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GOALS AND MINERVA LOUVRE.FR



An analysis of the site of the Louvre in the light of the objectives of Minerva.


An example of a very high level of European museum, which offers online access everything that has physical location is in the Louvre (www.louvre.fr ).
In what follows I will present an analysis of the site following the grid quality objectives Minerva.
(See http://qualitywebsites.blogspot.com/2005/11/gli-obiettivi-minerva-per-la-qualita.html )
Under each category defined by a goal, I will indicate the section and the links corresponding site of the Louvre. This analysis, however accurate, does not purport to be comprehensive nor complete.
may seem like a series of links a bit 'dry. The idea is that of an analysis of a site in the light of the 12 targets Minerva. Navigating the site of the Louvre in its various sections you can check the consistency with those goals. So a category Minerva -> links to the site. In so doing, the intent is to submit material of any use to understand both the site (in that section is structured) and the cultural subject (task and purpose).
As you can see almost all the objectives are achieved by the Minerva site, which thus conforms almost completely to 12 quality goals. Only
objective 5, about the rules and industry standards, is not explicitly covered, it is essentially a target (secondary) of transparency on the workings of cultural subject. Moreover the transparency is clearly a quality that is particularly dear to the establishment of the Louvre. In fact, the quality of transparency in its work is largely satisfied by the site of the Louvre, as evidenced by sections of the site that I linked in the "areas" described by other objectives.



* Goal 1. Cultural identity of

A la Une ,
http://www.louvre.fr/llv/musee/alaune.jsp?bmLocale=fr_FR

Histoire du Louvre,
http : / / www.louvre.fr/llv/musee/histoire_louvre.jsp?bmLocale=fr_FR

Politique & Fonctionnement ,
http://www.louvre.fr/llv/musee/institution.jsp?bmLocale=fr_FR

Procurement & Contracts ,
http://www.louvre.fr/llv/ museum / marches_publics.jsp? bmLocale = en_US

Contacts ,
http://www.louvre.fr/llv/contacts/liste_contacts.jsp?bmLocale=fr_FR

Obiettivo * 2 . Attività

Louvre practice,
http://www.louvre.fr/llv/pratique/alaune.jsp

Access ,
http://www.louvre.fr/llv / practice / venir.jsp? bmLocale = en_US

Openings ,
http://www.louvre.fr/llv/pratique/horaires.jsp?bmLocale=fr_FR

Rates ,
http://www.louvre.fr/llv / practice / tarifs.jsp? bmLocale = en_US

Aids & Services ,
http://www.louvre.fr/llv/pratique/alaune_aide.jsp?bmLocale=fr_FR

Ticketing & Boutique ,
http://www.louvre.fr/llv/pratique/billetterie.jsp?bmLocale=fr_FR

Activities ,
http://www.louvre.fr/llv/activite/alaune. jsp? bmLocale = en_US

Expositions,
http://www.louvre.fr/llv/exposition/alaune_exposition.jsp?bmLocale=fr_FR

Auditorium,
http://www.louvre.fr/llv / auditorium / alaune.jsp? bmLocale = fr_FR

Contacts ,
http://www.louvre.fr/llv/contacts/liste_contacts.jsp?bmLocale=fr_FR

* Objective 3. Objectives of the web

A propos du site web du Louvre ,
http://www.louvre.fr/llv/apropos/accueil_apropos.jsp?bmLocale=fr_FR

* Goal 4. Sector network

Link to http://www.culture.fr/ from the home page http://www.louvre.fr/ .

* Goal 5. Standards and industry standards

Tace

* Goal 6. Disseminate cultural content

Ouvres ,
http://www.louvre.fr/llv/oeuvres/alaune.jsp?bmLocale=fr_FR

Collections & Départements ,
http:// www.louvre.fr/llv/oeuvres/liste_departements.jsp?bmLocale=fr_FR

Databases ,
http://www.louvre.fr/llv/oeuvres/bdd_oeuvre.jsp?bmLocale=fr_FR

Exhibitions,
http://www.louvre.fr/llv/exposition / alaune_exposition.jsp? bmLocale = en_US

Records ,
http://www.louvre.fr/llv/dossiers/alaune.jsp?bmLocale=fr_FR

Interactive ,
http:/ / www.louvre.fr/llv/dossiers/liste_oal.jsp?bmLocale=fr_FR

Concerts,
http://www.louvre.fr/llv/auditorium/liste_evenements.jsp?nature=audit_nature_4&bmLocale=fr_FR

Cinema,
http://www.louvre.fr/llv/auditorium/liste_evenements.jsp?nature=audit_nature_1&bmLocale=fr_FR

Conferences ,
http://www.louvre. com / LLV / auditorium / liste_evenements.jsp? nature audit_nature_2 = = en_US & bmLocale

Readings & Performances ,
http://www.louvre.fr/llv/auditorium/liste_evenements.jsp?nature=audit_nature_3&bmLocale=fr_FR

Music filmed ,
http://www.louvre.fr/llv/auditorium/liste_evenements.jsp?nature=audit_nature_5&bmLocale=fr_FR

Programmation thématique ,
http://www.louvre.fr/llv/auditorium/liste_evenements.jsp?theme=theme&bmLocale=fr_FR

* Goal 7. Supporting cultural tourism

Pratique,
http://www.louvre.fr/llv/pratique/alaune.jsp?bmLocale=fr_FR

Tourisme,
http://www. louvre.fr / LLV / professionnels / tourisme.jsp? bmLocale = fr_FR

Inglese Version ,
http://www.louvre.fr/llv/commun/home_flash.jsp?bmLocale=en

* Target 8. Servizi didattici

Under 18 ,
http://www.louvre.fr/llv/jeunes/alaune_moins.jsp?bmLocale=fr_FR

Training ,
http:// www.louvre.fr/llv/activite/liste_evenements.jsp?nature=activite_nature_3&bmLocale=fr_FR

Tours ,
http://www.louvre.fr/llv/activite/liste_evenements.jsp?nature=activite_nature_1&bmLocale = en_US

Teachers ,
http://www.louvre.fr/llv/activite/liste_evenements.jsp?nature=activite_nature_1&bmLocale=fr_FR

* Objective 9. Services Research

Conférences et colloques ,
http://www.louvre.fr/llv/auditorium/liste_evenements.jsp?nature=audit_nature_2&bmLocale=fr_FR

Formations,
http : / / www.louvre.fr/llv/activite/liste_evenements.jsp?nature=activite_nature_3&bmLocale=fr_FR

Ateliers ,
http://www.louvre.fr/llv/activite/liste_evenements.jsp?nature = = fr_FR activite_nature_2 & bmLocale

Dossiers ,
http://www.louvre.fr/llv/dossiers/alaune.jsp?bmLocale=fr_FR

* Objective 10. Services for professionals

professionels (Journalistes - entreprises - tourisme - enseignants - associations),
http://www.louvre.fr/llv/professionnels/alaune_professionnels.jsp?bmLocale=fr_FR

* Target 11. Services for reservations and purchases

Billeter & Boutique online ,
http://www.louvre.fr/llv/pratique/billetterie.jsp?bmLocale=fr_FR

* Objective 12. Promoting community telematics

Membres,
http://www.louvre.fr/llv/membres/alaune_membre.jsp?bmLocale=fr_FR

from Section membres: Link to site Amis du Louvre ,
http://www.amis-du- louvre.org /

from Section membres: Link to site Grand Louvre au Japon,
http://www.louvrejapon.or.jp/

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collaborative filtering


What is collaborative filtering?

What follows is a reflection on "collaborative filtering". The content of this reflection is essentially a paraphrase of the pages 143 to 148 of Chapter 6 - Slugs, Ants and Amazon.com - by Andy Clark (2003): Natural-Born Cyborgs , Oxford University Press.

Browsing the Web leave tracks.
The electronic traces we leave when we access data, when we use a search engine, when we make a purchase online, when we communicate, can be tracked, analyzed, grouped together with traces of other Web surfers, and ultimately, exploited to generate new knowledge.
A special use of this new knowledge generated by the interaction of the traces left on the net is what make sites like http://www.amazon.com , one of the biggest and most popular commercial sites. Amazon.com uses tracks electronic leave users who visit your site for information and customize the report maintains that with its customers.
Amazon.com is the prime example of how it can be harnessed "knowledge" that we allow the network to develop a quality site that can customize the information that it transmits.

me give an example. We intend to buy a CD of Peter Tosh through Amazon. While we buy that cd we are informed: 'People who bought this album also bought ...'. We are informed that a series of CDs has been purchased by buyers of the same cd of Peter Tosh. This process is commercially very effective. In fact often happens that a person will find interesting cd did not know, and that match your tastes, following the trails of other purchasers of the same cd that is likely to have the same interests.
The IT architecture of Amazon, using the traces left by its customers, is based on dynamic knowledge structures, capable of self-organization (self organizing knowledge structures).
More specifically, the technique used to suggest a CD to a user of the Amazon depends on a system of collaborative filtering ( collaborative filtering). Collaborative filtering systems to propose a custom tips through the computation similarities between our preferences and those of other people.
As mentioned above, each share of a buyer leaves traces in the Amazon. After a sufficient number of shares similar patterns emerge in the web of choices shared by multiple buyers. Suppose that I, the buyer of the CD of Peter Tosh, also includes two other CD. One of the CD is a gift for a friend with musical tastes are very different from mine, the second is another CD I buy for myself. Likely choices from the second cd will be not much different from the choices of other fans of Peter Tosh who buy CDs in the Amazon. In this case, the electronic traces, organized according to the technique of collaborative filtering, will lead other buyers of the CD by Peter Tosh to products that meet their taste in music.

The simple tactic to ensure that the buyer's online activities leave electronic traces that can be followed by other buyers reveals a powerful type of cognitive structure. One such procedure is powerful because it allows the action patterns of buyers' speak for itself "and will signify in the space of Web paths immediate and municipalities. These collective paths have the advantage of delineating categories are not ordinary. These categories emerge automatically deviate from the categories we use to routinely rank our choices. The category, in this case, the activity is created directly Buyers Online: It is a type of category planning, emerges from collective choices and thus so flexible as the choices of buyers.
Another advantage of a system based on collaborative filtering. Imagine a system that not only keeps track of what different people have chosen, but also the temporal sequence of choices. Such a system could develop common pattern of evolution of the choices and thus offer useful advice on what to try to choose in the future.



* Learn About Collaborative Filtering:

http://www.sims.berkeley.edu/resources/collab/
A resource website School of Information Management & Systems at UC Berkeley, CA.

http://jamesthornton.com/cf/
Links to papers on Collaborative Filtering, Internet consultant from the site of James Thornton.

http://pespmc1.vub.ac.be/COLLFILT.html
Resource from the website of the International Principia Cybernetica Project (PCP).

http://en.wikipedia.org/wiki/Collaborative_filtering
Wikipedia on Collaborative Filtering.

http://www.html.it/architettura_informazione/infoarch_29.htm
Brief article that explains what the Italian collaborative filtering. From HTML.It.


* Some commercial sites that use the system of collaborative filtering:

http://www.amazon.com/

http://www.half.ebay.com/

http://www.barnesandnoble.com/

http://www.musicmatch.com/

http://www.netflix.com/

For other links to sites that use collaborative filtering technology to link the wikipedia reference above.

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affordance AND AMAZON.COM AND WEBSITES


What the affordances of a web site?


One of the most interesting concepts developed by Donald Norman in the context of cognitive ergonomics is to affordance.
The cognitive ergonomics studies the interaction man-machine-environment factors come into play cognitive and emotional, related to the dynamics of perception, learning, memory and problem solving skills. That are studied ways by which a user builds a mental model of the product that you are using, and creates certain expectations about its operation.
L ' affordance is a property that an object with its very form suggests how to be used. Introduced by the psychologist James Gibson, that term describes a relationship between an agent and a surrounding environment is an invitation that the environment has to be used in a certain way.
Think of a handle, or a remote control, which by their form invite to be used in a certain direction. The affordance of a handle of a door is such that we understand at a glance that the handle rests the whole hand and press down.
But think also, as an example of non-affordances, those gates and it is not clear which side should be pushed to be opened. Note that the affordance is a product of culture, not a given "natural" object. A native of Australia might not know how to use a remote control and maybe we would not know how to use a harpoon fishing Inuit fitted with a propeller but a spear and its engine are just two pieces of wood. It is no coincidence that Norman Nielsen, and have founded a company that offers services in strategies that enhance the user experience. In fact, the affordance is a key ingredient for usability, and consequently the quality of a site. Ergonomics and usability
imply a way of designing a site that user centered design, user-centered design.
In simpler words, if I create a quality website, I have made so that it is adequate for its target audience, as if it produces a remote control it must have sizes and shapes such that the hands of human beings can grasp it. In short we must ensure that objects in one site behave as their appearance suggests ( call functional objects ). The user of a website should be able to understand how to use something just looking at it ( visibility ), establishing correspondences between conceptual commands and functions ( natural mapping). Visibility
, invitations and natural functional mapping are three characters in a usable site.
Some examples.
Visibility: a blue underlined word suggests the idea of \u200b\u200bbeing in the presence of a link to another page, where the emphasis is colored purple it means that the link has already been clicked. Invitations
functional: a button '→' ('forward') suggests the action of being pressed and not to be selected.
Natural mapping: the structure of a model for conducting research suggests that you should enter your search text in a certain field and then press the 'send'.

broadened our perspective. When we navigate a website, mainly because we do seek information, and we believe that the information we seek is transmitted in a reliable manner. According Origgi the affordances of the Internet are just a mnemonic (Calls to be used as a repository of information) and a relational (internet interpret in terms of intentions, beliefs and desires), and these affordances explain the success of certain content and 'failure of other
(See http://webphilosophy.blogspot.com/2005/10/internet-come-artefatto-cognitivo.html ).
A typical case, reported by Origgi, sites that exploit both of these affordances of the internet sites of community where people with similar interests meet to discuss a certain problem sharing a database of information.
Another example of a virtual space that leverages the affordances of the Internet is both the forum . The forum is a virtual space that many sites make available to its users to exchange views on a particular topic. Messages addressed to the forum are displayed on a web page for the second sequential organization date or in a tree structure, for esmpio brings together all the answers to a given intervention.

Ultimately the web designer to build a quality site, and therefore usable, must design objects in web pages so that we send clear messages about their possible use, on their actions and their duties.
must also reflect the two main affordances of the Internet, described by Origgi: the mnemonic for the internet which invites us to use it as a repository of information, and relational, for which we expect that the information that we are in the web is communicated in a reliable form for us, satisfying and relevant, just like a human agent to which we ask information.

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IPR. THE CASE OF THE IMAGES IN WEB USABILITY


The IPR problem. The case of the images on the web

The problem IPR (intellectual property rights, intellectual property rights) is tricky. Intuitively, a website to be quality should comply with the IPR.
What is put on the web is published, that is made publicly available to be read and consulted, not to be reused without the knowledge of the author (who holds the intellectual property right on what he has published). But in the digital copying of content that can be done quickly, and especially without a trace.
For images can come from a partial defense watermarks or steganography.
The watermark (see for example the images provided by the site www.corbis.com )
inserted so visible in the name of the owner of rights of use image (in this case Corbis). It can not be reused freely downloaded in public contexts of production (printing a weekly newspaper, a newspaper, a book) no one knows where it came from.
Not always, however, may use the watermark to protect an image from misuse, because sometimes the picture published on the web must be 'clean': the typical case of a museum that publishes pictures of possessions. In such cases, it makes use of steganography , that the 'writing' into the image of a series of information relating to the owner of rights to the source from which the image comes, and the like. To write into the image takes advantage of the fact that 64 million color shades available in images with color depth of 32 bits are more than the human eye can discriminate: many of these nuances are not distinct. Then a map of pixels corresponding to the characters to write is created by changing a bit with the movement of the value of the pixels of an image.
With the software tools that you download s-at http://www.electronetmodena.it/s-tools4.zip (there are many, this is easy to use and has to be installed) you can try how steganography. Drag the main window image GIF or BMP. Then drag the image to a text file that you want to hide the image. The program asks you to that point, a word or phrase with which to encrypt the text, and the choice of an encryption algorithm. Then you generate a new image that contains within the text file encrypted.
As you can see there are perceptible differences. To extract the text you drag the image steganography in the main s-tools, then click with the secondary button, and then reveal, at which point the program asks you the word or phrase with which you had encrypted steganographic and the text, choose The algorithm used for encryption, and the program extracts the files you have hidden.
Steganography allows you to demonstrate that a digital image has a certain identity, but will not protect against theft.
The issue of respect and protection of intellectual property rights is very thorny and the approach adopted is therefore usually a conservative and defensive approach: the content is not online can not be stolen. It looks like a partial approach that does not solve all the problems. However, it is the only one at the moment, "cheap".

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PILLS '


What is usability? Pills.


The usability of a website is defined in relation to effectiveness, efficiency and satisfaction.
by ISO 9241 usability of a site is called: 'The effectiveness, efficiency and satisfaction with which specified users can achieve certain objectives in certain environments of use'. See in http://www.iso.org/
This definition is of 1993 and refers to computer artifacts in general.
THE THREE INDEPENDENT VARIABLES referred to are:

environments
objectives
users

In reality the concept of usability was born in the 60s', in ergonomics, in relation to any human - machine interaction artifact. There usability in a product itself. The sense of usability and user can not be separated from the environment of use.

The dependent variables in the above definition are: effectiveness, efficiency and satisfaction.

Effectiveness: that the accuracy and completeness with which to achieve certain results, the goal.
efficiency in the use of a product indicates the resources spent to achieve this in relation to the accuracy and completeness of achieving the desired result.
Satisfaction indicates the comfort, freedom from discomfort and constraints, the acceptability of the system, the favorable disposition of users use of the product.

In Italy the great discovery of the issue is the usability of Web sites with the publication of the book by Jakob Nielsen 'Web Usability'. Nielsen before becoming usability guru had worked at Sun - U.S. computer company where he invented the Java language - up to 1998 as a Distinguished Engineer.
Then, close to the usability issues were already long been under study by Donald Norman, an engineer and psychologist, former vice president of Apple's advanced research, involved in the design of the Macintosh user interface. One of the concepts designed by Norman is to affordance: quality that an object with its very form suggests how it should use. Ergonomics and usability
involve a design process that has at its center you.

With the advent of the Web, the problem of usability has been moved from the domain of software to the sites. A usable website is a prerequisite for its quality. The web designer at every stage of design should therefore take these type of questions: What is a web site? Who will use it and what do you expect to find? The same questions also guide
drafting of the content. Usability experts and then interact with the site design at any stage of implementation.

STILL POINTS IN THE DESIGN:
• The usability is designed from the start, and kept under constant review in the process of planning and development.
• Designing usable systems is difficult and requires specific expertise and professionalism.
• Evaluation of usability of a system can not by the user. Therefore it is necessary to put the user at the center of the design process.
To achieve this it is also essential to know the user.

To design a good system, specifically, we need to know: •
its needs and expectations in relation to system;
• "basic mechanisms of" User: perceptual, motor, cognitive,
• its socio-cultural: language, education, occupation, experience,
• The specific use that will do.

... then we must try. Check
through usability testing. Users
sample using the system by performing typical tasks in a controlled environment, under observation by usability experts who collect data, analyze them and suggest improvements.

levels of "maturity" within the user-centered design can be successfully arranged like this:
• FIRST STAGE: The product works
• SECOND STAGE: The product provides the functions required
• Third Stage: The product is easy to learn and use
• Fourth stage: The product is invisible in use.


"There are no simple answers, only tradeoffs
"
Donald A. Norman

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GUIDELINES FOR ACCESS' (WAI)


guidelines for accessibility of Web content - Web Accessibility Initiative ( WAI)


The WAI is an internal organ to the W3C which aims to provide a set of guidelines that a site is developed in an accessible and visible to a growing number of people. The WAI guidelines are an excellent reference for web designers who want to ensure a good level of accessibility. Following the guidelines of the WAI is then possible to determine what tools and methods can resolve the issues relating to:

- people with physical mobility, therefore unable to properly use the keyboard;
- people with vision problems that can be difficult to select or see certain colors;
- people who do not have hardware / software for new generation.

The core accessibility that emerges from these guidelines to ensure an elegant transformation that makes the content understandable and navigable. Accessibility therefore means " transform gracefully" means a written page in a certain way with certain content changes according to the needs of the user being able to make content understandable and navigable. An accessible site, if properly implemented, can be very similar to a non-accessible. Ensure a high degree of accessibility means in fact make the same information is accessible in different ways. To encourage people with limitations of any kind (physical or technological) should be taken of devices that designers (web designers and programmers) should apply, trying to make compatible the html with the programs (validators) and specific support and assisted softwares (screen readers, Braille keyboard, etc...)

The WAI guidelines are divided into four sections:
- WCAG: Web Content Accessibility Guidelines 1.0 [the Italian version is the responsibility of the Italian librarians ( http://www.aib.it/aib / cwai / WAI-trad.htm )].
explain in detail how to make a site accessible to disabled people, both physically and cognitively.
- ATAG : Authoring Tool Accessibility Guidelines 1.0Sono aimed at software developers and applications for the creation of sites with pages actually available.
- UAAG : User Agent Accessibility Guidelines 1.0Rivolte also software designers, they explain how to make their products compatible multimedia applications and not to create problems with assistive technologies for disabled persons.
- XML: Extensible Markup Language GuidelinesPer developers of XML applications, explain how to ensure compatibility between this language and parameters of accessibility.

Another important section of the documents is that of the WAI checklist, where the above guidelines are divided according to their priorities:

Priority 1: Web content developer must satisfy this checkpoint, it is impossible access. [Level A]
Priority 2: Web content developer should satisfy this checkpoint, otherwise the access difficulties for some users. [AA level]
Priority 3: Web content developer may take into account this point of control to improve access. [Level AAA]

WCAG are divided into fourteen guidelines, each of which certain topics are treated according to category and control points. In each control point describes the problem should be addressed and gives tips on how to resolve it.
Here are some key points of the WAI guidelines.

level A guide linne are dealing with:

compatibility with various browsers
The website, to be seen by everyone equally, must be compatible with most browsers (eg Netscape, Mozilla , Explorer, Opera), but this compatibility is especially extended to the special browsers, those used by disabled people, such as screen readers.
IMAGES
is important to find technical solutions that make the images accessible site with messages auditory or special devices to enable a "graceful transformation of pages.

EFFECTS Special effects (flashing messages, violent colors, moving pictures) should be restricted and used so as not to cause psychological distress to those who may have seizures or nervous.
TEXTS
I colored text should contain an option that makes them accessible even to those who can not see certain colors (eg color-blind individuals who can not see the color red) The characters should have a proper size, or provide the user the possibility to enlarge them.

At level AA:

VIDEO
You should make sure that the monitor has a color combination, including the background and the foreground, so as to generate sufficient contrast so that the website can be seen by those who have trouble seeing certain colors, or having the screen black and white.

INFORMATION The information should be structured so as to make them easily accessible to all users that belong to the target site.

Level AAA:

Content Accessibility
is important to carefully define the structure of information, providing a graphic or audio support so that the page can be perceived and understood by even the most disabled users.
THE IDENTIFICATION OF THE MAIN LANGUAGE
The identification of language main is important because the Web is aimed at people who speak different languages. We always ask you to identify the "natural language and a main document and make it available in the languages \u200b\u200bmost used by the target audience.

is important to clarify that this does not necessarily mean you will not make a website aesthetically pleasing or special restrictions. It will be for web designers combine their creativity with functionality. Indeed Building the accessibility of a site means to combine technical expertise skills in ergonomics, design and interaction design.

The Chamber of Deputies approved a bill requiring to public and providers of public services to meet accessibility criteria in the implementation of its Web sites Law 9 January 2004, n. 4: Measures to facilitate access for disabled people to information: http://www.camera.it/parlam/leggi/04004l.htm

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WHAT 'ACCESSIBILITY' Web Content?


What Accessibility?


Accessibility can be considered as "zero property" (a precondition) that characterizes the quality of a website. The concern for universal access to the web was in the mind of Tim Berners-Lee, inventor of the Web, since the beginning of the project in 1989-90, when he worked at CERN, where he presented his proposal for the management of ' information.

What do you mean universal access to the web? Citing

Berners - Lee
Universal access is to make the Web accessible to all by promoting technologies that take into account the vast differences in culture, language training, skills, material resources, access equipment and physical limitations of users on all continents
Source: http://www.w3.org/consortium

The web was thus designed to be a universal space of information. Accessibility has as its ultimate goal is to make accessible Web sites and their content to a wider number of browsers, including also the disabled, people with special cognitive problems, people with hardware equipment (such as handheld computers) or software updated (as outdated browser versions). The issue of accessibility is often simplified as "access for the disabled." In reality is more complex web access should be for everyone. For all must be done in such a way that the specificity of the way of access do not constitute an obstacle to relied upon. Millions of people have problems with sensory organs (vision, hearing, touch) until you get to cases of physical and cognitive disabilities and their access to the Internet can really be an insurmountable obstacle. In addition to the human factor, even the technological factor can help make a site inaccessible as the majority of users (60% -70%) have a slow computer and slower and lines (modems are still used more than with speed to 33.6 Kbps or 56 Kbps).

How to make a website accessible?
Some simple examples: I produce the content that I publish the font sizes that can be read by all with ease; I produce content that is not the vehicle information through the use of colors that colorblind people can not distinguish, I produce the content that vehicle information so that the maximum number of people can read it, and then do not use a single language. In this attention to ease of access and therefore the maximum dissemination of the contents, also fit those specific to people accessing the web was not technologically equipped with computers (low-resolution screens, such as 640 x 480, or slow connections, telephone type ) or has physical characteristics which may cause difficulties in navigation (limitations of vision, the ability of motor coordination, etc.).

Lines Driving the "official" for the accessibility of web content, drawn from the Web consortium, which belongs Berners - Lee, have their origin in 1991.
The name of the project: Web Accessibility Initiative (WAI) http://www.w3.org/WAI/
we read the page that the primary goal of the WAI guidelines is to 'explain how to make the Web content accessible to people with disabilities'. These guidelines were drawn up thinking particularly of the developer of web content ('page authors' and 'site designers') and assistive technologies for web browsing.

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MINERVA QUALITY GOALS '

Minerva What are the objectives for the quality of websites cultural public?

The Minerva project has as its theme the quality of public cultural websites.

objectives contained in the 'Handbook for quality in cultural Web sites' of 2004 can be spread over a three-tier structure:

Level 0: Accessibility -> Site Access
Level 1: Usability -> effectiveness in the site navigation
Level 2: Quality in accordance with the objectives Minerva -> Quality of content

At level 0 is accessibility, ie the possibility for everyone to access the web without limitations given by the context or the physical characteristics of ' User (But also mental and psychological).

Level 1 is the usability, that is: now that I had access, the site is such that you navigate with ease and efficiency, and rest satisfied in the end?

At level 2 you put the goals of cultural quality. Each level 'high' can not stand without the lowest, most basic. Higher levels 'low' are necessary (but not sufficient) to have a quality site.

* The twelve objectives of public cultural Web applications are:

1. Represent the cultural identity of the public (SCP)

2. Make transparent the activities subject of public cultural

3. Make transparent the objectives of the web public cultural (AWCP)

4. Play an effective role in the sector network

5. Present legislation and industry standards

6. Disseminate cultural content

7. Supporting cultural tourism

8. Providing educational services

9. Offer services for scientific research

10. Provide services to industry professionals

11. Offering booking services and purchases

12. Promoting community telematics industry


briefly comment now the targets point to point.

1. Represent the identity of the SCP.

The website of an SCP must have a space to communicate the elements that have historically formed the features. Not only is the "about us" that many sites have. And more. Imagine a museum. The goal calls that museum's website to make the history not as a series of dates, but as all of the reasons that gave birth in a given period in a given historical context-political, which have given a certain location. All this helps to understand the formation of collections and their content.

2. make transparent the work of the SCP

let SCP know! Do you know what you do (programs, projects, funding, procedures, stages of implementation, results ") to implement your goals, to give shape to the reason for which you exist ('your' mission '). Note also that the activity helps to establish the identity of the SCP. Especially for a SCP, as result, there are obligations of transparency and reporting to the "public" (ie, citizens by the state), funded and it does exist.

3. Making transparent the objectives dell'AWCP

The website of the aims and methods (person "responsibilities and skills involved," strategies "strategy to maintain and update," technology "technology strategy") to pursue these goals, the visitors should be made aware of this. Why? For a principle of transparency, because the SCP is part of a network of industry and quest'appartenenza implies, somehow, a duty to cooperate. Finally un'AWCP may, among others, influence and guide the development of information society and knowledge and as such must be transparent.

4. play an effective role in the sector network

Today it is increasingly widespread recognition of the importance Being connected with others in your same field they like. The others who do similar things in them are competitors, but only in part of his traveling companions who can help, and together we reason better and are better addressed the problems. Collaboration with other SCP requires to identify the technical procedures and standards that promote access to databases held by each SCP.

5. these rules and industry standards

Each AWCP (public cultural web application) exposes to his audience as the standards for the rule: both general (depending on the domain cultutrale which the subject belongs), both specific and local.

6. Disseminate cultural content

Each SCP distributes the "information", the 'knowledge' that has: Data on the books for a library, the images of the property for a museum, ... Everything must comply with the IPR (intellectual property rights, intellectual property rights).

7. Supporting cultural tourism

Without thinking that an archive or a library should become a company's offices to promote tourism (APT), each person can do a lot of cultural things that help in terms of logistics and people living it involved. Any person from normally information on how to reach its physical location (address, public transportation, maps and floor plans). It does not take much to do two things to completion and enrichment in terms of cultural tourism: What other SCP (public cultural entities) in the same area offer interesting content, indicate only a few links as a possible visitor (prospect, as it says in the jargon of marketing ...) to find services for hotel reservations or similar it may be a link to an tourist service of the municipality, or the like.

8. Providing educational services

Often the needs of conservation and management seem more important than the enjoyment of a cultural heritage. Minerva says the project with this objective that the cultural sense (and give meaning) if their use is widespread and is at least inter-European. It requires each AWCP (public cultural web application) a space in which its cultural heritage will be enhanced by tools that facilitate communication of information, interpretations and reconstructions of historical context. What all this should be "multimedia interactive" is almost obvious, but often not so simple and not reducible to pure digital side.

9. Offer services for scientific research

Imagine a service where an archive, to a scholar interested, provide the opportunity to subscribe to a service that reports on email every 15 days as new documents or collections are entered in the archive. The example is generic, and perhaps too general, but it makes it a good idea. A similar service is offered by online bookstores for some time: if you buy three books from Amazon, I am asked if I want to be informed when they become available at Amazon books of the same areas.

10. Provide access to professional

professionals: for example, a company or a company specializing in the creation of temporary exhibitions, or: the curator of a museum. For reasons of a different type of work both want to find information 'From insiders', the first to design and build an exhibition, the second to find a new job.

11. offer booking services and purchases

The concept goes beyond the simple objective 11 (pre) sale of tickets. Purchase online and download digital assets. For example, the Louvre museum has a large section of the online store ( http://boutique.louvre.fr ) where you can buy almost everything is on sale at the exit of the physical museum (eg copies works owned by the museum: jewelry / jewelry, but also books, CD-ROM/DVD, and the like). You could then ensure a service for downloading of digital assets: like a mini-guide in PDF, perhaps generated after collecting a number of indications on the interest of the site visitor, or a PowerPoint presentation on some of the museum's collections. The implication is that the SCP in the digital world lives and works just like it does in the physical world.

12. Promoting community telematics industry

The objective invites us to consider each individual visitor / user dell'AWCP (public cultural web application) as a value not to be missed or squandered, but rather to keep and attract more and more closely . There is a clear logic of marketing (retention: retain and keep the customer) but also the sense of the importance of every opportunity to move content and culture. There is also an invitation to make effective use of the web (the system log to record each visit a number of important and useful information to manage the site, for example analysis of the log may reveal that a given area of \u200b\u200b' AWCP has never visited, in which case we need to ask why and what you can do, or could show that 40% of visitors coming from search engines and this would imply a favorable opinion on any action taken by the search engines to promote the AWCP, and so on.

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PROJECT MINERVA


What is Project Minerva?

The Minerva project is a European initiative which aims to achieve the objective of the digitization of cultural and scientific heritage.
Compared to the cultural sector, the web is an instrument of enormous power for knowledge dissemination and exchange in research, teaching and information. The project represents a common European platform, which are developed recommendations and guidelines about digitization, access and the creation of metadata (metadata is information describing a on the structure and meaning of the data, applications, as well as the processes that manipulate them).

A public cultural web site is a site that has among its principal promoters of a public - archives, libraries, museums, research centers and training. By its nature, therefore, a public cultural web site that can not reach all citizens, regardless of their training, skills and technologies they own.

The Minerva project seeks to promote the interaction between web designers and cultural entities in the belief that only through dialogue and collaboration between the IT world and the culture you can build cultural websites public quality.
On the one hand it is necessary for people to know the cultural properties and mechanisms of the Web in order to be able to really exploit the potential, and second is equally important that experts in the web, developers, aware of the problems of the world of culture.

Minerva provides a set of directions, objectives, principles by which to assess the quality of a public cultural web site. The intent is to provide an open model in which each person may devise original though bound by common tesnione to the result of a quality offer.

The issue of quality of a public cultural web site is difficult. It 'clear that everything that exists because there has qualities. However, some qualities are valuable, others less so. The working group seeks Minerva, with its guidelines, to answer the question:
what are the qualities that a public cultural web site must have to be valid and well made?