture only)
In early 2020, online exhibitions became unexpectedly popular. Affected by the epidemic, museums across the country have closed. In order to meet the cultural needs of the majority of audiences during their homes, Wenbo institutions vigorously provide online display resources. As of March 3, the National Bureau of Cultural Relics has pushed 6 batches of a total of 300 online exhibition resources, so that everyone can "cloud show" without leaving home.
Around 2005, with the introduction of the "digital museum" concept and the development of information technology, online exhibitions began to appear. As an important part of the "Museum That Never Ends", online exhibitions can save the exhibitions that have already ended, and also give audiences who missed the exhibition a chance to feast on their eyes. Today, museum digital technology is more mature. During this epidemic, so many online exhibitions can be launched across the country, which is the result of many years of digital work.
Who will go to the online exhibition? Not long ago, the author conducted a questionnaire survey on the WeChat group and circle of friends. Of the 66 questionnaires returned, nearly 40% of the respondents have not seen the museum online exhibition. Most of the people who have seen it "make up lessons" because they missed the offline exhibition, or for learning purposes. Due to the small sample size of the questionnaire, it is not enough to fully reflect the real situation, but to a certain extent, it can provide us with a reference: the main audience of online exhibitions are cultural enthusiasts who pay more attention to museum exhibitions. Said "museum powder".
In recent years, the museum has become a popular cultural “check-in” place, and some fine art exhibitions often have long queues. But the popularity of online exhibitions seems to be far below that of offline ones. What is blocking the enthusiasm for the exhibition?
First of all, admiring cultural relics and browsing exhibition halls on the screen of a computer or mobile phone are different from the aesthetic experience and artistic shock brought about by facing the real objects. Online exhibitions are affected by viewing equipment, display programs, network environment, and other factors. Inconvenient operation, unclear images, and smooth switching will greatly reduce the viewing experience.
Secondly, the online exhibition eliminates the sense of space and also hides the companions from the exhibition. It is difficult for visitors to intuitively feel the exquisite layout of the exhibition hall and the clever design of the exhibition line. During the exhibition, no partners can communicate, which reduces the corresponding Some fun.
There are many limitations to online exhibitions, but it also has its own advantages. It is continuously open in the cloud and has no closed time, allowing hundreds of millions of viewers to visit freely anytime, anywhere. With the help of advanced digital technology, images of cultural relics can be clearly displayed from multiple angles, allowing viewers to see details that are not visible on site. Watching the exhibition alone saves the trouble of queuing and crowding, and allows people to focus on the cultural relics.
There are significant differences between online exhibitions and offline exhibitions. Therefore, online exhibitions should not simply move offline exhibitions to the Internet, but extend, expand, and even "re-create" exhibitions. From three-dimensional to two-dimensional, without the constraints of space, the online exhibition can break the original exhibition line settings, providing visitors with a variety of exhibition lines and richer display content. Retrieval, in-depth reading and other functions that cannot be achieved in offline exhibitions can be implemented on the online platform to better meet the needs of Wenbo's "enthusiasts" (core audience for online viewing). For example, the "Digital Dunhuang" launched by the Dunhuang Research Institute allows viewers to choose different themed routes and search caves and murals according to their personal needs. This gives full play to the advantages of online viewing.
Online exhibitions should also make a fuss about enhancing interactivity. The museum should change the traditional thinking of "I show you what you see, I say what you listen to", and let the audience participate more. The online exhibition can learn from the way of online games and bring a lively and interesting experience to the audience. During the Spring Festival this year, the China Cultural Relics News Agency, nearly 30 museums nationwide and Tencent's "Museum of Officials" cooperated to launch "2020" The Power of the Zodiac "Creative Cultural Relics H5", transforming the "Chinese Zodiac New Year Zodiac Cultural Relic Pictures Exhibition" held offline This is a small online game that can be interactively participated in and shared with friends.
An excellent online exhibition requires solid research, sorting, and planning as the basis, and it also requires strong technical support. On the one hand, museums need to cultivate internal skills, and on the other hand, they can cooperate with advanced network technology companies. As cultural and cultural institutions continue to explore innovation and deepen cross-border cooperation, online exhibitions will surely bloom more excitingly.
Yoshimitsu