赛博·詹（Seb Chan），墨尔本澳洲流动影像中心（ACMI）的体验长，专责整体策略设计，并协同海外团队进行讯息与通讯技术以及博物馆的典藏与数位化计划。在此之前，他曾在2011-2015年间于纽约库柏休伊特设计博物馆领导数位更新与转化计划，其设计的App更成为该馆首项数位永久典藏。2000年代，他曾率先推动了雪梨动力博物馆开放存取（OA）的工作，进行大规模协作和数位体验的开创性工作； 并曾于北美、欧洲和亚洲等地机构担任博物馆顾问。 他的作品曾获得美国博物馆联盟（AAM）、One Club、D＆AD、美国财经杂志《快公司》（Fast Company）和Core77等奖项。此外， Seb Chan现为墨尔本皇家理工大学（RMIT）社会情境与设计学院的传播与媒体研究兼任教师，亦担任新加坡艺术科学博物馆、澳洲国家博物馆、加州大学洛杉矶分校的哈默博物馆和旧金山探索馆的顾问，并拥有盖蒂领导力学院（GLI）和萨尔茨堡全球研讨会的校友身份，徜徉在数位艺术和电子音乐的平行生活。
Seb Chan is Chief Experience Officer at the Australian Centre for the Moving Image in Melbourne. He is repsonsible for holistic strategic design and oversees teams responsible for experience & digital, ICT, as well as the museum’s collections & digitisation programs. Prior to this he led the digital renewal and transformation of the Cooper Hewitt Smithsonian Design Museum in New York (2011-2015). At the Cooper Hewitt he also led experiments in the acquisition of digital design including the first ‘App’ to enter the Smithsonian’s permanent collection. He drove the Powerhouse Museum’s pioneering work in open access, mass collaboration and digital experience during the 2000s. He has also worked as a museum consultant with institutions across North America, Europe and Asia. His work has won awards from American Alliance of Museums, One Club, D&AD, Fast Company and Core77. He is an Adjunct Professor, School of Media and Communications, in the College of Design and Social Context at RMIT, and is a member of the international advisory board of Art Science Museum (Singapore), and advisory committees for the National Museum of Australia, Hammer Museum at UCLA, and the Exploratorium. He is an alumni of the Getty Leadership Institute and Salzburg Global Seminar, and also leads a parallel life in digital art and electronic music.
Digital cultural heritage as civic infrastructure? Opportunities and failures
For the past two decades museums and libraries have been reorienting their practices away from collections and towards engaging their publics. Parallel to this, these organisations have been working at various speeds to digitise their holdings and their operations. Both these developments have required a significant repositioning and restructuring of how these types of organisation operate. In this talk I will present some examples in my own work of projects that have attempted to build a bridge between these developments – making digitised collections a means and opportunity for civic engagement through both online and through in-museum experiences. What does it mean for a museum or library to have a ‘fully digitised’ collection? Does this, in itself, transform the institution? And what might this mean for the institution’s communities?