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[EN] Social inequalities brought up by welfare, racial, and geographic oppressions often determine whether a person has the possibility and the motivation to visit museums. Accessibility barriers also add another layer of distance between museums and people with disabilities. Although many museums have shown an effort to provide an accessible physical space, communicational and attitudinal aspects of access are less present – a concerning issue, especially when considering online activities. In face of the sanitary insecurity brought upon by the Covid-19 pandemic, online museums and exhibitions add up to the possibilities of creating and maintaining different audiences. Therefore, we must establish methods and tools to provide an accessible online museum space so that people from different backgrounds, including those with disabilities, may experience a barrier-free remote visit. In this context, our primary goal in this presentation is to introduce the process of developing the analytical tool “Accessibility Indicators for Online Exhibitions and Museums”, with a specific focus on the particularities of online museums and discuss its usability as a theoretical and practical framework. The instrument was adapted from the international guidelines, the Web Content Accessibility Guidelines (WCAG 2.1), and information gathered in the literature about accessibility in online environments and in museums. The work of Inacio (2017), with further development by Norberto Rocha et al. (2020, 2021), led to the publication of accessibility indicators and their application to investigate physical museums and the experience of visitors with disabilities. Although we identify common aspects of accessibility in physical and online museums, we understand that the specificities of online exhibitions need to be covered. The accessibility indicators for online exhibitions’ structure is composed of three indicators, each with two attributes. The first, “Design and navigability”, with the “Comfort, security and navigation flexibility” and “Access, manipulation and presentation flexibility” attributes, concerns the structure of the platform of the online exhibition and the action of scrolling through. The second, “Attitudinal”, with the “Inclusive practices, welcome and hosting” and “Institutional policy” attributes, concerns the efforts taken by the institution to include both visitors and professionals with disabilities. The third, “Communicational”, with the “Communication, and dissemination to a broad audience” and “Media and diverse resources to a plural communication” attributes, concerns informational and instructional aspects both internal and external to the online exhibition. Together, we believe that these indicators, as a tool, may provide a reference to the creation, update, and analysis of online exhibitions, aiming to improve museum access and education for a varied audience., [ES] Las desigualdades sociales provocadas por el bienestar, las opresiones raciales y geográficas a menudo determinan si una persona tiene la posibilidad y la motivación de visitar museos. Las barreras de accesibilidad también añaden otra capa de distancia entre los museos y las personas con discapacidad. Aunque muchos museos han mostrado un esfuerzo por proporcionar un espacio físico accesible, los aspectos comunicacionales y actitudinales del acceso están menos presentes, un tema preocupante, especialmente cuando se consideran las actividades online. Ante la inseguridad sanitaria provocada por la pandemia del Covid-19, los museos y exposiciones online se suman a las posibilidades de crear y mantener diferentes públicos. Por lo tanto, debemos establecer métodos y herramientas para proporcionar un espacio museístico online accesible para que las personas de diferentes orígenes, incluidas las personas con discapacidades, puedan experimentar una visita remota sin barreras. En este contexto, nuestro objetivo principal en esta presentación es introducir el proceso de desarrollo de la herramienta analítica "Indicadores de accesibilidad para las exposiciones y museos online", con un enfoque específico en las particularidades de los museos online y discutir su usabilidad como marco teórico y práctico. El instrumento fue adaptado de las directrices internacionales, las Directrices de Accesibilidad de Contenido Web (WCAG 2.1) y la información recopilada en la literatura sobre accesibilidad en entornos online y en museos. El trabajo de Inacio (2017), con mayor desarrollo de Norberto Rocha et al. (2020, 2021), llevó a la publicación de indicadores de accesibilidad y su aplicación para investigar los museos físicos y la experiencia de los visitantes con discapacidad. Aunque identificamos aspectos comunes de la accesibilidad en los museos físicos y online, entendemos que las especificidades de las exposiciones online deben cubrirse. La estructura de los indicadores de accesibilidad para las exposiciones online se compone de tres indicadores, cada uno con dos atributos. El primero, "Diseño y navegabilidad", con los atributos "Comodidad, seguridad y flexibilidad de navegación" y "Flexibilidad de acceso, manipulación y presentación", se refiere a la estructura de la plataforma de la exposición online y la acción de desplazarse. El segundo, "Actitudinal", con los atributos "Prácticas inclusivas, recepción y acogida" y "Política institucional", se refiere a los esfuerzos realizados por la institución para incluir tanto a los visitantes como a los profesionales con discapacidad. El tercero, "Comunicacional", con los atributos "Comunicación y difusión a un público amplio" y "Medios de comunicación y recursos diversos para una comunicación plural", se refiere a aspectos informativos e instructivos tanto internos como externos a la exposición en línea. Juntos, creemos que estos indicadores, como herramienta, pueden proporcionar una referencia a la creación, actualización y análisis de exposiciones online, con el objetivo de mejorar el acceso a los museos y la educación para un público variado., Letícia Marinho thanks CAPES for the master's degree grant supporting the Master’s in Communication of Science, Technology, and Health at Fundação Oswaldo Cruz. Jessica Norberto Rocha thanks FAPERJ for the Young Scientist of Rio de Janeiro grant and CNPQ for the Productivity scholarship.

The questions related to museums' operations worldwide in 2020, namely during the so-called enforced quarantine resulting from the COVID-19 pandemic, are tackled. The actions of museums and other cultural institutions in reaction to the unexpected world pandemic and henceforth derived sanitary restrictions aborting the regular operations of museum as well as the fulfilment of their statutory mission are discussed. Statistical data and conditionings of museums' activities in different countries are analysed. Furthermore, the major documents issued by organizations such as UNESCO or ICOM are presented and briefly characterized. Additionally, the focus is put on the analysis of cultural policies with museology in mind proposed domestically and internationally, and aiming at providing institutional and financial support to museums' operations. Moreover, questions are posed related to the possible direction of changes in museology caused by the pandemic. A subjective selection of the most interesting online events of the first pandemic wave has been presented. Also, an attempt has been made to diagnose the future of exhibiting in the digital era. © 2021 National Institute for Museums and Public Collections. All rights reserved.

This thesis defines art museums’ online resources as narratives in response to the following question: How can online resources, such as online exhibitions, online publications, and similar resources, be accurately and systematically defined? The aim of this definition is to provide a detailed, clear, and critical understanding of certain types of online resources, namely online exhibitions and online publications, that share attributes and functions. The two types of online resources contain and display exhibitions and artworks information, use similar interfaces and media, can serve similar audiences, and narrate the stories of the artworks. Based on the narrative character of both types, the definition comprehensively examines the spectrum of attributes online resources have and the implications of such attributes. Thus, the definition not only indicates what are online resources and their characteristics but also explains why online resources are the way they are and have certain characteristics, and how they function as narratives. These attributes are authorship, readership, temporality, spatiality, and mediality. In order to construct the definition, a systematic review of narratology and museum studies literature on narratives was pursued. The review of the literature was key to develop a comprehensive analysis of the phenomenon. Moreover, the methodology used in this thesis revised the traditional usage of narratology in museum studies research integrating empirical evidence. In this way, the narratological analysis moves away from the narrative text itself and also considers the production and consumption mechanisms of the narrative. The thesis employs six art museums’ online resources from Spain, the United States, and the United Kingdom as sources for the research. Data from seven museum professionals involved in the creation of those resources was collected with interviews. In the case of the scholarly audience, twenty scholars performed think-aloud protocol sessions while visiting the online resources.