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F01 hub kockelkorn_mesch
- 2. • About the meSch project • 2 meSch applications – A standalone application – An application fully integrated in an exhibition • meSch and DiY
- 3. • Physical interaction with objects and spaces to foster visitors’ engagement with cultural heritage • Personalisation of content in context to provide visitors with unique experiences onsite and online • Easy-to-use technology to support cultural heritage professionals to adopt a Do-It-Yourself approach
- 12. • Real objects Protected against touching • Added value Not just information that also could be printed • Quick to produce
- 16. Superb bird-of-paradise Lophorina superba (Pennant, 1781). Papua, Indonesia
- 17. Chinese women’s shoes, c. 1900
- 18. The species has an unusually low population of females, and competition amongst males for mates is intensely fierce. The average female rejects 15-20 potential suitors before consenting to mate.
- 19. For centuries Chinese men considered tiny bound feet as sexy. In China tiny women’s feet were a status symbol. But the women involved suffered pain and disability. They could only hobble around and certainly not work.
- 20. My paradise in the museum’s storage.
- 21. Remembering my owner’s feet.
- 23. 'Nǐ hǎo' (that's 'hello' in Chinese)! We're more fun to look at than wear. Have you got any clothes like that?
- 24. • Wrong location • Current status not visible • Little user generated contents
- 25. • PR tool • Tool to involve the audience deeper with objects • Help with exhibition preparation?
- 35. • Collections: culture, nature and science • Regular target audience: families and schools • Over 200.000 visitors • Changing focus: – Connection with The Hague as city of peace and justice – Global challenges and UN sustainable development goals as guidance for our programmes
- 42. • April 9th – November 1st • Individual visitors: adults • Groups: special lessons for primary & secondary education
- 43. • Connecting past and present Connecting war with peace • Connecting inside and outside Connection the exhibition with the city
- 45. • Fully integrated Throughout the whole exhibition • Possible to visit the exhibition without meSch technology • meSch as additional layer Personal, evocative. Not about facts • Connected to real objects No standalone interactives
- 46. • Choice between three different perspectives – Civilian – Official – German • Based on historical resources Archives, newspapers, oral history
- 53. • Pushing a button? • Using a smart card, barcode etc.? • Or …
- 55. • Contribute to the visitor experience • More immersive experience by choosing a perspective before the visit
- 56. • Each replica should represent a perspective • It should be easy and cheap to reproduce
- 58. • Providing information about the original objects and the replicas • Explaining the different perspectives • Explaining how to use the replicas
- 60. Assumptions • Loss of smart replicas • Not aiming at quick visitors Observations • You can trust your public • They want to know what they are missing
- 62. Starting point • Choice of perspective as a discovery
- 65. Starting point • Choice of perspective as a discovery Observations • Visitors do not take time to discover • Be explicit as possible
- 71. • But if people never experienced technology before… – Low tech vs high tech / handling the replica – Starting the sound clip – Relationship sound and image • Help your visitor as much as possible
- 74. • Drop the smart object • Print your personal data souvenir • Connect inside with outside • Add your own story
- 78. • Total visitor sessions: 14,853 • Average sessions per day: 75 • Peak sessions per day: 187 • Dutch: 78% - English: 22% • Civilian: 42 % - Official: 20 % - German: 38 % • Average contents view per session: 48.5 %
- 79. • Exhibition appreciation: 7,7 • Use of replicas appreciation: 8,0 (100 respondents from the general Museon audience)
- 80. Preference (70 persons) • Phone: 30 • Replica: 28 • Smart card: 12 Reject • Phone: 39 • Replica: 10 • Smart card: 23 • Replica & card: 2 • None of them: 1
- 82. During the visit I was sharing the experience with my companions and/or other visitors?
- 84. Create, test and change and interactives NARRATIVE Content network and its properties Semantic annotations / discourse relations INTERACTION SCRIPT Rules for the use of content in context 84 CONTEXT Possible interaction abilities Mapping between elementary interactions and semantic dimensions DEVICE Hardware configuration
- 85. German soldier Civil servant Dutch civilian Narrative 1 Narrative 2 Narrative 3 Narrative 4 Narrative 5 Narrative 6
- 86. • First release of the system for external beta-users • Widening the range of examples • Starting a community of practice • Any interest? Get in touch!
- 87. The project (2013-2017) receives funding from the European Community’s Seventh Framework Programme ‘ICT for access to cultural resources’ (ICT Call 9: FP7-ICT- 2011-9) under the Grant Agreement 600851.
Editor's Notes
- To summarize meSch has three objectives To design technology that engage visitor with the heritage physically To provide unique experiences to visitors both onsite and online To empower cultural heritage professionals to make those experiences in an autonomous and independent way I’ll discuss these three challenges in turns using examples of work we have completed so far
- We created a narrative-based soundscape that reacts to the presence of visitors and their choices and installed on one of the archaeological remains of the trenches and fortified camp on the Italian alps. It was a collaboration with one of our museum partner, the Museo della Guerra that besides a traditional museum with a permanent collection looks after relevant remains of the battlefield. The Museo carried out research in their archives to create the narratives we used, while we designed a technological intervention that blended with the environment and the experience of being there
- We created a narrative-based soundscape that reacts to the presence of visitors and their choices and installed on one of the archaeological remains of the trenches and fortified camp on the Italian alps. It was a collaboration with one of our museum partner, the Museo della Guerra that besides a traditional museum with a permanent collection looks after relevant remains of the battlefield. The Museo carried out research in their archives to create the narratives we used, while we designed a technological intervention that blended with the environment and the experience of being there
- We created a narrative-based soundscape that reacts to the presence of visitors and their choices and installed on one of the archaeological remains of the trenches and fortified camp on the Italian alps. It was a collaboration with one of our museum partner, the Museo della Guerra that besides a traditional museum with a permanent collection looks after relevant remains of the battlefield. The Museo carried out research in their archives to create the narratives we used, while we designed a technological intervention that blended with the environment and the experience of being there
- We created a narrative-based soundscape that reacts to the presence of visitors and their choices and installed on one of the archaeological remains of the trenches and fortified camp on the Italian alps. It was a collaboration with one of our museum partner, the Museo della Guerra that besides a traditional museum with a permanent collection looks after relevant remains of the battlefield. The Museo carried out research in their archives to create the narratives we used, while we designed a technological intervention that blended with the environment and the experience of being there
- In meSch we use a co-design approach where all members of the team technical and none are equally engaged in imagining what the system could do and design its details. Together we are developing a system that enables to create the experiences I have shown. It is the outcome of repeated discussions and tests.
- In 2014 the Museon organised the big annual Ecsite conference, the conference of European science centres and museums. meSch was not part of the official program, since the project just started, but it would have been strange to have no presence of the project. What kind of exhibit could we realize in a very short period of time?
- We needed something that could be realized in a very short period of time, which meant that it should be based on the very earliest prototypes and that it should not require a lot of work related to the development of contents. In the very first phase of the project a prototypes was developed that we called ‘plinth’. It consisted of a base with sensors in it. On the base on object could be located and around the object related information was be projected, depending on the visitors location
- We are a museum, so we wanted to use real objects. The consequence was that we required glass cases to show the objects. In our view also technology only comes in when it adds value to the regular object information. We do not just want to replace the regular printed texts by something digital.
- How a big conference led to an early prototype In 2014 the Museon organised the big annual Ecsite conference, the conference of European science centres and museums. meSch was not part of the official program, since the project just started, but it would have been strange to have no presence of the project. What kind of exhibit could we realize in a very short period of time?
- How a big conference led to an early prototype In 2014 the Museon organised the big annual Ecsite conference, the conference of European science centres and museums. meSch was not part of the official program, since the project just started, but it would have been strange to have no presence of the project. What kind of exhibit could we realize in a very short period of time?
- Interfering networks, projector issues
- We choose for smart replicas for several reasons
- The three elements are visible in the check out station: a show case with the original objects, boxes for the replicas and explanatory texts.
- Looking at our regular audience – families – we we afraid that we would get rid of the replicas in a very short period of time. That was one of the reasons to have a modest not really eyecatching location for the meSch introduction. At the same time we asked that the additional narrative layer would be most interesting for visitors who are really immersed in the experience and who really take time to visit. With respect to the first assumption we were completely wrong. Yes, we lost some dozens of smart objects, They broke, like we expected. Or they just disappeared. Sometimes they were stolen, but in most cases people just forgot to return them. Anyhow, we had to make an adjustment in the actual exhibition.
- Preparing the exhibition naming the perspectives was inevitable, but we did not use the labelling in the exhibition. There was a practical reason for this: there was no 1 to 1 relationship between perspective and label. For example, we did not have contents for the German view on each theme within the exhibition. Also for the perspective of the official the resources that we could use did not cover all themes. Furthermore we thought it might be more exciting for a visitor to be more or less surprised. So we wanted to let them choose in a more or less intuitive way.
- We thought the technology was really simple and needed an only very slight explanation. However, we had the feeling that there is a gap between the apparently lowtech impression that the replicas made and the high tech installation in the exhibition with projectors and hotspots. From the evaluation that has been carried out we learned for example that some people took the heaviest replica, because they expected that it would work better. We also saw people using other objects (even if they also had a replica), such as keys or a telephone, to start the application. There were other unexpected behaviours: we saw people trying to start the clip by touching the projection or who did not know where to put the replica. Also we saw people listening without looking to the projection, because they were not aware of it or did not see the connection. The conclusion: we cannot give our visitor too much information, nothing is really simple. Some people for example said the choosed the h
- We thought the technology was really simple and needed an only very slight explanation. However, we had the feeling that there is a gap between the apparently lowtech impression that the replicas made and the high tech installation in the exhibition with projectors and hotspots. From the evaluation that has been carried out we learned for example that some people took the heaviest replica, because they expected that it would work better. We also saw people using other objects (even if they also had a replica), such as keys or a telephone, to start the application. There were other unexpected behaviours: we saw people trying to start the clip by touching the projection or who did not know where to put the replica. Also we saw people listening without looking to the projection, because they were not aware of it or did not see the connection. The conclusion: we cannot give our visitor too much information, nothing is really simple. Some people for example said the choosed the h
- We thought the technology was really simple and needed an only very slight explanation. However, we had the feeling that there is a gap between the apparently lowtech impression that the replicas made and the high tech installation in the exhibition with projectors and hotspots. From the evaluation that has been carried out we learned for example that some people took the heaviest replica, because they expected that it would work better. We also saw people using other objects (even if they also had a replica), such as keys or a telephone, to start the application. There were other unexpected behaviours: we saw people trying to start the clip by touching the projection or who did not know where to put the replica. Also we saw people listening without looking to the projection, because they were not aware of it or did not see the connection. The conclusion: we cannot give our visitor too much information, nothing is really simple. Some people for example said the choosed the h
- At the end of the clip you saw the printing of a postcard. We log the visitor’s activity and therefore we know what they have seen, in which order and for how long and we print a personalised postcard inspired by the exhibition. The stations at which the visitor spent the longest time are stamped on a postcard
- Each post card, so each visitor, has a unique code that is used to go online and see the own personal visit, what has been missed and what has been seen, upload and share personal content and see what others have left. So in the Atlantikwall we integrate digital and material in different ways: we use physical objects to control digital content and we transform digital logs into a physical souvenir that enable visitors to access further content online.
- The key idea is to separate content, the narrative from the interactive the visitors engage with. The narrative is completely controlled by the curators; the interactive part by the designers and technologists. In between are the rules that map narratives onto interactions and control in which specific context a piece of content is delivered.
- This is the map of content for the conditions of the interactive case