Smartphones, audioguides and multimedia guides are very different devices but there are some common features of the mobile experience they share. This presentation will help identify what those features are, using real examples of what works and what doesn't, to help cultural organisations make the best use of digital content on mobile platforms.
One of my first presentations about "information shifting" and how things were about to change. Future iterations incorporated more about the "heavenly jukebox" and ubiquitous wireless services. See more at http://theshiftedlibrarian.pbwiki.com.
Frankly, Green + Webb use research as a core component of a wider human‐centred digital design practice. Recently the team has been working on a large‐ scale digital interpretation project with the Van Gogh Museum in Amsterdam. The project used a wide range of research techniques to inform and inspire the team and support effective decision‐making at every stage. Alyson will share some of the opportunities and challenges they encountered along the way, some of the key the outcomes and reflect on what she has learned about embedding research into everyday practice.
Digipublishing in Museums - Evaluating SFMoMA's first digital catalogueFrankly, Green + Webb
In July 2013, SFMOMA launched its first online collection catalogue, the Rauschenberg Research Project (RRP), which features nearly 90 Robert Rauschenberg works from the museum's permanent collection. The RRP combines rigorous scholarship with multimedia resources. With more than 500 images, videos, and research materials, it is the largest research effort the museum has ever devoted to a single artist; a print equivalent would have totalled more than 600 pages. The RRP is part of the Getty Foundation's Online Scholarly Catalogue Initiative (OSCI), which explores how scholarly collection catalogues can be transformed by the online environment. Based on a recent evaluation, this presentation will share insights into the reach and impact of an online scholarly museum publication. Who is using the RRP specifically, and online scholarly catalogues more generally? How is it being used? How is it perceived by its target audience of scholars, historians, and curators? The findings are encouraging, while also revealing concerns.
For a long time, the focus has been on delivering mobile experiences through more and more advanced mobile technology. However, through our research and design experience we have identified what really makes the difference. The small stuff. Hear from examples at the Van Gogh Museum, Amsterdam and the Metropolitan Museum of Art, New York
We create digital experiences for museums, but how do we create magical moments for people that use digital without distracting from them from the physical environment. This is the beginning of our thinking of how to use digital challenge and surprise to delight audiences.
Museums Go Mobile: Start designing the service, not the websiteFrankly, Green + Webb
Guardian Culture Professionals article here - http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/may/16/mobile-museums-design-services-websites
The truth is that mobile isn't working for museums in the way we imagined. It's not the silver bullet. We've made apps that haven't been downloaded. We created handheld guides that don't get used and the perennial question of can mobile deliver pre- and post- visits still hangs in the air. So it is time to right mobile off? Or, perhaps now is the right time to think about mobile in a different way.
What do our visitors needs and behaviours show us about how they think and use our museums? How can we interpret these to design services that are truly transformative? What tools and processes can we use to make mobile a fully integrated part of the service offered by a museum?
Taking a look at what happens when we stop designing a mobile products and start using mobile as tool in the design for a whole service.
A New Look at an Old Friend: Re-evaluating the Met's Audio Guide ServiceFrankly, Green + Webb
In September 2013, the Metropolitan Museum of Art launched a new audio guide. This presented an opportunity—and a need—to take a more strategic look at this long-standing service. Although the Museum has provided an audio-guide service for more than fifty years, thus far it has had a limited understanding of who uses the service and what kind of impact it might have. Who is the audio guide serving? What is and is not working?
In an effort to answer these questions, the Museum conducted an evaluation of its new audio guide in collaboration with Frankly, Green + Webb. We took a comprehensive look at the service, seeking to understand the entire visitor journey from initial awareness to the effect of the guide on the overall museum experience. This service design approach—though well established in the commercial sector —is relatively new in the museum field.
Our paper includes findings from the evaluation and insights we gained from the research process, as well as how these insights are applicable to the wider museum field. What can other museums learn from our experience? What is the value of evaluating an audio guide as a service rather than a product? How can museums move from evaluation data to insights and actionable recommendations? And perhaps most challenging: how can we design successful digital products and services in complex organizations with multiple stakeholders who have different levels of comfort with innovation and risk? These issues are not unique to the audio-guide service or to the Met; they are common to digital projects across all museums.
Paper available here: http://mw2015.museumsandtheweb.com/proposal/a-new-look-at-an-old-friend-re-evaluating-the-mets-audio-guide-service/
Agile for Beginners and Thrillseekers - MuseumNext 2015 GenevaCogapp
From: http://www.museumnext.com/sessions/agile-beginners-thrillseekers/
In this fast-paced, lively and interactive session you will be part of an Agile team, developing and producing a project across multiple sprints to a strict deadline.
No previous experience is required, just a willingness to get involved in some gently competitive fun while learning Agile techniques. It will be delivered by a team who have run many successful digital projects using Agile, and who love it!
Those without Agile experience will learn the basics of running and delivering an Agile project. Those with experience will learn to apply the principles in new and exciting ways.
Everyone will have fun.
Slide deck from AAM Annual Meeting in 2015: Digital Storytelling: The Dream, the Team, the Results
Media and Technology track
Tuesday, April 28, 2015
Museums can deepen audience engagement through effective storytelling. Delivering content has never been easier, due to digital interfaces and personal, portable technologies. Without a strong interpretive strategy and the right tools to craft and share our stories, we may be missing opportunities. Join this panel of experts as they describe real-world projects, share results that show the impact of digital storytelling on engagement, and demonstrate a new, free storytelling software.
Learner Outcomes
1. Attendees will learn about interpretive strategy methods and the project team approach to create and share engaging stories on digital platforms.
2. Attendees will learn about combining rapid prototyping methods with formal evaluations to create digital storytelling that delights audiences.
3. Attendees will learn how to download and use a free (open source) set of storytelling software tools developed by the Minneapolis Institute of Arts.
These are the slides for my presentation on multimedia storytelling for the American Copy Editors Society. In a later version, I will add links to the examples I use to illustrate the points.
One of my first presentations about "information shifting" and how things were about to change. Future iterations incorporated more about the "heavenly jukebox" and ubiquitous wireless services. See more at http://theshiftedlibrarian.pbwiki.com.
Frankly, Green + Webb use research as a core component of a wider human‐centred digital design practice. Recently the team has been working on a large‐ scale digital interpretation project with the Van Gogh Museum in Amsterdam. The project used a wide range of research techniques to inform and inspire the team and support effective decision‐making at every stage. Alyson will share some of the opportunities and challenges they encountered along the way, some of the key the outcomes and reflect on what she has learned about embedding research into everyday practice.
Digipublishing in Museums - Evaluating SFMoMA's first digital catalogueFrankly, Green + Webb
In July 2013, SFMOMA launched its first online collection catalogue, the Rauschenberg Research Project (RRP), which features nearly 90 Robert Rauschenberg works from the museum's permanent collection. The RRP combines rigorous scholarship with multimedia resources. With more than 500 images, videos, and research materials, it is the largest research effort the museum has ever devoted to a single artist; a print equivalent would have totalled more than 600 pages. The RRP is part of the Getty Foundation's Online Scholarly Catalogue Initiative (OSCI), which explores how scholarly collection catalogues can be transformed by the online environment. Based on a recent evaluation, this presentation will share insights into the reach and impact of an online scholarly museum publication. Who is using the RRP specifically, and online scholarly catalogues more generally? How is it being used? How is it perceived by its target audience of scholars, historians, and curators? The findings are encouraging, while also revealing concerns.
For a long time, the focus has been on delivering mobile experiences through more and more advanced mobile technology. However, through our research and design experience we have identified what really makes the difference. The small stuff. Hear from examples at the Van Gogh Museum, Amsterdam and the Metropolitan Museum of Art, New York
We create digital experiences for museums, but how do we create magical moments for people that use digital without distracting from them from the physical environment. This is the beginning of our thinking of how to use digital challenge and surprise to delight audiences.
Museums Go Mobile: Start designing the service, not the websiteFrankly, Green + Webb
Guardian Culture Professionals article here - http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/may/16/mobile-museums-design-services-websites
The truth is that mobile isn't working for museums in the way we imagined. It's not the silver bullet. We've made apps that haven't been downloaded. We created handheld guides that don't get used and the perennial question of can mobile deliver pre- and post- visits still hangs in the air. So it is time to right mobile off? Or, perhaps now is the right time to think about mobile in a different way.
What do our visitors needs and behaviours show us about how they think and use our museums? How can we interpret these to design services that are truly transformative? What tools and processes can we use to make mobile a fully integrated part of the service offered by a museum?
Taking a look at what happens when we stop designing a mobile products and start using mobile as tool in the design for a whole service.
A New Look at an Old Friend: Re-evaluating the Met's Audio Guide ServiceFrankly, Green + Webb
In September 2013, the Metropolitan Museum of Art launched a new audio guide. This presented an opportunity—and a need—to take a more strategic look at this long-standing service. Although the Museum has provided an audio-guide service for more than fifty years, thus far it has had a limited understanding of who uses the service and what kind of impact it might have. Who is the audio guide serving? What is and is not working?
In an effort to answer these questions, the Museum conducted an evaluation of its new audio guide in collaboration with Frankly, Green + Webb. We took a comprehensive look at the service, seeking to understand the entire visitor journey from initial awareness to the effect of the guide on the overall museum experience. This service design approach—though well established in the commercial sector —is relatively new in the museum field.
Our paper includes findings from the evaluation and insights we gained from the research process, as well as how these insights are applicable to the wider museum field. What can other museums learn from our experience? What is the value of evaluating an audio guide as a service rather than a product? How can museums move from evaluation data to insights and actionable recommendations? And perhaps most challenging: how can we design successful digital products and services in complex organizations with multiple stakeholders who have different levels of comfort with innovation and risk? These issues are not unique to the audio-guide service or to the Met; they are common to digital projects across all museums.
Paper available here: http://mw2015.museumsandtheweb.com/proposal/a-new-look-at-an-old-friend-re-evaluating-the-mets-audio-guide-service/
Agile for Beginners and Thrillseekers - MuseumNext 2015 GenevaCogapp
From: http://www.museumnext.com/sessions/agile-beginners-thrillseekers/
In this fast-paced, lively and interactive session you will be part of an Agile team, developing and producing a project across multiple sprints to a strict deadline.
No previous experience is required, just a willingness to get involved in some gently competitive fun while learning Agile techniques. It will be delivered by a team who have run many successful digital projects using Agile, and who love it!
Those without Agile experience will learn the basics of running and delivering an Agile project. Those with experience will learn to apply the principles in new and exciting ways.
Everyone will have fun.
Slide deck from AAM Annual Meeting in 2015: Digital Storytelling: The Dream, the Team, the Results
Media and Technology track
Tuesday, April 28, 2015
Museums can deepen audience engagement through effective storytelling. Delivering content has never been easier, due to digital interfaces and personal, portable technologies. Without a strong interpretive strategy and the right tools to craft and share our stories, we may be missing opportunities. Join this panel of experts as they describe real-world projects, share results that show the impact of digital storytelling on engagement, and demonstrate a new, free storytelling software.
Learner Outcomes
1. Attendees will learn about interpretive strategy methods and the project team approach to create and share engaging stories on digital platforms.
2. Attendees will learn about combining rapid prototyping methods with formal evaluations to create digital storytelling that delights audiences.
3. Attendees will learn how to download and use a free (open source) set of storytelling software tools developed by the Minneapolis Institute of Arts.
These are the slides for my presentation on multimedia storytelling for the American Copy Editors Society. In a later version, I will add links to the examples I use to illustrate the points.
A talk from the Noorderlich Photo Festival in the Netherlands. The brief was to introduce some key elements of multimedia storytelling to a crowd of photographers and journalists who doesn't normally work with online media, and I only had half an hour.
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
Smithsonian Mobile strategic planning update, September 2010: includes relevant research from other institutions and examples of mobile programs in art museums around the world.
Closing keynote given at the Museum Educators of Southern California Summer Workshop on June 25, 2010. It starts with a nod to John Seely Brown and his wisdom about solution confusion in rapidly changing technological times, then explores the boundaries between traditionally siloed museum departments that are merging/under threat in this new environment. From there a brief history of the role for new media interpretation in museums (art and otherwise), a summary of the Visual Velcro idea, and the role of mobile multimedia in supplying hooks to the hookless. Finally a summary of "Making Sense of Modern Art Mobile," and the implications of taking on publication and distribution of a mobile tour in-house. Ends with future plans and questions about the integration of social media in such publications.
Presentation to the CURSO DE VERANO
Bilbao Arte eta Kultura UPV/EHU: museos, redes sociales y tecnología 2.0 (museums, social networks and 2.0 technology)
6-7 July 2010 at the invitation of the University of the Basque Country.
http://tubilbao.blogspot.com/2010/06/bak-uda-ikastaroa-curso-de-verano.html
Presented on November 9, 2009 as a part of the Seminar for Historical Administration surrounding the idea of how the changing media landscape has (and will continue to) alter the mission and behaviors of museums around the world.
"Engaging Museum Audiences" - seminars offered across New Zealand in Nov/Dec, 2009 by Nina Simon of Museum 2.0. The content is very similar to another slideshare upload by Nina, "MuseumNext Participatory Museum."
Presentation of a guest lecture on the in-gallery use of digital media in museum used to enhance visitor engagement. The presentation includes the outcomes of a critical analysis of some of the technology used in the the Keys to Rome exhibition at the Allard Pierson Museum.
If you're suffering from information overload when it comes to what's new in technology and Internet resources for children and young adults, join us as we learn what's new in a nutshell.
The Participatory Museum - Long PresentationNina Simon
This is a long version of an overview presentation on visitor participation in museums and cultural institutions. First presented in Taichung, Taiwan on August 12, 2010.
A presentation given at the 1st Skill Sharing Workshop of the Network (Communnity of museum professionals who work with technology) in Athens. It summarizes the mobile strategy of the National Gallery between 2004 and 2010 when I was Head of Information.
Smartphones and their Potential to support family learning in the Cultural Se...Frankly, Green + Webb
A presentation on our report from a social mobile perspective "Smartphones and their Potential to support family learning in the Cultural Sector" - full copy available here - http://bit.ly/9khV92
How can cultural organisations harness social mobile already happening within their walls?
Designing Audience-Centred digital services in Museums: the Opportunities and...Frankly, Green + Webb
Digital is growing up and many organizations are striving to use real audience data and work cross-departmentally to design digital experiences that are truly integrated into the visitor experience. So what does this look like and just how achievable is it?
The National Gallery, London wanted to create a deeper connection with those visitors coming through the door for the first time. They reviewed existing audience data to redefine their brand and explore what this meant for both their online and in-gallery products and services, engaged in a series of design sprints to define digital opportunities for new digital experiences. The Isabella Stewart Gardner Museum was seeking to become a more visitor-centered organization but lacked a process and a shared understanding across departments. Tthe team carried out primary research and used this the data to develop journey maps that served as a springboard to design new experiences for first-time visitors.
Working cross-departmentally and using audience data to design digital experiences allows organizations to reveal and tackle real opportunities and it provides mechanisms to encourage and support working across silos. But it isn’t a cure all and the session will include candid discussion of the challenges of taking action on the insights and realizing the ideas that emerge from these processes.
A case study of the visitor journey mapping process at the Isabella Stewart Gardner Museum. Presented at a webinar hosted by the MCN Data and Analytics SIG, September 22, 2017.
Too often, funding models for museum projects are at odds with the adaptability, risk-taking, and agility required to support truly innovative, iterative technology initiatives. What's more, the emphasis of grant-makers on funding digital projects can undermine the ability of an organization to build and sustain long-term capacity. In this session, we'll look at a few real-life horror stories of mis-alignment between funding models and institutional objectives, hear in detail about three successful case studies that point the way toward alternative means of supporting innovation, and talk through a checklist for helping your tech and digital team work with development and funders to build and sustain capacity.
Our How To presentation for Museums and the Web 2016 #MWXX on designing digital experiences for families shares findings from our research on four different museum projects. For the full paper please see this link http://mw2016.museumsandtheweb.com/paper/designing-digital-experiences-for-families/
MW2016 Online Scholarly Publishing: data and_insights_from_osciFrankly, Green + Webb
Data and insights from the evaluation of two online scholarly catalogues from SFMOMA and the Walker Art Center developed as part of the Getty Foundation's Online Scholarly Publishing Catalogue Initiative (OSCI). Presented at the 2016 Museums and the Web Conference.
What kind of mobile content is most engaging for museum visitors? And what impact does it have? There is surprisingly little research data on this question. This is a presentation that looks into both of these questions and provides principles for designing audioguide content that really works for visitors. Conference paper available here: http://mw2014.museumsandtheweb.com/paper/listening-to-visitors-research-findings-on-mobile-content/
Digital technology has been adopted widely in the heritage sector for everything from kiosks to mobile web, apps, augmented reality, not to forget multimedia and audio guides. It holds out the promise of enabling sites to deliver information and interpretation to the visitor. But, to what extent are we in control of these tools?
Are we still flushed with excitement at the possibilities? Are we still caught up in thinking about the many ways digital technologies can meet our organisational objectives?
This presentation uses data from a series of projects to argue that we need to become more informed commissioners - considering visitor motivation, organisational mission and technological capabilities to achieve success.
Everything changes: What can we learn from product development in mobile inte...Frankly, Green + Webb
Museums look towards digital products that will help engage their audiences. The sector is alive with great ideas however how come only a few make into the hands of the visitors?
The mobile interpretation industry is over 50 years old and has had many, many highs and lows. What can we learn about developing and distributing innovative digital products from these experiences? What happens when disruptors come into the market? How do we create white label digital products for organisations who strive to be unique? And what happens if the organisations motivations are different to the audiences motivations?
A brief look at how our audiences are using mobile and the opportunities and challenges this may present for interpretation & learning around manuscripts.
The cultural heritage sector has spent to long focussing on mobile as a way to deliver guides - our audiences aren't using their mobiles in this way though. In this presentation we explore how we can broaden our thinking about mobile as a tool and improve, not only visitor experience, but also our own organisational learning.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
4. Mobile’s strength is the opportunity to speak directly to the visitor as they stand in front of the real thing Frankly, Green + Webb Frankly, Green + Webb
5. Keep users’ attention rooted in the space - not on the screen Stay focussed on the visitor’s physical and visual experience
12. Mobile technology is perfect for personal, immediate communiation A recent survey suggested that most people would rather lose their wallet than their phone
13. Guide is a ‘whispered confidence’ Eleanor Roosevelt
19. Be clear about what you would like each platform to deliver - then create and deploy content accordingly
20. BUT avoid salami slicing - try completely new strategies Don’t fear a small budget - there are plenty of opportunities within mobile to create something to a small budget Frankly, Green + Webb
21.
22. W: www. franklygreenwebb .com E: alyson@franklygreenwebb.com 16th November 2010 Lindsey Green + Alyson Webb Leeds Museums & Galleries Date issued: Presented by: Created for:
23. Credits: Images: Flckr Commons, National Gallery Audio: Antenna International, National Gallery, Monumenta
Editor's Notes
My partner, Lindsey Green, and I established Frankly, Green + Webb to provide strategy, insight, concept design and development of mobile experiences. We advise on ways to use mobile technologies to improve visitor experience, help you increase audience size or change audience profile. We also help determine what content to use, how to make it and how to use it in a way that helps your audience understand your organisation and your stories. The benefit of using our services is that we can find the right approach to mobile for your organisation and therefore save you money and time. We make it simple and easy for you to develop innovative mobile experiences that capture the imagination of the audience and build the profile of your organisation.
There are many things about creating media for mobile that are shared with online experiences - file types or processes for example, general principles of interpretation In this presentation I decided to go back to basics and really think about the nature of mobile - what are the special characteristics of a mobile experience, what are the opportunities - and how do they impact on what we can do These ideas are generally applicable whether you are creating anything from an audio tour to a mobile game and I’ll be highlighting a few examples across these different project types
I don’t intend to focus on smartphones specifically today but one of the challenges today is that all mobile interpetation and communication - whether simply an audio guide, a multimedia tour or a mobile website or app is consumed in the context of increasing use and familiarity with smartphones We know that mobile interpretation has a significant impact on visitor experience. Research suggests that: Over 80% of visitors report a mobile guide helps them appreciate their visit significantly more A similar percentage report that guides help make their visits significantly more enjoyable 79% say that guides help them learn much more And almost half report they explore more of the site they are visiting But the data also suggests that visitors’ expectations are changing - they are used to playing games, looking up facts, connecting with friends, taking and sharing photos. This is impacting young people soonest but it is spreading and we anticipate it becoming the norm. We need to bear this in mind as we design visitor experiences and be open to the possibilities of creating new experiences
Portable & Located : one of the greatest strengths of mobile is that you have an opportunity to speak to your visitors when they are at your site and in front of the real thing Visting a gallery, museum or historic site is an extraordinarily special occasion and mobile enables you to communicate and interact with your visitors in that moment This affects what you choose to say to them: They can just LOOK and they can get close And, of course we know that visitors often don’t look very carefully on their own. The Louvre found that visitors spent on average 15 seconds looking at the Mona Lisa! The average at the Met was 17 seconds It isn’t because they don’t want to but they don’t know what to look for and how to interpret what they see Mobile can slow people down and provide the guidance and support to interpret that visual experience
Staying focussed on the visitor’s physical and visual experience can be challenging as newer forms of mobile offer so many ways of interacting It can be easy to get caught up in designing beautiful content and interfaces, providing lots of information and options But it is often better to pare back what you offer - designers need to be self effacing - and provide something simple, intuitive to use and fitting to the on site experience the visitor wants and needs. Quantity over quality can be harmful to the visitor experience at times. If you are using multimedia you mustn’t let go of the fact that the visitors primary experience is the site - keep their attention rooted in the space not the screen. If you are producing new content or selecting from existing material try to offer only what will supplement the on site experience - only what is really useful, pleasurable in that moment.
There are always too many stories to tell but keeping in mind what is possible on site and nowhere else can help shape the content So try to focus on how you can enhance that particular on-site experience - their physical presence - rather than trying to say or show everything It is always better to say less and say it well This piece was created for Monumenta in Paris. It features Richard Serra talking about his reaction to the exhibition space and the thought process behind creating sculpture for the space. It works well because the sense of the overwhelming size of the exhibition hall is one the visitors themselves are sharing - hearing that the artist felt just the same and then following him on the journey to his response is a delight.
Being portable also impacts HOW you speak or structure your communication - you need to use immediate, located language - ‘look at this’ ‘crouch down to get a better view’ ‘walk around’ Connecting visual experience to ideas and larger learning works very well – SHOW FIRST AND THEN TELL So if I’m looking at a building I might say ‘can you see how, along to our right, the bricks are a different colour? And if you look down you can see the floor level changes… This is because…’ In this way you actively engage the visitor in the process of looking for visual clues - just as an historian or archaeologist might - and you then reveal how this evidence can be interpreted. You give a visual experience meaning. You don’t say ‘In June 1723 King Blah of Blah decided to rebuild the part of the site and…..” In this case the names and dates have no resonance with the visitor and keeping them in mind, and then the explanantatoin is hard - particularly as they are likely to be looking around them and wondering if they are in the right place!
Mobile also means to me, moveable - we can move the visitor about - ask them to step forward and look at a detail or step back to appreciate the impact of the whole, we can ask them to look between works to make a comparison. This movement works well in audio, in multimedia but equally in augmented reality.
I fact unlike film or theatre where the scenery and action is moved in front of you, we have the opportunity to move our visitors through the scenery, to position them, to enable them to make visual connections and comparisons, move them through a story
This means a story has to almost literally be ‘mapped out’ - you have to structure the experience and narratives - over the course of a visit and over an individual stop - to work in a physical context. – CHOREOGRAPHY You need to consider which objects or locations from which you can ‘hang’information Don’t feel the need to tell everything up front - in fact I often recommend cutting an introduction back to just one or two sentences - people want to get going! They’ve planned the trip and travelled and often bought tickets and hung up coats - now they want to SEE something and wont be tuned in to what you say. Get them in front of an object before you dive in to the content. Example - Battle, English Heritage where the tour follows the action of the Battle as it unfolds - you move across the site and through the day of the battle and gradually realize how close the result was, how our present hung in the balance.
Short form ; visitors are on foot, often with bags and coats, so they get tired and distracted. Mobile devices tend to have small screens that are generally less well suited to intensive reading or viewing All of this means that mobile is best suited to what we might call a short form experience - small chunks of content that together build to form an experience Keep each stop to one - maybe two ideas- only No matter how important an object, don’t keep visitors standing in one place too long - 1.5 mins at most as a general rule Let them choose to have more detail don’t force it on them
People have a very close relationship to their own phones - would rather lose their wallet than their phone. They are devices that we are used to using to have very personal communications. This direct person to person communication enables communication to be personal, personable, immediate, can convey emotion
As early as 1956 this lady - ELEANOR ROOSEVELT - described a mobile guide as a ‘whispered confidence’ She recognised that there is a small scale, personal quality to the communication - this isn’t BROADCAST - this is a conversation and you need to find a ‘voice’ that connects with your visitor and is true to your organisation This direct person to person communication enables communication to be personal, personable, immediate, can convey emotion – PERSON TO PERSON Even where we are using a bespoke museum device we are in effect able to talk directly into the ear of an individual. How does this impact audio and other forms of interaction
A couple of examples: This is a screen shot from a project by the RHS… The text is playful, authentic, personal - it uses direct, informal language and provides an opportunity to personalise content and functions to suit individual
Need to consider the ‘voice’ of your institution - how do you sound and look, how can speak on your behalf Your organisation probably speaks with many voices - to different audiences, in difference contexts, different media - but try to speak conversationally. Embrace who you are as an organisation Don’t be afraid of opinion or feeling, emotion If you are creating audio, think about who will be speaking right from the outset - can you use interviews with your own team? Do you want to use interviews with eternal experts? Is there a wonderful voice? Write for that voice Here’s a wonderful example in which Luke Syson of the National Gallery speaks absolutely from the heart but with great expertise. We learn why this is an important work of art, how the artist aachieved certain effects, who the sitter is but we also learn that this is the one that Luke would save from a fire!
This intimate personal connection also raises the question of whether facts are the only or even the most important thing to convey? You might want to convey emotion, opinion, or ways of experiencing the site. In this example Tracy Chevalier talks about a painting from the National Gallery I love the way in which she not only draws us into the work but she speaks about the actual art of visiting a gallery how you can just look at one work and its ok. Isn’t that a fantastic liberating thing to say to visitors!
We need to have empathy for the visitor What are they experiencing What is the first thing they see - it is hard to concentrate on something being said if you are distracted by something you can see - the two need to be in alignment If there is a gorilla in the room it doesn’t matter how interesting the mouse in the corner the visitor’s head will be filled with the gorilla and thinknig about why its there. Empathy extends to considering why your museum and its content and subject matters to the visitor - always try to connect with them and ask ‘why does this matter to me’
Immersive vs Social : Visitors come with different purposes – it might be a social visit with friends and family or an immersive experiene. Mobile can support both (that’s one of the fabulous things about NEW mobile technologies) Mobile can support a social experience and interactivity through great content design - example of Teach Your Grown Ups About Art at the National Gallery where the audio tour provides children with information that helps them ‘teach’ their own grown ups, Or Tate Trumps where you can play together in the galleries. But other forms of content will allow you to shut out the world and immerse yourself in an experience and learning. Often this is perceived negatively - people moving like zombies, not speaking - but in fact they are just deeply focussed and the conversations after the visit, fuelled by their experience - can be even richer.
There is a lot of emphasis on re-purposing across the media and w hen money is tight it is tempting to deploy the same content on multiple platforms to keep costs low. Clearly there is content that works across multiple platforms but it is rare that the sme content in the same form works at its optimum on all platforms. It is better to be clear about what you would like each platform to deliver for the user and then make or shape the content accordingly. This might simply mean different edits of a video - it neednet be a lot of expense or work but it will have a big payoff in experience. Understanding the unique characteristics of mobile will help identify where you need to create new material and what AND what you can use from existing materials
Visitors are consuming high quality content every day and will judge their experience at your site in that context. This doesn’t mean you have to spend a fortune but it does mean you need to be very thoughtful in how you do things. Use methods that can deliver the right quality in a suitable style - think of the Blair Witch Project where handheld cameras and ‘poor quality’ visuals perfectly underscored the subject and emotion of the film. The same production approach would have ruined another film. Imagine My Fair Lady with this treatment! I would also suggest you avoid salami slicing your budget. Don’t try to do the same thing with less - do something different! Try completely new strategies If you can’t afford or don’t have a great writer consider not writing - use interviews and archive for example. Use no music and only sound effects or all music and no script. The possibilities are endless.