▲Jinsha Shihu digital collection
(Source: Jinsha Site Museum WeChat)
March 26,
60 museum curators and scholars jointly released
"Initiative on the Active Participation of Museums in the Construction of the Metacosm"
(hereinafter referred to as the "Initiative"),
Calling on the museum to adapt to the development of the times,
Give full play to their own advantages,
Actively participate in the construction of the metacosm.
The initiative is taught by Shanghai University
Duan Yong, An Laishun, Pan Shouyong, Li Mingbin and other scholars prepared to launch it.
co-sponsors,
There are also curators and scholars of 60 museums and universities in China.
thereinto
Including Zhang Yuancheng, president of the Shanxi Museum
Hang Kan, president of Yungang Research Institute.
▲ Shanxi Museum Meta-universe NFT digital collection Rabbit Zun
Duan Yong introduced the background of the initiative on behalf of the initiator: "Although there are still uncertainties and certain bubbles in the hot meta-universe concept and its application scenarios in the past two years, it is undoubtedly a strategic direction to seize a new round of scientific and technological revolution and new opportunities for industrial transformation. In the process of virtualizing and digitizing the real world, the metacosm needs a large number of material specimens and cultural elements from the physical world to construct a digital living space that integrates with the real social system. The best place in the real world to have rich material specimens and cultural elements at the same time is a museum. The purpose and concept of the museum are interconnected with the metacosm, and the future and mission of the museum are integrated with the metacosm. ”
The core content of the "Initiative" mainly revolves around the four points of "resource sharing, inclusive and mutual benefit", "scene co-creation, self-improvement", "standard co-construction, advancing with the times", "sharing responsibility, and keeping right and innovating".
The Initiative points out that the open sharing of digital resources is increasingly becoming a code of conduct universally recognized by museums around the world. As a public cultural service institution, museums should enhance the awareness of open sharing of collection resources, especially digital resources, establish the concept of win-win cooperation, and let limited resources create unlimited possibilities in the metaverse.
The "Initiative" believes that in the face of the surging metaverse like a tidal wave, the museum should fully recognize its own resource advantages, give full play to the functional strengths of research, exhibition, education, etc., collaboratively explore and create high-quality application scenarios, and achieve the high-quality development of the museum itself in participating in the construction of the metaverse.
The "Initiative" calls for the face of the metacosmology, museums should seize new opportunities to meet new challenges with the times, actively participate in the construction of the metacosm, explore the standards and norms for the construction of the metacosm in the museum field, and make a Chinese voice in the international dialogue on related topics.
The Initiative emphasizes that integration into the metacosm is only the latest step for museums to adapt to the wave of social development. Museums in the metaverse should also follow the ethics and principles recognized by real-world museums, adhere to the non-profit nature and public attributes, develop in inheritance, innovate in the integrity, and make the museum transcend time and space, never-ending, and timeless through integration into the metaverse.
annex:
About the active participation of museums in the construction of metacosmities initiatives
(March 26, 2022)
The "Metaverse" is not yet justified. It is the latest application of human + technology, a real + virtual lifestyle, and an eternal time and space of the past + present + future. The metaverse belongs to you, it belongs to me, it belongs to him, her, it.
In 1992, the concept of metaversity was born, mainly active in the science fiction world, and in 2021, it ushered in a cross-border explosion and was enthusiastically embraced by people. At present, the dazzling metaverse application scenarios are rapidly expanding to all fields of contemporary society, although there is a certain bubble, but it is undoubtedly a strategic direction to grasp a new round of scientific and technological revolution and new opportunities for industrial change.
As one of the greatest and most successful social institutions created by mankind, museums connect the past, present, and future of humanity. In the hundreds of years since its birth, modern museums have also experienced several major social changes and technological revolutions. In this process, although the definition, form and function of the museum have evolved many times, they have never changed, and the fundamental purpose and ultimate mission of protecting and inheriting the multicultural and colorful environment of human society have never changed.
In the process of virtualizing and digitizing the real world, the metacosm needs a large number of material specimens and cultural elements from the physical world, and through the copying, simulation, processing and transformation of these content elements, a digital living space integrated with the real social system is formed. Looking at the real world in which we live, the best place to have a rich material specimen and cultural elements is a museum. Therefore, we believe that the metaverse needs a museum, and the museum should welcome the metacosm to make itself and the collection alive in the metaverse. The purpose and concept of the museum are interconnected with the metacosm, and the future and mission of the museum are integrated with the metacosm.
With this in mind, we have jointly launched the following initiatives:
First, resource sharing, inclusive and mutual benefit. The open sharing of digital resources has increasingly become a code of conduct universally recognized by museums around the world. It is an important measure to spread and inherit multiculturalism, an effective way to promote cultural equality, and the only way for museums to participate in the construction of the metacosm. As a public cultural service institution, museums should enhance the awareness of open sharing of collection resources, especially digital resources, establish the concept of win-win cooperation, and let limited resources create unlimited possibilities in the metaverse.
Second, scene co-creation, develop yourself. In the face of the tidal wave of the meta-universe, it is difficult for museums to cope with the challenges that may arise on their own, and they should never retreat to the isolated island of self-isolation. Museums should recognize their own resource advantages, give full play to the functional strengths of research, exhibition and education, collaboratively explore and create high-quality application scenarios, and achieve the high-quality development of the museum itself in participating in the construction of the meta-universe.
Third, the standard is jointly built and kept pace with the times. Protection, dissemination, inheritance, for hundreds of years, the starting point and destination of the museum has never changed; informatization, digitization, intelligence, decades of modernization and exploration of the museum has never stopped. In the face of the metaverse, museums should seize new opportunities to meet new challenges with the times, actively participate in the construction of the metacosm, explore the standards and norms for the construction of the metacosm in the museum field, and make a Chinese voice in the international dialogue on related topics.
Fourth, share responsibility, abide by integrity and innovation. Integration into the metacosm is just the latest step in the museum's adaptation to the wave of social development. This is neither the first revolution in the museum nor the last. Museums in the metaverse should also follow the ethics and principles recognized by real-world museums, adhere to the non-profit nature and public attributes, develop in inheritance, innovate in the integrity, and make the museum transcend time and space, never-ending, and timeless through the metaverse!
Initiative Initiators:
Yang Zhigang Shanghai Museum
Gong Liang Nanjing Museum, Jiangsu Provincial Department of Culture and Tourism
Duan Xiaoming Hunan Provincial Museum
Ma Xiaolin Henan Museum
Hou Ningbin Shaanxi History Museum
Fang Qin Hubei Provincial Museum
Chen Shuihua Zhejiang Provincial Museum
Ma Baojie Liaoning Provincial Museum
Cheng Wuyan, Chongqing China Three Gorges Museum
Han ZhanMing Capital Museum
Zhang Yuancheng Shanxi Museum
Wang Xiaoming Shanghai Science and Technology Museum, Shanghai Museum of Natural History
Chen Zhuo Tianjin Museum
Luo Xiangjun Hebei Museum
Chen Yongzhi Inner Mongolia Museum
Li Gang Jilin Provincial Museum
Hu Min Anhui Museum
Wu Zhiyue Fujian Museum
Ye Rong Jiangxi Provincial Museum
Zheng Tongxiu Shandong Museum
Xiao Haiming Guangdong Provincial Museum
Wu Weifeng Guangxi Zhuang Autonomous Region Museum
Chen Jiang Hainan Provincial Museum
Wei Quan, Sichuan Museum
Li Fei Guizhou Provincial Museum
Ma Wendou Yunnan Provincial Museum
Jia Jianwei Gansu Provincial Museum
Wang Jinxian Qinghai Provincial Museum
Li Jinzeng Ningxia Hui Autonomous Region Museum
Yu Zhiyong Xinjiang Uygur Autonomous Region Museum
Xue Feng Memorial Hall of the First National Congress of the Communist Party of China
Zhao Feng, China Silk Museum
Chen Ruijin Suzhou Museum, Suzhou Municipal Bureau of Cultural Relics
Hu Jiang Shanghai Municipal History Museum
Du Jiale Nantong Museum
Zhang Ting Zhengzhou Museum
Wang Lihua Changsha Museum
Chengdu Museum
Wang Juzhong Sanxingdui Ruins Management Committee
Shi Jiazhen Longmen Grottoes Research Institute
Fan Jianchuan Sichuan Jianchuan Museum
Zhang Yuteng Taipei Museum of History
Li Chen, China Cultural Relics Newspaper
Hang Kan Peking University, Yungang Grottoes Research Institute
Siyu Wang, Peking University
Pengfei Du, Tsinghua University
Jianqiang Yan Zhejiang University
Shi Jixiang Jilin University
Li Jianmao, Hunan Normal University
Jiansong Lu Fudan University
Wei Jun Fudan University
Zheng Yi Fudan University
Jingjing Zhou Fudan University
Duan Yong, Shanghai University
An Laishun Shanghai University, International Association of Museums
Pan Shouyong, Shanghai University
Mingbin Li, Shanghai University
Huang Yang, Shanghai University
Siyi Wang, Shanghai University
Mei Haitao, Shanghai University
(Proposal Writers: Duan Yong, Li Chen, Huang Yang, Mei Haitao)
March 26, 2022
▲The full text of the initiative
Swipe up and down to see more
▲ The metaverse shown in the movie "Ready Player One"
Museum admission to the metacosm
Culture goes to sea is the real purpose
Coldplay Lab Works
First published on WeChat Coldplay Labs
In the past few months, metacosm has become the most voluminous industry.
Whether it is the upstart in technology, consumer goods companies, or even the real estate industry, they are rushing to enter the market under the frenzy, afraid that they will miss an outlet.
However, almost everyone did not expect that when countless industries squeezed their heads to sleep, the first thing to play the meta-universe was the museum.
Chengdu Jinsha Site Museum takes "Ancient Shu Jinsha" as the theme, focuses on the treasures of the town hall, such as "Sun God Bird" and "Dajin Mask", and adds four new "digital cultural and creative products" with the concept of the meta-universe, namely "Floating Face", "White Tibetan Clothing", "Tiger and Tiger Vitality" and "Blessing full of heaven".
▲(Source: Jinsha Site Museum official website)
Each piece is not expensive, only selling 9.9 yuan, but limited to 10,000 copies, 20,000 copies and so on.
As a result, it was sold for only 50 seconds, and it was sold out.
Prior to this, the National Museum of China also launched a digital collection of four national treasure-level cultural relics in the collection of four sheep bronze square statues, the Western Han Dynasty wrong gold and silver cloud pattern bronze rhinoceros statue, the "women's good" bronze owl statue, and the painted goose fish bronze lamp.
Sales are also hot, selling out.
▲(Source: National Museum of China official website)
Earlier, the Dunhuang Academy of Fine Arts, the Hunan Provincial Museum and other units have tested the water to issue digital collections, and have also completed the "second kill".
"More than 600,000 people grabbed 10,000 swords, and they were gone in three seconds!" Talking about the moment when the digital collection of yue wang gou jian sword was launched, Wang Xianfu, deputy director of the Hubei Provincial Museum, still remembers it vividly, "Such a sensational effect is something we did not expect, and I myself did not grab it." ”
At the same time, many museums have also launched the "meta-universe tour" mode.
For example, in September 2021, Suzhou Hanshan Art Museum held the art exhibition "Fen Shen: My Universe", which is regarded as the first digital art exploration exhibition under the ecology of the art museum-level meta-universe in China.
▲(Source: Hanshan Art Museum official website)
The Hunan Provincial Museum uses AR, VR, three-dimensional video production and other technologies to reproduce the "slow life" of the Song Dynasty. Accompanied by melodious guqin music, visitors can enjoy sightseeing, flowers and drinks with the literati of the Song Dynasty.
In addition, first-line museums such as the Palace Museum, Hubei Provincial Museum, Shanghai Museum, and Henan Museum have also opened online modes to have zero-distance contact with treasures and audiences.
This novel online model has also brought offline traffic to life, according to Ctrip's big data released by Ctrip for the first half of 2021, the number of tourists booking museum tickets on the platform in the first half of 2021 increased by 75% compared with the first half of 2019.
Such a scene has to make people wonder, about the metaverse in other areas have not even splashed a splash, how can it be played with by the museum?
1
When it comes to museums and metaversities, it is not without signs.
As early as 2016, a film about the repair of cultural relics by craftsmen in the Forbidden City was broadcast on the Internet, which set off a "naturalistic fever" in China.
After each episode of the program was broadcast, on the community-type platform where young people gathered, such as Station B, Weibo, Douban, and Zhihu, people enthusiastically discussed everything about the program, from the repair techniques of calligraphy and painting, bronzes, and court clocks in the Forbidden City, to Wang Jinqi Haonan's master and apprentice who have been caring for national treasures for decades...
Cultural relics conservators once became the hottest profession, according to shan Jixiang, director of the Forbidden City, who received more than 40,000 resumes that year alone.
▲(Source: bilibili)
At the beginning of 2021, a dance of "Tang Palace Night Banquet" once again brought the museum back to everyone's vision.
More than a dozen young sisters went to the banquet with heavy makeup and delicate, but the real "protagonist" was many national treasure-level cultural relics in the virtual background - lotus crane square pot, women good owl zun, Jia Hu bone flute...
Three months later, the new discovery of the archaeological Sanxingdui site at the Sanxingdui site added another fire to this heat.
Relevant data show that in the two days of the weekend from March 20 to 21, the number of tourists who booked tickets for the Sanxingdui Museum through the platform surged nearly 12 times compared with the previous week's weekend.
Among them, many tourists do not hesitate to "fly" to go to see the mysterious "ancient Shu civilization".
▲(Source: Baidu)
At the same time, driven by the Sanxingdui Museum, several important museums in Sichuan Province also soared in popularity for a time, such as chengdu museum, Jinsha site museum, Wuhou Ci museum and so on.
The data shows that in 2021, nearly 100 museums participated in Tmall Double Eleven, and on the first day of sale, the sales of museum cultural and creative products surged by more than 400%, becoming one of the largest dark horses.
Among them, the "archaeological blind box" is particularly popular.
Many young people are in love with this kind of "immersive" cultural creation, "the archaeological blind box bought on double 11 has arrived, and it is happier than the express delivery to dig for treasure." ”
▲(Source: Little Red Book)
Moreover, from the consumption data of cultural and creative products on Tmall, the proportion of post-95s has increased year by year, and it is now close to 40%.
Bu Xiting, deputy dean of the Institute of Cultural Development of the Communication University of China, said, "Young consumers have become the main force in the consumption of cultural and creative products in museums. ”
Not only that, in the first half of 2021, the number of people booking museum tickets through relevant platforms increased by 75% compared with the first half of 2019. Among the people who are keen to visit the museum, 41% are post-80s.
Behind these, on the one hand, the popularity of cultural and blog television programs in recent years, the continuous explosion of new archaeological discoveries, on the other hand, with the improvement of China's comprehensive national strength, young people's cultural self-confidence is constantly increasing, and their love for traditional Chinese culture is rising.
From this point of view, it seems reasonable to take the lead in blowing the wind of "natural objects" in the metaverse field.
2
However, it is not only the mainland that blows this gust of wind.
Judging from the global trend, museums in various countries are competing for the construction of meta-universe scenes.
In April 2021, for example, the Louvre in France announced the completion of a "comprehensive digitization" of its 480,000 collections.
The digitization, described by Tufts University professor Andrew McClellan, was an "unprecedented change" in which visitors could "see" the collection for free on their mobile phone or computer, and the whole process was free.
In order to attract international visitors, the Louvre has also added web content in three languages: Spanish, English and Chinese.
▲(Source: Louvre official website)
At the same time, the Metropolitan Museum of Art in New York, USA, also took advantage of the game "Collection! The popularity of the Animal Forest Friends Association (hereinafter referred to as "Moving Forest") has launched about 400,000 virtual exhibits.
In the game, players only need to find their favorite artwork on the museum's official website, and then click on the "Leaf" button representing "Dongsen" in the "Share" option to generate the corresponding virtual exhibit QR code.
After that, you can import more than 400,000 pieces of the museum's collection into the game through the App.
▲(Source: Google)
So why are museums around the world scrambling to grab the digital market?
Looking back at the long river of history, perhaps we can understand.
All along, every time there is progress and breakthrough in science and technology, the cultural industry will usher in a prosperous opportunity, and the prosperity of the cultural industry can promote the commercialization of science and technology.
From the mutual achievements between movable type printing and the print media industry, to the mutual catalysis of the invention of telecommunications technology and the mass media, the relationship between science and technology and culture is so, complementary and mutually reinforcing.
Nowadays, with the great popularity of metaverse-related technologies, the cultural industry has once again reached a key node.
▲(Source: Unsplash)
Culture can go to sea, or you can use the "meta-universe" shareholder to sail. In the face of the "naturalistic + metaverse" trend that the whole world is competing for, it is urgent to accelerate the speed of cultural layout.
3
So, where are our strengths?
As we all know, behind the museum is cultural relics, behind the cultural relics is culture, and the uniqueness of Chinese culture lies in the coherence from beginning to end.
In human history, there have been four major civilizations: ancient Egyptian civilization, ancient Babylonian civilization, ancient Indian civilization and Chinese civilization.
However, the first three major civilizations have gradually disappeared in the long river of time, and only Chinese civilization has been passed down to this day and is still thriving.
As the only civilization in the world that has been passed down for thousands of years, the reason why we have been able to achieve such an achievement is that our civilization has great cohesion.
In the past, we did this through a unified script, a unified currency, and a unified cultural identity.
Today, we are doing this by relying on more people to participate, more people to identify, more people to inherit, and more people to excavate.
As more and more people pay attention to cultural relics and traditional culture, the stronger the centripetal force of culture, and the higher the probability that we will make cultural masterpieces.
In this process, in addition to the local museums turning into "fashion trendsetters", "folk masters" have also successively made moves to help museums innovate in the protection of cultural relics with the power of science and technology + the Internet.
At the beginning of 2021, Ant Group launched a public welfare plan specifically for the protection of cultural relics, relying on the "China Cultural Relics Conservation Foundation - Huabei Cultural Relics Protection Special Fund" to launch the "Huabei Cultural Relics Protection Plan".
On Alipay, every ordinary person can personally participate in the virtual restoration of cultural relics and understand the beauty of Chinese culture.
This process is very convenient, netizens can search for "cultural relics" through Alipay, they can directly enter the interactive interface of the "Cultural Relics Guardian Plan" and experience the cultural relics restoration process in a digital way.
So far, nearly 200 million netizens have come to "visit cultural relics on the cloud" in this way to obtain more cultural relics knowledge.
So, why do ants do seemingly small public welfare projects such as repairing cultural relics after ant forests and ant estates?
Because there are too many mutilated cultural relics in our country.
According to the Statistical Yearbook of Chinese Cultural Relics, as of 2017, the mainland has a collection of 48.5066 million cultural relics, of which nearly 40% of the cultural relics need to be restored, and more than 16% of the cultural relics are mutilated or seriously mutilated.
In contrast, there is a serious shortage of professional and technical personnel in cultural relics restoration, and complex cultural relics restoration work has a huge demand for funds and so on.
In order to fill this huge gap, great energy and financial resources are needed.
Since the launch of the "Huabei Cultural Relics Guardian Plan", cultural relics such as the Dunhuang Testament, the Longmen Wind and Rain Organ, and the Bronze Human Head of Sanxingdui have been listed as objects of protection, and restoration work has been prepared one after another. Among them, 20 volumes of Dunhuang testaments have been restored at the National Library.
As an ordinary user, "repairing cultural relics" on Alipay can also help the protection of real cultural relics and become a "cultural relics guardian".
▲(The first batch of restoration of Dunhuang testaments of the Cultural Relics Guardian Program)
Of course, the participation of social forces can help the museum's cultural relics protection work, and in the overall situation, the cause of cultural relics protection has received social attention, and the most important thing is the support and attention of the state.
In the "14th Five-Year Plan", the state clearly placed "cultural relics protection" in a more prominent position, proposed to strengthen the research and utilization of cultural relics protection, and systematically deployed major projects for the protection and inheritance of cultural heritage.
Compared with the previous five-year plan, the relevant content of cultural relics work in the outline of the 14th Five-Year Plan has increased significantly and its weight has become more prominent, and the scientific and technological innovation of cultural relics, the recovery and return of lost cultural relics, and the construction of archaeological sites and parks have been written for the first time. In the next five years, a grand blueprint for the high-quality development of cultural relics has been constructed.
Judging from the data, the common concerns of cultural protection institutions, social forces and the broad masses of the people are gradually becoming effective.
According to the public data of the National Bureau of Statistics, in the first half of this year alone, 16 industry sub-categories with obvious characteristics of new cultural formats have achieved operating income of 1820.4 billion yuan, an increase of 32.9% over the same period last year; and accounted for 33.5% of the operating income of all cultural enterprises, an increase of 0.6%.
This means that the output value of the new digital cultural industry is rapidly increasing in the proportion of the overall cultural industry.
Chinese culture is ushering in a new outlet.
For our generation, it is our responsibility to protect and pass on traditional culture, to spread traditional culture, and to let it take root and sprout on the soil of youth.
Resources:
Xinhua Net: "How do museums that guard ancient civilizations embrace the future?" 》
China Youth Network: "Guarding Traditional Culture with Digital Collections Ant Chain "Treasure Project" Open and Trusted Digital Technology"
Sichuan-Chongqing local news: "Sun God Bird, will have an "IDENTITY CARD"? Sands ' Digital Cultural and Creative Products" are here! 》
Jimu News: "Wuhan Cultural Fair released heavy news, in the "meta-universe", what is the next Hubei S-class cultural relics? You're sure! 》
Daily Economic News: "Soaring 400% into One of the Dark Horses of Tmall "Double 11" Museum Cultural and Creative Products Make Cultural Relics "Alive"
China Culture Daily: "Total Digitalization" Unlocks the Shared Era of Art"
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Edited | Shanxi Evening News All-Media Editor Nanlijiang
Audit | Fang Tianji
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