NORDISK MUSEOLOGI 2005 ● 2, S. 17-27

Annotating the environment. 17 Heritage and new technologies

PETER VAN MENSCH

Based on a lecture held at “ of the future”,1 Copenhagen, 13 June 2005

This article attempts to make a general inventory of the different initiatives – by institutions as well as private persons – to increase access and interpretation of the environment as mindscape, as network(s) of lieux de mémoire charged with historical and collective memory.

Museology is about musealisation, which ba- rical memory and collective memory, without sically is the creation of heritage. In our socie- the collective memory being alienated (“sto- ty, musealisation is to a high degree institutio- len”) from those whose memory it is. nalised. A wealth of professional institutions New Museology has always been concerned define heritage, i.e. define memory. This is about the attribution of meaning and signifi- what Halbwachs (1992) refers to as historical cance, and the question of who is in control of memory. But there is also heritage that is ex- this attribution. One of the manifestations of perienced as collective memory by groups of New Museological practice is the ecomuseum. people themselves; heritage that is not, or at An examination of the range and nature of least not yet, institutionalised. Part of this col- current ecomuseums worldwide suggests that lective memory is connected with places and regional cultural identity (and a pride in it), a things: lieux de mémoire. These lieux de mé- sense of community, the need for economic moire form multi-layered networks. One place regeneration and the potential loss of “herita- might be part of different networks, i.e. part ge” are the main driving forces in the creation of the collective memory of different social of ecomuseums (Davis 1999). The driving groups. It might be possible that such place is forces behind the application of new techno- already recognised as historical memory, but logies in the heritage field seem to be compa- this could well be only one layer of meaning. rable. Modern technology appears to provide new De Varine (1988) provided a four-point plan possibilities to increase access and interpreta- for ecomuseums or community-centred mu- tion, but also to bridge the gap between histo- seums. He identified four principal objectives: PETER VAN MENSCH

18 a as an object and data bank for the commu- Roman Catholic church, in a period when pu- nity blic avowing of this religion was forbidden in b to serve as an observatory of change (and to Holland. In 1888, the building and its inte- help the community react to changes) rior was musealised. The present uses c to become a laboratory – a focal point for the history of the building to discuss the his- meetings, discussions, new initiatives tory of Roman Catholicism in the Nether- d a showcase – revealing the community and lands. In 2004 the museum organised the ex- its region to visitors. hibition “Van Doop tot Dood. Verhalen op The same objectives can be recognised among Solder” (From Christening till Death. Stories new initiatives which can be identified as ma- in the Attic). During this exhibition, visitors terials of a virtual ecomuseum. The overar- were asked to contribute by sharing a personal ching concept is cultural biography. Rooijak- story concerning the seven sacraments (Oud kers uses this term in reference to the traces of & Oostdam 2005). Objects related to these man in the landscape by way of settlements, stories were photographed on a so-called “Ver- reclamations, roads and other (infra)structu- halen Altaar” (story altar). The collected stories res. These structures are the keys to presenting were presented on a special website (www.verha- the various lifestyles that may differ according lenopsolder.nl). The project followed a new to time, place and social or cultural groups. trend among museums to use oral history as The material of domestic utensils, im- component of exhibitions (Chew 2002). plements, buildings and works of art bears Imagine IC (Imagine Identity and Culture) tangible witnesses of these lives, which are me- is a centre for the visual representation of mi- aningful only in their ecological and cultural gration and , located in Amsterdam contexts. Consistent focus is the relation of Southeast. Imagine Identity and Culture is the man with his surrounding world. This inclu- first cultural organization in the Netherlands des the life-cycles of individuals, human to highlight the culture and identity of mi- beings of flesh and blood, as they condensate grants as seen from their own perspective. It – seen from a long-term perspective – into ac- invites people to describe their history and cumulated histories of families, neighbourho- culture by means of various activities. These ods, communities and regions (Rooijakkers stories are used to create exhibitions, audio-vi- 1999). The landscape as a mindscape, i.e. a sual programs and digital productions for mental category instrumentalized by people to both newcomers and residents (Seriese & give meaning to the world in which they live. Tangkau 2003). In 2000, Stefan Olivier started the Bruxelles nous appartient/Brussel behoort ons toe RECORDING STORIES (Brussels belongs to us) project. The project aims to create a biography of the city by col- The Museum Amstelkring (also known as lecting stories of its citizens. People are invited “Ons’ Lieve Heer op Solder” = Our Lord in to interview a fellow citizen. This interview, or the Attic) is a small museum in the historical rather dialogue, is shared via the project’s bi- centre of Amsterdam. This 17th-century canal lingual website (www.bna-bbot.be). house was in 1661 transformed into a secret In 2003, the Amsterdams Historisch Mu- ANNOTATING THE ENVIRONMENT. HERITAGE AND NEW TECHNOLOGIES

seum organised an exhibition about the peop- chogéographique de Paris”, a map showing 19 le’s history of the part of Amsterdam called the city as filtered by subjective experience, “East”. The title of the exhibition was “Het “measuring” on oneself and in comparison geheugen van Oost” (Memory of East). Part with others the affections and passions that of the project was the creation of a website, take form by visiting places and listening to following the same principles as the three pro- one’s own inner impulses (Careri 2002: 102). jects mentioned earlier (www.geheugenvano- New technologies, such as television, promp- ost.nl). In the meantime, the website contains ted Lucio Fontana in 1952 to initiate the more than 400 stories, related to people, arte- “Manifesto del Movimento Spaziale per la facts and places (De Vreede 2005). televisione”: The four projects are intended to give people the opportunity to share their stories and their For the first time throughout the world, we Spatialists heritage. Although there might be some cura- are using television to transmit our new forms of art torial intervention, people are basically in based on the concepts of space, to be understood control of the memory they want to share. from two points of view: the first concerns spaces that Participation and exchange is facilitated by the were once considered mysterious but that are now structure (interface) provided by the organiser. known and explored, and that we therefore use as Surplus value results from the possibility of plastic material. The second concerns the still interaction between the stories. The “Brussels unknown spaces of the cosmos – spaces to which we belongs to us” and “The memory of East” address ourselves as data of intuition and mystery, the projects provide materials for a virtual bio- typical data of art as divination. For us, television is a graphy of the city or a neighbourhood. The means that we have been waiting for to give complete- Imagine IC and “Stories in the Attic” projects ness to our concepts. We are happy that this Spatial focus on the collective memories of people manifestation of ours is being transmitted from Italy with shared experiences. Through the stories, – a manifestation destined to renew the fields of art. It personal identities are linked with collective is true that art is eternal, but it has always been tied identities. down to matter, whereas we want it to be freed from matter. Through space, we want it to be able to last a millennium even for a transmission of only a minute. Our artistic expressions multiply the lines of the hori- zon to the infinite and in infinite dimensions. They are Many of the stories collected by aforementio- a form of research for an aesthetic in which a painting ned projects relate to places. Artists have long is no longer painted, a sculpture no longer sculpted, been fascinated by the urban (or rural) fabric and in which the written page leaves behind its typo- of personal lieux de mémoire or the absence of graphical form. We Spatialists feel ourselves to be the it (the “amniotic fluid” of the Surrealists). artists of today, since the conquests of technology are Francesco Careri (2002) has described in de- now at the service of the art we profess (Bloem 2005). tail how actual and virtual structures in the city played a role in Dada, Futurism, Surre- The Situationist’s interest in psychogeography alism, Situationism and . Situationist and the Spatialist’s adoption of new technolo- Guy Debord created in 1957 his “Guide Psy- gies return in a series of contemporary pro- PETER VAN MENSCH

20 jects in which artists explore the conscious only the place itself, neither the buildings nor and unconscious layers of urban geographies. the people are crucial for that reminiscence, Thanks to new locative media and a rising but also other conditions are essential. Maybe interest in social issues among many artists, the heavy rain makes you remember how lost psychogeographic works are exploding around you where at that city, walking alone. Or the the world. A major US instigator this time is sun was so hot that you were so glad when you Glowlab, a New York collaborative founded in found yourself a cool place to stay or made 2002 that stages and sponsors a variety of pro- you feel like holiday. But it’s not only the we- jects (www.glowlab.com). In 2005, Canadian ather that’s important for the feeling of tem- artist Jillian Mcdonald created a website pre- porarily being in another place. The season, senting a variety of psychogeographic projects: the time, the day of the week, etc. are issues to “Location is Everything” (rhizome.org/art/ex- be considered, too. Only if all the conditions hibition/location_is_everything/home.html). match the previous experience will the city The artists in “Location is Everything” have suddenly emerge and make it possible for you all mapped personal or collective experiences, to travel the world.” some informed by external factors like weat- her data or pop-culture references, and some allowing the map itself or local residents to in- IN SITU form them. As a painter might pull imagery from the paint, the map as a bird’s-eye view is In situ interpretation has its own history. Early a locative tool that allows artists to playfully or handbooks, such as Arthur Percival’s Under- poetically free up information about physical standing our surroundings (1978), already and psychological space. describe a wide range of media for urban heri- In 2003, Brigitte Bélanger created with her tage interpretation. In the 1990s, a new tech- team (Bellissima) an “Emotioneel Stadsplan” nology was introduced in London. Visiting (Emotional City Plan) of Amsterdam. Via an London one could use one’s own mobile interactive map (www.emotioneelstadsplan.nl), phone and dial certain numbers to get a wide stories are connected with specific places or range of historical, cultural and anecdotal in- objects (trees). One can select personal stories formation. The service (“Guidephone”) is no on the basis of eight emotions (joy, sadness, longer available, but the technology is still pride, shame, guilt, sorrow, anger and fear), used in many different places. Celebrating the or eighteen themes (such as birth, death, love, 200th birthday of Hans Christian Andersen, change, inspiration, etc.). the Danish city of Copenhagen created “Hans In 2004, students of LIACS Media Lab Christian Andersens Fodspor” (Hans Chris- (University of Leiden) created a “Trading Pla- tian Andersen’s Footsteps – a soundwalk ces” website (www.trading-places.info). It is through the author’s Copenhagen). The tour based on personal associations one may have brings the visitor past 62 sites that had signifi- with other cities while in Amsterdam. The site cance in the life and writing of Hans Christian suggests city trips in Amsterdam starting from Andersen. At all stops along the route, a sign people’s perception of temporarily being in tells about the location back then. Panels give another place for a couple of moments. “Not phone numbers to call with one’s mobile phone, ANNOTATING THE ENVIRONMENT. HERITAGE AND NEW TECHNOLOGIES

bringing the audience into direct contact with their phones, for example making pictures. 21 the author, who – brought to life by present A more advanced use of “locative media” was day actors – gives his own account of the loca- developed by the Mobile Bristol Centre. The tion. In English, these sound-quotes are read centre develops digital landscapes that overlay and interpreted by Sir Derek Jacobi and in the physical world. Walking around this lands- Danish by Lars Mikkelsen. The same tour (in- cape, the visitor can tap into the digital cluding the texts read by Derek Jacobi) can be sounds, sights and interactions that are posi- done virtually on the internet (www.golden- tioned in the landscape and activated by his days.dk/HcaFodspor/gd_flash_da.html). presence and actions. The digital landscape is In 2003, mobile phone-based audio tours formed from a dynamic and overlapping set of were introduced in New York. Miles Kronby mediascapes which are context-sensitive com- created the project Talking Street (www.tal- binations of digital media and interactions cre- kingstreet.com), which now also offers audio ated and deployed by various authors. tours in Boston and Washington DC. One In April–May 2004, Mobile Bristol presented example is the “Symbols of America” tour a trial version of “Riot 1831”. Equipped with a along the Washington Mall, narrated by Larry backpack and a set of headphones, the visitor King. In addition to Larry King’s lively narra- experiences the riots of 1831 on Bristol’s Qu- tion, one can hear expert interviews, dramatic een Square. In 1831, the Political Reform Bill readings, eyewitness accounts, local voices and was defeated in Parliament and the vote denied original music. once more to ordinary people. The people rose In some projects, PDAs are used to replace up and thousands of them have filled Queen mobile telephones (Bishop 2005), but the la- Square in the heart of the city to vent their test generation of mobile phones offers new fury. As the present day visitor walks, his mo- possibilities, especially when fitted with a GPS vement will trigger different pieces of the play, module. Global Positioning System (GPS) – the more he walks around the more different available since 2000 – makes it possible to have pieces will unravel. One hears the rioters’ voi- information available at the right time and ces as they plunder the surrounding buildings, place. The Waag Society (Amsterdam) started the flames as buildings burn, the merchants as in February 2005 a citygame using mobile they flee for their lives and the Dragoon Gu- (UMTS) phones and GPS technology for stu- ards as they sabre-charge through the crowds dents aged 12–14. In the Frequency 1550 mo- cutting down the rioters. By altering his posi- bile game, students are transported to the me- tion, the visitor is in charge of who and what dieval Amsterdam of 1550 via a medium fami- he hears. Art and technology have immersed liar to this age group: the mobile phone. In him in the historical event and make it possi- their role as pilgrims, students navigate ble to shape the experience. through the city by means of a city map of 1550. During their walk they get information about the city and events that took place. This PSYCHOGEOGRAPHY IN SITU information is provided by the Amsterdams Gemeentearchief (Municipal Archives). The In May 2005, the Museum of Copenhagen students receive and carry out orders through started with a series of six audio walks in the PETER VAN MENSCH

22 Vesterbro neighbourhood. The neighbourho- Arrow authors essentially save a thought on od is in a period of transition. From being a the spot where they place their sticker. Messa- working-class neighbourhood with an abun- ges range from short poetic fragments to per- dance of social problems, the area is under- sonal stories to game-like prompts to action. going a massive renovation that has attracted When another person encounters the Yellow students and younger families. The audio Arrow, he or she sends its code to the Yellow walks follow this transition through the eyes Arrow number and immediately receives the of six persons with a personal relation with the message of that arrow on their mobile phone. area. Their stories can by downloaded, but The website YellowArrow.net extends this lo- Mp3 players are also provided by the museum cation-based exchange, by allowing partici- (located in the same area). pants to annotate their arrows with photos The Vesterbro audio walks allow storytell- and maps in the online gallery of Yellow Ar- ing and reality to meet and intermingle. For rows placed throughout the world. 15–40 minutes, the visitor is immersed in In December 2004, New York University the world of the storyteller. This is connec- graduate John Geraci launched Grafedia ting the Imagine IC and “Brussels belongs to (www.grafedia.net). With Grafedia, every sur- us” projects with in situ interpretation. The face becomes potentially a web page, and the in situ variant of the “Story in the Attic” and entire physical world can be joined with the “Memory of East” projects is the Canadian Internet. Grafedia authors can make hyper- [murmur] project (www.murmurtoronto.ca). linked text at any time and any place by wri- In 2003, Shawn Micallef, James Roussel and ting or selecting a word and adding a blue Gabe Sawhney started a project to explore underline. It can be written anywhere – on site-specific personal histories in Toronto. walls, in the streets, or on sidewalks. Grafedia The project consists of posting phone num- can also be written in letters or postcards, or, bers on signs around a neighbourhood. Those for example, on the body as tattoos. Once an who call the number from a mobile phone instance of grafedia is identified, one can retri- can hear an anecdotal history of the site, re- eve the content that is linked to the text by corded and archived by someone who wants sending a message from a wireless device (cell to share the story. The number to call is posted phone, PDA, etc) addressed to the underlined as close as possible to the site where the word plus ‘@grafedia.net’. So, for example, if event(s) took place. one saw a grafedia message with the word love A similar project of “annotating the environ- underlined in blue, one would send a message ment” is Yellow Arrow, launched in 2004 from a wireless device to ‘[email protected]’ (www.yellowarrow.org). Like [murmur] Yellow to receive the linked content. Arrow wants to “transform the human experi- An increasing number of projects use new ence by changing the way people look at their technologies to question the authority of heri- environment”. Participants place yellow ar- tage and art institutions. When does an object rows to draw attention to different locations. become art? What makes a landmark? Who By sending a text message (SMS) from a mo- says what counts? The projects are based on bile phone to the Yellow Arrow number be- the assumption that everybody has a story, ginning with the arrow’s unique code, Yellow and that people themselves decide what stories ANNOTATING THE ENVIRONMENT. HERITAGE AND NEW TECHNOLOGIES

need to be preserved. “We think people ed in 1986 in Barolo by Carlo Petrini, a wri- 23 underestimate the stories they have – if some- ter provoked by the incursion of American- thing means something to you, other people style fast food chains into Rome. His mani- want and even need to know that”, as is writ- festo bewailed the fact that we “are enslaved ten on the [murmur] website. “By contribut- by speed and have all succumbed to the same ing a story, you’re adding your distinct voice insidious virus: Fast Life, which... forces us to the public discourse and record that defines to eat Fast Foods, which diminish opportu- what the city is.” nities for conversation, communion, quiet reflection, and sensuous pleasure, thus short- changing the hungers of the soul” (Swift SLOW CITY 2005). In Orvieto, Italy in 1999, the Slow Cities movement held its first meeting. Their Shawn Micallef, one of the creators of [mur- Charter of Association identifies globaliza- mur], considers the project an antidote to tion as a phenomenon that, while it offers “a guerilla marketing: “We’re constantly screa- great opportunity for exchange and diffu- med at by ads wanting you to buy stuff and sion,... does tend to level out differences and do stuff, but this is actually information you conceal the peculiar characteristics of single want to hear. It’s bubbling up through side- realities.” The seven stated particular aims of walks – selling you not more stuff, but expe- cities in the Slow Cities movement include riences and people; selling you your neigh- emphasizing recovery and reuse methods to bours. This is a person, not a talking Coke “maintain and develop the characteristics of machine.” (Pugh 2004). Unnecessary walk- their surrounding area and urban fabric”, sa- ing, watching, listening and imagining are feguarding “autochthonous production, roo- the heart of [murmur]. The aimless, watchful ted in culture and tradition, which contribu- figure of the flâneur, as described by philo- tes to the typification of an area, maintaining sopher Walter Benjamin, is important to its modes and mores and promoting prefe- [murmur] thinking, too. According to Mi- rential occasions and spaces for direct con- callef, to dial in to a [murmur] tale means to tacts between consumers and quality produ- “step out of daily routine and see the city cers and purveyors”, and promotion of “the from a different angle.” He adds that the quality of hospitality”. group’s work is “not a linear thing to be used Oral storytelling has a long tradition of of- in a set way. You can step out of the subway fering insight and understanding. Listening and hear one story or set out to go through to stories as presented through [murmur] them all.” The stories are not numbered, so and Yellow Arrow is much like walking there is no correct or incorrect order to liste- through the city with inhabitants who know ning. its stories. In experiencing these stories, These ideas come close to the concept of people can develop a new intimacy with the “Slow City”. Called Cittaslow in Italy, the city’s lieux de mémoire: once a story is atta- country of its birth, Slow City is the off- ched to a place, that location has a new signi- spring of another movement, . ficance and can no longer be arbitrarily over- The Italian Slow Food association was start- looked or forgotten. PETER VAN MENSCH

24 CULTURAL BIOGRAPHY sent inside (and outside) heritage institutions and of events on many stages, of values of the All projects provide material for a cultural bio- landscape and peculiarities and graphy of a region. Traditionally, cultural bio- of recreational and tourist facilities spread all graphies are fragmented, scattered among a over the area. Not the providers, but the visi- wide range of heritage institutions. Collective tors/customers are the central figures in this. memories usually escape the interest of the vi- They adapt the chain of providers from mod- sitor. Many of the projects mentioned aim at ules to a custom-made, personalized consu- identifying collective memories and have de- mer package of products. What IDZO suppli- veloped methodologies to share these stories. es is in fact not a product, but an infrastructu- New technologies also provide opportunities re of modules that can be configured in all di- for an integrative approach of the institutio- rections. The objective of the project is to de- nalised heritage (historical memory). An ex- velop a proper interface connecting the Con- ample is Sense of Place South East (www.sop- tent Management System with the visitor’s se.org.uk). Sense of Place South East is a con- own wireless device. With a GPS module, the sortium of local authority museums and libra- visitor has access to all available information ries in South East England. The SoPSE part- in situ. The information will be offered in la- ners (Hampshire County Council, West yers, leaving the visitor to decide how far he Berkshire Council, Slough Council, Reading wants to go. The system will also offer themes Borough Council and the Royal Borough of making it possible for the visitor to be guided Windsor and Maidenhead) have combined to through the region. create their individual heritage websites from It is clear that the cultural biography of the a shared platform using a common Content region is first and foremost a human story Management System that delivers the online which cannot be presented without the peop- databases. The project comprises a web portal le from the region itself. Participation of the and a series of microsites, currently including inhabitants themselves is therefore of crucial ‘Greenham – a common inheritance’, ‘Hants- importance: they must primarily be able to phere’, ‘Slough History online’, ‘The Huntley identify themselves with the modules of the & Palmers Collection’ and ‘Thames Pilot’. IDZO (an ego-documents program is therefo- Each microsite delivers fully searchable images re part of the project). and information from libraries, museums, ar- A secondary, yet important, concern is tou- chives, local papers and a range of organiza- rists “from outside”. For them, a region with a tions enhanced with narrative stories. sound basis for cultural activities, which peop- The Identity Factory Southeast (IDentiteits- le feel an affinity with and take pride in as fabriek Zuid-Oost: IDZO) creates a cultural their “own” civilization in all its shapes and infrastructure in the Kempenland and Meije- forms (fine and vulgar, rural and urban Bra- rij regions in the southeast of the North Bra- bant and metropolitan, honourable and cri- bant province in The Netherlands. Its infra- minal, common and deviant, orthodox and structure resembles “Sense of Place South heretical, global and local, historic and cur- East”. Core is a Content Management System rent) goes beyond the smooth image of clichés created to making optimal use of objects pre- with safe stories, up to a place of genuine ex- ANNOTATING THE ENVIRONMENT. HERITAGE AND NEW TECHNOLOGIES

perience. After all, the consumer wants a flex- ge conversational interaction. Such software 25 ible, high-quality product which can be perso- has been described as “social software” (Boyd nalized in the best possible way. Clear connec- 2003). According to Stowe Boyd, social soft- tions between the different assets shaped by ware should support conversational interac- the concept of the regional cultural biography tion between individuals or groups including provide an essential extra value to the tourist’s real time and “slow time” conversation, like leisure stay. In this way, a region like Kempen- instant messaging and collaborative teamwork land can be positioned on the cultural market spaces, respectively, should support social fe- with many commercial and imaginative op- edback which allows a group to rate the con- portunities (Rooijakkers 1999). tributions of others, and should support social networks to explicitly create and manage a di- gital expression of people’s personal relations- SOCIAL SOFTWARE hips, and to help them build new ones. “Soci- al software reflects the ‘juice’ that arises from The “post-PC” era of ubiquitous computing is people’s personal interactions,” writes Boyd. driven by a boom in mobile devices and infor- “It’s not about control, it’s about co-evolution: mation appliances that will become ever chea- people in personal contact, interacting to- per, more energy efficient, seamlessly intero- wards their own ends, influencing each other.” perable, configurable over the Internet as well Museology is about musealisation, but herita- as always and optimally connected (Geser & ge is created by people. This is a collective pro- Pereira eds. 2004b: 27). Overall, future mobi- cess. Any new technology providing for access le devices are likely to have much more pro- and interpretation should respect this. cessing power as well as dynamic memory, multimedia accelerators that allow for a much richer visual experience, and multiple types of POSTSCRIPT wireless capabilities. Multimodal interfaces will enable us to control and interact with the This article benefited a lot from the work of environment to a considerable degree and some of my students from the Reinwardt Aca- with various media in a natural and personali- demie and the University of Amsterdam. Irina sed way (loc. cit.: 29). This will challenge our Leifer (Reinwardt Academy) introduced me to concepts of heritage and our relation with his- the Yellow Arrow project and inspired me by torical and collective memories. showing the strong affinity of [murmur] and The examples mentioned in the present arti- Yellow Arrow to the Slow City movement. cle show the potential of new technologies to Karen van Hameren (Reinwardt Academie) bridge the gap between historical and collecti- researched web-based communities and the ve memories. However, the projects are hardly new definitions of heritage and identity wit- interactive. One listens to stories, and in re- hin this context. She introduced me to the turn one can add his or her own story, but concept of “social software”. Eefje de Groot there is no real person-to-person exchange of (University of Amsterdam) wrote an excellent experiences. The projects could perhaps be en- study of the “Sagensafari”, exploring the no- riched by interfaces that facilitate or encoura- tions of memory and place. The “Sagensafari” PETER VAN MENSCH

26 is a project to link local legends with the Careri, F.: Walkscapes. Walking as an aesthetic practice. landscape and to experience both in an inte- Editorial Gustavo Gili: Barcelona 2002. grated way. I also thank my colleagues Theo Chew, R.: “Collected stories: the rise of oral history Thomassen and Nico Halbertsma for the in museum exhibitions”. Museum News 81 (6). many discussions we had about heritage and 2002, p. 30-37. e-Culture. Davis, P.: Ecomuseums. A sense of place. Leicester Uni- versity Press: London 1999. This article also benefited from the work of Digi- Geser, G. & J. Pereira (eds.): Virtual communities and CULT. Digital Culture (DigiCULT) is a project wit- collaboration in the heritage sector. DigiCULT hin the framework of the Information Society Tech- Thematic Issue 5. DigiCULT/Salzburg Research: nologies (IST) initiative, initiated by the European Salzburg 2004 (a). Commission, DG Information Society (Unit D2: Geser, G. & J. Pereira (eds.):The future digital herita- Cultural Heritage Applications). Its Newsletters, ge space. An expedition report. DigiCULT Thema- Technology Watch Reports, Special Issues and The- tic Issue 7. DigiCULT/Salzburg Research: Salz- matic Issues are invaluable resources for everyone burg 2004 (b). interested in the developments that are discussed in Halbwachs, M. 1992: On collective memory. The Uni- this article. versity of Chicago Press: Chicago 1992. Keenan, E.: Marking time. Do you ever feel like not- hing really ever happened in Toronto? There’s a re- ason NOTES (http://eye.net/eye/issue/issue_07.01.04/city/mar king.html). 2004. 1. The lecture in Copenhagen on which this article Oud, W. & R. Oostdam: Persoonlijke verhalen in Ons’ is based also featured a view of the future as the Lieve Heer op Solder. Onderzoek naar interactieve third question “What Future?”, but any exhausti- publieksbegeleiding in Museum Amstelkring, Ons’ ve account in written form would make this arti- Lieve Heer op Solder. SCO-Kohnstamm Instituut: cle too long. Amsterdam 2005. Percival, A.: Understanding our surroundings. London 1978. Pope, S.: The shape of locative media LITERATURE (http://www.metamute.com/look/article.tpl?Id- Language=1&IdPublication=1&NrIssue=29&Nr Bishop, L.: “Tour de force”. Attractions Management Section=10&NrArticle=1477). 2005. (72). 2005. Pugh, A.: Flâneur by phone. The [murmur] project Bloem, M.: ”Fontana en het Manifesto del Movi- brings cellular psychogeography to the Annex mento Spaziale per la televisione”. De Witte Raaf (http://www.eye.net/eye/issue/issue_08.19.04/cit (117): 2. 2005. y/murmur.html). 2004. Boyd, S.: “Are you ready for social software?”. Dar- Rooijakkers, G.: “Identity Factory Southeast. To- win Magazine 2003. wards a flexible cultural leisure infrastructure” in (http://www.darwinmag.com/read/050103/soci- Dodd, D. and Hemel, A. van (eds.): Planning al.html). cultural tourism in Europe: a presentation of theori- ANNOTATING THE ENVIRONMENT. HERITAGE AND NEW TECHNOLOGIES

es and cases. Boekmanstichting: Amsterdam Identiteitsfabriek Zuid-Oost www.idzo.nl 27 1999, pp. 102-111. Also available at: Imagine Identity and Culture www.imagineIC.nl http://www.finnica.fi/seminaari/99/luennot/rooi- LIACS Media Lab jakk.htm. skynet.liacs.nl/medialab/bin/showindex Seriese, E. & M. Tangkau: Verhalen vangen. Verzame- Location is Everything len, ontsluiten en presenteren van immaterieel cul- rhizome.org/art/exhibition/location_is_everyt- tureel erfgoed. Imagine IC: Amsterdam 2003. hing/home.html Swift, N.: Slow Cities movement offers alternative to Mobile Bristol Centre www.mobilebristol.com global mediocrity [murmur] www.murmurtoronto.ca (http://www.citymayors.com/environment/slow_ Museum Amstelkring www.museumamstelkring.nl cities.html). 2005. Museum of Copenhagen www.bymuseum.dk Varine, H. de: ‘Rethinking the museum concept’ in Sense of Place South East www.sopse.org.uk Gjestrum, J. A. and Maure, M. (eds.) Okomu- Slow Cities www.cittaslow.net seumsboka - identitet, okologi, deltakelse. ICOM: Talking Street www.talkingstreet.com Tromso 1988, pp. 33 – 40. Trading Places www.tradings-places.nl Vreede, M. de (ed.): Blauwdruk. Vier musea en social Verhalen op Solder www.verhalenopsolder.nl inclusion, Nederlandse Museumvereniging, Am- Vesterbro site www.flamingoeffekten.dk sterdam 2005. Waag Society www.waag.org Yellow Arrow www.yellowarrow.org WEBSITES

Bruxelles nous appartient www.bna-bbot.be DigiCULT www.digicult.info Dr. Peter van Mensch is Lecturer in Muselogy at the Emotioneel Stadsplan www.emotioneelstadsplan.nl Reinwardt Academy. The Reinwardt Frequency 1550 freq1550.waag.org Academy is the Museology Faculty of the Geheugen van Oost www.geheugenvanoost.nl Amsterdam school of the Arts. E-mail adress: p.van- Glowlab www.glowlab.com [email protected]. Grafedia www.grafedia.net Hans Christian Andersen Foodsteps www.goldendays.dk/HcaFodspor/gd_flash_da.ht ml