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In this chapter, Jared Thomas, a Nukunu person from the Southern Flinders Ranges and a Research Fellow at the South Australian Museum and University of South Australia, reflects on his efforts to enhance the Fire Exhibit within the Australian Aboriginal Cultures Gallery [AACG], which has not been updated in 20 years. Thomas draws from an international precedent of involving Indigenous communities in museum displays.

The author outlines the limitations of renovations in terms of budget, space, and Indigenous protocols, while considering the potential impact of the proposed Tarrkarri Centre for First Nations Culture. He emphasises the importance of fostering relationships between Aboriginal and non-Aboriginal peoples, allowing Indigenous voices to speak for themselves.

Thomas focusses on the Fire Exhibit, discussing its significance in Aboriginal culture, the lack of contextualisation, and the need for improved representation. He proposes short-term actions such as adding QR-code-based text for context, and long-term ambitions like incorporating audio-visual and augmented reality elements. He highlights the importance of Aboriginal fire land management practices, especially in the aftermath of the 2019 Australian bushfires.

Thomas proposes strengthening the exhibit’s connection to foods, medicines, and fixatives that benefit from cultural burning. He envisions collaboration with the Adelaide Botanic Gardens and acknowledges the resource constraints faced by the museum. He concludes by envisioning a template for extending improvements across the museum and fostering better understanding and representation of Aboriginal culture.

Due to the impact of the pandemic that enforced mass closures and lock downs, galleries, libraries, archives, and museums [GLAM] institutions around the world were required to re-think how they interacted with the public. As a result of the measures that enforced isolation, distancing, and increased hygiene requirements, the usefulness of virtual technologies as a storytelling medium has come into sharper focus. This chapter will explore the emergence of augmented reality as a viable post-COVID-19 solution to meaningful digital narrative creation and user interaction in the museum environment. This chapter will concentrate on the development of a project between the University of South Australia [UniSA] and the South Australian Museum [SAM] to explore how it might be possible to create sustainable immersive stories within this environment.

Engaging with digital heritage requires understanding not only to comprehend what is simulated but also the reasons leading to its creation and curation, and how to ensure both the digital media and the significance of the cultural heritage it portrays are passed on effectively, meaningfully, and appropriately. The United Nations Educational, Scientific, and Cultural Organization defines ‘digital heritage’ to comprise of computer-based materials of enduring value some of which require active preservation strategies to maintain them for years to come.

With the proliferation of digital technologies and digital media, computer games have increasingly been seen as not only depicters of cultural heritage and platforms for virtual heritage scholarship and dissemination but also as digital cultural artefacts worthy of preservation. In this chapter, we examine how games (both digital and non-digital) can communicate cultural heritage in a galleries, libraries, archives, and museums [GLAM] setting. We also consider how they can and have been used to explore, communicate, and preserve heritage and, in particular, Indigenous heritage. Despite their apparently transient and ephemeral nature, especially compared to conventional media such as books, we argue computer games can be incorporated into active preservation approaches to digital heritage. Indeed, they may be of value to cultural heritage that needs to be not only viewed but also viscerally experienced or otherwise performed.

The aim of this study is to investigate how the information needs satisfaction of visual art teachers affects their creativity. Visual art teachers’ information seeking behaviour and specifically the association of information needs satisfaction with creativity has been an understudied area, despite competent information seeking being considered essential for high quality practices of art teachers.

A questionnaire survey was developed addressing the information seeking behaviour of art teachers, informed by Wilson’s model (1981), including visual art teachers’ information needs, information resources, obstacles faced while seeking information and the perceived impact of information needs satisfaction on visual art teachers’ creativity.

The study included 298 visual art teachers in Greece. The results demonstrated that the key information needs of art teachers were mainly related to materials’ properties, techniques for creating artwork and artwork promotion methods. Online information sources were the preferred sources of art information, followed by colleagues, personal collections and visits to galleries and museums. Our study identified lack of time, lack of specialized libraries and copyright, as the main barriers to information seeking.

Information about art plays a substantial role in visual art education, while visual art teachers’ information needs satisfaction positively influences their creative endeavours. There is a need to further explore the digital information needs of visual art teachers.

In her opinion piece, Deanne Hanchant-Nichols, a Ngarrindjeri mi:mini (woman) with diverse Aboriginal family connections, reflects on the progress of the galleries, libraries, archives, and museums [GLAM] sector in collaborating with Indigenous communities. She observes a shift from tokenistic consultation towards meaningful engagement, where Indigenous voices are authentically integrated into exhibitions and programmes. The author highlights the example of Te Papa Museum in New Zealand, which successfully partnered with Māori Peoples to create an inclusive and engaging museum experience, contrasting this with the more colonial undertones in some Australian museums.

Hanchant-Nichols explores the concept of Tarrkarri, a proposed cultural centre at Lot 14 in Adelaide, South Australia, which aims to showcase Aboriginal and Torres Strait Islander cultural treasures and contemporary works. She acknowledges the challenge of creating a space that genuinely reflects Indigenous culture while operating within a Western cultural paradigm. She emphasises the need for Tarrkarri to be a living cultural centre, accommodating the diverse needs of Aboriginal and Torres Strait Islander communities, offering educative and entertainment elements, and maintaining cultural safety.

The author underscores the importance of collaboration with local Kaurna custodians and other cultural groups, respecting their perspectives. She acknowledges the significance of the site on Kaurna Country and the potential for Tarrkarri to establish an internationally renowned cultural centre. Hanchant-Nichols believes that Tarrkarri, with its potential to showcase both heritage and contemporary Indigenous knowledge, could not only excel in the GLAM space but also become a leader in the science, technology, engineering, and mathematics [STEM] field, ultimately shaping a better future for all.

This chapter reports on research that explores new and emerging extended reality [XR] technologies and how they might provide opportunities to trial, investigate, and put into practice their potential to reverse processes of atomisation, polarisation, and intercultural discomfort, in our contemporary society. This transdisciplinary practice-led research was underpinned by disciplines of computer science and engineering, social sciences, history, diverse community economics, human ecology, and Indigenous psychology. The collaboration between these various disciplines with the Māori and non-Māori community members allowed researchers to understand current societal stressors, prioritise relationality, and explore our shared values in the creation of XR experiences for exhibition in the galleries, libraries, archives, and museums [GLAM] sector.

A discursive design framework motivated, inspired, provoked, persuaded, and reminded inspiring collaborators, and visitors to the exhibitions, the value of (re)connecting with people and overcoming interracial awkwardness through these curated experiences. The XR technologies provided women a platform to discuss and reimagine first encounters between people from different cultural backgrounds. The technologies included a 180° stereoscopic projection, Common Sense, in which Māori Elder Irene Hancy shared her insight about social engagement and haptic HONGI in which visitors were greeted by a Māori woman Tania Remana via augmented reality. This research has been motivated by a desire to promote and support intercultural understanding in Aotearoa New Zealand, and it extends research by other non-Māori and Māori scholars.

In 2019, the Kaurna Nation and traditional custodians of the Adelaide plains in South Australia, challenged the City of Holdfast Bay to walk alongside them to create an exhibition exploring the true history of South Australia’s colonisation. This collaboration ultimately became the award-winning exhibition ‘Tiati Wangkanthi Kumangka’ (Truth-Telling Together). This project was envisioned, led, and implemented by the Kaurna Nation at the Bay Discovery Centre in South Australia. Ultimately, ‘Tiati’ became more than just another exhibition. It became a pathway to healing and possibility for both the Kaurna Nation and the City of Holdfast Bay. When considering indigenisation of museum spaces, ‘Tiati’ demonstrates how smaller museums and/or local government can play a pivotal role in reshaping the traditional narrative of colonialism in Australia’s museums, with the voice of First Nations people at the forefront.

This paper argues that Bruno Latour’s work on translation provides an alternative to dominant anthropocentric, individualistic and managerial approaches in career studies by considering careers as precarious effects of networks instead of the implicit assumption of individual strategic career actors in extant career research paradigms.

The article first compares the three main current approaches to studying careers – structural functionalist, interpretivist and critical – illustrated by three exemplary empirical studies. Subsequently, three concepts from the sociology of translation that are relevant for the study of careers are introduced: career making as translating interests, careers as effects of networks and career action as dislocated and overtaken. Taken together, these three concepts allow us to conceive of careers as practices performed by human and nonhuman actors. Finally, an example from an ethnographic case study in the field of contemporary art illustrates how a Latourian approach can be used.

Latour’s work on translation provides conceptual and methodological tools to investigate career processes and practices in an era of unpredictability.

The paper introduces Bruno Latour’s work on translation to the study of careers.

This paper aims to examine how museums reach Generation Z virtual tourists using TikTok videos to elucidate the relationship between the video elements and types of engagement by classifying the characteristics of popular themes in the museums’ short videos.

The format, type and content of TikTok videos published by the seven international museums with the most popular TikTok accounts were analyzed. Thematic analysis included 313 short TikTok videos randomly chosen from those published by the museums between 2020 and 2022. Using descriptive analysis, museum-related TikTok usage and user engagement are presented; regression analysis revealed the most significant themes for audience engagement.

Museum promotions commonly use several strategies, including incorporating text-based information, captions, hashtags and background music into the video formats. Oral speech/documentary-style videos and combined video genres are less common. The most frequently presented video topics included history, infotainment, informative content and promotional elements. The results identify specific formats (titles and subtitles), types (demonstrations, news/events and TikTok dances/movements) and promotional themes that result in audiences’ virtual engagement in the form of “likes” and “comments” and increase the museums’ TikTok channel followers.

The results demonstrate that short videos on social media platforms encompass various strategies involving different formats, types and themes. Museums can use these strategies to engage virtual tourists. This study also provides valuable suggestions for museums and galleries seeking to leverage short videos as effective marketing mechanisms.

Country and cultural heritage are inextricably linked for First Nations peoples. This chapter explores those relationships in the context of repatriating cultural heritage materials back to Country and conceptualising a place for its ‘awakening’ for the Ngadjuri community of Mid-North South Australia. These materials in the context of this book ‘interpreted’ as a form of data curation, requiring potentially unique information systems designs to achieve accessibility, recoverability, and durability in remote communities with limited internet and mobile phone coverage. On the other hand, it is critically important to note, that the processes, challenges and repatriation of culturally sensitive materials and remains, are dependant here on the limitations of language. The reference to the notion of ‘data’ as a descriptor, and an inadequate term on some level, does not, and is not intended to, diminish any of their cultural significance and gravity. These are challenges that are worth the intellectual and technological investment to realise a return to Country for generationally displaced peoples and their cultural property that also needs to make it home.