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Design for Mobile Workshop

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Design for Mobile Workshop

  1. 1. From Headphones to Microphones<br />Visitor-led mobile experience design for museums<br />Nancy Proctor, Smithsonian Institution<br />Design for Mobile Workshop, 24 September 2010<br />
  2. 2. Housekeeping<br />Questions & comments:<br />@nancyproctor<br />Hashtags: #mtogo #d4m2010<br />http://wiki.MuseumMobile.info<br />
  3. 3. Agenda for Today:<br />8:30-9:00 Introductions<br />9:00-10:00 Theory:audience-led mobile content & experience design<br />- 30 min break -<br />10:30-11:45 Practice: key messages, audiences & their questions<br />- 15 min break -<br />12:00-12:30 From headphones to microphones: from I do the talking to you do the talking!<br />
  4. 4. Introductions<br />8:30–9:00<br />Introduce yourself by name and affiliation;<br />Tell us your burning question or issue that you hope will be addressed today.<br />
  5. 5. Part 1: Theory<br />9:00–10:00<br />Interpretation is essential<br />Why mobile?<br />A new approach to designing mobile interpretation and experiences<br />From headphones…<br />to microphones<br />
  6. 6. Part 1: The Theory9:00-10:00Audience-led mobile interpretation design<br />6<br />
  7. 7. Opening our eyes<br />7<br />
  8. 8. Interpretation is as essential to the Museum as cutlery is to a banquet<br />Beth Lipman, Bancketje (Banquet) 2003
<br />8<br />
  9. 9. If the Museum doesn’t provide it:<br /><ul><li>Some visitors may bring their own,
  10. 10. Some may eat only the finger food,
  11. 11. Some may choose another restaurant,
  12. 12. Many will go away hungry, </li></ul>feeling uninvited and unwelcome.<br />Beth Lipman, Bancketje (Banquet) 2003
<br />9<br />
  13. 13. Velcro<br />Teflon<br />http://www.slideshare.net/psamis/learning-in-museums-2008-intro-remarks<br />
  14. 14. Tate Modern’sPrinciples of Interpretation<br />Interpretation is at the heart of the gallery’s mission.<br />Works of art do not have self-evident meanings. <br />Works of art have a capacity for multiple readings; interpretation should make visitors aware of the subjectivity of any interpretive text. <br />Interpretation embraces a willingness to experiment with new ideas.<br />We recognise the validity of diverse audience responses to works of art.<br />Interpretation should incorporate a wide spectrum of voices and opinions from inside and outside the institution.<br />Visitors are encouraged to link unfamiliar artworks with their everyday experience.<br />
  15. 15. Why mobile?<br />
  16. 16. In the Museum as Distributed Network…<br />13<br />
  17. 17. …at least half of the Museum’s platforms are already mobile.<br />14<br />
  18. 18. So if we want to meet our audiences where they are<br />And take them some place new…<br />
  19. 19. Mobile is a great vehicle<br />http://www.youtube.com/watch?v=6ILQrUrEWe8<br />16<br />
  20. 20. But if we want to go beyond this:<br />We need to think outside the audio tour box<br />
  21. 21. It’s NOT about the Technology<br />Fraunhofer Institute, Kunstmuseum Bonn: ‘Beat Zoderer’ exhibition (Listen project) 2003<br />Fraunhofer Institute, Kunstmuseum Bonn: ‘Beat Zoderer’ exhibition (Listen project) 2003<br />
  22. 22. Thinking outside the audiotour box<br />Means thinking about content & experience<br />
  23. 23. Recent Research & Resourceshttp://wiki.MuseumMobile.info/research<br />2010<br />Smithsonian studies of Mall and Zoo visitors <br />2009<br />CHNM survey on Museums and Mobile Adoption<br />Learning Times International Survey on handheld use in museums.<br />2008<br />Whitney Museum of American Art: Audio Guide Technologies Survey Final Report<br />2007<br />Matthew Barney: Multiplatform interpretation at SFMOMA<br />La Placa Cohen Culture Track 2007 (with Antenna Audio)<br />
  24. 24. Who is your target audience?<br /><ul><li>Tied to mission & key messages
  25. 25. What are the desired outcomes? What do we want them to know, think and/or feel?
  26. 26. What platforms do they already use? How do they use them elsewhere & what excites them?
  27. 27. Traditional audio tours
  28. 28. Cellphones or smartphones
  29. 29. Podcasts
  30. 30. Mobile social media: SMS, Twitter, FB…</li></li></ul><li>A Minority of Visitors Use Technologies in the Galleries<br />BUT they use technology everywhere else:<br />WWW = Whatever, Whenever, Wherever<br />2006 study by Randi Korn & Associates at SFMOMA<br />
  31. 31. What do they want to know?<br />Question mapping in the gallery:<br /><ul><li>Semi-structured interviews
  32. 32. FAQs and comments cards
  33. 33. Questions posed to staff…</li></li></ul><li>Collecting questions…<br />Online question collection: <br /><ul><li>Specialized Q&A services, e.g. AJOA
  34. 34. Comments on social media sites</li></ul>Include audience research in order to segment<br />Go deeper with more experienced museum visitors<br />Where are visitors not being served by existing interpretation?<br />
  35. 35. Organize & Filter<br />Group questions:<br /><ul><li>Thematically
  36. 36. By object
  37. 37. By location</li></ul>Prioritize by mission and key messages<br />Prioritize questions that elicit great stories<br />
  38. 38. Organize questions<br />
  39. 39. Which content modalities?<br /> +-+-+-+-+ Soundtracks<br />ooooSoundbites<br />xxxxInteractives<br /> | | | | Links<br /> ^ ^ ^ ^ Feedback<br /> § § § § Social media<br />Narrowcast/<br />Offline or<br />Networked<br />Networked<br />only<br />
  40. 40. Soundbite Sample<br />
  41. 41. Soundbites<br /><ul><li>Are ‘atoms’ of information.
  42. 42. Commonly called ‘stops’ – or ‘starts’!
  43. 43. Facilitate going deeper on a specific object/subject.
  44. 44. Usually require a visual (actual object or image).
  45. 45. Can be collectable & portable to other platforms e.g. via bookmarking, saving or sharing.
  46. 46. Can be reused across the museum’s analog & digital platforms as well as those of third parties.</li></li></ul><li>Soundtrack Sample<br />
  47. 47. The Soundtrack<br /><ul><li>Recalls original ‘linear’ audio tours.
  48. 48. Provides a sequential narrative and contextual information: tools for understanding the principles of the displays, both in the gallery and beyond.
  49. 49. Immersive, but may be divided into a number of connected segments.
  50. 50. ‘Downloaded’ for audiences on-site and beyond.
  51. 51. Like a good album, book or catalogue, should be possible to enjoy over & over again…</li></li></ul><li>Soundtracks & Soundbites Combined<br />32<br />
  52. 52. ArtBabble: the ideal interface<br />http://www.artbabble.org/video/meet-william-christenberry<br />
  53. 53. Identify soundtracks & soundbites<br />
  54. 54. Architecture Tour<br />History of the building, style, architect<br />----------+--------------+------------------+--------<br /> O O O <br /> Tiles Skylights Ironwork<br />
  55. 55. Folk Art Tour<br />Why is folk art, art?<br />----+-------------------+------------------+-----------<br /> / / /<br /> O O O <br />Lures Memory vessels Glad you dead…<br />
  56. 56. How best to tell the story & create the atmosphere?<br />Monologue:<br /><ul><li>Artists & curators
  57. 57. Staff
  58. 58. Related experts
  59. 59. Professional narrators</li></ul>Reinactments/ plays<br />Interview<br />Dialogue<br />Vox pop / comments<br />Music<br />
  60. 60. Who best to tell the story?<br /><ul><li>Knowledgeable or insightful – trusted
  61. 61. Relates to the mission or key messages
  62. 62. Good communicator with target audience
  63. 63. Engaging voice
  64. 64. Confident manner
  65. 65. Makes it relevant
  66. 66. Facilitates the desired outcomes</li></li></ul><li>The audiences’ conversations<br /><ul><li>Comments and questions (audio/text/links)
  67. 67. Search-research-share
  68. 68. Bookmark/Email/SMS to self
  69. 69. Collect (MyCollection, ArtStream)
  70. 70. Share (Twitter, Facebook, SMS)
  71. 71. Forum
  72. 72. Voting (show the polls!)
  73. 73. Quizzes/games (multimedia/SMS)
  74. 74. Mobile giving</li></li></ul><li>The right vehicle for your content<br />
  75. 75. Platform considerations<br />Users’ own devices or supplied on-site?<br />Can you support network connectivity at your site?<br />Can you support multiple platforms?<br />What kind of location-based/content triggering solution do your visitors & experience need – really?<br />Can you manage user-generated content?<br />What do your sponsors/funders require?<br />
  76. 76. 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<br />
  77. 77. Break 10:00–10:30Please have a meaningful object & pen/pencil when you return for Part 2…<br />
  78. 78. Part 2: The Practice10:30–11:45Key messages, target audiences & their questions<br />44<br />
  79. 79. What are our audiences<br />looking for?<br />
  80. 80. 10 min<br />1. Identify your target audience(s)<br />Falk’s Identity Segmentations<br />Explorers<br />Facilitators<br />Experience seekers<br />Professionals/Hobbyists<br />Rechargers<br /><ul><li>Virtual visitors
  81. 81. Non-visitors</li></li></ul><li>Are you an Explorer?<br />
  82. 82. Are you a Facilitator?<br />
  83. 83. Are you an Experience Seeker?<br />
  84. 84. Are you a Pro/Hobbyist?<br />
  85. 85. Are you a Recharger?<br />
  86. 86. 2. Record your questions about The Museum of Meaningful Things<br />20 min<br />The Museum’s Mission: Enable meaningful conversations & build ad hoc communities & collaborations around personal objects & their stories. <br />Install your exhibition<br />Record your questions<br />Ask the curator<br />
  87. 87. 10 min<br />3. Identify the key messages<br /><ul><li>Please list 1-3 main ideas visitors will take away from visiting the site or exhibition. What objects or didactic components of the presentations will help them learn this?
  88. 88. Describe the rationale and originality of the presentation. Is the site or exhibition bringing new scholarship to the field, exposing an under-recognized subject, etc.? Why is this presentation important now?
  89. 89. Please note other interpretive components at the site that should be considered (labels, docent tours, audio tour, in-gallery videos, interactive feature, blogs, etc.). Are you aware of existing media created by other organizations that address the key messages/topics of this presentation? How does mobile fit into the interpretive mix?</li></ul>SFMOMA's "Interpretive Goals Questionnaire”<br />http://www.archimuse.com/mw2009/papers/samis/samis.html<br />
  90. 90. 3. Who will speak to these questions?<br />10 min<br />
  91. 91. 10 min<br />4. Put the experience in context<br />On-site or Online visit<br />Visit life cycle: Before, During, After <br />Special context: At home, In school, On the go…<br />Networked or ‘on board’?<br />Other interpretation, information or services available? <br />Museum-authored<br />User-generated<br />Third parties <br />
  92. 92. 5. Choose your platform<br />15 min<br />Users’ own devices or supplied on-site?<br />Can you support network connectivity at your site?<br />Can you support multiple platforms?<br />What kind of location-based/content triggering solution do your visitors & experience need – really?<br />Can you manage user-generated content?<br />What do your sponsors/funders require?<br />
  93. 93. Break 11:45–12:00<br />
  94. 94. Part 3: From Headphones to Microphones<br />12:00-12:30<br />Let’s hear you!<br />From “we do the talking” to “we help you do the talking.”<br />http://picasaweb.google.com/anup.rao/HaifaAkkoIsrael#4954285426665324562<br />
  95. 95. Opportunities to continue our work:<br />http://museummobile.info/ wiki, blog & podcasts<br />MCN Conference Oct 27-30, 2010, Austin, TX http://MCN.edu<br />Mobile Content Standards Summit 27 Oct, at MCNhttp://wiki.museummobile.info/standards<br />http://tatehandheldconference.pbworks.com<br />Koven Smith: http://kovenjsmith.com& http://www.archimuse.com/mw2009/papers/smith/smith.html<br />SFMOMA (Peter Samis & Stephanie Pau): http://www.archimuse.com/mw2007/papers/samis/samis.html & http://www.archimuse.com/mw2009/papers/samis/samis.html<br />Nancy Proctor: ProctorN@si.edu @nancyproctor http://MuseumMobile.info<br />With many thanks to Kate Haley-Goldman for help with this method!<br />
  96. 96. Here’s one I made earlier…<br />Idea by Grzegorz Klaman Wyspa Institute of Art, Gdansk, Poland<br />
  97. 97. Mobile is personal<br />andsocial<br />
  98. 98. Think outside the audiotour box<br />From headphones to microphones<br />
  99. 99.
  100. 100. Oxygenate! Joanna Rajkowska 2006-7<br />
  101. 101. Wyspa Institute of Art<br />
  102. 102.
  103. 103.
  104. 104.
  105. 105.
  106. 106.
  107. 107.
  108. 108.
  109. 109. Idea by Grzegorz Klaman Wyspa Institute of Art, Gdansk, Poland<br />

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