yeehaa123 · December 18, 2015 01:18 · Jun 6, 2013 · Jun 6, 2013 · Jun 6, 2013 · Jun 6, 2013
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -79,7 +79,7 @@ In this context, it is also important to mention some of the advisors that have
 
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
 
-Rijksmuseum Media Lab will serve as central research hub for this project, coordinating the collaboration with the other private parties involved. Rijksmuseum is the product owner and main stakeholder in the project. The researcher appointed with this grant will have access to design documentation, code and databases of the exisiting interfaces to the digital collection, which are owned by the Rijksmuseum.  
+Rijksmuseum Media Lab will serve as the central research hub for this project, coordinating the collaboration with the other private parties involved. The Rijksmuseum is the product owner and main stakeholder in the project. The researcher appointed with this grant will have access to design documentation, code and databases of the exisiting interfaces to the digital collection, which are owned by the Rijksmuseum.  
 
 The other parties involved (Kiss the Frog, Q42, Fabrique) will contribute knowledge, existing code (for the website and app), time, feedback, as well as having access to the research results. The collaboration includes on-site meetings at each company, interviews on the design and insight into the coding choices thus far. This includes sharing prototypes and concepts that did not make it into the current interface designs. 
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -79,6 +79,8 @@ In this context, it is also important to mention some of the advisors that have
 
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
 
-Rijksmuseum Media Lab will serve as central research hub for this project, coordinating the collaboration with the other private parties involved. Rijksmuseum is the product owner and main stakeholder in the project. The researcher appointed with this grant will have access to design documentation, code and databases of the exisiting interfaces to the digital collection, which are owned by the Rijksmuseum.  The other parties involved (Kiss the Frog, Q42, Fabrique) will contribute knowledge, existing code (for the website and app), time, feedback, as well as having access to the research results. The collaboration includes on-site meetings at each company, interviews on the design and insight into the coding choices thus far. This includes sharing prototypes and concepts that did not make it into the current interface designs. 
+Rijksmuseum Media Lab will serve as central research hub for this project, coordinating the collaboration with the other private parties involved. Rijksmuseum is the product owner and main stakeholder in the project. The researcher appointed with this grant will have access to design documentation, code and databases of the exisiting interfaces to the digital collection, which are owned by the Rijksmuseum.  
+
+The other parties involved (Kiss the Frog, Q42, Fabrique) will contribute knowledge, existing code (for the website and app), time, feedback, as well as having access to the research results. The collaboration includes on-site meetings at each company, interviews on the design and insight into the coding choices thus far. This includes sharing prototypes and concepts that did not make it into the current interface designs. 
 
 The collaboration will have an iterative structure, with short cycles resulting in concrete deliverables. The project will start with a creative phase involving input from all of the partners in order to formulate user stories. Each deliverable will be presented to the collaborating parties for testing, feedback and tweaking the features as necessary. This process will generate a series of prototypes for interfaces, resulting in a final product tested by industry standards and users (museum visitors).
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -76,6 +76,7 @@ In this context, it is also important to mention some of the advisors that have
 
 [**Jonathan Gray**](http://jonathangray.org/) is director of policies and ideas at the [*Open Knowledge Foundation*](http://okfn.org/) and editor of the [*Data Journalism Handbook*](http://datajournalismhandbook.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
 
+
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
 
 Rijksmuseum Media Lab will serve as central research hub for this project, coordinating the collaboration with the other private parties involved. Rijksmuseum is the product owner and main stakeholder in the project. The researcher appointed with this grant will have access to design documentation, code and databases of the exisiting interfaces to the digital collection, which are owned by the Rijksmuseum.  The other parties involved (Kiss the Frog, Q42, Fabrique) will contribute knowledge, existing code (for the website and app), time, feedback, as well as having access to the research results. The collaboration includes on-site meetings at each company, interviews on the design and insight into the coding choices thus far. This includes sharing prototypes and concepts that did not make it into the current interface designs. 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -78,8 +78,6 @@ In this context, it is also important to mention some of the advisors that have
 
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
 
-+ beschikbaar maken van ontwerpen
-+ testvragen beschikbaar maken
-+ deelnemen in werkgroepen
-+ broncode beschikbaar maken
-+ feedback geven
+Rijksmuseum Media Lab will serve as central research hub for this project, coordinating the collaboration with the other private parties involved. Rijksmuseum is the product owner and main stakeholder in the project. The researcher appointed with this grant will have access to design documentation, code and databases of the exisiting interfaces to the digital collection, which are owned by the Rijksmuseum.  The other parties involved (Kiss the Frog, Q42, Fabrique) will contribute knowledge, existing code (for the website and app), time, feedback, as well as having access to the research results. The collaboration includes on-site meetings at each company, interviews on the design and insight into the coding choices thus far. This includes sharing prototypes and concepts that did not make it into the current interface designs. 
+
+The collaboration will have an iterative structure, with short cycles resulting in concrete deliverables. The project will start with a creative phase involving input from all of the partners in order to formulate user stories. Each deliverable will be presented to the collaborating parties for testing, feedback and tweaking the features as necessary. This process will generate a series of prototypes for interfaces, resulting in a final product tested by industry standards and users (museum visitors).
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -1,6 +1,6 @@
 **Zou je voor ons jullie eindproduct, de interfaces, een stuk concreter kunnen maken? We hebben nu nog niet geheel een idee wat we ons daarbij voor moeten stellen.**
 
-*Central* to this project is the following paradox:
+Central to this project is the following paradox:
 
 > The Rijksmuseum's masterpieces can only be fully experienced through gestures
 > that are forbidden in a traditional museum context. 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -1,6 +1,6 @@
 **Zou je voor ons jullie eindproduct, de interfaces, een stuk concreter kunnen maken? We hebben nu nog niet geheel een idee wat we ons daarbij voor moeten stellen.**
 
-Central to this project is the following paradox:
+*Central* to this project is the following paradox:
 
 > The Rijksmuseum's masterpieces can only be fully experienced through gestures
 > that are forbidden in a traditional museum context. 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -62,7 +62,7 @@ This project does not consider the artist and his/her intentions as the endpoint
 
 As a result of these acts of augmenting, the interfaces that we want to develop destabilize the position of the artist and the expert as well as transform the role of the visitor. The latter is no longer a passive consumer, but is now part in an artistic and/or research practice. It is important to emphasize, however, that this project does not propose a naive democratization of knowledge and art. One its main challenges will be to come up with strategies and tactics to filter good contributions from the bad ones.
 
-## Dissemination
+## Disseminating
 
 *The visitor should take the (augmented) artworks home or bring them elsewhere.*
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -77,3 +77,9 @@ In this context, it is also important to mention some of the advisors that have
 [**Jonathan Gray**](http://jonathangray.org/) is director of policies and ideas at the [*Open Knowledge Foundation*](http://okfn.org/) and editor of the [*Data Journalism Handbook*](http://datajournalismhandbook.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
 
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
+
++ beschikbaar maken van ontwerpen
++ testvragen beschikbaar maken
++ deelnemen in werkgroepen
++ broncode beschikbaar maken
++ feedback geven
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -1,3 +1,5 @@
+**Zou je voor ons jullie eindproduct, de interfaces, een stuk concreter kunnen maken? We hebben nu nog niet geheel een idee wat we ons daarbij voor moeten stellen.**
+
 Central to this project is the following paradox:
 
 > The Rijksmuseum's masterpieces can only be fully experienced through gestures
@@ -72,4 +74,6 @@ In this context, it is also important to mention some of the advisors that have
 
 [**Robin Boast**](http://amsterdam.academia.edu/RobinBoast/CurriculumVitae) is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
 
-[**Jonathan Gray**](http://jonathangray.org/) and director of policies and ideas at the [*Open Knowledge Foundation*](http://okfn.org/) and editor of the [*Data Journalism Handbook*](http://datajournalismhandbook.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
+[**Jonathan Gray**](http://jonathangray.org/) is director of policies and ideas at the [*Open Knowledge Foundation*](http://okfn.org/) and editor of the [*Data Journalism Handbook*](http://datajournalismhandbook.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
+
+**Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -73,5 +73,3 @@ In this context, it is also important to mention some of the advisors that have
 [**Robin Boast**](http://amsterdam.academia.edu/RobinBoast/CurriculumVitae) is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
 
 [**Jonathan Gray**](http://jonathangray.org/) and director of policies and ideas at the [*Open Knowledge Foundation*](http://okfn.org/) and editor of the [*Data Journalism Handbook*](http://datajournalismhandbook.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
-
-**Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -30,7 +30,7 @@ Additionally, the aforementioned API also enables a new way of dissecting artwor
 + stylistic similarities and differences with other works of the same artist or its contemporaries
 + the spatial and conceptual itinerary of an artwork
 
-Shailoh Phillips' earlier, award-winning project *Go van Gogh. A Global Treasure Hunt* [website](http://www.govangogh.org) in which she traces the complex displacements of Van Gogh reproductions can be seen as a prototype for such an approach and interfaces 
+Shailoh Phillips' earlier, award-winning project [*Go van Gogh. A Global Treasure Hunt*](http://www.govangogh.org) in which she traces the complex displacements of Van Gogh reproductions can be seen as a prototype for such an approach and interfaces 
 
 Currently, Rijksstudio and the mobile app already present some these dimensions of the artworks to the user. They allow users to zoom in on high-resolution images, peel off the surface to discover hidden, earlier version or completely different paintings, and to search for stylistic and affective metadata (color, mood, etc.). Nonetheless, these interfaces are not integrated in the physical collection. In this project we will develop interfaces that not only reveal the small details and hidden layers of the masterpieces, but are actually part of the experience of the visitor. 
 
@@ -70,8 +70,8 @@ The legal dimension of dissemination, however, is only part of the story. In ord
 
 In this context, it is also important to mention some of the advisors that have agreed to be actively involved in this project:
 
-**Robin Boast** [curriculum vitae](http://amsterdam.academia.edu/RobinBoast/CurriculumVitae) is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
+[**Robin Boast**](http://amsterdam.academia.edu/RobinBoast/CurriculumVitae) is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
 
-**Jonathan Gray** [website](http://jonathangray.org/) is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* [website](http://okfn.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
+[**Jonathan Gray**](http://jonathangray.org/) and director of policies and ideas at the [*Open Knowledge Foundation*](http://okfn.org/) and editor of the [*Data Journalism Handbook*](http://datajournalismhandbook.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
 
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -30,7 +30,7 @@ Additionally, the aforementioned API also enables a new way of dissecting artwor
 + stylistic similarities and differences with other works of the same artist or its contemporaries
 + the spatial and conceptual itinerary of an artwork
 
-Shailoh Phillips' earlier, award-winning project *Go van Gogh. A Global Treasure Hunt* (website)[http://www.govangogh.org] in which she traces the complex displacements of Van Gogh reproductions can be seen as a prototype for such an approach and interfaces 
+Shailoh Phillips' earlier, award-winning project *Go van Gogh. A Global Treasure Hunt* [website](http://www.govangogh.org) in which she traces the complex displacements of Van Gogh reproductions can be seen as a prototype for such an approach and interfaces 
 
 Currently, Rijksstudio and the mobile app already present some these dimensions of the artworks to the user. They allow users to zoom in on high-resolution images, peel off the surface to discover hidden, earlier version or completely different paintings, and to search for stylistic and affective metadata (color, mood, etc.). Nonetheless, these interfaces are not integrated in the physical collection. In this project we will develop interfaces that not only reveal the small details and hidden layers of the masterpieces, but are actually part of the experience of the visitor. 
 
@@ -70,8 +70,8 @@ The legal dimension of dissemination, however, is only part of the story. In ord
 
 In this context, it is also important to mention some of the advisors that have agreed to be actively involved in this project:
 
-**Robin Boast** (curriculum vitae)[http://amsterdam.academia.edu/RobinBoast/CurriculumVitae] is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
+**Robin Boast** [curriculum vitae](http://amsterdam.academia.edu/RobinBoast/CurriculumVitae) is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
 
-**Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/]. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
+**Jonathan Gray** [website](http://jonathangray.org/) is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* [website](http://okfn.org/). Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
 
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -70,7 +70,7 @@ The legal dimension of dissemination, however, is only part of the story. In ord
 
 In this context, it is also important to mention some of the advisors that have agreed to be actively involved in this project:
 
-**Robin Boast** is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
+**Robin Boast** (curriculum vitae)[http://amsterdam.academia.edu/RobinBoast/CurriculumVitae] is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
 
 **Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/]. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -1,23 +1,21 @@
-**Zou je voor ons jullie eindproduct, de interfaces, een stuk concreter kunnen maken? We hebben nu nog niet geheel een idee wat we ons daarbij voor moeten stellen.**
-
 Central to this project is the following paradox:
 
 > The Rijksmuseum's masterpieces can only be fully experienced through gestures
 > that are forbidden in a traditional museum context. 
 
 Digital media offer a way out of this paradox by setting up a virtual space where these forbidden gestures are in fact allowed. More often than not, however, the resulting digital environments remain detached from the physical exhibition. They offer an autonomous experience that is best enjoyed in the comfort of a visitor's home rather than the museum itself.
 
-In this project, we want to develop new interfaces for the Rijksmuseum that connect the digital to the physical collection by facilitating several (ideally all) of the following gestures:
+In this project, we want to develop new interfaces for the Rijksmuseum that integrate the digital and the physical collection by facilitating several (ideally all) of the following gestures: 
 
 ### Trespassing
 
 *The visitor should deviate from the designated paths and open locked doors.*
 
-The total collection of the Rijksmuseum consist of 1,000,000 pieces, but only a fraction of these works (8,000) are on public display. In order to make a larger number of artworks explorable for the public, simply digitizing the archive is not enough. Interfaces are needed. Interfaces that not merely give the user access to the archives but also provide her/him with the tools for orientation.
+The total collection of the Rijksmuseum consist of 1,000,000 pieces, but only a fraction of them (8,000) are on public display. In order to make a larger number of artworks explorable for the public, simply digitizing the archive is not enough. Interfaces are needed. These interfaces should not merely give the user access to the archives but also provide her/him with the tools for orientation.
 
 It is easy to overlook both the importance and complexity of making the archives of the Rijksmuseum accessible to the public. A key part of this process is their API (Application Programming Interface.) This interface currently makes 130,000 images and over 1,000,000 data entries available to developers, scientist, and the (technologically savvy) general public.
 
-Unfortunately, however, most users are not yet equipped to access the collection through the programming interface. In order to compensate for this lack, the Rijksmuseum has collaborated with Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we will work with these same partners to develop further (features of) interfaces that make the otherwise hidden collection available.
+Unfortunately, however, most users are not yet equipped to access the collection through the programming interface. In order to compensate for this lack, the Rijksmuseum has collaborated with *Kiss the Frog*, *Fabrique*, and *Q42* to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we will work with these same partners to develop further (features of) interfaces that make the, otherwise hidden, collection available.
 
 ### Dissecting
 
@@ -41,7 +39,7 @@ On the input side, we are thinking of interventions that make it possibles to by
 + Using body sensors to determine a user's affective response to individual artworks or the collection as a whole.
 + Using light, temperature, and sonic sensors to measure the interaction between the artwork, the audience, and their physical environment.
 
-On the output side, we want to break the holistic experience (aura) of the artwork and confront the visitor with its mediated status:
+On the output side, we want to break the holistic experience (their so-called aura) of the artwork and confront the visitor with its mediated status:
 
 + large transparent monitors that are placed in front of the actual artworks and provide the visitor with contextualizing information
 + smart phone and tablet applications that provide the user with new ways to interact with the artwork: zooming in, peeling off layers, replacing (parts of an artwork) with sketches, studies, actual photographs, etc.
@@ -76,8 +74,4 @@ In this context, it is also important to mention some of the advisors that have
 
 **Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/]. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
 
-**Wolfgang Haas** is founder and managing director of *Cast Your Art* (website)[http://castyourart.com], an independent company that produces and presents podcasts about art and art-related themes. Wolfgang has invaluable 
-
-** Shailoh: mocht je willen, voeg dan gerust nog het profiel van jouw advisors toe aan deze (of andere paragrafen) **
-
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -46,8 +46,6 @@ On the output side, we want to break the holistic experience (aura) of the artwo
 + large transparent monitors that are placed in front of the actual artworks and provide the visitor with contextualizing information
 + smart phone and tablet applications that provide the user with new ways to interact with the artwork: zooming in, peeling off layers, replacing (parts of an artwork) with sketches, studies, actual photographs, etc.
 
-
-
 ### Augmenting
 
 *The visitor should improve the artwork by adding new layers to it.*
@@ -58,7 +56,7 @@ The Romantics found that an artwork's creative and critical reception actually i
 
 Rather than only accepting experts as a valid source of information, the interfaces that we want to develop will allow the visitor to add new layers of knowledge. This can be in the form of facts, interpretations, visualizations, etc. 
 
-### Creativity
+#### Creativity
 
 This project does not consider the artist and his/her intentions as the endpoint of the work of art. Instead, it wants to treat the work of art as an ongoing, creative process. The interfaces that we want to develop thus enable the user to mix, transform, and recreate a work of art. These interventions, however, do not replace the original but are added to it as extra layers
 
@@ -68,17 +66,17 @@ As a result of these acts of augmenting, the interfaces that we want to develop
 
 *The visitor should take the (augmented) artworks home or bring them elsewhere.*
 
-The interfaces that we want to develop are aimed at transforming the visitor from a consumer into a researcher. However, one of the most important aspects of doing research is to share the results and discuss them with others. For that reason, the Rijksmuseum already publishes all of the data available via their API through a Creative Commons License.
+The interfaces that we want to develop are aimed at transforming the visitor from a consumer into a researcher. However, one of the most important aspects of doing research is to share the results and discuss them with others. For that reason, the Rijksmuseum already publishes all of the data available through their API under a Creative Commons License.
 
 The legal dimension of dissemination, however, is only part of the story. In order to further stimulate knowledge production we want to ensure that the output data produced by our interfaces can be used as input for further research. This means that in the future the API should not only cover the 'original data' but also the new data that is added by the visitor/researcher.
 
 In this context, it is also important to mention some of the advisors that have agreed to be actively involved in this project:
 
-**Robin Boast** is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin's ...
+**Robin Boast** is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin has an ongoing research project on the governance of digital collections in which he work with several renowned museums. We have no doubt that his knowledge and expertise on these questions will push our project forwards.
 
-**Wolfgang Haas** is founder and managing director of *cast your art* (website)[http://castyourart.com], an independent company that produces and presents podcasts about art and art-related themes. Wolfgang's ... 
+**Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/]. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be invaluable in the development of these new knowledge interfaces for the Rijksmuseum.  
 
-**Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/]. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be extremely valuable in the development of these new knowledge interfaces for the Rijksmuseum.  
+**Wolfgang Haas** is founder and managing director of *Cast Your Art* (website)[http://castyourart.com], an independent company that produces and presents podcasts about art and art-related themes. Wolfgang has invaluable 
 
 ** Shailoh: mocht je willen, voeg dan gerust nog het profiel van jouw advisors toe aan deze (of andere paragrafen) **
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -13,52 +13,56 @@ In this project, we want to develop new interfaces for the Rijksmuseum that conn
 
 *The visitor should deviate from the designated paths and open locked doors.*
 
-The total collection of the Rijksmuseum consist of 1,000,000 pieces, but only a fraction (8,000) of these works are on public display. In order to make a larger number of artworks explorable for the public, simply digitizing the archive is not enough however. Interfaces are needed that not merely give the user access to the archives but also provide her/him with the tools for orientation.
+The total collection of the Rijksmuseum consist of 1,000,000 pieces, but only a fraction of these works (8,000) are on public display. In order to make a larger number of artworks explorable for the public, simply digitizing the archive is not enough. Interfaces are needed. Interfaces that not merely give the user access to the archives but also provide her/him with the tools for orientation.
 
-It is easy to overlook both the importance and complexity of making the archives of the Rijksmuseum accessible to the public. A key part of this process is their API (Application Programming Interface.) This interface currently makes 130,000 images and over 1,000,000 data entries available to developers, scientist, and a technically skilled public.
+It is easy to overlook both the importance and complexity of making the archives of the Rijksmuseum accessible to the public. A key part of this process is their API (Application Programming Interface.) This interface currently makes 130,000 images and over 1,000,000 data entries available to developers, scientist, and the (technologically savvy) general public.
 
-Unfortunately, however, most users are not equipped to access the collection through coding. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to build further upon the API and available interfaces to develop additional (features of) applications that make the otherwise hidden collection available.
+Unfortunately, however, most users are not yet equipped to access the collection through the programming interface. In order to compensate for this lack, the Rijksmuseum has collaborated with Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we will work with these same partners to develop further (features of) interfaces that make the otherwise hidden collection available.
 
 ### Dissecting
 
 *The visitor should tear the masterpieces apart, peel off their layers, and destroy their aura.*
 
-In a traditional museum context a masterpiece is presented as a completed product rather than a fragmented process. However, it is often the small and hidden details and the (past and future) trajectory of a masterpiece that define it. For that reason, it is important to show the visitor the different pieces and layers that an artwork consist of.
+In a traditional museum setting a masterpiece is presented as a completed product rather than a fragmented process. However, it is often a small and hidden details or the (past and future) trajectory of a masterpiece that defines it. For that reason, it is important to show the visitor the different pieces and layers that an artwork consist of.
 
-Additionally, the aforementioned API also enables a new way of dissecting artworks. Apart from layers and pieces, they can now also be dissected into bits. Data can be used both to reconstruct the original artwork, as well as place them in new contexts and narratives, such as:
+Additionally, the aforementioned API also enables a new way of dissecting artworks. Apart from layers and pieces, they can now also be dissected into bits and bytes. Data can be used both to reconstruct the original artwork, as well as place them in new contexts and narratives, such as:
 
 + a history of its reception
 + the biography of the portrayed people
-+ similarities and differences with other works of the same artist or its contemporaries
++ stylistic similarities and differences with other works of the same artist or its contemporaries
 + the spatial and conceptual itinerary of an artwork
 
 Shailoh Phillips' earlier, award-winning project *Go van Gogh. A Global Treasure Hunt* (website)[http://www.govangogh.org] in which she traces the complex displacements of Van Gogh reproductions can be seen as a prototype for such an approach and interfaces 
 
 Currently, Rijksstudio and the mobile app already present some these dimensions of the artworks to the user. They allow users to zoom in on high-resolution images, peel off the surface to discover hidden, earlier version or completely different paintings, and to search for stylistic and affective metadata (color, mood, etc.). Nonetheless, these interfaces are not integrated in the physical collection. In this project we will develop interfaces that not only reveal the small details and hidden layers of the masterpieces, but are actually part of the experience of the visitor. 
 
-On the output side, we want to develop the following:
+On the input side, we are thinking of interventions that make it possibles to bypass some forms of metadata altogether:
+
++ Using body sensors to determine a user's affective response to individual artworks or the collection as a whole.
++ Using light, temperature, and sonic sensors to measure the interaction between the artwork, the audience, and their physical environment.
+
+On the output side, we want to break the holistic experience (aura) of the artwork and confront the visitor with its mediated status:
 
 + large transparent monitors that are placed in front of the actual artworks and provide the visitor with contextualizing information
 + smart phone and tablet applications that provide the user with new ways to interact with the artwork: zooming in, peeling off layers, replacing (parts of an artwork) with sketches, studies, actual photographs, etc.
 
-On the input side, we are thinking of the following interventions:
 
-+ Using body sensors to determine a user's affective response to individual artworks or the collection as a whole.
-+ Using light, temperature, and sonic sensors to measure the interaction between the artwork, the audience, and their physical environment.
-
-Both these two interventions make it possibles to bypass some forms of metadata altogether.
 
 ### Augmenting
 
 *The visitor should improve the artwork by adding new layers to it.*
 
-The Romantics found that an artwork's creative and critical reception actually improved it. Journal reviews, academic articles, and other pieces were all part of the works ongoing trajectory. In this project we would like to use digital technology to realize this Romantic conception of artworks.
+The Romantics found that an artwork's creative and critical reception actually improved it. Journal reviews, academic articles, and other artworks were all part of a masterpiece's trajectory. In this project we would like to use digital technology to realize this Romantic conception of artworks. Our interfaces are meant to enhance the knowledge and creative dimensions of the Rijksmuseum's masterpieces.
+
+#### Knowledge 
+
+Rather than only accepting experts as a valid source of information, the interfaces that we want to develop will allow the visitor to add new layers of knowledge. This can be in the form of facts, interpretations, visualizations, etc. 
 
-Rather than only accepting experts as a source of knowledge, the interfaces that we want to develop will allow the visitor to add new layers of data and information. This can be in the form of facts, interpretations, visualizations, etc. 
+### Creativity
 
-Moreover, this project does not consider the artist and his/her intentions as the endpoint of the work of art. Instead, it wants to treat the work of art as an ongoing, creative process. The interfaces that we want to develop thus enable the user to mix, transform, and recreate a work of art. These interventions, however, do not replace the original but are added to it as extra layers
+This project does not consider the artist and his/her intentions as the endpoint of the work of art. Instead, it wants to treat the work of art as an ongoing, creative process. The interfaces that we want to develop thus enable the user to mix, transform, and recreate a work of art. These interventions, however, do not replace the original but are added to it as extra layers
 
-As a result of these acts of augmenting, the interfaces that we want to develop destabilize the position of the artist and the expert as well as transform the role of the visitor. The latter is no longer a passive consumer, but becomes now involved in an artistic and/or research practice. It is important to emphasize, however, that this project does not propose a naive democratization of knowledge and art. One its main challenges will be to come up with strategies and tactics to filter good contributions from the bad ones.
+As a result of these acts of augmenting, the interfaces that we want to develop destabilize the position of the artist and the expert as well as transform the role of the visitor. The latter is no longer a passive consumer, but is now part in an artistic and/or research practice. It is important to emphasize, however, that this project does not propose a naive democratization of knowledge and art. One its main challenges will be to come up with strategies and tactics to filter good contributions from the bad ones.
 
 ## Dissemination
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -52,7 +52,7 @@ Both these two interventions make it possibles to bypass some forms of metadata
 
 *The visitor should improve the artwork by adding new layers to it.*
 
-The Romantics found that an artwork's creative and critical reception actually improved it. Journal reviews, academic articles, and other pieces were all part of the works ongoing trajectory.
+The Romantics found that an artwork's creative and critical reception actually improved it. Journal reviews, academic articles, and other pieces were all part of the works ongoing trajectory. In this project we would like to use digital technology to realize this Romantic conception of artworks.
 
 Rather than only accepting experts as a source of knowledge, the interfaces that we want to develop will allow the visitor to add new layers of data and information. This can be in the form of facts, interpretations, visualizations, etc. 
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -70,12 +70,11 @@ The legal dimension of dissemination, however, is only part of the story. In ord
 
 In this context, it is also important to mention some of the advisors that have agreed to be actively involved in this project:
 
-**Robin Boast**
+**Robin Boast** is the Professor of Information Science and Culture at the University of Amsterdam, Department of Media Studies. Until the end of 2012 he was the Deputy Director and Curator for World Archaeology at the Museum of Archaeology and Anthropology at the University of Cambridge (MAA). Robin's ...
 
-**Wolfgang Haas** is founder and managing director of *cast your art* (website)[http://castyourart.com]. CastYourArt produces and presents podcasts about art and art-related themes. In our podcasts, we would like to create access to museums, galleries, and festivals; to artists and players in the art world, for people who are inspired by and interested in art. CastYourArt’s podcasts are independently developed and produced. This creates the opportunity for us to share our know-how with our clients, who can thereby realize the potential created through podcasting. To read more about our services, please click here.
-In the future, CastYourArt plans to develop an online network and an online system for selling artworks and providing support within the art world.
+**Wolfgang Haas** is founder and managing director of *cast your art* (website)[http://castyourart.com], an independent company that produces and presents podcasts about art and art-related themes. Wolfgang's ... 
 
-**Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/] has agreed to be actively involved in this project. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be extremely valuable in the development of these new knowledge interfaces for the Rijksmuseum.  
+**Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/]. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be extremely valuable in the development of these new knowledge interfaces for the Rijksmuseum.  
 
 ** Shailoh: mocht je willen, voeg dan gerust nog het profiel van jouw advisors toe aan deze (of andere paragrafen) **
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -1,23 +1,23 @@
 **Zou je voor ons jullie eindproduct, de interfaces, een stuk concreter kunnen maken? We hebben nu nog niet geheel een idee wat we ons daarbij voor moeten stellen.**
 
-Central to this project is the the following paradox:
+Central to this project is the following paradox:
 
 > The Rijksmuseum's masterpieces can only be fully experienced through gestures
 > that are forbidden in a traditional museum context. 
 
 Digital media offer a way out of this paradox by setting up a virtual space where these forbidden gestures are in fact allowed. More often than not, however, the resulting digital environments remain detached from the physical exhibition. They offer an autonomous experience that is best enjoyed in the comfort of a visitor's home rather than the museum itself.
 
-In this project, we want to develop new interfaces for the Rijksmuseum that connect the digital to the physical collection by facilitating (ideally all) of the following gestures:
+In this project, we want to develop new interfaces for the Rijksmuseum that connect the digital to the physical collection by facilitating several (ideally all) of the following gestures:
 
-### Exploring
+### Trespassing
 
 *The visitor should deviate from the designated paths and open locked doors.*
 
 The total collection of the Rijksmuseum consist of 1,000,000 pieces, but only a fraction (8,000) of these works are on public display. In order to make a larger number of artworks explorable for the public, simply digitizing the archive is not enough however. Interfaces are needed that not merely give the user access to the archives but also provide her/him with the tools for orientation.
 
-It is easy to overlook both the importance and complexity of making the archives of the Rijksmuseum accessible to the public. A key part of this process is their API (Application Programming Interface.) This interface currently makes 130,000 images and over 1,000,000 data entries available to developpers, scientist, and a technically skilled public.
+It is easy to overlook both the importance and complexity of making the archives of the Rijksmuseum accessible to the public. A key part of this process is their API (Application Programming Interface.) This interface currently makes 130,000 images and over 1,000,000 data entries available to developers, scientist, and a technically skilled public.
 
-Unfortunately, however, most users are not equipped to access the collection programmatically. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to build further upon the API and available interfaces to develop additional (features of) applications that make the otherwise hidden collection available.
+Unfortunately, however, most users are not equipped to access the collection through coding. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to build further upon the API and available interfaces to develop additional (features of) applications that make the otherwise hidden collection available.
 
 ### Dissecting
 
@@ -38,23 +38,27 @@ Currently, Rijksstudio and the mobile app already present some these dimensions
 
 On the output side, we want to develop the following:
 
-+ large transparent monitors that are placed in front of the actual artworks and provide the visitor with recontextualizing information
-+ cell phone and tablet applications that provide the user with new ways to interact with the artwork: zooming in, peeling off layers, replacing (parts of an artwork) with sketches, studies, actual photographs, etc.
++ large transparent monitors that are placed in front of the actual artworks and provide the visitor with contextualizing information
++ smart phone and tablet applications that provide the user with new ways to interact with the artwork: zooming in, peeling off layers, replacing (parts of an artwork) with sketches, studies, actual photographs, etc.
 
 On the input side, we are thinking of the following interventions:
 
 + Using body sensors to determine a user's affective response to individual artworks or the collection as a whole.
-+ Using light, temperature, and sonic sensors to determine
++ Using light, temperature, and sonic sensors to measure the interaction between the artwork, the audience, and their physical environment.
 
 Both these two interventions make it possibles to bypass some forms of metadata altogether.
 
 ### Augmenting
 
-*The visitor should augment the artwork with new layers of information.*
+*The visitor should improve the artwork by adding new layers to it.*
 
+The Romantics found that an artwork's creative and critical reception actually improved it. Journal reviews, academic articles, and other pieces were all part of the works ongoing trajectory.
 
+Rather than only accepting experts as a source of knowledge, the interfaces that we want to develop will allow the visitor to add new layers of data and information. This can be in the form of facts, interpretations, visualizations, etc. 
 
+Moreover, this project does not consider the artist and his/her intentions as the endpoint of the work of art. Instead, it wants to treat the work of art as an ongoing, creative process. The interfaces that we want to develop thus enable the user to mix, transform, and recreate a work of art. These interventions, however, do not replace the original but are added to it as extra layers
 
+As a result of these acts of augmenting, the interfaces that we want to develop destabilize the position of the artist and the expert as well as transform the role of the visitor. The latter is no longer a passive consumer, but becomes now involved in an artistic and/or research practice. It is important to emphasize, however, that this project does not propose a naive democratization of knowledge and art. One its main challenges will be to come up with strategies and tactics to filter good contributions from the bad ones.
 
 ## Dissemination
 
@@ -64,5 +68,15 @@ The interfaces that we want to develop are aimed at transforming the visitor fro
 
 The legal dimension of dissemination, however, is only part of the story. In order to further stimulate knowledge production we want to ensure that the output data produced by our interfaces can be used as input for further research. This means that in the future the API should not only cover the 'original data' but also the new data that is added by the visitor/researcher.
 
+In this context, it is also important to mention some of the advisors that have agreed to be actively involved in this project:
+
+**Robin Boast**
+
+**Wolfgang Haas** is founder and managing director of *cast your art* (website)[http://castyourart.com]. CastYourArt produces and presents podcasts about art and art-related themes. In our podcasts, we would like to create access to museums, galleries, and festivals; to artists and players in the art world, for people who are inspired by and interested in art. CastYourArt’s podcasts are independently developed and produced. This creates the opportunity for us to share our know-how with our clients, who can thereby realize the potential created through podcasting. To read more about our services, please click here.
+In the future, CastYourArt plans to develop an online network and an online system for selling artworks and providing support within the art world.
+
+**Jonathan Gray** (website)[http://jonathangray.org/] is editor of the *Data Journalism Handbook* and director of policies and ideas at the *Open Knowledge Foundation* (website)[http://okfn.org/] has agreed to be actively involved in this project. Jonathan's experience with practical experience with the dissemination and democratization of public knowledge and art will be extremely valuable in the development of these new knowledge interfaces for the Rijksmuseum.  
+
+** Shailoh: mocht je willen, voeg dan gerust nog het profiel van jouw advisors toe aan deze (of andere paragrafen) **
 
 **Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -2,70 +2,67 @@
 
 Central to this project is the the following paradox:
 
-> The Rijksmuseum's masterpieces can only be fully experienced through 
-> gestures that are forbidden in a traditional museum context. 
+> The Rijksmuseum's masterpieces can only be fully experienced through gestures
+> that are forbidden in a traditional museum context. 
 
 Digital media offer a way out of this paradox by setting up a virtual space where these forbidden gestures are in fact allowed. More often than not, however, the resulting digital environments remain detached from the physical exhibition. They offer an autonomous experience that is best enjoyed in the comfort of a visitor's home rather than the museum itself.
 
-In this project, we want to develop interfaces for the Rijksmuseum that connect the digital to the physical collection by facilitating (ideally all) of the following gestures:
+In this project, we want to develop new interfaces for the Rijksmuseum that connect the digital to the physical collection by facilitating (ideally all) of the following gestures:
 
 ### Exploring
 
 *The visitor should deviate from the designated paths and open locked doors.*
 
-The total collection of the Rijksmuseum consist of 1,000,000 pieces, while merely 8,000 of these works are on public display. In order to make a larger number of artworks available to the public, simply digitizing the archive is not enough however. Interfaces need to be developped.
+The total collection of the Rijksmuseum consist of 1,000,000 pieces, but only a fraction (8,000) of these works are on public display. In order to make a larger number of artworks explorable for the public, simply digitizing the archive is not enough however. Interfaces are needed that not merely give the user access to the archives but also provide her/him with the tools for orientation.
 
-It is easy to overlook both the importance and complexity of this development process. For that reason, the Rijksmuseum has developed a API (Application Programming Interface.) that currently makes 130,000 images and over 1,000,000 data entries publicly available. Unfortunately, most users are not equipped to access the collection programmatically though. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to develop additional (features of) interfaces to make the otherwise hidden collection available.
+It is easy to overlook both the importance and complexity of making the archives of the Rijksmuseum accessible to the public. A key part of this process is their API (Application Programming Interface.) This interface currently makes 130,000 images and over 1,000,000 data entries available to developpers, scientist, and a technically skilled public.
+
+Unfortunately, however, most users are not equipped to access the collection programmatically. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to build further upon the API and available interfaces to develop additional (features of) applications that make the otherwise hidden collection available.
 
 ### Dissecting
 
 *The visitor should tear the masterpieces apart, peel off their layers, and destroy their aura.*
 
-In a traditional museum context a masterpiece is presented as a completed product rather than a fragmented process. However, it is often its details and (past and future) trajectory that define a masterpiece. For that reason, it is important to show the visitor the different pieces and layers that an artwork consist of.
+In a traditional museum context a masterpiece is presented as a completed product rather than a fragmented process. However, it is often the small and hidden details and the (past and future) trajectory of a masterpiece that define it. For that reason, it is important to show the visitor the different pieces and layers that an artwork consist of.
 
-Moreover, the aforementioned API also enables a new way of dissecting artworks. Apart from layers and pieces, they can also be dissected into bits. Data can be used not only to reconstruct the original artwork, but also to place them in different contexts and narratives, such as:
+Additionally, the aforementioned API also enables a new way of dissecting artworks. Apart from layers and pieces, they can now also be dissected into bits. Data can be used both to reconstruct the original artwork, as well as place them in new contexts and narratives, such as:
 
 + a history of its reception
-+ similarities and differences with other works of the same artist or contemporaries
++ the biography of the portrayed people
++ similarities and differences with other works of the same artist or its contemporaries
 + the spatial and conceptual itinerary of an artwork
 
-Shailoh Phillips' earlier, award-winning project (*Go van Gogh*)[http://www.govangogh.org] can be seen as a prototype for the approach and interfaces proposed in this project.
+Shailoh Phillips' earlier, award-winning project *Go van Gogh. A Global Treasure Hunt* (website)[http://www.govangogh.org] in which she traces the complex displacements of Van Gogh reproductions can be seen as a prototype for such an approach and interfaces 
 
-Rijksstudio and the mobile app already present some these dimensions of the artworks to the user. They allow users to zoom in on high-resolution images, peel off the surface to discover hidden, earlier version or completely different paintings, and to search for stylistic and affective metadata (color, mood, etc.). Today, however, these interfaces are not fully integrated in the museum visitor's experience.
+Currently, Rijksstudio and the mobile app already present some these dimensions of the artworks to the user. They allow users to zoom in on high-resolution images, peel off the surface to discover hidden, earlier version or completely different paintings, and to search for stylistic and affective metadata (color, mood, etc.). Nonetheless, these interfaces are not integrated in the physical collection. In this project we will develop interfaces that not only reveal the small details and hidden layers of the masterpieces, but are actually part of the experience of the visitor. 
 
-In this project we will develop interfaces that not only reveal the small details and hidden layers of the masterpieces, but integrate them in the physical collection.
-On the output side, this means the following:
+On the output side, we want to develop the following:
 
-+ mediation of both small and large screens to augment the masterpieces
++ large transparent monitors that are placed in front of the actual artworks and provide the visitor with recontextualizing information
++ cell phone and tablet applications that provide the user with new ways to interact with the artwork: zooming in, peeling off layers, replacing (parts of an artwork) with sketches, studies, actual photographs, etc.
 
 On the input side, we are thinking of the following interventions:
 
 + Using body sensors to determine a user's affective response to individual artworks or the collection as a whole.
 + Using light, temperature, and sonic sensors to determine
 
-Together these two interventions make it possibles to bypass some forms of metadata altogether.
+Both these two interventions make it possibles to bypass some forms of metadata altogether.
+
+### Augmenting
+
+*The visitor should augment the artwork with new layers of information.*
 
-### Layering
 
-*We want the visitor to add layers to the artwork that add context or content.*
 
 
 
 ## Dissemination
 
-*We want the visitor to take the (augmented) masterpieces home or bring them elsewhere.*
+*The visitor should take the (augmented) artworks home or bring them elsewhere.*
 
 The interfaces that we want to develop are aimed at transforming the visitor from a consumer into a researcher. However, one of the most important aspects of doing research is to share the results and discuss them with others. For that reason, the Rijksmuseum already publishes all of the data available via their API through a Creative Commons License.
 
 The legal dimension of dissemination, however, is only part of the story. In order to further stimulate knowledge production we want to ensure that the output data produced by our interfaces can be used as input for further research. This means that in the future the API should not only cover the 'original data' but also the new data that is added by the visitor/researcher.
 
 
-
-
-## NOTES
-- een interactieve webapplicatie voor opvragen van locatiespecifieke informatie over de opstelling in het museum, vanuit de beschikbare digitale database over de gehele collectie
-- datavisualisatie van werken die context bieden aan fysieke objecten.
-- Verschillende soorten augmentation testen en in kaart brengen: context, referentie, vergelijken met andere werken, onzichtbare lagen, inzoomen, tijdgenoten presenteren
-- gebruikersscenarios opstellen voor interface. Wie gebruikt het waarvoor? Wat zijn hun wensen/eisen?
-
-**Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
+**Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**
diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -7,15 +7,15 @@ Central to this project is the the following paradox:
 
 Digital media offer a way out of this paradox by setting up a virtual space where these forbidden gestures are in fact allowed. More often than not, however, the resulting digital environments remain detached from the physical exhibition. They offer an autonomous experience that is best enjoyed in the comfort of a visitor's home rather than the museum itself.
 
-In this project, we want to develop interfaces for the Rijksmuseum that connect the digital to the physical collection by enabling several (and ideally all) of the following actions:
+In this project, we want to develop interfaces for the Rijksmuseum that connect the digital to the physical collection by facilitating (ideally all) of the following gestures:
 
-### Digging
+### Exploring
 
-*The visitor should go beyond the displayed collection and enter the archives.*
+*The visitor should deviate from the designated paths and open locked doors.*
 
-Because this first gesture seems so obvious, it is easy to overlook both its importance and complexity. The total collection of the Rijksmuseum consist of 1,000,000 pieces, while merely 8,000 of these works are on public display. In order to make a larger number of artworks available to the public, simply digitizing the archive is not enough however; interfaces are needed.
+The total collection of the Rijksmuseum consist of 1,000,000 pieces, while merely 8,000 of these works are on public display. In order to make a larger number of artworks available to the public, simply digitizing the archive is not enough however. Interfaces need to be developped.
 
-For that reason, the Rijksmuseum has developed a API (Application Programming Interface.) that currently makes 130,000 images and over 1,000,000 data entries publicly available. Unfortunately, most users are not equipped to access the collection programmatically though. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to develop additional (features of) interfaces to make the otherwise hidden collection available.
+It is easy to overlook both the importance and complexity of this development process. For that reason, the Rijksmuseum has developed a API (Application Programming Interface.) that currently makes 130,000 images and over 1,000,000 data entries publicly available. Unfortunately, most users are not equipped to access the collection programmatically though. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to develop additional (features of) interfaces to make the otherwise hidden collection available.
 
 ### Dissecting
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -1,6 +1,11 @@
 **Zou je voor ons jullie eindproduct, de interfaces, een stuk concreter kunnen maken? We hebben nu nog niet geheel een idee wat we ons daarbij voor moeten stellen.**
 
-Central to this project is the inherent paradox that the physical collection of the Rijksmuseum is marked by: many of its masterpieces can only be fully experienced through gestures that are forbidden in a traditional museum context. Digital media offer a way out of this paradox by setting up a virtual space where these forbidden gestures are in fact allowed. More often than not, however, the resulting digital environments remain detached from the physical exhibition. They offer an autonomous experience that is best enjoyed in the comfort of a visitor's home rather than the museum itself.
+Central to this project is the the following paradox:
+
+> The Rijksmuseum's masterpieces can only be fully experienced through 
+> gestures that are forbidden in a traditional museum context. 
+
+Digital media offer a way out of this paradox by setting up a virtual space where these forbidden gestures are in fact allowed. More often than not, however, the resulting digital environments remain detached from the physical exhibition. They offer an autonomous experience that is best enjoyed in the comfort of a visitor's home rather than the museum itself.
 
 In this project, we want to develop interfaces for the Rijksmuseum that connect the digital to the physical collection by enabling several (and ideally all) of the following actions:
 

diff --git a/augmented masterpieces (encore).md b/augmented masterpieces (encore).md
@@ -0,0 +1,66 @@
+**Zou je voor ons jullie eindproduct, de interfaces, een stuk concreter kunnen maken? We hebben nu nog niet geheel een idee wat we ons daarbij voor moeten stellen.**
+
+Central to this project is the inherent paradox that the physical collection of the Rijksmuseum is marked by: many of its masterpieces can only be fully experienced through gestures that are forbidden in a traditional museum context. Digital media offer a way out of this paradox by setting up a virtual space where these forbidden gestures are in fact allowed. More often than not, however, the resulting digital environments remain detached from the physical exhibition. They offer an autonomous experience that is best enjoyed in the comfort of a visitor's home rather than the museum itself.
+
+In this project, we want to develop interfaces for the Rijksmuseum that connect the digital to the physical collection by enabling several (and ideally all) of the following actions:
+
+### Digging
+
+*The visitor should go beyond the displayed collection and enter the archives.*
+
+Because this first gesture seems so obvious, it is easy to overlook both its importance and complexity. The total collection of the Rijksmuseum consist of 1,000,000 pieces, while merely 8,000 of these works are on public display. In order to make a larger number of artworks available to the public, simply digitizing the archive is not enough however; interfaces are needed.
+
+For that reason, the Rijksmuseum has developed a API (Application Programming Interface.) that currently makes 130,000 images and over 1,000,000 data entries publicly available. Unfortunately, most users are not equipped to access the collection programmatically though. In order to compensate for this lack, the Rijksmuseum has collaborated Kiss the Frog, Fabrique, and Q42 to create some award-winning user-interfaces (Rijksstudio, mobile app). In this project, we want to develop additional (features of) interfaces to make the otherwise hidden collection available.
+
+### Dissecting
+
+*The visitor should tear the masterpieces apart, peel off their layers, and destroy their aura.*
+
+In a traditional museum context a masterpiece is presented as a completed product rather than a fragmented process. However, it is often its details and (past and future) trajectory that define a masterpiece. For that reason, it is important to show the visitor the different pieces and layers that an artwork consist of.
+
+Moreover, the aforementioned API also enables a new way of dissecting artworks. Apart from layers and pieces, they can also be dissected into bits. Data can be used not only to reconstruct the original artwork, but also to place them in different contexts and narratives, such as:
+
++ a history of its reception
++ similarities and differences with other works of the same artist or contemporaries
++ the spatial and conceptual itinerary of an artwork
+
+Shailoh Phillips' earlier, award-winning project (*Go van Gogh*)[http://www.govangogh.org] can be seen as a prototype for the approach and interfaces proposed in this project.
+
+Rijksstudio and the mobile app already present some these dimensions of the artworks to the user. They allow users to zoom in on high-resolution images, peel off the surface to discover hidden, earlier version or completely different paintings, and to search for stylistic and affective metadata (color, mood, etc.). Today, however, these interfaces are not fully integrated in the museum visitor's experience.
+
+In this project we will develop interfaces that not only reveal the small details and hidden layers of the masterpieces, but integrate them in the physical collection.
+On the output side, this means the following:
+
++ mediation of both small and large screens to augment the masterpieces
+
+On the input side, we are thinking of the following interventions:
+
++ Using body sensors to determine a user's affective response to individual artworks or the collection as a whole.
++ Using light, temperature, and sonic sensors to determine
+
+Together these two interventions make it possibles to bypass some forms of metadata altogether.
+
+### Layering
+
+*We want the visitor to add layers to the artwork that add context or content.*
+
+
+
+## Dissemination
+
+*We want the visitor to take the (augmented) masterpieces home or bring them elsewhere.*
+
+The interfaces that we want to develop are aimed at transforming the visitor from a consumer into a researcher. However, one of the most important aspects of doing research is to share the results and discuss them with others. For that reason, the Rijksmuseum already publishes all of the data available via their API through a Creative Commons License.
+
+The legal dimension of dissemination, however, is only part of the story. In order to further stimulate knowledge production we want to ensure that the output data produced by our interfaces can be used as input for further research. This means that in the future the API should not only cover the 'original data' but also the new data that is added by the visitor/researcher.
+
+
+
+
+## NOTES
+- een interactieve webapplicatie voor opvragen van locatiespecifieke informatie over de opstelling in het museum, vanuit de beschikbare digitale database over de gehele collectie
+- datavisualisatie van werken die context bieden aan fysieke objecten.
+- Verschillende soorten augmentation testen en in kaart brengen: context, referentie, vergelijken met andere werken, onzichtbare lagen, inzoomen, tijdgenoten presenteren
+- gebruikersscenarios opstellen voor interface. Wie gebruikt het waarvoor? Wat zijn hun wensen/eisen?
+
+**Zou je in meer detail uit kunnen leggen wat de afzonderlijke bijdragen van de genoemde partners worden (Rijksmuseum, Kiss the Frog, Q42, Fabrique)?**