Here is a summary written by Geoffrey Lewis, former President of ICOM in 1996 and revisied/updated in 1998. Patrick Boylan ========================= Museums and the Web Geoffrey Lewis There is a long history of the use of computers in museums. By the mid-1960s a number of institutions were making computerised records of their collections, eg in the UK: Imperial War Museum, London and the Sedgwick Museum of Geology, University of Cambridge; in the USA: the Smithsonian's National Museum of Natural History and the Museum of Paleontology, University of California. Two national organisations concerned with networking museum information were also created at this time, the Information Retrieval Group of the Museums Association (IRGMA) in the UK which led to the formation of the Museum Documentation Association (MDA) ten years later and the Museum Computer Network (MCN) which was concerned particularly with art museum collections in the USA. ICOM established a working party to examine and promote the matter on a multi-disciplinary basis in its Documentation Committee (CIDOC). A wider ranging programme involving sites, monuments and art objects existed in France with the Inventaire General des Monuments et des Richesses Artistiques de la France under the aegis of the French Ministry of Culture. By 1972, Canada had established its National Inventory Programme (now CHIN) which had a national inventory of museum collections among its goals. It is interesting to note that just as museums were pioneering new approaches then in the recording and retrieval of information, this has been repeated with the application of the Web for museum purposes. The beginning of the 1990s saw many museums in a number of different countries with computerised collection information, some of which were already making that information available online for public use in their galleries. By this time also a number of national and supra-national networks were in existence, eg Minitel in France or Prestel in the UK. These provided opportunities for public access to stored textual information and some museums experimented with these. An opportunity to present museum information and illustrations arose also through commercial online information services and, for example, both the Smithsonian and the Dallas Museum of Art had a presence on the CompuServe Information Service. But it was amongst university museums and those with access to the university networks that the real interchange of museum data began to develop, although mainly within the recognised academic disciplines. By 1993 museums had started to place collection-based and other information on the Internet. Initially this was achieved through menu-driven Gopher sites and the Smithsonian's National Museum of Natural History, the Museum of Paleontology at Berkeley, University of California, the Field Museum of Natural History, Chicago and the Exploratorium, San Francisco were among them. Another important Gopher site was that of the Library of Congress which made available exhibits on the Vatican and other subjects in May, 1993. Museums and their collections played an important part as a test-bed in the development of web technology and in its early applications. In October 1993 the Museum of New Zealand Te Papa Tongarewa was providing a full hypermedia facility based on a Hyper-G (now HyperWave) server at the Graz Institute of Technology in Austria. However, the Mosaic graphical browser was destined to become the watershed in providing easy access to the multimedia capabilities of the World Wide Web. As this was developed at the National Center for Supercomputing Applications (NCSA), University of Illinois, an art history exhibit from the Australian National University was incorporated into the Mosaic Demo Document in June 1993; another demonstration was based on the Palace of Diocletian at Split (also from the same source, soon to become known as ArtServe) and a converted version of a Soviet Archives exhibit from the Library of Congress. Not surprisingly a hypermedia exhibit from the University of Illinois's own Krannert Art Museum was available by August of that year. In the same month the SunSITE at the University of North Carolina at Chapel Hill established its web server with the UNC Virtual Museum as its link page. This contained a Mathematical Art Gallery, another version of the Library of Congress's Soviet Archives and then EXPO. The award winning EXPO was developed from other Library of Congress exhibits - "1492: An Ongoing Voyage", "Dead Sea Scrolls", "Rome Reborn"; further additions included a terrain map, the Diocletian Palace at Split and a palaeontology exhibit. The UC Berkeley Museum of Paleontology also made hypermedia exhibits available at this time and the Conservatoire National des Arts et Metiers in Paris established an experimental web server. The next few months from August 1993 saw a number of other museum and related initiatives. Apart from regular updating of EXPO and the Berkeley Museum of Paleontology's exhibit - which included one on the Palaeontological Institute of Russia - new features appeared including the electronic museum exhibit "Charlotte: The Vermont Whale" by the University of Vermont and two exhibitions for the Singapore National Museum on its National Computer Board's web server. The Exploratorium in San Francisco quickly established its web presence. The Archaeological Museum of Cagliari, Sardinia also featured on a local server while a little later, on the Italian mainland, the Physics Department of Naples University "Federico II" provided an online exhibition about early instruments in its Museum. La Trobe University at Melbourne, Australia included its Art Museum on their web site. Another award winning venture, privately run from SunSITE is the WebMuseum, introduced as Le Louvre in March 1994 (also known as WebLouvre for a short time) which provides a network of exhibitions and other resources. Since then the number of museum web sites has increased vastly and attention is drawn to the World Wide Web Virtual Library for museums [http://www.icom.org/vlmp/] where addresses for museum sites can be found. The response from museums to multimedia is not so extraordinary as those external to the profession might think. As one outside observer commented: "the web museum landscape .... suggests several reasons why this community is setting many of the standards that will govern networked digital media communication over the World Wide Web in the future." [Robert A Duffy (Strategic Communications, Columbia, USA) in 'Magic Carpets and the Tools of Institutional Knowledge: Why the museum community is leading the field in networked multimedia', a paper given at the Plenary Session, International Online Information 95, London, December 1995.] The substance of this note was originally posted to Museum-L in 1996. © Geoffrey Lewis, 1996, 1998 (Unaltered multiple copies may be made for educational purposes) Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes).