Mobile Art Stories #SMWCPH


Published on

Presentation of shared mobile museum project at Social Media Week Copenhagen, Statens Museum for Kunst, Feb 21, 2013 #SMWCPH
NOW with updated figures for Twitter use in Denmark, based on research by Bysted

Published in: Education
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • ” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
  • - take a hint: keys to looking in/out - give a hint: links, pictures, questions
  • Mobile Art Stories #SMWCPH

    1. 1. Merete Sanderhoff, researcher @MSanderhoffArt Stories onmobileconnectedsharedsustainable Social Media Week Statens Museum for Kunst Copenhagen February 21, 2013
    2. 2. ”…what does it mean that there aremillions of images on the web that weare not allowed to touch while at thesame time there are other millions ofimages that we can actually use?” Peter Leth, Creative Commons For All (in Danish only), 2011 @peterleth1
    3. 3. We want to sustain participatory / remix culture
    4. 4. How?
    5. 5.
    6. 6.
    7. 7. start small ask the users adapt experimentseize the opportunity at hand
    8. 8. Why?
    9. 9. Face common challenges with common solutions
    10. 10. Common challengesRapid technological changeSilo culture – high maintenanceCharging for digitized imagesBeing relevant to next generation users
    11. 11. Common solutionsEncourage museums to use open licensesConnect collectionsRe-cycle existing online contentInvolve users in dialogue and co-creation of contentBuild sustainable platforms
    12. 12. Tiny experimental pilot project 300,000 DKK ~ 40,000 EUR
    13. 13. Who?
    14. 14. 2009
    15. 15. 2011
    16. 16. 2013
    17. 17. And of course, our users
    18. 18. The 1 % ruleLikely, most userswill be passivePrimary aim 9%to encourage usersto look closerat the artworks 90 %
    19. 19. What?
    20. 20. 3 dogmas1. All Public Domain content is freely shareable and reusable2. We use an existing platform instead of custom-building a new one3. Target users take part in developing and creating the experience
    21. 21. Many museums One platform
    22. 22. Twitter’sAPI
    23. 23. [ might change! ]HintMeHints about art– take a hintkeys to looking in/out– give a hintlinks, pictures, questions [ very beta! ]
    24. 24. Simpleresponsiveinterface
    25. 25. Simplebackend
    26. 26. andarchive
    27. 27. CC-BY Artworks– Statens Museum for Kunst 20 (160)– Den Hirschsprungske Samling 18– Thorvaldsens Museum 20– Ny Carlsberg Glyptotek 10– J.F Willumsens Museum 10– Fyns Kunstmuseum 15– Vejle Kunstmuseum 7 (+ 5)– Faaborg Museum 20CC-BY-NC– Ribe Kunstmuseum 22– (KØS – Museum of art in public spaces 11)Awaiting decision– Sorø Kunstmuseum 10 168 (308)
    28. 28. It works like thisStand in front of an artwork in a museumPull out your smartphone or tabletScan QR code or enter URLScroll through a stream of brief comments, open links to related images, texts, videos etc. (anyone can do this)Post a comment, question, add a link, photo, video etc. (you need to be a Twitter user to do this)Maybe you get a response – if you direct a question or comment to a museum tweep, you certainly will
    29. 29. Why Twitter?Manageable content productionQuick and easy interactionExisting online content activatedUsers are equal and identifiableMultilingualDynamically updated and improved
    30. 30. Why not Twitter?Only 92,000 Danes are on Twitter ~ 0.5 %- only 28,000 are activeTest users think it’s a smart idea- but not so sure in practice
    31. 31. Wow…?
    32. 32. Links to rich media content are appreciated, but…
    33. 33. Risk oflookingdown,not up
    34. 34. The personal curator is popular
    35. 35. …but technical barriers get in the way
    36. 36. Users appreciate being invited into dialogue
    37. 37. …but they don’t necessarily want to participate
    38. 38. (actually,they mightprefera good oldfashionedaudioguide…)
    39. 39. So,what’s next?
    40. 40. Adjust – synergy from Twitter to HintMe – make it worthwhile for users to engageOpen licenses: Modern and contemporary art?Train with museum tweepsTest and implement – local variations – tap into Twitter communitiesLaunch eventsNew museum partners?
    41. 41. Merete Sanderhoff, researcher @MSanderhoffWanna join? Social Media Week Statens Museum for Kunst Copenhagen February 21, 2013