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2016 New Media trends in American museums. Talk given 6 October, 2016 for Polytechnic Museum, Moscow. трендах в американских музеях.
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- 1. Новые медиа тренды Что происходит в американских музеях в 2016 году
- 2. Несколько слов обо мне и музее, где я работаю
- 6. Четыре тренда в области цифровых технологий в США • Новые форматы видео (360º, 3D) • Навигация внутри помещений, и сервисы, основанные на геолокации • Инициатива снизу • Социальные сети и выстраивание связей между музейными сотрудниками и онлайн пользователями
- 7. Новые форматы видео Новый смелый мир: видео в формате 360º и 3D
- 8. 360º : Пока не очень готовы, но уже вдохновлены
- 9. Хорошие новости: Вам не понадобится тонна оборудования.
- 10. Хорошие новости: Платформы продвигают этот формат – но пока с трудом.
- 11. Плохие новости: Качество далеко от профессионального.
- 12. Еще хуже: Видео 360 поддерживается не во всех браузерах Chrome Safari
- 13. Результат: Возможно, вы увидите что-то, кликнув на видео
- 14. 3D (VR) Видео – почти здесь…
- 15. Still 5-10 years from mainstream adoption
- 16. Навигация внутри помещений Давать людям то, что они хотят, основываясь на том, где они находятся
- 17. Святой Грааль Ваш смартфон способен предоставить вам актуальный контент – в зависимости от вашего местоположения в музее. Это происходит без вашего участия! Никаких QR кодов и т.д
- 18. Первая победа Музей старого и нового искусства(MONA) Хобарт, Австралия, 2011
- 20. История успеха San Francisco Museum of Modern Art (SFMOMA) & Detour San Francisco, USA
- 21. Успех у критиков
- 22. Рецепт успеха? • Необычный контент • Выбор контента • Актуальный контент • Карта помещений, которая действительно работает
- 23. Инициатива снизу
- 24. Сила #хэштега Голос каждого теперь может быть услышан. Хэштеги помогают распространять идеи, обсуждать их, выстраивать новые партнерства и связи.
- 25. Примеры кампаний с хэштегами Социальные проблемы: #svegliamuseo – “Музеи, проснитесь!” Пристыдить итальянские музеи, у которых идет перекос в сторону цифровых технологий #DropBP – Кампания за отказ от получения спонсорской поддержки BP (Великобритания) #MuseumWorkersSpeak Кампания по борьре за справедливые условия работы. #museumsrespondtoferguson – Кампания против насилия по отношению к афро- американцам. Узнаваемость: #askacurator #empty___ (#emptymet, #emptymfa, etc…) #InstaSwap (London, NYC, LA, etc…) #historichousecrush
- 26. Возрождение подкастов и блогов Podcasts Blogs
- 27. Почему возродился этот интерес? Подкасты Содержательные, Интерактивный, Возможность публиковать длинные записи Эффект присутствия, Ведущий вдохновляет и ведет за собой (как радио раньше) Блоги Личные, Неформальные, Возможность публиковать длинные тексты
- 28. Что общего у блогов и подскатов? • Для старта нужен минимальный бюджет • Их просто запустить, риски минимальны • С их помощью можно услышать самые разные «голоса» – каждого сотрудника музея, не только кураторов или директора • Легко считать статистику: сколько скачиваний, сколько просмотров
- 29. Пример: CODE | WORDS
- 30. Почему появился этот проект? Ответ профессионального сообщества на недостаток критических публикаций о деятельности сектора и потребность в площадке для дискуссии.
- 31. Как это сработало Rob Stein me Suse Cairns + + Сотрудники музеев Соискатель PhD Мы много общались
- 32. Мы организовали несколько групп по интересам • Музей в цифровую эпоху: осмысление концептов – Как музеи могут понять, что действительно важно, а не только просто? • Цифровое кураторство – Как сохранить новые – цифровые – формы искусства, цифровую информацию? • Новые технологии в организации – Власть, полномочия, аудитории. • Диалог и дискурс в музее – Кто говорит и кто слушает? • Творчество, инновации, технологии – Есть ли что-то уникальное при соединении этих понятий в музее? • Не бросаться в крайности. – Технологии не могут решить всех проблем в мире и в музее.
- 33. Мы использовали бесплатные инструменты для распространения информации
- 34. Что получилось в итоге? • Коллекция эссе на платформе Medium (бесплатно) https://medium.com/code-words-technology- and-theory-in-the-museum • >Более 50 тыс. просмотров • Несколько выступлений на конференции и партнерских проектов • И книга!
- 35. И проект продолжается CODE | WORDS v2.0
- 36. Социальные сети и сотрудники музея
- 37. Список сотрудников PEM, ведущих блоги Amy Curtis Annie Lundsten Austen Barron Bailly Barbara Pero Kampas Becky Vitale Caitlin Lowrie Carla Galfano Caryn M. Boehm Catherine Robertson Chip Van Dyke Claire Blechman Craig Tuminaro Dan Finamore Dave O'Ryan David Thibodeau Delia Faria Dinah Cardin Doneeca Thurston Ed Rodley Edie Shimel Ellen Soares Elliot Isen Emily Fry Eric Wolin Gail Spilsbury Gavin Andrews Gordon Wilkins Guest Contributor Janet Blyberg Janey Winchell Jay Finney Jim Olson Juliette Fritsch Karen Kramer Kathy Fredrickson Katie Theodoros Kerry Schneider Kurt Weidman Leanne Schild Linnea DiPillo Lisa Incatasciato Lisa Kosan Lucille Wymer Lynda Hartigan Lynne Francis-Lunn Maddie Kropa Martine Malengret- Bardosh Matthew Del Grosso Meg Winikates Melissa Woods Michelle Moon Mimi Leveque Nicole Polletta Paula Richter Penny Bigmore Rebecca Bednarz Sarah Jennette Shoshana Resnikoff Sidney Berger Siri Schoonderbeek Sona Datta Susan Flynn Susanna Brougham Victoria Glazomitsky Walter Silver Whitney Van Dyke
- 38. Цель: цифровая грамотность Работа в цифровом пространстве: соц. сети, Гугл, Википедия Профессиональное развитие: знать об ИТ, чтобы принимать взвешенные решения Трансформация: включать технологии в существующие процессы и проекты Стремление к тому, чтобы сотрудники совершенствовали имеющиеся навыки
- 39. Как выглядит куратор XXI века?
- 40. Они рассказывают о своей работе: уникальный взгляд на процесс
- 41. Цель? 100% участие •Все кураторы будут активно позиционировать себя в социальных сетях • Развитие культуры лидерства • Стремиться к тому, чтобы все сотрудники были активны в Интернете. Мы не настаиваем, но рекомендуем
- 42. Вопросы?
- 43. Спасибо! Ed Rodley Peabody Essex Museum (www.pem.org) Tel: +1 978 542-1849 Email: ed_rodley@pem.org Social Media: @erodley
Editor's Notes
- Good day! My name is Ed Rodley. I work at the Peabody Essex Museum in the city of Salem, Massachusetts. Добрый день! Меня зовут Эд Родли. Я работаю в музее Пибоди Эссекса в городе Салем штата Массачусетс. That’s about the limit of my Russian, so I’ll continue my talk in English Today, I’d like to talk about four digital trends affecting US museums: 360 and 3D video. indoor navigation and location-based services, grassroots initiatives “making the future you want to live in” And social media and connecting museum staff to online communities,
- But first, a little context…
- The Peabody Essex Museum is in Salem, MA in the northeastern corner of the US, the part referred to as “New England.” Salem is about 15 miles north of Boston, and 200 miles northeast of New York City.
- PEM is the oldest continuously-operating museum in the country, tracing its founding back to 1799. In the 19th century, Salem merchants and ship captains made enormous fortunes in trade with Asia, and brought back objects from their travels around the world. Fun fact: In 1800, Salem was the largest port in the United States, ahead of Boston, New York, or Philadelphia.
- In 1993, PEM became a museum of art and culture, and its collecting shifted to include a strong emphasis on contemporary art in addition to its historic collections. It’s an interesting mix of old and new with particularly strong collections of maritime history, Asian, South Asian, and Native American art, a major research library, and two dozen historic houses from the 17th, 18th and 19th centuries. So, that’s PEM.
- I work in the Integrated Media department at PEM. We are responsible for all visitor-oriented digital media at the museum. I spend a lot of time trying to keep up with what’s going on in the digital realm, and today, I’d like to talk about four digital trends affecting US museums. Two of them are technologies, and two of them are human responses to technologies. The technologies are: 360 and 3D video. indoor navigation and location-based services, And the human responses are: grassroots initiatives, what I call “making the future you want to live in” and, Social media and connecting museum staff to online communities,
- I was recently at a meeting of museum social media professionals at Harvard University. Their Director of Digital Strategy asked the group of about 25 people how many of their museums were producing video for online consumption. A couple raised their hands. He said “The rest of you probably want to start. Tomorrow.” Video is big.
- I won’t get into the technical details about 360º video and VR, and focus instead on what it’s like to work with. Our experiments this year have been with 360º over 3D video, and I’ll explain why. Spherical video, creating video that depicts an entire field of view that the user can steer within, has been around for awhile. This year, though, it’s really taken off in terms of adoption by major media and social media platforms. Our 360 experiments were a direct result of Facebook’s decision to push video content more than it does any other kind of content. Video = more people see it.
- Here’s a typical rental kit, about $500/ day. It’s cheap, relatively speaking. There’s a head with 9 GoPro cameras, batteries, a holder, and a stand. It’s actually less to rent than a traditional video kit you can’t use lights. (More on that later)
- Most social media platforms are skewing the reach of content with video in them, at lest for the time being. When you’re a museum trying to get people to look at your content, anything that guarantees you greater reach without having to pay is worth investigating.
- 360 is still in that annoying hobbyist stage of development. If you know a lot about video and computers, you can do really interesting things. If you don’t… it’s hard. It’s needs a lot of tending, it’s prone to failure, and it’s impossible to tell what you’re getting. The picture on the left is our AV producer trying to make sure that all 9 cameras have turned on. Since the GoPro was not designed to operate in clusters, there’s no reliable way to get a bunch of them to act in unison. So, you have to make sure all the lights have come on, and then run out of the shot, then click a noisemaker so that you have a sound you can use to sync all the 9 video streams. You also can’t preview it at all. It’s like 1940 again. You have shoot, then go back to the office, look at what you shot and hope it came out.
- It’s also in that awkward phase where it hasn’t been universally adopted. Some browsers will play it fine, some won’t. One format has yet to win out and become the standard. It’s a mess.
- But when it works, it’s pretty amazing. You are there in a way you can’t be with traditional video. We haven’t even launched our first 360 video, and we’re committing to creating multiple other projects. [ask Chip to make video public] So, click on Steven and hopefully the video will load from YouTube. [if it works] So you can see it looks like regular video. Now put the cursor somewhere on the screen, click and drag. Voila! Your field of view moves! You can look all around, up in the sky, and pretty much anywhere other than straight. That’s where the the tripod was and therefore no camera. [if it doesn’t work] And… that’s one of the challenges with 360, and with so many other new technologies. And that’s a reason why it’s good to have really clear, specific measures of success for these kinds of experiments. For 360 video, the immersive nature of it, and the fact that it works on specific platforms we’re interested in makes it a good tool to add to our toolkit.
- 3D video or VR, on the other hand…
- The Gartner company publishes a lot on emerging technologies and how they’re viewed. For several years they’ve been publishing what they call “The Hype Cycle”. It’s the tendency of new technologies to excite interest beyond their value, get over sold by enthusiasts, face a terrible backlash where everybody disparages them, and then eventually find their place in society. How many of you feel like you understand what VR is? VR, virtual reality, is used to describe technologies that replace one of your sensory inputs, usually, but not always sight, with a computer-generated input that uses your body to let you navigate in a virtual space. Rather than pointing and clicking, you turn your head, move your limbs, and things happen in that virtual reality. [if mostly yes] Good. VR, or virtual reality, has been around long enough that it’s already been through the hype, and is just this year starting to come out of the trough of disappointment. Despite this, Gartner still thinks it’s 5-10 years away from mainstream adoption. Nuf said.
- Here’s something I’ve heard various museum directors say for at least the last twenty years, if not longer. “Wouldn’t it be great if there was a way for us to deliver content to visitors right where they are standing, that was customized to their wants and needs? They’d never get lost again and they’d always have access to relevant content!” I heard this when portable computers first came out, then when PDAs like the PalmPilot and Newton came out. Nowadays when a substantial portion of visitors to American museums have smartphones in their pockets, it seems even logical that we should be able to harness this latent ability. Indoor navigation and location-based services are right on the verge of transforming how we think about delivering information to museum visitors.
- “The blue dot” that tells you where you are has become a standard feature of modern mobile phone use. The fact that the technology phones use to determine location only works outdoors is mysterious at best to most users. Bringing that kind of location awareness inside has, up until now, been a huge technical issue. Solving that problem opens up untold possibilities.
- Arguably the first glimpse of what a location-aware museum might look like, and how it might differ from traditional museums, is the Museum of Old and New Art (MONA) in Hobart, Australia. A new, private museum, built by millionaire collector David Walsh, it has no labels at all. Visitors are given an iPod and headphones with their ticket and all the interpretation is delivered through the device. Text, audio, video, music, and the ability to share whether you love or hate any piece in the museum.
- It works because the museum is built around the idea of everyone having the device. Technically, it works through a series of clever design choices to overcome Wifi’s poor location-finding capability. The museum uses a fairly sparse display style and serves you up a list of thumbnails of everything within 5-6 meters, so you have a list of 5-10 images you swipe through to find the work you’re interested in.
- Since 2011, the technology in phones has only improved and developers have figured out ways to use Wifi to determine location indoors. The San Francisco Museum of Modern Art recently reopened and as part of its new, expanded presence, premiered an app created by a company called Detour, which actually delivers. It can tell you where you are inside and out. It delivers content tailored to your location and interests, and by all accounts is reliable, and popular.
- A bit of hyperbole, perhaps but you get the idea. It’s a big deal.
- SFMOMA has a long history of producing great multimedia content. This app allowed them to build on the work they’d already done, and expand their repetoire. They commissioned local celebrities, artists, and others to give tours of the collection. So, you can not only hear curators, but local artists, sports figures, and others known to the local audience.
- One digital trend that has been changing the field is the success of non-institutional or “grassroots” initiatives aimed at the museum field. The ability of digital media platforms to amplify voices has been being used with great effect on both small and large scales to effect change. I’ll mention three; hashtag activism, podcasts, and blogs, and then share a personal example.
- The abilty to rally people around a cause has been greatly simpified by the Internet. In the 20th century, an American might write a letter to the editor of the local newspaper to raise a complaint. Now, they do it on Facebook, or Twitter. The # hashtag has become an important way to organize and mobilize people around social issues.
- Museums have already been feeling this for the past few years. Efforts like #svegliamuseo in Itlay, and #DropBP in the UK have been very successful at focusing public attention on museums’ (real or perceived) shortcomings. In the US, #museumsrespondtoferguson has gained substantial visibility and enough credibility as a forum for discussing race in museum practice that many of its organizers were part of a series of meetings at the 2016 AAM conference, the national museum conference, devoted to issues around race. Issues that had traditionally failed to get onto the agenda of conferences. It has been joined this year by #MuseumWorkersSpeak, which draws attention to issues around workers’ rights and labor issues. And both show no sign of going away. Paying attention to what hashtags are trending in the workplace will become a standard part of museum practice. There is also this interesting phenomenon of more “feel-good”, awareness raising hashtags, which generally originate outside of a single museum and become regional, national, or global events. Hastags like #askacurator have grown to include museums all over the world. The idea of an #InstaSwap, where museums in the same city give their Instagram accounts to another museum for a day, have been copied several times over. Most of these happen outside of the normal channels of command and control, partly because of how social media is still seen as a fringe environment, and partly because they happen at a speed that requires most museums to short-circuit their usual decision making process, so as not to “miss out” on the fun.
- Two other platforms that have been largely the realm of interested individuals are podcasts and blogs. Podcasting: syndicated audio broadcasts delivered online, and blogging, were both thought to have peaked in popularity in the early ’00s and been on the decline. However, in the last year, both have surged in popularity and museums all over the US are putting more and more resources into producing content for these platforms. Here at PEM, we are devoting more resources to both our podcast and blog, and they are growing from niche products into full members of the museum's content strategy.
- So what’s making them popular again? Let’s start with podcasts: How many of you listen to music via your phone or other mobile device like an iPod? You’re all the audience for podcasts. According to recent surveys, almost 20% of U.S. adults ages 18 to 49 listen to podcasts at least once a month. That’s an audience museums are eager to engage. Being a story-based form, podcasts offer compelling content at a pace that many find to be a real pleasant change of pace in the digital age. 20-30 minutes is a pretty typical length for a podcast. Popular ones, like “Serial” gathered audiences of tens of millions of listeners. In the museum field, podcasts like Museopunks, started as a side project by Jeff Inscho and Suse Cairns, turned into a minor phenomenon and boosted both their careers. Museopunks https://www.youtube.com/watch?v=TjJ8L2cYFSg&list=PLXAe-JDguLm03ubc8XxL6jT8U3JyTftCO Museum People, from NEMA: https://www.nemanet.org/nema-community/museum-people/ Artcast, from SFMOMA: https://itunes.apple.com/us/podcast/sfmoma-artcasts/id79896290 (168 episodes!) The Museum Life, from Carol Bossert https://www.voiceamerica.com/show/2245/museum-life And of course, the PEMCast http://www.pem.org/about/pemcast Now, blogs, the original form of web self-publishing, offer many of the same qualities of podcasts. Unlike a museum label, which may have been written by anybody in the museum, blog authors tend to be identified, so you can identify with them personally. As personal reflections, they tend to be more conversational and informal than other kinds of writing. Our own blog at PEM is a repository for stories that give faces and voices to the people who make up the staff of the museum, and the communities that gather around the museum. Not as a marketing exercise, and not necessarily part of the exhibition program, but more as a way to open up the museum to interested audiences. And not just museums are doing this. We’ve seen individuals use blogging as a way to construct successful careers. The success of Nina Simon’s Museum 2.0 blog was a key factor in her becoming a museum director. I owe my current position at least in part to my blog. They are an excellent way to build a professional network and connect to larger conversations taking place in the world. The Walker Art Center http://www.walkerart.org The Tenement Museum blog http://www.tenement.org/blog/ Museum 2.0 http:/www.museumtwo.com Thinking About Museums http://exhibitdev.wordpress.com The Brain Scoop https://www.youtube.com/user/thebrainscoop
- So I use this as an example of the kind of visibility one can achieve in the digital realm, without any institutional buy-in, or even knowledge. In 2014 I was having separate conversations with a couple of colleagues about the lack of things to read for those of us interested in progressive practice in museums.
- We saw a need, and decided to fill it ourselves, without asking anyone for permission first.
- Rob, Suse, and I talked a ton, plotted, and drafted a statement, and then tried to encourage others to join us. Boy did I spend a lot of time on Google Hangouts that year! Lots of time…
- This time around, for the next experiment, the CODE | WORDS collective decided to explore what an old-fashioned correspondence could look like in the digital age by engaging pairs of authors from around the world to write to each other about topics of mutual interest. This being the 21st century though, they’ve exchanged emails, sent audio files, handwritten letters, and who knows what else will happen before we’redone?
- And so the last trend I want to discuss is the extent to which dealing with social media has penetrated the everyday work of the museum, well beyond those are typically “in charge” of social media. No longer the sole domain of the Marketing department, social media, and digital engagement in general, is moving into the mainstream of what a 21st century professional does.
- Here’s one of the things I’m proudest of from my time at PEM. When we launched our blog two years ago, the common wisdom was that nobody would write for it. Who had time? It wasn’t their job! They didn’t know how to write for the web! The typical responses to new things. Since then, the social media team has spent a lot of time and energy providing professional development for our colleagues, which was certainly not in my job description! But it’s been vital to our success online. Nobody learned any of this stuff in school, and museums are places where people pride themselves on expertise. So trying to make our museum a place where continuous staff development takes place is a core part of my professional practice now.
- So what does digital literacy look like in real life?
- Here’s an example of one of our major efforts of 2016 – getting all our curators to post on Instagram. They all have smartphones, they all take pictures of things that interest them. All they needed was a little help, a bit of pushing, and permission from the institution.
- And the results speak for themselves. Each account is a reflection of their own unique view of the museum, and the interchange that happens between them is a precious commodity that the world can now look in on.
- And that wraps up the formal part of my talk. I'm happy to answer any questions you might have. This presentation will also be up on Slideshare, so don't feel like you need to have taken perfect notes.
- Спасибо!