Going Mobile at Balboa Park

February 16, 20101/65Nancy Proctor, [email protected]

Going Mobile at Balboa Park

Nancy Proctor http://MuseumMobile.info

Visitor-led mobile content & experience development


HousekeepingQuestions & comments:

• Hashtags: #mtogo #bpocmob

• http://wiki.MuseumMobile.info

Ideas for continuing the discussion:

• http://tatehandheldconference.pbworks.com

• https://mcn2010.pbworks.com


1. Theory: audience-led mobile content & experience design

2. Practice: key messages, audiences & their questions

3. Pulling it all together: building your mobile interpretation plan

Agenda for Today:


In 15 seconds or less:

1.Introduce yourself by name and affiliation;

2.Read your burning question or issue.

Introductions


1. Interpretation is essential

2. Why mobile?

3. A new approach to designing mobile interpretation and experiences

4. From headphones…

Part 1: Theory40 slides

to microphones


Part 1: The Theory

Audience-led mobile interpretation design

6


Opening our eyes

7


Interpretation is as essential to the Museum as cutlery is to a

banquet

Beth Lipman, Bancketje (Banquet) 20038


Beth Lipman, Bancketje (Banquet) 20039

Some visitors may bring their own, Some may eat only the finger food, Some may choose another restaurant, Many will go away hungry,

If the Museum doesn’t provide it:

feeling uninvited and unwelcome.


Tate Modern’sPrinciples of Interpretation

1. Interpretation is at the heart of the gallery’s mission.

2. Works of art do not have self-evident meanings.

3. Works of art have a capacity for multiple readings; interpretation should make visitors aware of the subjectivity of any interpretive text.

4. Interpretation embraces a willingness to experiment with new ideas.

5. We recognise the validity of diverse audience responses to works of art.

6. Interpretation should incorporate a wide spectrum of voices and opinions from inside and outside the institution.

7. Visitors are encouraged to link unfamiliar artworks with their everyday experience.


Where is interpretation?

11


Photo by Mike Lee, 2007; from SAAM Flickr Group

Audiences now access our content through a wide range of platforms

beyond the museum’s walls and website

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The Museum has become a Distributed Network

13


The Museum is transforming from Acropolis…

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… into Agora

15


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1. A Community2. A Site for Socratic Dialogue3. A Marketplace for Ideas &

Interpretations4. An Opportunity for Civic

Engagement5. A Social Media Platform

The Museum as Agora is:


Why mobile?


Mobile web use is surging

More than 63 million people accessed the Internet from their mobile devices in 2009 - double the number until Jan 2008 Comscore March 2009.

Nielsen reports surge in mobile web use driven by “Women, Teens, and Seniors” 30 September 2009 http://blog.nielsen.com/nielsenwire/online_mobile/mobile-web-up-34-percent-july-09/

English-speaking Hispanics are ardent users of wireless access, whether that is on a handheld device or a laptop computer. Overall, English-speaking Hispanics are the heaviest users of wireless onramps to the internet. Pew Internet Wireless Internet Use April 2009

18 6 October 2009

Nancy Proctor, [email protected]


April 2009 study by Pew Internet & American Life Project:

32% of Americans have at some point used the internet on their mobile device.

19% of Americans said they had yesterday accessed the internet on their mobile.

50% say it is very important to them to have mobile access in order to stay in touch with other people.

46% say mobile access is very important for getting online information on the go.

17% say mobile access is very important to them so they can share or post online content while away from home or work.

http://www.pewinternet.org/Reports/2009/12-Wireless-Internet-Use.aspx?r=1

19 6 October 2009

Nancy Proctor, [email protected]


Convergence

http://www.youtube.com/watch?v=6ILQrUrEWe8

20 6 October 2009


At least half of the Museum’s platforms are

already mobile.

21 6 October 2009


February 16, 201023/65Nancy Proctor, [email protected] Institute, Kunstmuseum Bonn: ‘Beat Zoderer’ exhibition (Listen project) 2003

It’s NOT about the It’s NOT about the TechnologyTechnology


Thinking outside the audiotour box

Means thinking about content & experience


Recent Research & Resourceshttp://wiki.MuseumMobile.info/research

20091. CHNM survey on Museums and Mobile Adoption2. Learning Times International Survey on handheld use in

museums.20081. Whitney Museum of American Art: Audio Guide

Technologies Survey Final Report20071. Matthew Barney: Multiplatform interpretation at

SFMOMA2. La Placa Cohen Culture Track 2007 (with Antenna Audio)


Who is your target audience?

Tied to mission & key messages

What are the desired outcomes? What do we want them to know, think and/or feel?

What platforms do they already use? How do they use them elsewhere & what excites them?o Traditional audio tourso Cellphones or smartphoneso Podcastso Mobile social media: SMS, Twitter, FB…


A Minority of Visitors Use Technologies in the Galleries

2006 study by Randi Korn & Associates at SFMOMA

BUT they use technology everywhere else:

WWW = Whatever, Whenever, Wherever


Question mapping in the gallery:

What do they want to know?

• Semi-structured interviews

• FAQs and comments cards

• Questions posed to staff…


Collecting questions…

Online question collection: o Specialized Q&A services, e.g. AJOAo Comments on social media sites

Include audience research in order to segment

Go deeper with more experienced museum visitors

Where are visitors not being served by existing interpretation?


Organize & Filter

Group questions:

o Thematically

o By object

o By location

Prioritize by mission and key messages

Prioritize questions that elicit great stories


Organize questionsPainting Sculpture Folk Art Architecture

Dramatic change in style in display

Why multiples of same work?

Lures aren’t art

Story behind the architecture

Triple painting?!

Memory vessels: idea, ones with stones…

Glad you dead you rascal you?!


Which content modalities?

1. +-+-+-+-+ Soundtracks

2. o o o o Soundbites

3. x x x x Interactives

4. | | | | Links

5. ^ ^ ^ ^ Feedback

6. § § § § Social media

Narrowcast/Offline orNetworked

Networkedonly


Soundbite Sample


Soundbites

Are ‘atoms’ of information.

Commonly called ‘stops’ – or ‘starts’!

Facilitate going deeper on a specific object/subject.

Usually require a visual (actual object or image).

Can be collectable & portable to other platforms e.g. via bookmarking, saving or sharing.

Can be reused across the museum’s analog & digital platforms as well as those of third parties.


Soundtrack Sample


The Soundtrack

Recalls original ‘linear’ audio tours.

Provides a sequential narrative and contextual information: tools for understanding the principles of the displays, both in the gallery and beyond.

Immersive, but may be divided into a number of connected segments.

‘Downloaded’ for audiences on-site and beyond.

Like a good album, book or catalogue, should be possible to enjoy over & over again…


Soundtracks & Soundbites Combined

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ArtBabble: the ideal interface

http://www.artbabble.org/video/meet-william-christenberry


Identify soundtracks & soundbites

Painting Sculpture Folk Art Architecture

Dramatic change in style in display

Why multiples of same work?

Lures aren’t art

Story behind the architecture

Triple painting?!

Memory vessels: idea, ones with stones…

Glad you dead you rascal you?!


Architecture Tour

History of the building, style, architect

----------+--------------+------------------+--------

O O O Tiles Skylights Ironwork


Folk Art Tour

Why is folk art, art?

----+-------------------+------------------+-----------

\/ \/ \/

O O O Lures Memory vessels Glad you

dead…


How best to tell the story & create the atmosphere?

1. Monologue:o Artists & curatorso Staffo Related expertso Professional narrators

2. Reinactments/ plays

3. Interview

4. Dialogue

5. Vox pop / comments

6. Music


Knowledgeable or insightful – trusted

Relates to the mission or key messages

Good communicator with target audienceo Engaging voiceo Confident mannero Makes it relevant

Facilitates the desired outcomes

Who best to tell the story?


The audiences talk back Comments and questions (audio/text/links)

Search-research-share

Bookmark/Email/SMS to self

Collect (MyCollection, ArtStream)

Share (Twitter, Facebook, SMS)

Forum

Voting (show the polls!)

Quizzes/games (multimedia/SMS)

Mobile giving


The right vehicle for your content

Audio player

Multimedia player

Cellphone

Personal media player

SmartMobile

Browser

phonesMobile App

Soundtrack

x x (x) X X X

Soundbite X X X x X X

Interactive

X X X

Link X X x

Feedback X X X

Social media

X X


Platform considerations1. What does your content map require - ideally?

2. What kind of location-based/content triggering solution do your visitors & experience need – really?

3. What do your sponsors/funders require?

4. Can you support network connectivity at your site?

5. Can you manage user-generated content?

6. Can you support multiple platforms?

7. Users’ own devices or supplied on-site?

8. Can you update content across the platform(s)?

9. What is your upgrade path (in at least 2 year increments)?


Mission: SI: Increase and diffusion of knowledge. AA: Be the resource and facilitator for experiencing, understanding and engaging with American art in the US and the world.Objectives: Repeat visitors; Membership sales; Integration into the curriculum


Break

Please have paper & pen/pencil when you return

for Part 2…


Part 2: The Practice

Key messages, target audiences & their questions

49


Identify your target audience(s)

1. Explorers2. Facilitators3. Experience seekers4. Professionals/Hobbyists5. Rechargers

Virtual visitors Non-visitors

Falk’s Identity Segmentations


Key messages Please list one to three main ideas visitors will take away

from visiting the site or exhibition. What objects or didactic components of the presentations will help them learn this?

Describe the rationale and originality of the presentation. Is the site or exhibition bringing new scholarship to the field, exposing an under-recognized subject, etc.? Why is this presentation important now?

Please note other interpretive components at the site that should be considered (labels, docent tours, audio tour, in-gallery videos, interactive feature, blogs, etc.). Are you aware of existing media created by other organizations that address the key messages/topics of this presentation?

SFMOMA's "Interpretive Goals Questionnaire”http://www.archimuse.com/mw2009/papers/samis/samis.html


Working with objects & questions1. Display your object

2. Write down questions about your partner’s object

3. Ask each other your questions

4. Analyze the kinds of questions: can you group them? E.g. Formal Functional Existential Relational Emotional

5. Roughly what % of questions fall into each category?


Question-mapping


Lunch&

On-site Question-mapping

54


Part 3: Putting it all together

Building your mobile plan

55


Set up your worksheet

1. Mission

2. Objectives

3. Target audience(s)

4. Key messages


1. Organize & Filter Questions

Group questions:

o Thematically

o By object

o By location

Prioritize by mission and key messages

Prioritize questions that elicit great stories

10 min


2. Identify content modalities

1. +-+-+-+-+ Soundtracks

2. o o o o Soundbites

3. x x x x Interactives

4. | | | | Links

5. ^ ^ ^ ^ Feedback

6. § § § § Social media

Narrowcast/Offline orNetworked

Networkedonly

10 min


3. Choose your voices

1. Monologue:o Artists & curatorso Staffo Related expertso Professional narrators

2. Reinactments/ plays

3. Interview

4. Dialogue

5. Vox pop / comments

6. Music

10 min


4. Engage in a dialogue Comments and questions (audio/text/links)

Search-research-share

Bookmark/Email/SMS to self

Collect (MyCollection, ArtStream)

Share (Twitter, Facebook, SMS)

Forum

Voting (show the polls!)

Quizzes/games (multimedia/SMS)

Mobile giving

10 min


5. Choose your platform1. What does your content map require - ideally?

2. What kind of location-based/content triggering solution do your visitors & experience need – really?

3. What do your sponsors/funders require?

4. Can you support network connectivity at your site?

5. Can you manage user-generated content?

6. Can you support multiple platforms?

7. Users’ own devices or supplied on-site?

8. Can you update content across the platform(s)?

9. What is your upgrade path (in at least 2 year increments)?

10 min


Mission: SI: Increase and diffusion of knowledge. AA: Be the resource and facilitator for experiencing, understanding and engaging with American art in the US and the world.Objectives: Repeat visitors; Membership sales; Integration into the curriculum


http://picasaweb.google.com/anup.rao/HaifaAkkoIsrael#4954285426665324562

From Headphones to Microphones:

From “From “we we do the talking” to “we help do the talking” to “we help you you do the talking.”do the talking.”


A Smarthistory Dialogue


http://museummobile.info/ wiki, blog & podcasts

Conferences:

o Museums & the Web, April 13-17, 2010, Denver, CO

o Tate Handheld Conference Sept 2010, London & 2008 archive: http://tatehandheldconference.pbworks.com/

o MCN Oct 28-30, 2010, Austin, TX

o Online HandheldConference archive (June 2009) & forthcoming: http://www.handheldconference.org/program/

Beth Harris & Steven Zucker, SmartHistory http://SmartHistory.org

Koven Smith: http://prezi.com/67549/ & http://www.archimuse.com/mw2009/papers/smith/smith.html

SFMOMA (Peter Samis & Stephanie Pau): http://www.archimuse.com/mw2007/papers/samis/samis.html & http://www.archimuse.com/mw2009/papers/samis/samis.html

Nancy Proctor: [email protected] @nancyproctor http://MuseumMobile.info

With many thanks to Kate Haley-Goldman for her help with this paper!

Opportunities to continue our work:

Education

Going Mobile at Balboa Park