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After the heroism, collaboration: Organizational learning & the mobile space

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  • Entrance to Kahlo Exhibition
  • Interactive features available on kiosks in the learning lounge. The same feature is available in our visitor education center and on the SFMOMA website.
  • Transcript

    • 1. Peter Samis Associate Curator Interpretation Stephanie Pau Manager Interpretation San Francisco Museum of Modern Art After the heroism, collaboration : Organizational learning & the mobile space Museums & the Web 2009 • 16 April 2009
    • 2. The Interpretive Goals Process
      • A cross-departmental dialogue and interpretive brainstorm process involving:
      • Educators
      • Curators
      • Publications
      • Communications/Audience Strategy
      The Interpretive Goals Process: A collaboration
    • 3. Regarding each upcoming show:
    • 4.
      • What is the rationale for the project? Why here, why now?
      • List 1-3 main visitor takeaways.
      • Who is the intended audience? Why?
      • What didactic elements are planned (wall texts, extended object labels, etc.)?
      • What other modes of interpretation, including multimedia, should we consider?
      Key Questions in the Interpretive Goals Process:
    • 5. Case Study 1: 246 and Counting: Recent Architecture + Design Acquisitions Assistant Registrar Linda Leckart on Jonathan Ive’s iPhone
    • 6. Case Study 2: The Art of Participation 1950 to Now
    • 7. John Cage, 4’33”, 1952 Case Study 2
    • 8. Case Study 3: Frida Kahlo
    • 9. Interpretive Menu: analog + digital mix
      • Brochure in 2 languages
      • Wall texts in 2 languages
      • Handheld Antenna multimedia tour in 3 languages: English, Spanish & French
      • Learning Lounge: film, kiosk, books
      • Supplementary history galleries: Kahlo in SF, Kahlo’s Legacy
      • Videos in Koret Visitor Ed Center
      • Podcasts
    • 10.  
    • 11.  
    • 12.  
    • 13. 2 Evaluation Studies
      • Visitor Experience & Interpretive Goals: Randi Korn & Associates
      • Visitor response to handheld multimedia guide (audio tour) Discovery Corporate Intelligence Group
    • 14. Randi Korn Findings: Use of Offerings
    • 15.  
    • 16.  
    • 17. What a visual interface brings to the party…
    • 18. A way to point at and parse the picture…
    • 19. [3] [15]
    • 20. Visitor feedback from Antenna’s comment book…
    • 21.  
    • 22. The stats, too, show this is a hit: 1 2 3
    • 23. What about the cell phone idea?
    • 24. Or the personal device download idea?
    • 25. But then, who can blame them?
      • Cell phone reception varies
      • The audio quality is often poor
      • Foreign visitors must pay outrageous international roaming charges
      • Holding a device to one’s ear is fatiguing
      • Podcasts require pre-visit planning ( Oops , I’m already here !)
      • Wi-fi networks are temperamental , especially in crowd situations
    • 26. Until these obstacles are removed, pre-loaded devices —even at a cost—seem to correspond to the premium cultural experience museums are expected to provide .
    • 27. Corroboration: Our 2 Case Studies 28 18 Stops on cell phone tour 22 706 Art of Participation 19 585 246 and Counting Incoming calls/day Incoming calls/month Exhibition
    • 28. Was the fault in our promotion?
      • No doubt in part…
    • 29. But then there was evidence like this :
    • 30. Meanwhile, the story online & at home was different. RSS feed: 18,613 mp3/m4a downloads or 194 downloads/day Live Flash Streaming: numbers unknown
    • 31. So what information did on-site visitors not get? Hans Haacke, News, 1969/2008
    • 32. Content allocated exclusively to 246 Tour & AoP Tour Artist invitation to participate & comment Behind the scenes insights on how a museum collects Supplementary info re: each piece & the conditions of its production Back-story on how a work was acquired Artist voices Artwork-specific interpretation
    • 33. On the other hand, the purpose-built & delivered multimedia tour for Frida Kahlo actually had a Halo Effect :
    • 34. 25% increase in satsifaction
    • 35. The Guggenheim, Whitney, and MoMA all offer (and promote) free audio tours of their Permanent Collection.
      • Take-up rates: 20-65%
      “ Universal Access”
    • 36.  
    • 37.  
    • 38. Takeaways
      • Visitors apparently are not as eager to use their own devices as museums might wish
      • They seem to desire a high fidelity, immersive experience
      • Parsing out audio through a touch-and-listen interface is a winner
    • 39. Takeaways
      • Universal Access: if a museum is going to delegate significant interpretive aspects to mobile devices, then those devices need to be as effortlessly available as artworks & wall texts
      • Need for a flexible authoring and publishing platform for the mobile space
    • 40.
      • Re-thinking the audio tour based on research to date
      • Touch-&-Listen
      • Concise & multi-layered
      • Artist Voices & Videos
      • Using words, images, and sound as visual amplifiers for the artworks
      • 1st delivery on iPod-Touch and iPhone
      Developing a Mobile Multimedia Guide for the Permanent Collection
    • 41.
      • Any campaign to develop a comprehensive multimedia tour of the permanent collection, or of special exhibitions featuring lesser known artists, must be accompanied by a museum-wide strategy to promote these new resources.
      Next Corollary
    • 42. That said, that doesn’t solve all our problems. In fact, it’s the beginning of a whole new set ! Content development & Production Staffing of Distribution Points Hardware Marketing & Promotion
    • 43. Stay tuned…