3.15pm – 4.15pm

Concurrent Session 5

Bridget Guthrie, Tamworth Regional Gallery & Museums
Using augmented reality in galleries and museums

Touch, explore, listen, watch, play. This presentation uses Augmented Reality solutions in museums and galleries to surprise, intrigue, educate and invite a response.

APositive is an Augmented reality specialist based in Canberra and a national and international award-winning digital agency that blends speciality subject with current technology to create irresistibly interactive user experiences. They assist to create custom AR applications for a broad range of subjects, including education, entertainment, advertising, exhibition, pure art and tourism.

APositive worked with curator Bridget Guthrie to add an extra digital layer of information to the ‘The Trumpet Calls’ WW1 exhibition to commemorate 100 years of Albury Anzacs. Visitors use the free APositive app to augment parts of ‘The Trumpet Calls’ exhibition at the Albury LibraryMuseum. Digital information included WW1 images, audio, battle field soundscapes, narrated poems, holograms, animated floor maps and a historically accurate, full scale 3D interactive model of an 18 Pound Field Gun that fires when tapped.

We are now working together on an exhibition with AR for the Tamworth Regional Gallery – ‘The Changing Face of the Peel’. The Peel River has had a significant impact on the lives of people living close to it. By using art and technology we explore these stories to illustrate how human use of the Peel River has changed over time. Soundscapes, layering of images and photographs, holograms, animated rising river levels and 3D animated fish are all used to engage a diverse audience and extend understanding.

Touch, explore, listen, watch, play. This presentation uses Augmented Reality solutions in museums and galleries to surprise, intrigue, educate and invite a response.

Pip Kelly, Independent Curator & Creative Producer
Khmer-Australian histories, rare photographs and contemporary art in Logan, Queensland

Jorng Jam means ‘to remember’ in Khmer.

This exhibition series was initiated by Brisbane based Curator and Creative Producer, Pip Kelly during an Asialink residency in Phnom Penh in 2013.

Jorng Jam II brought a team of four Cambodian artists to Queensland, to work with Pip and the Cambodian-Australian community in Logan – a culturally diverse city representing the highest population of Khmer-Australians in Queensland.

This exhibition and research is the first of its kind in Queensland. There are no oral histories or historical photographs of Cambodian-Australian’s in the State Library of Queensland or the State Archives. It was also the first exhibition showcasing Khmer histories and contemporary art at Logan Art Gallery.

The group collaborated with 7 families to record and document their experiences of Pol Pot’s Democratic Kampuchea and the Thai refugee camps during the 1970s and 80s before finding a new home in Australia.

After in depth research and oral history interviewing, Pip and the artists worked closely with each family to create an exhibition within a short 6 week timeframe. The artworks and stories highlighted strength, resilience and survival and were exhibited alongside personal historical photographs at Logan Art Gallery in 2015.

This presentation highlights the process used to work collaboratively, intuitively and sensitively with the Cambodian-Australian community from Logan and concurrently with 4 travelling artists from Cambodia. It also highlights the need to document and exhibit the histories of cultural minorities in Australia – especially those who have experienced refugee status at some point.

www.jorngjam.com

Workshop 1

Dr Gretchen Stolte, Australian National University
Introducing OCCAMS: an online cultural collections and management system

OCCAMS is a specially designed collections research database developed by the Australian National University. Created by researchers working on cultural collections, OCCAMS is designed to collate metadata from multiple sources as well as annotate photographs and various digital formats such as videos, audio files and documents. Additionally, OCCAMS includes geospatial mapping and object timelines. As an online platform, the database can be shared with anyone: research partners, communities and cultural institutions. Most importantly, metadata generated in OCCAMS can be exported into formats that museums, galleries and communities can import into their own databases.

In recent years, OCCAMS has been used by researchers to aid in major projects focused on the material culture of Aboriginal and Torres Strait Islander peoples. To date however, it has not been used much by First Nation peoples themselves. My own experience working with the database has shown the versatility in adding and attaching important cultural information into an Indigenous collection. Such information includes: language names; stories from elders; references in historical texts; links to historical photos; and much more. This workshop is designed in two parts. First, there will be a demonstration that introduces participants to the database. Then, there will be a hands-on section to generate ways in which the database can be used to facilitate Aboriginal and Torres Strait Islander agendas and goals with regards to their own material culture research. All are welcome to the workshop.

OCCAMS Workshop on decolonising the Museum database & crafting Indigenous knowledge into the metadata.

Concurrent Session 6

Tom Harwood, Qantas Founders Museum
Bringing a heritage hangar to life

An old corrugated iron shed is at the heart of the Qantas Founders Museum in Longreach, Queensland. Built in 1922, the original QANTAS hangar is almost certainly the oldest civil aviation structure in Australia and was placed on the National Heritage register in 2009. Until it became Stage 1 of the museum in 1996, it had been used continuously as an aircraft hangar and maintenance facility for 74 years. With the opening of Stage 2 in a new building in 2002, the hangar housed some of the more resilient artefacts but with limited lighting and not a lot of thought given to effective display and signage.

A decade later, things were looking tired, dull and dated. We felt the story being told in the hangar deserved better treatment and presentation with an endeavour to evoke the mood and feel of the structure during the period in the 1920s when it was home to what became our national airline. The challenge was to enhance heritage values without jeopardising them.

Through an ‘Everyone’s Environment’ grant in 2014, the Museum upgraded displays by giving greater prominence to significant exhibits with changes to displays, LED lighting, new signage, a soundscape with audio files of aircraft types Qantas used in the 1920s, new barrier wires and a cutaway radial engine.

The project brought to life the cultural heritage aspects of the hangar with its sense of space and the feel for the 1920s era when Qantas called it home.

Jennifer Garcia, Newstead House
ReSpacing: how timelessness generates innovation in cultural programming

Over the past 2 years Newstead House, the jewel in the crown of South East Queensland house museums & Brisbane’s oldest standing residence, has embarked on a radical rejuvenation process. This process has seen the repositioning of the house within the community, increased visitor numbers and the development of an innovative cultural programming calendar that engages with the community on multiple levels.

Communications & Programming Manager Jennifer Garcia will share the strategy behind Newstead House’s programming, the stories and the lessons that have been learnt over the past two years.

When it comes to creating content how we view our spaces is pivotal to ensure we are continue to remain relevant in a modern world.   ReSpacing our house museums to be timeless can create a pathway for community engagement, sustainability, viability and relevance in to the future.

Concurrent Session 7

Debrah Novak, Port of Yamba Historical Society
Port of Yamba Historical Society
CLICK HERE TO DOWNLOAD DEBRAH NOVAK’S POWERPOINT PRESENTATION

Ever wondered how to engage with and showcase the local stories of our First Nation people?

Come, listen and learn how the award winning Yamba Museum took their first steps to engage with their local Aboriginal people. Hear how the museum members developed an inclusive approach to the telling of everyone’s story and in doing discovered a much greater and far richer knowledge and understanding of the wider community.

The greatest story ever told of the planets oldest surviving culture begins with trust and building bridges and adapting long held perceptions that can reveal a treasure trove of story ideas.

Come, listen and learn how the award winning Yamba Museum took their first steps to engage with their local Aboriginal people.

Mick Bolognese, National Motor Museum
De-accessioning – is it really that hard?
CLICK HERE TO DOWNLOAD MICK BOLOGNESE’S POWERPOINT PRESENTATION

Has your museum inherited a big collection that is no longer relevant to its function? Are you struggling to care for objects that probably belong somewhere else? Then de-accessioning is right for you! This session will show you that tackling a large de-accessioning project can have some great benefits for your organisation and probably isn’t that hard!

This session will show you that tackling a large de-accessioning project can have some great benefits for your organisation and probably isn’t that hard!