Going Mobile at Balboa Park
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This document provides an overview of a presentation on mobile interpretation and experience design at Balboa Park. It discusses moving from traditional audio tours to audience-led mobile content and experiences. The presentation covers theory, such as considering the target audience and their questions, and practice, like identifying key messages and choosing appropriate content modalities and voices. It also provides examples of mobile interpretation projects and resources for continuing discussion.
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Going Mobile at Balboa Park
- 1. Going Mobile at Balboa Park Nancy Proctor http://MuseumMobile.info Visitor-led mobile content & experience development
- 6. Part 1: The Theory Audience-led mobile interpretation design
- 8. Interpretation is as essential to the Museum as cutlery is to a banquet Beth Lipman, Bancketje (Banquet) 2003
- 12. 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
- 13. The Museum has become a Distributed Network
- 14. The Museum is transforming from Acropolis…
- 15. … into Agora
- 17. Why mobile?
- 20. Convergence http://www.youtube.com/watch?v=6ILQrUrEWe8 6 October 2009
- 21. At least half of the Museum’s platforms are already mobile. 6 October 2009
- 23. Fraunhofer Institute, Kunstmuseum Bonn: ‘Beat Zoderer’ exhibition (Listen project) 2003 Fraunhofer Institute, Kunstmuseum Bonn: ‘Beat Zoderer’ exhibition (Listen project) 2003 It’s NOT about the Technology
- 24. Thinking outside the audiotour box Means thinking about content & experience
- 27. 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
- 31. Organize questions 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?!
- 33. Soundbite Sample
- 37. Soundtracks & Soundbites Combined
- 38. ArtBabble: the ideal interface http://www.artbabble.org/video/meet-william-christenberry
- 39. 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?!
- 45. The right vehicle for your content Audio player Multimedia player Cellphone Personal media player Smart Mobile Browser phones Mobile 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
- 47. 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
- 48. Break Please have paper & pen/pencil when you return for Part 2…
- 49. Part 2: The Practice Key messages, target audiences & their questions
- 53. Question-mapping
- 54. Lunch & On-site Question-mapping
- 55. Part 3: Putting it all together Building your mobile plan
- 62. 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
- 63. http://picasaweb.google.com/anup.rao/HaifaAkkoIsrael#4954285426665324562 From Headphones to Microphones: From “ we do the talking” to “we help you do the talking.”
Editor's Notes
- How many people have taken an audio or multimedia tour? Did they enjoy their experience?
- * Has this ever happened to you taking an audio tour? Expresses the aim of interpretation, be it in the gallery or elsewhere: to help us connect with what we’re seeing, care about it, and thereby open up to learning about it.
- First, I assume if you’re here today it’s because you understand the need for interpretation in our museums. Like Tate, you do not assume that meaning is self-evident for the exhibits on display. In fact, inviting visitors to see our spectacular exhibitions and collections without offering them interpretation is like spreading a beautiful banquet before our guests - and then denying them cutlery to enjoy it with. sure, they may be able to partake, but it won’t be easy, or necessarily pleasant for our guests to eat with their hands or whatever ad hoc utensils they find nearby. They are almost certain to go away unsatisfied, and feeling insulted. Our multi-faceted virtual museum, awash in data and digital resources, requires multimodal access to turn that sea of information into meaningful insights for our publics.
- First, I assume if you’re here today it’s because you understand the need for interpretation in our museums. Like Tate, you do not assume that meaning is self-evident for the exhibits on display. In fact, inviting visitors to see our spectacular exhibitions and collections without offering them interpretation is like spreading a beautiful banquet before our guests - and then denying them cutlery to enjoy it with. sure, they may be able to partake, but it won’t be easy, or necessarily pleasant for our guests to eat with their hands or whatever ad hoc utensils they find nearby. They are almost certain to go away unsatisfied, and feeling insulted. Our multi-faceted virtual museum, awash in data and digital resources, requires multimodal access to turn that sea of information into meaningful insights for our publics.
- But in fact, I think of SAAM like this: a multinodal and multimodal network - a distributed network, in fact. My aim is to build content, experiences, and services that reach visitors wherever and whenever they happen to be on this network.
- Yet all too often, visitors complain that audio tours give them this sort of experience: http://geschiedenis.vpro.nl/themasites/mediaplayer/index.jsp?media=19799217&refernr=19265092&portalnr=4158511&hostname=geschiedenis&mediatype=video&portalid=geschiedenis Although this video shows an example of one of the earliest tour technologies from the 1960s, excavated by Loic Tallon, the perception of audio tours is that they are not terribly different today in terms of inspiring a herd mentality among users, producing crowding around exhibits and a sort of dumbed-down, one-size-fits-all experience. All the issues that have plagued audio tours throughout their history are visible here: The linearity of the tour lead to a herd-mentality among visitors and crowding around exhibits In addition the challenges of: Hygiene: led to one of the earliest audio tour technology debates: headphones vs wands? Distribution issues always a challenge, but complexity also driven by technology choices, including the headphones or wand choice Very homogenous audience
- Another way to represent this is as a multi-tiered architecture with up to three kinds of content: 1. -+-+-+-+-+ The Soundtrack 2. o o o o o The Soundbites 3. / | / | / Links
- Museums are very good at soundbites: the wall label can be seen as a very basic, text-based soundbite. Although writing for the ear or video is not the same as writing for a label or catalogue, it is not such a huge task for museum staff to gain these skills and be able to produce good quality scripts for stops in-house. By contrast, you want a good storyteller writing your soundtracks if you don’t have someone as eloquent ‘off-the-cuff’ as Nicholas Serota!
- What I like about this soundtrack; Given by the curator: visitors always like hearing from the expert, as long as s/he speaks relatively well! He gives us an overview with basic tools to understand Twombly’s work, both in this exhibition and beyond. He gives us a behind-the-scenes view, insight into what curation and the work of the museum is all about.
- Reading the curator’s intention Keys to understanding the exhibition/display in its entirety Faster than reading (usually stops are slower than reading)
- An example from an SFMOMA podcast. Like the Tate soundtrack, starts with an introduction and overview of the exhibition, followed by a couple of stops that take us into depth on specific objects.
- But both the Tate & SFMOMA examples are linear media: not perhaps the best interface for accessing information on a mobile device, whether used inside the gallery or outside. ArtBabble offers a model for what could be an ideal interface for combining soundtrack, soundbites and links to third party content. It allows us to choose either to watch or hear a soundtrack overview of the exhibition or collection linearly, but also offers a notation system that can create ‘stops’ or soundbites at any point along that linear timeline. William Christenberry example Need to redefine 3 rd party content and think about it beyond ‘user-generated content’: e.g. SmartHistory.org
- Another way to represent this is as a multi-tiered architecture with up to three kinds of content: 1. -+-+-+-+-+ The Soundtrack 2. o o o o o The Soundbites 3. / | / | / Links