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Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 1 of 9
Intangible Heritage 2.0
How to collect, curate and present
the digital landscape as the new public space.
by Dr Matthias Henkel
Freie Universität Berlin
‘For technical reasons, the local Internet presentation of the colors, depending on
your browser, setting and make your monitor etc. differ from the actual colors of
the prints or original works of art.’
1
‘Seeing what is not there lies at the foundation of all human culture.’
[Tuan, Yu-Fu: Escapism. John Hopkins Univ. Press. Baltimore/London 1998
2
]
Introduction
In the past, museums have been object-based institutions. These days, in a media-based world,
museums are going to become landscapes of cross-media memories.
3
Previously, we looked at
objects in a showcase – now, immersive technology allows us to stand inside the scene.
4
Digital Society – Virtual Reality – Big Data – Compatibility – Spatial Turn – Immersive Arts – Human
Computer Interaction (HCI) – Media Interface – Augmented Reality – Mental Representation –
Shared Economy – Swarm Intelligence – Outsourcing – Sense of Place: these are some of the new
buzzwords. And UNESCO is working to define the difference between Digital Heritage,
5
Virtual
Heritage and Intangible Cultural Heritage (ICH).
6
We are living in an era in which objects are disappearing from our everyday lives more and more. At
the same time, we are embedded in a new public space: the World Wide Web. As I see it, the Web
has still not been comprehensively considered when it comes to museum practice. At most, it’s being
used as an additional form of media for museum communication. It is important that this new public
space is recognised as a future field of work, a new field of research, a new source, a new stage and a
1
Original Quote: ‘Aus technischen Gründen kann die lokale Internetdarstellung der Farben je nach
verwendetem Browser, Einstellung und Fabrikat Ihres Monitors etc. von den tatsächlichen Farben der Drucke
bzw. der Originalkunstwerke abweichen.’ http://www.artfan.de/blog/kunstdrucke-als-guenstige-alternative-zum-original/
2
http://www.materialworldblog.com/2009/08/what-is-virtual-heritage/
3
Thorolf Lipp: Arbeit am medialen Gedächtnis. Zur Produktion und Archivierung von Intangible Heritage
Medien. http://www.thorolf-lipp.de/public_lectures/documents/KIT_2010_Lipp_Abstract_Arbeit_am_medialen_Gedaechtnis.pdf
4
Britta Neitzel: Facetten räumlicher Immersion in technische Medien. http://www.montage-
av.de/pdf/172_2008/172_2008_Facetten_raeumlicher_Immersion_in_technischen_Medien.pdf Patrick Rupert-Kruse: Notizen zur
Strukturierung medialer Erlebnisräume zwischen Phantasma und Apparatus. Seite 11-19. http://www.immersive-
medien.de/wp-content/uploads/2015/10/jim_2012_einleitung_rupert-kruse.pdf
5
UNESCO Charta zur Bewahrung des digitalen Kulturerbes Paris. 17. Oktober 2003.
https://www.unesco.de/infothek/dokumente/unesco-erklaerungen/charta-zur-bewahrung-des-digitalen-kulturerbes.html /
UNESCO/UBC, VANCOUVER DECLARATION. The Memory of the World in the Digital Age: Digitization and
Preservation 26 to 28 September 2012 Vancouver, British Columbia, Canada.
http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CI/CI/pdf/mow/unesco_ubc_vancouver_declaration_en.pdf
6
UNESCO Übereinkommen zur Bewahrung des immateriellen Kulturerbes; Paris, 17. Oktober 2003.
http://www.unesco.de/immaterielles-kulturerbe.html / look at: http://network.icom.museum/cidoc/working-groups/ich/ the group
is working on vocabulary, standards and guidelines for documentation of ICH.
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 2 of 9
new tool – Let’s say: an unknown landscape that needs to be explored. To remain relevant in the
future, museums need to develop entirely new methods of documenting these sources; they need to
curate and present the digital landscape as an new entity of public space.
‘Goodbye Hardware… Hello Data’
For hundreds of years, museums have dealt with objects. Museum experts have learned to work with
silver and gold, canvas and oil, wood and ceramic. Since Duchamp came around, we care about
readymades – Nam June Paik and Joseph Beuys showed us that a broken TV could be a piece of art.
In the past, artworks were made out of something (i.e., material). All of the objects collected in
museums were defined by formal criteria like time,
7
space
8
and material
9
– and, if possible, social
status.
10
These days, we’re talking about the Digital Age. The amount of electronic data doubles
every two years,
11
but there is little talk about the dematerialization
12
of daily life, or the lack of
spaciotemporal determination and localizability. These are simultaneous, ongoing processes. One
result of the upcoming Industrial Revolution 4.0 will be the Internet of Things.
13
That is, large parts of
material culture will be embedded into – or replaced by – a stream of data: physical, chemical, digital
and biological items will be connected and intertwined. This will have great impact on museums
means we have to rethink our concept of collecting, preventing, curating, researching and
presenting.
Analogues and digitals
These days, the world is split into Analogues, Digital Immigrants and Digital Natives.
14
Therefore we
have to be aware that different types of experiences not only lead to different opinions, but they also
‘lead to different brain structures.’
15
Data will be the new oil in the era of the cyber-physical
revolution.
16
In order to deal with these new circumstances, new soft skills will be necessary,
17
new
job descriptions will need to be developed for the new staff.
7
Date of production.
8
Place of origin.
9
Texture of material and production technology.
10
Tenure status.
11
http://www.welt.de/wirtschaft/webwelt/article118099520/Datenvolumen-verdoppelt-sich-alle-zwei-Jahre.html
12
http://www.neuland.digital/wp-content/151210_ExSum2.pdf Ralf T. Kreutzer / Karl-Heinz Land: Digitaler Darwinismus –
Der stille Angriff auf Ihr Geschäftsmodell und Ihre Marke. Verlag Springer. Heidelberg 2013. Ralf T. Kreutzer /
Karl-Heinz Land: Dematerialisierung. Die Neuverteilung der Welt. Futurvisionpress. Köln 2015. In contrast:
https://www.youtube.com/watch?v=6W87FgqFuPk
13
‘The internet of things (IoT) is the network of physical objects – devices, vehicles, buildings and other items –
embedded with electronics, software, sensors, and network connectivity that enables these objects to collect
and exchange data.’ https://en.wikipedia.org/wiki/Internet_of_things
14
Marc Prensky: Digital Natives, Digital Immigrants. From On the Horizon (NCB University Press, Vol. 9 No. 5,
October 2001). https://edorigami.wikispaces.com/file/view/PRENSKY+-+DIGITAL+NATIVES+AND+IMMIGRANTS+1.PDF
15
Quote from: Dr. Bruce D. Perry, Baylor College of Medicine.
http://www.mahara.at/artefact/file/download.php?file=156670&view=24210
16
Clive Humby, UK Mathemetician and architect, 2006. https://www.quora.com/Who-should-get-credit-for-the-quote-data-
is-the-new-oil
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 3 of 9
In 2015 the Tate Gallery published a small survey conducted among 17 museum experts about the
future of museums.
18
The following word frequencies give us an interesting and simultaneously
frightening insight
19
: museum (67), future (30), people/audience/visitor (24), public (16), artist (16),
space (11), experience (8), [….] transformation (5), building (4), event (4), collection (4), community
(3), education (2), knowledge (2), participant (1). To put it short and sweet: nothing about media,
nothing about the Digital Revolution – and little reference participation.
Frances Morris, the new director of the Tate, gives us hope: in an interview on the occasion of the
opening of the new building on Friday 17th June 2016, she says: ‘With the Switch House, we are now
getting a significantly expanded range of spaces, flexible galleries and a broader scope. Who knows,
maybe the next challenge will be virtual space? Then we won't need galleries anymore. That's the big
question: what happens next when we are in post-gallery times?
20
’
It seems that the Industrial Revolution 4.0 has reached the world of museums. I think it is time to
open up the discussion:
In the era of co-creation – we need a new definition of authorship.
In the era of infinite reproduction – we need a new definition of authenticity.
In the era of digitalization – we need a discussion about originality.
21
In the era of globalization – we need to talk about local, global and digital in addition to
north, south, east and west.
In the era of storytelling – we have the talk about truth and the reputation of the sources.
22
Like before, the investment in architecture is common – but not the necessary investment into the
infrastructure, particularly to educate and develop the staff. The phenomenon of ephemeral cultural
representations is not really new, but our dealings with with intangible heritage, will increase
significantly.
Christo – the act of the ephemeral and its long-term effect
Getting Christo as the keynote speaker for the ICOM general conference was a great stroke of luck.
23
As an artist, he has been working hard over the course of many years to create ephemeral thrills for
17
The TOP 10 skills in 2020 are (1) Complex Problem Solving (2) Critical Thinking (3) Creativity (4) People
Management (5) Coordinating with Others (6) Emotional Intelligence (7) Judgment and Decision Making (8)
Service Orientation (9) Negotiation (10) Cognitive Flexibility. https://www.weforum.org/agenda/2016/01/the-10-skills-you-
need-to-thrive-in-the-fourth-industrial-revolution/
18
http://www.tate.org.uk/context-comment/articles/what-museum-future
19
The whole survey contains a total of 2637 words. The words are listed according to their frequency. I used
the program WORDCRUNCHER for the analysis.
20
The original quote in German: ‘Wir bekommen jetzt mit dem Switch House eine deutlich erweiterte Auswahl
an Flächen, flexiblere Galerien und größeren Spielraum. Wer weiß, vielleicht ist die nächste Herausforderung
der virtuelle Raum? Dann brauchen wir gar keine Galerie mehr. Das ist die große Frage: Wie geht es nach der
Post-Galerie weiter?’ http://www.faz.net/aktuell/feuilleton/kunst/gespraech-mit-frances-morris-von-tate-london-
14280114.html?printPagedArticle=true#pageIndex_2 And the official website says: ‘…the world’s first gallery spaces
dedicated to live art, film and installations.’ http://www.tate.org.uk/visit/tate-modern/new-tate-modern/building
21
In the past we were talking about materials – in the future we are going to talk about data.
22
https://licensed.storyful.com/videos/116521
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 4 of 9
all the senses – afterwards, almost nothing remains. Still, all of these events do have long-lasting
effects deep in our memories, hearts, emotions, dreams and souls.
With his projects, Christo manages to overwrite our collective memory.
24
But this causes problems
for museums. How can such a project be collected and displayed? Christo: ‘The most important thing
is the visual experience, a celebration of the space and the people in the room. All of my work is
about the experience of the space. […] No theatre director can stage the twenty-four year battle that
we had to fight to realize the Reichstag project.’
25
Christo’s installations are effective and sustainable
because media dissemination is an integral part of the project.
23
On the very day that we start our conference in Milan, his new project will come to an end.
http://www.christojeanneclaude.net/projects/the-floating-piers#.V2VDNTVdItc
24
Press Conference on the occasion of the acquisition of the estate ‘Wrapped Reichstag’ of the Germanische
Nationalmuseum in Berlin 18.7. 1998. http://www.berliner-zeitung.de/reichstagsdokumentation-an-museum-uebergeben-
christo--live-von-new-york-nach-berlin-16045976
25
The original quote from Christo in German: ‘Das Wichtigste ist die visuelle Erfahrung, eine Feier des Raums
und der Menschen im Raum. In all meinen Arbeiten geht es um das Erlebnis des Raums. […] Kein
Theaterregisseur kann den vierundzwanzig Jahre dauernden Kampf inszenieren, den wir ausfechten mussten,
um das Reichstagsprojekt zu verwirklichen.’ http://www.a-e-m-
gmbh.com/andremuller/interview%20mit%20christo%20und%20jeanne-claude.html
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 5 of 9
Embedded Artits
Joseph Beuys adopted the idea of combining arts and communication early with his concepts of an
‘Erweiterter Kunstbegriff’ (expanded concept of art) and ‘Soziale Plastik’ (social sculpture).
26
These days, nearly all artists are embedded artists. Ai Weiwei is a typical example as an artist on the
boundaries of three-dimensional artworks, performance, multi-media-communication, media-based
representation and commerce. This video-still shows Ai Weiwei documenting his own artwork with
his cell phone
27
– What is action? What is reaction? What is production? What is reproduction? What
is documentation? What is communication?
In light of the discussion above, we can recognize a great shift in the core function of the museum: In
the past, museums have been institutional explainers of the world. These days, they are not only
transmitters of cultural messages, but must become senders and receivers at the same time – they
have to become platforms for discussion. Museums need to broaden their channels of
communication, curation, collection, presentation and interpretation.
From stone to data – information is the new stream
In recent years, museums have been described with different adjectives: connective museum
(2005)
28
, engaging museum (2005)
29
, responsive museum (2006)
30
, participatory museum (2010)
31
,
26
Think of his filmed performance of ‘I like America – America likes me’.
27
http://www.blouinartinfo.com/news/story/1313021/video-ai-weiwei-on-his-fantastical-creatures-at-le-bon-marche or:
http://minnesota.cbslocal.com/2014/06/27/movie-blog-ai-weiwei-the-fake-case-review/ ‘A fake case is a real case, but it’s face,
is’s fabricated.’ (Quote from Ai Weiwei in the video).
28
Dagny Stuedahl: The Connective Museum. August 2005
https://www.researchgate.net/publication/282076177_The_Connective_Museum
29
Graham Black: The Engaging Museum: Developing Museums for Visitor Involvement. Routledge. London
2005.
30
Caroline Lang/ John Reeve /Vicky Woollard: The Responsive Museum: Working with Audiences in the
Twenty-First Century. Ashgate Publishing. New York 2006.
31
Nina Simon (2010): http://www.participatorymuseum.org/
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 6 of 9
transforming museum (2012)
32
, connected museum (2013)
33
and just recently Nina Simon with “The
art of relevance” (2016) – to name a few.
All of the different functions of museums must be considered together – that is, an integrative
thinking. As I stated above, there will be a dematerialization of daily life and of the boundaries
between the analogue, digital and virtual. What collection items will be relevant and meaningful in
the era of the Internet of Things? We are facing great challenges:
In the era of the Web – we need to talk about the lack of temporal stratification (everlasting
presents): If something is online, it is present – if something is offline, it – in a manner of
speaking – does not exist. This notion is very influential when we think about categories like
past and present.
34
In the era of simultaneity – we need to talk about the present.
In the era of real time – we have to talk about new documentary instincts for collecting the
relevant artefacts.
In the era of the digital – we have to think about new skills for the staff and new methods of
collecting.
Embedded Museums have to be on-site and online
I will try to outline four steps to an Embedded Museum:
a) The Analogue Museum:
analogue storage, analogue exhibition, printed catalogues, website.
b) The Digitalised Museum:
analogue storage with partly digitised objects; analogue exhibition with media usage;
website and social media is in use – but not in an authentic way.
I think most of our traditional museums are between level (a) and (b) at the moment.
c) The Smart Museum:
Storage with digitised data (objects and context); responsive exhibition (the scenography of
the exhibition authentically refers to the content); website with embedded social media
(website and social media are based on an integrated concept of a piece), catalogues and
databases – printed and online etc.
32
Graham Black: Transforming Museums in the Twenty-first Century. Routledge. London 2012.
33
Drotner, Kirsten / Schrøder, Kim Christian (Eds.): Museum Communication and Social Media: The Connected
Museum. New York 2013.
https://books.google.de/books?id=GboTAwAAQBAJ&pg=PT6&dq=9780415833189&hl=&cd=1&source=gbs_api#v=onepage&q=978041583
3189&f=false
34
The digital age has to lead us to a new level of the verification of sources. http://journalistsresource.org/tip-
sheets/reporting/tools-verify-assess-validity-social-media-user-generated-content and https://www.youtube.com/watch?v=sNV4yIyXXX0
and https://www.technologyreview.com/s/514056/preventing-misinformation-from-spreading-through-social-media/
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 7 of 9
Our own International Committee for documentation, CIDOC, is still in discussion about the
future-proof processing of inventory data.
35
d) The Embedded Museum: The Embedded Museum seems like a Smart Museum, but the
curators are using the digital landscape as a new space for authentic research, presentation
and an open-minded discussion with the audience. The museum is no longer just intra muros
– the museum has grown into a really ‘Third Place’
36
– even extra muros. Social media is used
as an authentic resource for involving young people in the activities of the museum.
37
But the integration of media in the museum should not be an end in itself. Digital media should
be used as powerful tools to direct awareness to the content (objects, context and data). All
techniques must be used to help us to reach the Point of Relevance – curatorial, scenographical,
educational, communicational.
38
According to the motto content and connectivity are the new oil, the museum shares its competence
and knowledge with the audience – and the audience supports the Museum as a relevant place of
social interaction.
39
The choice of communication media depends on the content. Content first means that the content
has priority. From this perspective the museum becomes a newsroom – based on the past, focussed
on the present – oriented towards the future. The museum will become a social co-working place –
based on values for a democratic development of society. This is a very special way of thinking about
a participatory design (PD) for museums in the 21th century.
In some respects, concepts from Pierre Bourdieu
40
and Joseph Beuys
41
will come back to life:
Bourdieu’s cultural and social capital (social status in societies is defined by education and
knowledge) and Beuys’ social sculpture. Beuys did not confine the definition of art to a self-
contained, finished work. His art included creative thinking, human action and all aspects of action in
society and social relations.
35
http://icom.museum/the-committees/international-committees/international-committee/international-committee-for-documentation/
/ http://network.icom.museum/cidoc/
36
Ray Oldenburg: The Great Good Place: Cafés, Coffee Shops, Community Centers, Beauty Parlors, General
Stores, Bars, Hangouts, and How They Get You Through the Day. New York 1989.
37
Dagny Stuedahl: Social Media As Resource For Involving Young People In Museum Innovation. 60
International Journal of Sociotechnology and Knowledge Development, 6(3), 60-80, July-September 2014.
https://www.researchgate.net/publication/281371448_Social_Media_As_Resource_For_Involving_Young_People_In_Museum_Innovation
DREAM Project: http://www.dream.dk/ Macdonald, S. (2007). Interconnecting: Museum visiting and exhibition
design. CoDesign: International Journal of CoCreation in Design and the Arts, 3(sup1S1), 149–162.
http://museumtwo.blogspot.de/2014/12/what-you-lose-when-you-become-embedded.html
38
Nina Simon: The Art of Relevance. Museum 2.0 Santa Cruz, California 2016
39
Nina Simon’s new book – The Art of Relevance – found here: http://museumtwo.blogspot.de/. It is time to take a
look back at the 1970s: Wolfgang Brückner (Ed.): Falkensteiner Protokolle. Frankfurt am Main 1971. This Book
is a very necessary documentation of the discussion about the positioning of the ‘Volkskunde’ (European
ethnology) in Germany. Many elements that are currently under discussion – relevance, social interaction,
participation, responsibility – have already been mentioned here. http://www.emarketeers.com/e-insight/connectivity-
the-new-oil/
40
Pierre Bourdieu: Ökonomisches Kapital, kulturelles Kapital, soziales Kapital. In: Reinhard Kreckel (Hg.),
»Soziale Ungleichheiten« (Soziale Welt Sonderband 2), Göttingen 1983, S. 183-198.
41
Wolfgang Zumdick: Joseph Beuys als Denker. PAN/XXX/ttt, Sozialphilosophie – Kunsttheorie −
Anthroposophie, Mayer, Stuttgart, Berlin 2002.
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 8 of 9
‘Focusing on the social connections of museum objects goes in this way a bit deeper into questions of
relevance and motivation than the former well-known attention to museum encounters. It demands
that we think about how the museum may support multiple knowledges and understandings, values,
histories and futures.’
42
Stepping forward
In 2016, the Brandenburg Gate Foundation in Berlin organised a special exhibition about a historical
figure: Harry Graf Kessler. During his life (1868–1937), he wrote a diary that was about 16,000 pages
long. It is an interesting source about a very interesting time period. To create a useful
communication strategy, we decided to use 100 percent historical source text to communicate this
information via Twitter and Facebook.
43
However, many of the references and allusions that Harry Graf Kessler made in his diary are no
longer comprehensible to us today and require explanation. With the help of electronic footnotes, we
recontextualised his quotes.
In this way, we connected the account in Twitter and Facebook directly with the official website of
the exhibition
44
. This is a simple example of how you can bring historical written sources – a special
sort of intangible heritage – back to life again.
45
42
Dagny Stuedahl: The Connective Museum. August 2005.
https://www.researchgate.net/publication/282076177_The_Connective_Museum
43
https://dermuseumsheld.wordpress.com/2013/11/06/museum-und-social-media-ja-nein-vielleicht-ein-grundsatzartikel/ - 10 Social
Media Trends for Museums in 2015 http://artsdigital101.tumblr.com/post/105353922405/10-social-media-trends-for-museums-
in-2015 An other interesting link: http://kunst-trifft-social-media.blogspot.de/
44
HGK-Website: www.hgkberlin.de / Facebook-Account http://hgkberlin.de/facebook / Twitter-Account:
http://hgkberlin.de/twitter
45
www.hbkberlin.de The linguistic program WORD CRUNCHER made it possible to locate interesting passages in
the diary.
Paper presented at the Joint Session ICFA (Museums and Collections of Fine Arts) and COMCOL (Collecting) at the General
Conference of ICOM on Monday 4th July 2016, Milan.
Berlin 2016 © www.matthiashenkel.org Page 9 of 9
Technological development is occurring rapidly when it comes to museums. Substantive and
conceptual issues should be addressed with absolute priority over simple technical improvements, as
they will be very quickly become outdated by further technical development. In order to develop the
museum as a Third Place (Ray Oldenburg) and a Landscape of Relevance, a sustainable development
and a re-inventing of museums for the era of Intangible Heritage is key.
Last but not least: In the time of big data, we have to carefully consider data protection. For
intangible heritage, privacy policy is as necessary as preventive conservation is for objects made out
of wood, leather, silver or gold.
46
Otherwise, the NSA will become the biggest collector of our daily
lives in the digital landscape of the future.
47
It might not always be advantageous to be an early mover
48
because the investment could be costly.
Still, museums should be very attentive observers of social developments. We need to strengthen all
of our senses (i.e., concepts) to explore the digital landscape as new public space – multimedia,
multidimensional and multisensual. ‘The consequences are cultural and related to access to
knowledge, definition of knowledge as well as understanding of medias shaping of the world.’
49
Dr. Matthias Henkel
Member of the Board of Directors
Center for Audience Development
Institut für Kultur- und Medienmanagement
Freie Universität Berlin
Habelschwerdter Allee 45
14195 Berlin
cell +49 (0) 171 – 17 11 466
mail info@matthiashenkel.org
46
Simon Hebler: Digitaler [Stadt] Raum. Wechselwirkungen zwischen digitaler Technologie und menschlicher
Kultur. Diplomica Verlag. Hamburg 2016.
https://books.google.de/books?id=NCDfCwAAQBAJ&pg=PA57&lpg=PA57&dq=dematerialisierung+kultur&source=bl&ots=HD59uW98dX&si
g=6kUJybj7hA7Pj2S9sC4o2SSBCIE&hl=de&sa=X&ved=0ahUKEwjx6oXM06DNAhXDnBoKHZLkAwA4ChDoAQglMAI#v=onepage&q=demateria
lisierung%20kultur&f=false
47
https://www.nsa.gov/
48
Malcom Gladwell: Tipping Point. How little things can make a big difference. Boston, New York, London 2000.
49
https://www.researchgate.net/publication/282076177_The_Connective_Museum
