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MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
MW2014  - Gallery One, The First Year: Sustainability, Evaluation Process,
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MW2014 - Gallery One, The First Year: Sustainability, Evaluation Process,

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The Cleveland Museum of Art created Gallery One to build audiences by providing a fun and engaging environment for visitors with all levels of knowledge about art. Gallery One opened to the public, …

The Cleveland Museum of Art created Gallery One to build audiences by providing a fun and engaging environment for visitors with all levels of knowledge about art. Gallery One opened to the public, January 21, 2103 This session will address the three questions most frequently asked by colleagues: 1) Is the concept behind Gallery One working? We will take a look at the inaugural year of Gallery One. We will discuss gaming & playful experiences through the Gallery One Lenses. We will take a closer look at the ArtLens iPad app and share the museum's findings, including the audience research team's immersive study involving observations and intercept interviews with visitors. In addition, we will review analytics of the interactives, including the iPad app's onsite vs. offsite visitor experience, and discuss how the Collection Wall and ArtLens app are being utilized by visitors as tools for discovery and for creating new pathways through the museum's collections. 2) How can the museum sustain Gallery One? We will address the museum's digital media strategy, including 1) how the backend systems and staff workflows have been adjusted to maintain the "big data," and 2) support for operating costs, from content development to hardware. We will also speak to new content development strategies for the iPad app that ensure as many objects as possible have rich media interpretation. 3) What are the next steps? What is Gallery One 2.0? - We will discuss plans for refreshed art installations and interactive technology in Gallery One. We will demonstrate the museum's new ArtLens for iPhone and Android. We will also share our process in adapting the iPad app functionality and content to the smaller device. And we will show how the Collections Wall is being leveraged to promote major exhibitions, and as a tool for gauging visitor interest in themes under development for permanent collection installations, exhibitions, and educational program development

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  • The Cleveland Museum of Art created Gallery One and ArtLens to build audiences by providing a fun and engaging environment for visitors with all levels of knowledge about art. Gallery One opened to the public, January 21, 2103 after a 6 week soft launch. This session will address most frequently asked by colleagues – Is the concept behind Gallery One working? How can the museum sustain Gallery One? What’s is Gallery One 2.0
  • Gallery One opened as part of a suite of several new visitor amenities, and the museum’s 39,000 square foot, glass-enclosed atrium, all of which have contributed to the museum’s rising attendance. It is difficult to provide specific numbers for Gallery One’s influence on attendance, as there are no sensors located at the entrances of Gallery One. In the first year after the atrium opening, the museum’s attendance increased by 39%, reaching one of the highest levels in over a decade. Attendance by visitor groups with children has increased by over 25% since the opening. CMA also completed the first half of its fiscal year with an 80 percent increase in donations.
  • Gallery One located in “GREEN”
  • Gallery One has captured the attention of other institutions whose focus is on engaging the public. One example: New Cyahoga County Library interactive Tech Wall which incorporates The 1930’s Lens and ArtLens
  • An annual CMA highlight is the summer Solstice event which celebrates the year’s shortest night with a host of acclaimed international music groups attracting more than 5,000 party goers. In 2013, the museum’s stunning collection served as a dynamic theatrical backdrop for the Solstice, as the Gallery One Collection Wall was projected on the south façade of the museum’s Beaux Arts-style 1916 building at 8 times its normal size.
  • Gallery One and ArtLens were the first beneficiaries of the museum’s digital strategy, and their technology implementation is innovative, intelligent and in-line with tech industry best practices
  • DIGITAL STRATEGY COVER -- When I arrived at the museum, I looked at everything, and started the work of formulating a tech-side digital strategy, using Gallery One and ArtLens as a a test bed...
  • DIAGRAM -- We found that our back-end systems naturally fell into functional groups, and could be tied together... this diagram shows the backbones, and the context of this presentation is here, in the collection-information and scholarship backbone.
  • The CMA common core infrastructure platform built out as part of the recent renovation project has allowed us to implement technology that was not possible prior to the renovation. This platform gives us the ability to support multiple systems without the need to build out a separate infrastructure for each. This helps save resources both financially and in staff time to manage and operate. In addition, it allows for a quicker implementation of new and upgraded systems along with standardizing system support since we are leveraging this common platform.
  • A project’s hardware, software, applications and content need to fall into our back-end strategy in order to be sustainable, scalable and easily supported
  • Now all new accessions (with new mappings) automatically update to the wall
  • During the past year, IMTS made some fundamental changes to the Piction DAM as well, ‘flattening’ the artwork-photography collection so that each image is represented by a separate record, to support image-level cataloging and manipulation and better access to alternate views. With this project, the entire artwork data flow—from CCMS through three Piction DAMs, and ultimately to the Collection Wall, ArtLens, and Collection Online on the museum website—was re-coded for efficiency and thoroughly tested for different scenarios of metadata and image change.
  • Tracking rentals of iPad scanners is just one of the bits of information that is integrated into the overall picture of member and guest activity data.
  • Christie MicroTiles can be individually maintenanced and, if needed, replaced without disrupting the rest of the Collection Wall.
  • Technology design is focused on sustainability and reliability(Hardware framework for Gallery One)
  • Each day the Gallery One tech staff makes sure the Collection Wall and all of the interactive lenses power on correctly, and are available for use throughout the day. They may troubleshoot remotely using LogMeIn on a tech iPad or their personal smartphones.
  • 1) They rent iPads/RFID’s, 2) Monitors and supports all of the technological aspects of the space 3) Helps the application team troubleshoot data issues
  • Gallery One staff provide scanning bar code for rented Ipad.
  • While the initial push to complete the first round of content creation at the beginning is often the focus, it is also important to remember and plan for changes, additions, and replacements, as well as continuing to create new content that will help the project continue to feel fresh. Sometimes the changes are unexpected: for example, several of the people who were interviewed for ArtLens had changes to their titles after the content had been completed, which prompted a new round of edits and reviews on content that had been in the completed pile.The text and multimedia content in ArtLens represents hundreds of hours or work by Education and Interpretation staff, and includes a multitude of steps and processes, from object selection to conducting interviews, researching the collection, finding additional interviewees, securing rights, slideshow production, creating credit lines, scheduling, production tracking, and many rounds of review. Staffing will need to continue to ensure the freshness and accuracy of content.The work doesn’t stop nor the investment when you create an installation like Gallery One.  The technology is such a paradigm changer, it opens up whole new previously uncharted gaps in interpretation, which in turn call for new, more effective strategies.
  • Gallery One was originally installed with Richard Long’s Cornwall Circle (fig), an engaging work in terms of visual interest and storytelling. Media assets were prepared to highlight and provide transparency into the art installation process. However, the physical reality, in terms of footprint and visitor ingress, egress and circumnavigation proved to be overwhelming and unmanageable in a space with visitors encouraged to physically interact with the Sculpture lens, or others wanting to make a beeline to the 1930s lens. CMA’s acquisition of Wilson’s To Die Upon a Kiss (fig) provided Gallery One with an equally engaging work of art that would not disrupt the visitors experience in the Gallery or cause guards moments of anxiety.
  • Working with the developer, we found that the algorithm which created the coverflow groups included boosted relevancy for artworks which were ‘favorites’, with the idea of providing a ‘hook’ for the coverflow with the best and most popular artworks. This small tweak made them increasingly likely to show in a coverflow, and therefore increasingly likely to be ‘favorited’ by the next visitor, further promoting those artworks’ relevancy and decreasing the likelihood that other random artworks would be shown. This behavior wasn’t apparent when originally launched/tested, but six months after launch, the favorite objects had been been presented and re-favorited so often that only the top favorites appeared. It became a self-fulfilling prophecy.None of the CMA staff recall ever discussing, and did not approve, the use of favorites as part of the coverflow logic. The coverflow logic needed to be rewritten/implemented to restore diversity to the Collection Wall, so it could be used by our visitors as intended, to delve deeper into our collections. Both staff and the vendor committed resources to resolving this unforeseen, and unforeseeable issue.
  • Something we are mulling over…
  • Project launch is often seen as the culminating moment where the (sometimes years) of planning, focused effort, determination and late-nights all coalesce into a moment that resoundingly sounds like “You’re Finished!” Launch is a time during all projects that requires even more time and effort because you need to prepare for both the launch itself as well as prepare for the needs that occur immediately afterwards. Launch puts your product into the world, delivers it to a (hopefully) ready and excited public and means that your discussions about the project now use concrete versus abstract terms. This also means that management should not underestimate the demands and needs that the Post-Launch phase ushers in.
  • It was highly beneficial to have developed and launched the iPad version of ArtLens prior to the smartphone versions. It allowed us to conduct more in-depth user observations, evaluate the analytics and prioritize the visual hierarchy of features as well as streamline the production of the application. The team had already been through the first development process and was now familiar with the inherent demands and nature of testing for mobile applications. Incredible diligence and understanding of the functionality was required to keep the expedited smartphone development timeframe on target. Communication strategies and methodologies for feedback between the CMA team and the development team at Local Projects were already established and allowed for a more productive development phase. Because of this, more time was spent on doing in-depth on-site testing and evaluation during Alpha and Beta releases. This allowed us to release to the App store ahead of schedule and provided additional time for testing of the ‘live’ version before our scheduled public launch. This also allowed for CMA to simultaneously test the upgrades to the wi-fi and Navizon systems in parallel.
  • ::presenter notes:What we're looking to now is whether or not the new iOS 7 embedded share features will increase this, as it eliminates the need for a separate sign-in process and utilizes existing iOS GUI functionality.
  • Something we are mulling over…
  • From an operational and management perspective, you are essentially at the mercy of Apple. The best you can do is to target release dates and go into a testing & QA triage mode to scrub the app and identify any bugs or functionality glitches.
  • https://developer.apple.com/library/ios/documentation/userexperience/conceptual/MobileHIG/index.html
  • Gallery One 2.0In honor of CMA’s centennial in June 2016, Gallery One’s artworks will be completely replaced and new interactives will be designed to interpret the artworks. A cross-departmental team has just been tasked with creating a plan for the concept and deployment of Gallery One – 2.0, which will celebrate the future of the Museum on its 100th birthday.Specifically, this will include a redesign of the Beacon to include more dynamic information collected throughout the entire museum and act as a live dashboard for all of CMA. The dashboard will show where visitors are and have been, what tours they’re taking and creating, what films they’re watching and content they’re accessing, what events and talks they’re attending. These real time and cumulative metrics will provide a nuanced glimpse of the Museum’s activities and visitor interests.
  • Transcript

    • 1. Gallery One, The First Year Sustainability, Evaluation Process, and a New Smart Phone App Museums and the Web 2014 – April 3, 2014 Jane Alexander, Chief Information Officer Cleveland Museum of Art Keeli Shaw, Interactive Project Director Local Projects
    • 2. Is Gallery One Working
    • 3. ROI: Attendance Increased by 39%
    • 4. Gallery One located in GREEN
    • 5. Goals of Gallery One Build audiences—including families, youth, school groups, and occasional visitors by providing a fun and engaging environment for visitors with all levels of knowledge about art Highlight featured artworks to the Greater Cleveland community and the world Propel visitors into the primary galleries with greater enthusiasm, understanding, and excitement about the collection Develop and galvanize visitor interest, bringing visitors back to the museum again and again
    • 6. Development efforts centered on providing a transformative experience. Allowing visitors to: Feel empowered to browse, explore, and create personal meaning around the museum‘s collection Employ engaging interactives, that use investigative methods and tools for critical observation to develop an engagement with the collection and interpretive concepts about the collection Create a personalized profile driven by their interests
    • 7. Have Fun with Art
    • 8. Use interactive games and interpretation as the spark for understanding, social experiences with art, and…
    • 9. Find transformative moments of discovery that make them relevant for today
    • 10. Museum Community Success and Beyond: Cuyahoga County Public Library
    • 11. Collection Wall projected on Museum‘s south façade during Solstice party
    • 12. Gallery One and ArtLens were the first beneficiaries of the museum‘s digital strategy CMA wanted the technology implementation to be innovative, intelligent and in-line with tech industry best practices
    • 13. Museum-wide Digital Strategy
    • 14. Common Core Infrastructure Cisco Mesh Environment High end cabling system POWER UPS and Generator Backup CENTRALIZED STORAGE DAM, CCMS, Backup, F Drive, Virtualized Servers SECURITY IP Cameras, Access Control, Monitoring VIRTUALIZATION Servers, Storage, Networks, Applications * BUILDING SYSTEMS Lighting Control, HVAC monitoring, Parking Automation COMMUNICATIONS VoIP Phones, DAS*, Digital Radios, Paging System, VoIP Telco Service, Email Integration CO-TENANT SUPPORT Network and Voice Access for Bon Appetit WIFI ArtLens, Guest Access, Centrally Managed SECURE ACCESS Firewall, VPN, Content Filtering, Multi Layer Protection, Remote Access AUDIO VISUAL Digital Signage, Board Room, Classrooms, Auditoriums INTERNET ACCESS OneCommunity, Access to Third Frontier and National Lamda Rail Networks, Ultra High Speed CLOUD HOSTING VENDORS BlueBridge (Archive), Amazon (ArtLens), Office 365 (Email)*WEBSITE Internally Hosted, Secure Donation Portals GALLERY ONE Integration, Application Load Balancing Common Core Infrastructure Technology Systems March 2014 * Denotes an item that is planned END USERS Mostly Laptops, Windows 7, Network Printing ACTIVE DIRECTORY Application Level Single Sign-on * APPLICATIONS Support Structure, Access Control HELP DESK User Support and Training The CMA common core infrastructure platform built out as part of the recent renovation project has allowed us to implement technology that was not possible prior to the renovation. This platform gives us the ability to support multiple systems without the need to build out a separate infrastructure for each. This helps save resources both financially and in staff time to manage and operate. In addition, it allows for a quicker implementation of new and upgraded systems along with standardizing system support since we are leveraging this common platform CMA’s Common Core Infrastructure Platform
    • 15. NO ONE-OFFS!
    • 16. Incomplete Mapping Tables
    • 17. Data Scrubbing When your objects are projected on a large wall you have daily opportunities to ―SEE‖ your data
    • 18. Piction Upgrade: Flattening Data
    • 19. CENTRAL TABLE – THE HOLY GRAIL to capturing a visitor‘s complete experience
    • 20. Updating and Increasing the Wifi and Wayfinding throughout CMA‘s galleries
    • 21. Initial assessment of using Cisco WiFi for location tracking
    • 22. Location Nodes: Put into the Light Fixtures
    • 23. Node Dispersal: Navizon Locations within the Galleries
    • 24. Cisco Access Point and Antenna
    • 25. Example of Wireless Site Survey
    • 26. Even though Apple indicates they support Fast Roaming for iOS based devices, we have found through testing and consultants that it does not currently work.
    • 27. North and West galleries do not have walls that go from floor to ceiling and have open areas.
    • 28. BUT…What about iBeacon???
    • 29. iBeacon is a proximity-based system that only allows for a very rough estimation of the nearness of a device (specifically far/near/immediate). So it can‘t be used to determine absolute position, unlike a wifi trilateration system like Navizon. Proximity-based wouldn‘t necessarily be bad, it‘s just a completely different paradigm for the application than what we‘re doing now. **However** -- it could be used in place of RFID to push notifications from the collection wall docks. If the device detects an ―immediate‖ beacon, you‘re docked. And you wouldn‘t need to mess around with any peripheral stuff like RFID cards. Also, iBeacon would work for android too!.
    • 30. Preventative Maintenance and Troubleshooting
    • 31. Technology design is focused on sustainability and reliability
    • 32. 1) Software developed to run on the servers to test the function of the displays and touch interactives and audio. 2) First step of diagnostics is to shut-down the exhibit software and test the complete path with the diagnostic software. 3) It is critical to the support of a complex interactive to have a method of troubleshooting that reliably identifies the difference between a hardware malfunction and a software application issue
    • 33. All interactives can all be remotely rebooted via LogMeIn
    • 34. A Gallery One Technician is scheduled at all times.
    • 35. Help visitors of all levels use the technology
    • 36. Content Development Not just the old strategies rehashed
    • 37. Interactive installation spaces are not suited for all artworks
    • 38. ―Cornwall Circle‖ was replaced with Wilson‘s ―To Die Upon a Kiss‖
    • 39. Unforeseen Issues arise months after opening
    • 40. In- House Evaluation Process Overall Research Objectives: • Examine how visitors use Gallery One • Evaluate impact of Gallery One and ArtLens technologies on museum experience • Data leading the way into new objectives – Visitor perceptions and overall experience – Renovation and expansion - (E.Bolander)
    • 41. Methodologies Used for Phase 1 • Observations – Standardized tracking of visitors in Gallery One – 100 collected before and after install of Fred Wilson • Google Analytics tracking – Some insights on average time and overall usage – (E.Bolander)
    • 42. Methodologies Used for Phase 1 • Usability Tests – 30 structured interviews per Lens – Observations without explanation or assistance – Follow-up interview – (E.Bolander)
    • 43. Overall Lens Findings To Date • Generally positive response to all Lenses during testing – Visitors define them as being for children, young people, and/or family groups – Seen as being ―introductory,‖ providing basic knowledge and interesting stories – Enjoy the fact that it is ―interactive‖ – (E.Bolander)
    • 44. Overall Findings • Observed Average Time Per Lens – Sculpture: 3:03 – Stories: 1:39 – Lions: 2:25 – Painting: 1:45 – 1930‘s: 1:30 – Globalism: 1:37
    • 45. Observed versus Analytics • Some discrepancies have been noticed, likely due to time between visitor leaving Lens and Analytics noting the transition • Averages are likely skewed due to some nearly immediate exits versus those who stay for longer lengths - (E.Bolander)
    • 46. Sculpture Lens Strike a Pose game promotes the highest amount of social interaction – ―Was really cool. Had to critically look at how figures were positioned. Nice to have feedback from object and adjust accordingly. You literally play with the art.‖ – ―This is the first interactive we did and the only interactive we did. I like this for the kids. It's more user friendly and engages on their level. Brings the art to life for kids and makes them look for similarities.‖ – (E.Bolander)
    • 47. Stories Lens 70% accessed an art object – ―All the topics are clear and easy to understand. Easy to read and not a great deal of info, just a quick nice snapshot. Very nice!‖ – ―The convenience factor. You can look it all up right there.‖ (E.Bolander)
    • 48. Stories Lens Origin game – Average time spent: 2:38 – ―I liked watching the Stories Through Time, nice because I didn't have to do anything, like watching YouTube video and I also got to learn something about art too.‖ – ―Quizzing; the guessing portion made you look at them more closely, good doorway to interaction.‖ – (E.Bolander)
    • 49. Stories Lens Make a Story game – More time spent on comic versus film (average 30 seconds more time) – Both played a relatively equal amount - (E.Bolander)
    • 50. Lions Lens Highest use of clicking on images to learn about the objects (97% of usability tests) – ―Zoom in and see stuff that you might be too afraid to get too close to look at. Interesting facts it gives you that aren't on the wall.‖ – ―I guess the questions you would ask may not occur to you to ask. More questions may prompt you to think about it more.‖ – (E.Bolander)
    • 51. Lions Lens Lower percentage of people played Voting game (23% of usability participants) – Those who did play had a relatively high staying time (average of around 2:49) - (E.Bolander)
    • 52. Painting Lens • Higher art selection (77%), but usage is more dispersed throughout the available content – Most commonly selected object: Picasso (Panini and Mitchell close behind) – ―The fact that it is interactive. We can find more information about what we want to learn which makes for a personal experience.‖ – (E.Bolander)
    • 53. Painting Lens Painting/Canvas activity most highly accessed game (over 5,788 to date) – Highest average time spent compared to all games – High use among varied demographics Remix Picasso very popular (52% of usability tests) – (E.Bolander)
    • 54. Painting Lens Choose a Reason – Third most accessed game on Lens Perspective – Low average time spent (1:18) – ―To see the artists idea of vanishing points and then being able to play with it.‖ – (E.Bolander)
    • 55. Globalism Lens High number of art objects accessed (93%) – ―I like to see where things are made and the influence. Also, where they are originated.‖ – (E.Bolander)
    • 56. Globalism Lens • Both games frequently used • Make a vase – Shorter time spent (less than 2 minutes on average) – ―The game because we're like children its fun to mix and match the influences.‖ • Connections – Spend an average of 2:39 on this game – ―Matching the influences and making aware of how they are connected and seeing examples.‖ (E.Bolander)
    • 57. 1930‘s Lens 86% of usability respondents selected the art objects – ―Stepping into the 30s. Informative. – ―I liked how with the bowl and sculpture, you see parts you didn‘t normally see with lighting. Inside bowl too.‖ – (E.Bolander)
    • 58. 1930‘s Lens Video – Average time: 1:53 • Video length closer to 3 minutes • Indicates most visitors leaving before completion – ―Video gives you a lot more info and period of time. I like being able to see art in context, with people.‖ - (E.Bolander)
    • 59. 1930‘s Lens Line drawing – Very popular and higher staying power (2:44 average) – ―Drawing lines brought things up that I wouldn‘t have looked at, related back to 1930s‖ - (E.Bolander)
    • 60. ―I didn't notice the actual art.‖ (some didn‘t notice but they were interested enough to ask ―where is it‖ )
    • 61. Vendor Partnerships: Key to Launch and Post-Launch
    • 62. Development of ArtLens for iPhone and Android
    • 63. Analytics: Day 1 to Today Analytics Implemented: • January 2013 - iPad only • December 2013 - iPhone added • April 2014 – Android added Current Device Use: • 71% iPad, 26% iPhone, 3% iPod Touch • We had 14114 new users = unique users
    • 64. Proving Assumptions Who are our users? • On-site sessions: 61% • Offsite-sessions: 39% Duration: • Avg session duration: 12:11min • On-site: 18:23min • Off-site: 2:30min
    • 65. Visitors using Image Recognition Site Specific Functionality – Image Recognition Scanning: • On-site:116k • Off-site: 5k (in-house use for testing mostly) Takes < 5 sec to work (any longer people think broken) • On-site: 58sec (people will read hot-spot information) • Off-site: 27sec (people will read hot-spot information)
    • 66. Social Media ….No one sharing art….Use Your Budget Elsewhere! • Share via Facebook: • 615 (0.3% per session) • Share via twitter: • 179 (0.09% per session)
    • 67. Visitors do Share from Sculpture Lens - images of themselves with the art
    • 68. Keeping up with Technology Users Update! Really, really quickly • OS Versions (March): • 65% 7.0 • 25% 7.1 * • 10% rest OS Versions (February): • 90% 7.0 • 10% rest *released on 3/10 adoption rate was 18% 72 hours after release
    • 69. CURB THE CUSTOM? • More ‗exceptions‘ = More likely to break with version & device updates • Capitalize on inherent iOS GUI wherever possible
    • 70. DIGITAL STRATEGY It‘s all about big picture
    • 71. Gallery One – 2.0 1) Locative Media and Voice Recognition 2) Omni-Channel Approach: track visitor pathways throughout the museum and personalize their experience via additional interfaces 3) Developing deeper analytics 4) ArtLens for special exhibitions 5) Visitor Creativity 6) Keep tweaking the Wayfinding
    • 72. THANK YOU @janecalexander

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