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How do we do it ?

This idea has accompanied us from the very beginning: The museum visit is enriched via digital offers on site. These can help to prepare for or follow up on visits. Digital projects often show content that has no place in the exhibition concept. Or they can be used to create projects that transcend museum boundaries. And all this not only in times of Corona, but also when museums are open as normal. For example, online offerings also provide access to exhibition content for people who cannot come to the museum for health, financial or other reasons. We’ve already seen all of this, and there’s so much more!
We want all of these great projects for our award! And below, we’re putting together a few criteria here that are essential for the award.


Participation and accessibility

Digital offerings offer the opportunity to provide access that can ideally be barrier-free and low-threshold. The question of participation in cultural offerings must be asked from many perspectives. When evaluating, we ask ourselves the following questions: Who can participate? Who might be excluded? Are different needs taken into account when addressing users, and what opportunities are there for interaction or even co-creation?



When evaluating the submitted projects, we will pay special attention to the question of how accessible the respective offerings are. For example, we will check whether there are subtitles or how the respective design takes into account the needs of screen readers. It could also be evaluated positively if there is an audible audio track or plain language. From the perspective of the users, the submitted projects are also evaluated in terms of the extent to which they were designed from the outset for people with special needs. Such an approach is always more effective than aids that are added later.
With regard to participation and interaction, projects are to be evaluated in terms of the opportunities they offer to get involved and actively contribute. Various phases of participation play a role here. For example, the way in which participation is invited is also important. A decisive aspect is the degree to which the participants can shape the process. How is it possible to get started? What ideas are there for keeping the barriers to participation as low as possible? What motivational incentives work particularly well? How sustainable will the whole thing be followed up and accessible over a longer period of time?


The extent to which the submitted project creates immersion and whether its use is perceived and remembered as an emotional experience is evaluated. Digital offerings, like analog offerings, should not only impart knowledge, but also engage visitors emotionally. Immersive and emotional experiences remain longer in the memory, support the learning process and promote the bond with the museum. During the evaluation, we ask ourselves questions such as: Does the offering appeal emotionally? Do the users feel entertained? Does the offering make people want to immerse themselves in the experience?



Technical (new) developments often offer numerous possibilities for conveying, visualizing and shaping content. The innovative character of new media can help to break new ground in project development. However, when searching for the “right” technical tool for the presentation of objects or content, the maxim “form follows function” should always be in the foreground. For the award we ask: Does the technology used serve the content and thus create added value for the user? Does the technology used help to present the content in a new form and thus open up new perspectives?



For cultural mediation, we consider the submitted projects with regard to two aspects. The first is digital cultural mediation, which must be considered in the context of digital applications. Further, cultural mediation in the digital space is another object of consideration. Both have their respective production conditions and methodological approaches. For the evaluation of successful projects, the question of recognizable didactics must be asked. Which mediation goals are comprehensible and how appropriate is the methodical implementation in this context?



The topic of “sustainability” can be located on many levels in our time. For example, it can be about the sustainability of the materials used in projects or about sustainability in the sense of a permanent and sustainable provision of the project results or offers. Especially in the digital space, the use of open sources is opposed to proprietary offerings. Does the tool or service used have to be paid for or can it be used free of charge? Can the digital offer be used for a limited period of time or has the permanent storage of the content been considered in the project? Is there a sustainable usage strategy for digital offerings in terms of FAIR principles?


Now it’s your turn.

From now on, please submit all projects that you would like to nominate for the DigAMus Award. You can do this via the form with a few details on the justification. We will collect all submissions until September 17, 2021, when they will be reviewed by the DigAMus Award organizing team and shortlisted. This will be announced on September 24, 2021. Voting for the audience award will also start on this date.
Once the nominees have been determined, the shortlist will go to our jury, who will then have two weeks to determine the final award winners. (virtual drum roll!!!!!)