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Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
Learning in Museums 2008 Closing remarks
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Learning in Museums 2008 Closing remarks

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Presented in Minneapolis on June 21, 2008.

Presented in Minneapolis on June 21, 2008.

Published in: Technology, Education
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  • 1. Some closing (opening) thoughts: Learning in Museums 2008 Peter Samis Associate Curator, Interpretation San Francisco Museum of Modern Art AAM-LiM Minneapolis 21 June 2008
  • 2. 1. The Importance of Interpretation Tate Modern’s Principles
    • Interpretation is at the heart of the gallery's mission.
    • 2. Works of art do not have self-evident meanings.
    • 3. We believe that works of art have a capacity for multiple readings and that 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.
      • – Gillian Wilson, “Multimedia Tour Programme at Tate Modern,” in Bearman, David and Jennifer Trant (Eds.), Papers, Museums and the Web 2004 . Online at http://www. archimuse .com/mw2004/papers/ wilson / wilson .html
  • 3. The fact that museums never have time to interpret their own collections is one of the best-kept secrets of the profession. “ Content is not content.” -Sarah Schulz
  • 4. And yet, do interpretive resources make a difference? (Statistics courtesy Randi Korn & Associates)
  • 5.
    • The more interpretive resources visitors used, the more they appreciated the art—regardless of whether they had any prior familiarity with Barney and his work.
  • 6. Building in-House capacity
  • 7. Permission / forgiveness
    • You have to feel personally committed because you’re the owner , proponent, & advocate within the institution.
    Does your museum have a culture of innovation?
  • 8. And besides, nothing succeeds like success.
  • 9.
    • Subject matter expertise (curatorial/historical)
    • Visitor Studies
    • Communications Theory
    • Cognitive Psychology
    • (concepts of load and flow)
    • Statistics & Data analysis
    • Education
    • Engineering…
      • Technology: hardware
      • Technology: software
    • Design: Interface
    • Design: Graphic
    • Design: Interactive
    • Information Architecture
    Cultural heritage multimedia thrives at the confluence of multiple fields:
    • Ethnographic observation
    • Storytelling: linear
    • Storytelling: non-linear
    • Game Theory
    • Writing
    • Journalism/Interviewing
    • Photography
    • Sound design
    • Videography / filmmaking
    • Experience planning
    • … and this list is by no means exhaustive!
    But don’t feel overwhelmed…
  • 10. 2. Revolution / Evolution
  • 11. Capability - Maturity Model
    • Initial phase: “heroic”
    • Managed phase: “1-deep”
    • Defined phase: Processes in place
    • Quantitatively managed: metrics
    • Optimizing: metrics fed back into system
    Don’t skip the steps. Just set your sights on the step you’re at, and the next.
  • 12. “ I’m gonna learn about Technology and he’s gonna learn about Education .” The Two Jasons
  • 13. Tools with low barriers to entry
    • Blogs
    • Wikis
    • Podcasts
    • Pachyderm
    • www.pachyforge.org
  • 14. “ Many iterations to take us to where we want to go.” —Mike Mouw, MHS
    • Experimentation
    • Failure
    • Experimentation
    • Evaluation
    • Presentation
    • Re-tooling
    • … (It’s a wheel)
    Build this capacity into the plan.
  • 15. 3. Web 2.0 and visitor engagement Olafur Eliasson
  • 16. “ Objecthood doesn’t have a place in the world if there’s not an individual person making use of that object.”  A Radical Stance: i.e., The Museum’s reality does not trump the visitor’s perspective.
  • 17. How we represent How visitors take ourselves officially us into their own lives
  • 18.  
  • 19.  
  • 20. …to the point of re-inventing ourselves for various audiences: or letting them do it for us!
  • 21. “Learn how to use the technologies people are using.” “ Then you’ll find out why they’re using them.” —Sarah Schultz
  • 22.  
  • 23. Quotations from Chairman Chris
    • “People go to museums often to get away from technology.”
    • “The subjective is always more powerful than the objective .”
    • “Never be the early adopter…  What ’s hip is to have a program that works !”
    • “ De-centralized content is King.”
  • 24. “ The most popular interactive is still the postcard.” And yet… Jane Burton, Tate Modern Don’t forget the analog! neglect
  • 25. Happy Trails!
  • 26.  

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