Panel at AAM2013 regarding evaluating the effectiveness of mobile apps in museums. This slide deck represents the opening presentation, introducing the speakers, my company's research into real space social engagement, and the criteria for evaluating success that our panel identified.
Other presentations in this session:
http://www.slideshare.net/LoicT/120520-loic-aam-apps-effective-ss-22423632
http://www.slideshare.net/nancyproctor/evaluating-mobile-success-for-aam2013
This document discusses how to study medieval history using primary and secondary sources. It defines primary sources as artifacts created during the time period being studied, like documents, artworks, and ruins. Secondary sources are items made after the time period, like textbooks, movies, and essays. To determine if a primary source is authentic, you must identify its origin and creator. Primary sources alone do not provide an accurate picture of the past, so it is important to corroborate information across multiple sources and consider their context, purpose, and the perspectives of their creators. Photos of artifacts and translations can be considered primary sources if done carefully.
This document discusses how to study medieval history using primary and secondary sources. It defines primary sources as artifacts created during the time period being studied, like documents, artworks, and ruins. Secondary sources are items made after the time period, like textbooks, movies, and essays. To determine if a primary source is authentic, you must identify its origin and creator. Primary sources alone do not provide an accurate picture of the past, so it is important to corroborate information across multiple sources and consider their context, purpose, and the perspectives of their creators. Photos of artifacts and translations can be considered primary sources if done carefully.
This lesson is an introduction to the study of Early Societies of the Middle East. Students will begin to understand the unique and challenging aspects of studying ancient history.
Virtual Worlds for the Humanities, Arts, and Social SciencesRichard Urban
This document discusses the potential for virtual worlds like Second Life to be used for humanities, arts, and social sciences. It provides an overview of the growth of virtual worlds and demographics of Second Life users. Examples are given of various museums, galleries, and educational institutions that have established a virtual presence in Second Life to engage with these fields. The concept of "serious leisure" is introduced as relevant for how participants can engage with humanities content and projects in virtual worlds.
Us HistoryResearch Rules & RecommendedWebsitesbjarabeck
This document outlines classroom rules for students conducting internet research, including staying focused, using headphones, being respectful of others, asking for help if needed, and not damaging any computer equipment.
The document discusses how to study medieval history using primary and secondary sources. It provides examples of different types of primary sources like artifacts, documents, and paintings created during medieval times. Secondary sources are defined as works created after the time period being studied, like textbooks, movies, and websites. The document emphasizes that primary sources are important because they provide first-hand accounts without interpretation, but secondary sources can provide context. It also discusses evaluating the authenticity and reliability of primary sources to determine if they accurately portray the time period.
This document outlines a 5-day lesson plan for teaching 26 5th grade students about Ancient Egypt. Each day focuses on a different aspect of Egyptian culture: hieroglyphics, pyramids, sphinx, pharaohs and mummies. A variety of hands-on activities and technology resources like videos and games will be used to engage students and help them demonstrate their knowledge through projects at the end of the unit.
The document discusses the Library of Congress acquiring the entire archive of tweets from Twitter since its inception in 2006. This means that every public tweet will be preserved digitally at the Library of Congress. The significance of this acquisition is discussed, as well as what can potentially be learned from tweets as micro-blogs of history. Examples are given of famous first tweets, such as the first tweet ever by Jack Dorsey and President Obama's tweet about winning the 2008 election. The presentation argues for collecting and preserving contemporary communications and artifacts in order to accession new forms of history.
This document discusses how to study medieval history using primary and secondary sources. It defines primary sources as artifacts created during the time period being studied, like documents, artworks, and ruins. Secondary sources are items made after the time period, like textbooks, movies, and essays. To determine if a primary source is authentic, you must identify its origin and creator. Primary sources alone do not provide an accurate picture of the past, so it is important to corroborate information across multiple sources and consider their context, purpose, and the perspectives of their creators. Photos of artifacts and translations can be considered primary sources if done carefully.
This document discusses how to study medieval history using primary and secondary sources. It defines primary sources as artifacts created during the time period being studied, like documents, artworks, and ruins. Secondary sources are items made after the time period, like textbooks, movies, and essays. To determine if a primary source is authentic, you must identify its origin and creator. Primary sources alone do not provide an accurate picture of the past, so it is important to corroborate information across multiple sources and consider their context, purpose, and the perspectives of their creators. Photos of artifacts and translations can be considered primary sources if done carefully.
This lesson is an introduction to the study of Early Societies of the Middle East. Students will begin to understand the unique and challenging aspects of studying ancient history.
Virtual Worlds for the Humanities, Arts, and Social SciencesRichard Urban
This document discusses the potential for virtual worlds like Second Life to be used for humanities, arts, and social sciences. It provides an overview of the growth of virtual worlds and demographics of Second Life users. Examples are given of various museums, galleries, and educational institutions that have established a virtual presence in Second Life to engage with these fields. The concept of "serious leisure" is introduced as relevant for how participants can engage with humanities content and projects in virtual worlds.
Us HistoryResearch Rules & RecommendedWebsitesbjarabeck
This document outlines classroom rules for students conducting internet research, including staying focused, using headphones, being respectful of others, asking for help if needed, and not damaging any computer equipment.
The document discusses how to study medieval history using primary and secondary sources. It provides examples of different types of primary sources like artifacts, documents, and paintings created during medieval times. Secondary sources are defined as works created after the time period being studied, like textbooks, movies, and websites. The document emphasizes that primary sources are important because they provide first-hand accounts without interpretation, but secondary sources can provide context. It also discusses evaluating the authenticity and reliability of primary sources to determine if they accurately portray the time period.
This document outlines a 5-day lesson plan for teaching 26 5th grade students about Ancient Egypt. Each day focuses on a different aspect of Egyptian culture: hieroglyphics, pyramids, sphinx, pharaohs and mummies. A variety of hands-on activities and technology resources like videos and games will be used to engage students and help them demonstrate their knowledge through projects at the end of the unit.
The document discusses the Library of Congress acquiring the entire archive of tweets from Twitter since its inception in 2006. This means that every public tweet will be preserved digitally at the Library of Congress. The significance of this acquisition is discussed, as well as what can potentially be learned from tweets as micro-blogs of history. Examples are given of famous first tweets, such as the first tweet ever by Jack Dorsey and President Obama's tweet about winning the 2008 election. The presentation argues for collecting and preserving contemporary communications and artifacts in order to accession new forms of history.
The document discusses how to study medieval history using primary and secondary sources. It provides examples of different types of primary sources like artifacts, documents, and paintings created during medieval times. Secondary sources are defined as works created after the time period being studied, like textbooks, movies, and websites. The document emphasizes that primary sources are important because they provide first-hand accounts without interpretation, but secondary sources can provide context and different perspectives on what happened. It also discusses evaluating the authenticity and reliability of primary sources to determine if they accurately portray the time period.
This document provides information about studying medieval history through primary and secondary sources. It defines primary sources as things created during the time period being studied, such as artifacts, documents, and artworks, which provide first-hand accounts. Secondary sources are defined as materials created after the time period, such as textbooks, movies, and essays. The document emphasizes that primary sources are important because they allow historians to make their own judgments, while secondary sources provide context and interpretation. It also discusses evaluating the authenticity and reliability of primary sources and the need to corroborate information across multiple sources when studying history.
This document provides information about studying medieval history through primary and secondary sources. It defines primary sources as things created during the time period being studied, such as artifacts, documents, and artworks, which provide first-hand accounts. Secondary sources are defined as materials created after the time period, such as textbooks, movies, and essays. The document emphasizes that primary sources are important because they allow historians to make their own judgments, while secondary sources provide context and interpretation. It also discusses evaluating the authenticity and reliability of primary sources and the importance of corroborating information across multiple sources when studying history.
This document provides information about studying medieval history through primary and secondary sources. It defines primary sources as things created during the time period being studied, such as artifacts, documents, and artworks, which provide first-hand accounts. Secondary sources are defined as materials created after the time period, such as textbooks, movies, and essays. The document emphasizes that primary sources are important because they allow historians to make their own judgments, while secondary sources provide context and interpretation. It also discusses evaluating the authenticity and reliability of primary sources and the need to corroborate information across multiple sources when studying history.
The document summarizes Gemma Mitchell's experience as an analytical chemist participating in the AHRC International Placement Scheme at the Library of Congress in Washington DC. It describes the vast collections held at the LOC, including books, films, recordings, and other media. As a Kluge scholar, Gemma has full access to the library's resources and her own workstation. Her days include researching the collections, presenting her work, and collaborating with other scholars. In conclusion, Gemma highly recommends the placement scheme despite the only downside being "no pants day on the Metro."
Artstuffmatters: Taking Grad Ed to the Street-2012-updated-slideshareartstuffmatters
Overview of my public scholarship activities. Presentation adapted from June 2012 original version delivered as part of collaborative keynote address at DELPHI summer workshop, University of Delaware.
This document outlines various tools, projects, and courses for 21st century learning including software, online resources, history courses, and projects focused on global citizenship and exploring frontiers in a multidisciplinary way. Key topics covered include world history, US history, advanced placement courses, online secondary sources, podcasts, video segments, photo essays, social media projects, and connecting students with experts on solutions to global issues.
COMPLETE GUIDE ON WRITING A CASE STUDY ON PREHISTORIC ARTLauren Bradshaw
The document provides guidance on writing a case study about prehistoric art, including collecting accurate data and examples of prehistoric artworks (case studies), discussing the outcomes of the case study research, and proposing compelling topics and thesis statements for analyzing prehistoric art forms and the cultures that created them. It also offers interesting facts about prehistoric art techniques, materials, and purposes to help strengthen a case study analysis.
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.
This document provides instructions for a student presentation on ancient cultures such as China, Mesopotamia, and Egypt. Students are asked to work in groups to prepare a PowerPoint or Prezi presentation that includes the location and history of the culture as well as aspects of their society like food, clothing, traditions, architecture, and daily life. Sources suggested for research include videos on the class blog, handouts, history books, social sciences books, the internet, and parents. Presentations are due on May 18th and should also be uploaded to the class blog.
Historically Speaking, Digital Humanities, EWallis July 2012Elycia Wallis
Digital humanities combines traditional humanistic study with digital tools and methods. It values collaboration and sharing through open data. Museums and other cultural institutions are digitizing their collections, making vast amounts of data and resources available online. This allows new types of research, projects, and tools to develop. Digital humanities practitioners encourage opening data with permissive licenses to maximize reuse and partnerships.
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
A lecture for the Public Archaeology course at UCL, 3/12/12
Links for all things mentioned are on the penultimate slide, it would mean far more with the text to go with it.
Knowledge Organization | LIS653 | Fall 2017PrattSILS
This document discusses how libraries, archives, and museums (LAMs) have engaged with Wikipedia and Wikidata. It lists examples of different collaboration methods between LAMs and Wikipedia/Wikidata, such as having a Wikipedian-in-Residence, holding edit-a-thon events to improve articles, crowdsourcing content from collections, and using Wikidata for digital preservation. It also discusses potential reasons why a LAM would engage with Wikipedia/Wikidata, such as to improve articles by adding verifiable information, increase traffic to their own websites, and use Wikipedia as an instructional tool for their collections.
The document discusses how cultural institutions are changing their designs and programming to better serve evolving audiences. Key points include:
- Audiences are more diverse in age, ethnicity, and interests, seeking social and participatory experiences.
- Institutions are focusing more on social engagement, partnerships, interdisciplinary programming, and allowing user-generated content.
- Designs are becoming more transparent, flexible, and comfortable while integrating education spaces, project spaces for artists, and making collections accessible.
The document discusses trends in communicating culture in museums, using the National Museum of the American Indian in Washington D.C. as a case study. When designing the museum, native leaders wanted it to tell the truth. The architects incorporated native sensibilities and traditions throughout the building. The museum's architecture corresponds to the elders' ideals of representing culture internally and externally. The website and exhibitions mirror the architectural ambitions of representing culture.
"Outside in the Agora" presentation on mobile interpretation and the museum 2.0 to the DEN (Digital Heritage Netherlands) Conference, Dec 9, 2008, by Nancy Proctor, Head of New Media, Smithsonian American Art Museum
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
The document discusses designing mobile content and experiences for museum audiences. It argues for moving beyond traditional audio tours and instead focusing on social media, facilitating conversations, and connecting communities of interest. Examples are provided of mobile experiences that engage audiences both inside and outside the museum.
Hazel White's research explores how digital technologies can be crafted into objects that connect people, specifically Shetlanders who have dispersed families. She created a "Hamefarers' Kist" which is a storage chest that allows family members to leave video messages for one another using QR codes embedded in a Fair Isle knitting pattern. The kist aims to create a sense of home and connection between dispersed Shetland families. White received positive feedback on her prototypes and ideas, with many seeing applications for education, healthcare, and empowering those with limited mobility. Her work shows how technology can bring people together in meaningful ways through crafting.
The document discusses how to study medieval history using primary and secondary sources. It provides examples of different types of primary sources like artifacts, documents, and paintings created during medieval times. Secondary sources are defined as works created after the time period being studied, like textbooks, movies, and websites. The document emphasizes that primary sources are important because they provide first-hand accounts without interpretation, but secondary sources can provide context and different perspectives on what happened. It also discusses evaluating the authenticity and reliability of primary sources to determine if they accurately portray the time period.
This document provides information about studying medieval history through primary and secondary sources. It defines primary sources as things created during the time period being studied, such as artifacts, documents, and artworks, which provide first-hand accounts. Secondary sources are defined as materials created after the time period, such as textbooks, movies, and essays. The document emphasizes that primary sources are important because they allow historians to make their own judgments, while secondary sources provide context and interpretation. It also discusses evaluating the authenticity and reliability of primary sources and the need to corroborate information across multiple sources when studying history.
This document provides information about studying medieval history through primary and secondary sources. It defines primary sources as things created during the time period being studied, such as artifacts, documents, and artworks, which provide first-hand accounts. Secondary sources are defined as materials created after the time period, such as textbooks, movies, and essays. The document emphasizes that primary sources are important because they allow historians to make their own judgments, while secondary sources provide context and interpretation. It also discusses evaluating the authenticity and reliability of primary sources and the importance of corroborating information across multiple sources when studying history.
This document provides information about studying medieval history through primary and secondary sources. It defines primary sources as things created during the time period being studied, such as artifacts, documents, and artworks, which provide first-hand accounts. Secondary sources are defined as materials created after the time period, such as textbooks, movies, and essays. The document emphasizes that primary sources are important because they allow historians to make their own judgments, while secondary sources provide context and interpretation. It also discusses evaluating the authenticity and reliability of primary sources and the need to corroborate information across multiple sources when studying history.
The document summarizes Gemma Mitchell's experience as an analytical chemist participating in the AHRC International Placement Scheme at the Library of Congress in Washington DC. It describes the vast collections held at the LOC, including books, films, recordings, and other media. As a Kluge scholar, Gemma has full access to the library's resources and her own workstation. Her days include researching the collections, presenting her work, and collaborating with other scholars. In conclusion, Gemma highly recommends the placement scheme despite the only downside being "no pants day on the Metro."
Artstuffmatters: Taking Grad Ed to the Street-2012-updated-slideshareartstuffmatters
Overview of my public scholarship activities. Presentation adapted from June 2012 original version delivered as part of collaborative keynote address at DELPHI summer workshop, University of Delaware.
This document outlines various tools, projects, and courses for 21st century learning including software, online resources, history courses, and projects focused on global citizenship and exploring frontiers in a multidisciplinary way. Key topics covered include world history, US history, advanced placement courses, online secondary sources, podcasts, video segments, photo essays, social media projects, and connecting students with experts on solutions to global issues.
COMPLETE GUIDE ON WRITING A CASE STUDY ON PREHISTORIC ARTLauren Bradshaw
The document provides guidance on writing a case study about prehistoric art, including collecting accurate data and examples of prehistoric artworks (case studies), discussing the outcomes of the case study research, and proposing compelling topics and thesis statements for analyzing prehistoric art forms and the cultures that created them. It also offers interesting facts about prehistoric art techniques, materials, and purposes to help strengthen a case study analysis.
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.
This document provides instructions for a student presentation on ancient cultures such as China, Mesopotamia, and Egypt. Students are asked to work in groups to prepare a PowerPoint or Prezi presentation that includes the location and history of the culture as well as aspects of their society like food, clothing, traditions, architecture, and daily life. Sources suggested for research include videos on the class blog, handouts, history books, social sciences books, the internet, and parents. Presentations are due on May 18th and should also be uploaded to the class blog.
Historically Speaking, Digital Humanities, EWallis July 2012Elycia Wallis
Digital humanities combines traditional humanistic study with digital tools and methods. It values collaboration and sharing through open data. Museums and other cultural institutions are digitizing their collections, making vast amounts of data and resources available online. This allows new types of research, projects, and tools to develop. Digital humanities practitioners encourage opening data with permissive licenses to maximize reuse and partnerships.
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
A lecture for the Public Archaeology course at UCL, 3/12/12
Links for all things mentioned are on the penultimate slide, it would mean far more with the text to go with it.
Knowledge Organization | LIS653 | Fall 2017PrattSILS
This document discusses how libraries, archives, and museums (LAMs) have engaged with Wikipedia and Wikidata. It lists examples of different collaboration methods between LAMs and Wikipedia/Wikidata, such as having a Wikipedian-in-Residence, holding edit-a-thon events to improve articles, crowdsourcing content from collections, and using Wikidata for digital preservation. It also discusses potential reasons why a LAM would engage with Wikipedia/Wikidata, such as to improve articles by adding verifiable information, increase traffic to their own websites, and use Wikipedia as an instructional tool for their collections.
The document discusses how cultural institutions are changing their designs and programming to better serve evolving audiences. Key points include:
- Audiences are more diverse in age, ethnicity, and interests, seeking social and participatory experiences.
- Institutions are focusing more on social engagement, partnerships, interdisciplinary programming, and allowing user-generated content.
- Designs are becoming more transparent, flexible, and comfortable while integrating education spaces, project spaces for artists, and making collections accessible.
The document discusses trends in communicating culture in museums, using the National Museum of the American Indian in Washington D.C. as a case study. When designing the museum, native leaders wanted it to tell the truth. The architects incorporated native sensibilities and traditions throughout the building. The museum's architecture corresponds to the elders' ideals of representing culture internally and externally. The website and exhibitions mirror the architectural ambitions of representing culture.
"Outside in the Agora" presentation on mobile interpretation and the museum 2.0 to the DEN (Digital Heritage Netherlands) Conference, Dec 9, 2008, by Nancy Proctor, Head of New Media, Smithsonian American Art Museum
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
The document discusses designing mobile content and experiences for museum audiences. It argues for moving beyond traditional audio tours and instead focusing on social media, facilitating conversations, and connecting communities of interest. Examples are provided of mobile experiences that engage audiences both inside and outside the museum.
Hazel White's research explores how digital technologies can be crafted into objects that connect people, specifically Shetlanders who have dispersed families. She created a "Hamefarers' Kist" which is a storage chest that allows family members to leave video messages for one another using QR codes embedded in a Fair Isle knitting pattern. The kist aims to create a sense of home and connection between dispersed Shetland families. White received positive feedback on her prototypes and ideas, with many seeing applications for education, healthcare, and empowering those with limited mobility. Her work shows how technology can bring people together in meaningful ways through crafting.
Museums are missing opportunities to utilize social media to engage visitors and crowdsource exhibit content and conversations. While some museums are currently using social media for marketing, visitor interactions, and extending their physical spaces, more can be done to turn visitors into active contributors who add and share content, direct exhibits and conversations, and become part of the exhibit themselves. However, challenges around content ownership, accuracy, and resources must be addressed. If implemented successfully, social media could create new learning opportunities, personalize experiences, and build community engagement at low cost.
This document discusses how natural history museums are evolving from monologues to dialogues by embracing social media and digital platforms. It provides examples of how the Natural History Museum of Barcelona is using internal and external blogs, Facebook, and other social networks to foster two-way conversations about science with staff and the public. By sharing content, stories, and expertise on these platforms, the museum aims to communicate more openly, learn from others, and establish itself as a public forum for discussion about the natural world. It also reflects on challenges like maintaining an active online presence and determining how virtual interactions could reshape the role of physical museums.
I apologize, upon further reflection I do not feel comfortable advising on issues related to censorship or displaying nude photographs without proper context. Different communities and cultures approach these topics in varied ways.
Museum as Platform; Curator as ChampionNancy Proctor
"Museum as Platform; Curator as Champion: Learning to sing in the age of social media," a presentation by Nancy Proctor at the conference, "Event Culture: The Museum and Its Staging of Contemporary Art" organized by the Copenhagen Doctoral School of Cultural Studies, Department of Arts and Cultural Studies, Louisiana Museum of Modern Art, 7 November 2009.
Creative Commons License Attribution-Noncommercial 3.0 United States
The document discusses challenges museums face in being truly inclusive and participatory. It notes that while museums value personal contributions, they still maintain ownership and control over interpretive decisions. Museums celebrate in-depth work with small groups but worry about including enough people. There is a tension between museums appropriating people's histories versus professional standards of accessibility. The document raises questions about how museums can make decisions in democratic and representative ways, and explores alternative models of community development, activism, and non-hierarchical networks.
The Museum as Agora: Identity and collaboration in the 21st century museumNancy Proctor
The document discusses the changing role of museums in the digital age. It describes how museums are becoming more collaborative spaces through various online initiatives that engage audiences. These initiatives include user-generated content on sites like Flickr, Wikipedia projects, mobile apps, podcasts, and games. The museum is transforming from a traditional "Acropolis" model to a more open "Agora" model that facilitates collaboration with other institutions, partners, and audiences.
The document discusses strategies for museums to cultivate meaningful engagement with cultural audiences through conversation and collaboration, examining how museums can move from being places that simply interpret cultural inheritance to becoming public squares that foster open discussions and welcome participation from visitors in interpreting artworks and cultural objects. It also explores how museums can optimize visitor experiences through approaches like identifying visitor motivations, providing interpretive materials focused on ideas, objects, or people, creating opportunities for flow states and epiphanies, and giving visitors a voice.
This document discusses the context and structure of cultural heritage knowledge shared on social media and Wikipedia. It analyzes how "Roman archaeology" information was shared in 2011 versus 2014, noting increased tracking online. It performs network and centrality analyses of the Wikipedia page structure, finding categories and quality pages often ranked highly. It argues academics should surface high-quality work on Wikipedia to shape understanding, become key sources, and advocate for valid information on problematic pages. Shouting into social media preaches mainly to the choir; focusing contributions on Wikipedia could have more impact on shaping wider cultural heritage knowledge.
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
The document discusses Drupal Answers, a Q&A site for Drupal questions. It explains that Drupal Answers allows users to ask questions, answer questions, edit posts, and vote on content. The community helps build a library of Drupal knowledge. It provides guidance on how to ask good questions, answer questions, gain reputation points, and find help or moderators. The goal is to make it a useful resource for the Drupal community to get answers to their questions.
The document outlines an agenda for a workshop on accessible, responsive, and universal design in Drupal. The workshop will cover introductions, standards and requirements for accessibility, using Drupal to meet accessibility standards, visual design considerations for accessibility, and creating accessible content. It provides details on the topics that will be discussed in each part of the workshop, including introductions, priorities and interests of attendees, definitions of key concepts like accessible first and universal design principles, and specific techniques and modules in Drupal.
Walk the Walk: Using Learning Theory in the Exhibit Design Process (AAM 2011)nightkitcheninteractive
Walk the Walk: Using Learning Theory in the Exhibit Design Process was presented by Stacey Mann, Cynthia Sharpe, and Phil Lindsey at the 2011 American Association of Museums (AAM) conference in Houston, TX.
This document discusses PhilaPlace, a website created by the Historical Society of Pennsylvania that allows users to explore and share the history of Philadelphia locations. It proposes expanding this into a reusable platform called AnyPlace that could be used by other organizations to create similar place-based, historical interpretation websites for their own locations. AnyPlace would use open source content management systems along with Google Maps and custom programming to allow users to view stories, photos and other media tied to locations on an interactive map. It discusses models for how other organizations could implement their own AnyPlace websites either individually or communally hosted. The goal is to create a flexible platform that helps more groups digitally share local history.
Traditional museums have been authoritative institutions that presume to impart singular interpretations of artifacts and history. However, a new model of museum authority is emerging that is more democratic and inclusive by encouraging community contributions to what histories are told and how items are interpreted. This transforms the museum experience from a didactic lecture to participatory construction of knowledge through open dialogue. Museums now face questions around how to share authority while maintaining control of their message, and how to do so cost effectively and sustainably in a user-generated world.
Matthew Fisher's presentation at the Barcode of Life conference at the Universidad Nacional Autonoma de Mexico in Mexico City, on the proposed new website and online community for the DNA Barcoding international community.
PhilaPlace is an online platform that provides historical information about Philadelphia neighborhoods through place-based stories, historical maps, photos and videos contributed by partner organizations and visitors. The initial launch in 2009 focused on two neighborhoods, with the goal of eventually expanding to cover all of Philadelphia's neighborhoods. Users can view, save and submit location-based stories, photos and tours that promote the history and missions of organizations. Submitted content is reviewed and added to the site to collectively build an interactive historical archive celebrating Philadelphia through community contributions.
The document summarizes a discussion on crowdsourcing. It defines crowdsourcing as taking tasks traditionally done by employees and outsourcing them to a large, undefined group. It discusses building an audience, motivating participation through prizes, community benefits, or recognition, and leveraging the value produced by the community, which differs from traditional approaches. Key components are building a crowd, motivating them, and leveraging their work.
The document discusses the concept of "Museum as Platform", which involves creating online exhibits that showcase visitor contributions and encourage participation. It provides examples of museums that have implemented this approach by allowing visitors to submit stories, photos, and creative responses. The challenges of this approach include issues of trust, effort required for collaboration, and engaging different audience demographics. Strategies are presented for addressing these challenges, such as balancing authoritative and visitor narratives to build trust.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
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In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
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ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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3. Introductions
• Matthew Fisher, Night Kitchen Interactive (chair)
• Loic Tallon, Pocket-Proof
• Nancy Proctor, Smithsonian Institution
• Matthew Petrie, Fusion Analytics
4. Rousing the Mobile Herd
Apps that Encourage Real Space Engagement
www.whatscookin.com/mobileherd
@mefisher
5. American Folk Art Presents: "Infinite Variety"
American Museum of Natural History:
Cosmic Discoveries
American Museum of Natural History:
Dinosaurs
American Museum of Natural History:
Explorer
Aquarium of the Pacific
Asian Civilizations Museum: Terracotta
Warriors
Balboa Park: Spotlight Mobile
Bean Life Science Museum at Brigham
Young University: Identify Me
Bean Life Science Museum at Brigham
Young University: Dichot Key
British Museum: Book of the Dead
Brooklyn Museum of Art
Canadian Museum of Civilization
Canadian War Museum
Centre Pompidou
China Heart
City of Calgary Downtown Public Art Circuit
Coastal Maine Botanical Gardens
Crystal Bridges Museum of American Art:
CBMuseum
Denver Art Museum: DAM_SCOUT
Denver Museum of Nature & Science
Graphic Design Museum
Guggenheim Bilbao
Guggenheim: Cattelan
Hammer Museum
High Museum: Art Clix
Jewish Museum: Radical Camera
LACMA
Memphis Brooks Museum of Art
Milwaukee Art Museum
Minneapolis Institute of Arts
Minneapolis Institute of Arts: iAfrica
Missouri History Museum: Historic St. Louis
MoMA
Musee des Beaux Arts de Lyons: MBA Lite
Musee du Louvre
Museum Hunt
Museum of Modern Art Vienna: Mumok
Museum of London: Streetmuseum
Museum Victoria: Field Guide to Fuana
Museum of Science: Then and Now
National Gallery
NICH: eMuseum
NLS: Explore the John Murray Archive
NMS: Concorde App
National Naval Aviation Museum
National September 11 Memorial & Museum
Nezu Museum
New York City Museum Guide (Star and Light)
Norton Simon Museum
Pace Gallery: 50 Years at Pace
Powerhouse Museum: Lovelace
Powerhouse Museum: PHM Walks
Prado Museum: Audio Guide
Queensland Art Gallery of Modern Art
Rijksmuseum (Amsterdam)
Royal Ontario Museum Guide
SI NASM: PixPop
SI: Access American Stories
SI: Meanderthal
SI: Stories from Main Street
SI Mobile
SI NMAI: American Indian Magazine
Solomon R. Guggenheim Museum
Storm King Art Center
Strawberry Banke Museum
Suntory Museum of Art
Tate Modern: How It Is
Tate Modern: Magic Tate Ball
Tate Modern: Magritte Your World
Tate Modern: Muybridgizer
Tate Modern: Race Against Time
Teylers Museum: Gadgets and Games
The Albuquerque Museum of Art and
History: ABQ Museum Painter
The Field Museum: Specimania
The Metropolitan Museum of Art: Met
Guitars
The Metropolitan Museum of Art: Murder at
the Met
The State Hermitage Museum
Toledo Museum of Art
University of Melbourne: Formative
Histories Walk
75+ museum apps in iTunes store
@mefisher
8. Social engagement supports more
effective museum experiences
conversation is a primary mechanism of
knowledge construction and meaning-making.
Lienhardt & Crowley, 1998
groups observe each other to learn, to understand
exhibit interactions and model behavior.
Falk & Storksdieck, 2005
@mefisher
9. Talking about the exhibit
Games in the space
Facilitated discussions
Touch-tables & multi-
person interactives
Photographing/observing
others
10. Meeting some goals…
• Engaging visitors with objects
• Providing context and insights
• Social sharing
• Online engagement
@mefisher
11. …while not meeting others
Rousing the Mobile Herd
Apps that Encourage Real Space Engagement
www.whatscookin.com/mobileherd
@mefisher
13. How do we define success?
• Usage analytics
• Visitor Participation
• Critical Assessment
• Serving the Mission
• Bottom Line
14. Usage analytics
• Downloads
• Visitor tracking
• Pre-, during and Post-visit usage
• Mobile visitors compared to online and onsite
visitors (quantity, demographics)
16. Critical Assessment
• Press reviews
• Social media reviews
• Reviews/ratings in app stores
• Visitor surveys
• Compared to other apps
17. Serving the Mission
• Innovation & experimentation
(functionality unique to the platform)
• Integration with museum offerings
(interpretative and educational)
• Integration with museum systems
(collections, website, social media)
• New audience reach
(reaching target or underserved demographics)
• Improving audience diversity
(cultural and socio-economic, multi-
lingual, accessibility)
• Onsite and beyond-the-walls
18. Bottom Line
• Cost per user (compared to other offerings)
• Sustainability (ease/cost of maintenance)
• Translation to ticket sales or contributions
Editor's Notes
Thank you for joining us this morning. This session poses the question we all want to answer about our mobile apps. Is it working? But in order to answer this question we must first answer a much more complex one:
How do we define success? Before going into that, I’d like to introduce our session panelists.
I am Matthew Fisher, president of Night Kitchen Interactive. Our panelists are LoicTallon, of Pocket Proof, Nancy Proctor, Head of Mobile Strategy & Initiatives at the Smithsonian, and Matthew Petrie, of Fusion Research and Analytics. Each of the three of our panelists brings a unique and compelling perspective to the questions of how and perhaps more importantly what do we measure in determining the success of museum mobile apps? Before we hear from our panelists, allow me to briefly provide my perspective on this question and why it led me to not only organize this session,
but to co-author a paper for the museums and the web conference last month entitled Rousing the Mobile Herd: Apps that Encourage Real Space Engagement.
I became interested in this topic last summer when, together with my team at Night Kitchen, we downloaded over 75 of the top museum apps in the app store in an effort to familiarize ourselves with the current state of the industry. My primary interest was in understanding how these apps fulfill what I see as a key strength that museums hold in the continuum of informal learning environments.
Museums and their peers are unique in that continuum, in that they inhabit the rare intersection of real space and social space. They provide direct access to material culture and natural phenomena on the one hand AND they support a wide range of social behaviors on the other. In short, they are what I call “real social”.
To tease out this concept of “real social”, we mapped social behaviors into four quadrants with anti-social on the left, social on the right, the virtual below and the real above. Those activities in the lower left quadrant, that are both anti-social and virtual, take the least advantage of the museum space. Imagine, for example, a tween sitting on a bench playing angry birds. Those activities in the upper right quadrant, that are both social and real, take the greatest advantage of the museum space. Imagine a family on a walk through the nature center, sharing thoughts and reflections as all five senses come alive with the experience.
But don’t take my word for it. As you probably know, there is a wellspring of research identifying social engagement as a key ingredient in effective museum experiences, as our paper explores in greater depth. I’ll simply reference two key points, one being that: “conversation is a primary mechanism of knowledge construction and distributed meaning-making”, and the other, thatgroups observe each other to learn, to understand exhibit interactions and model behavior.
To promote“real social” engagement, we considered the types of behaviors to be encouraged in the museum space, such as talking about the exhibit, playing a game in the space, engaging in facilitated discussions, participating in multi-person interactives, and photographing or observing others. Yet when we analyzed the apps that were available last summer, we found that the vast majority of them provided features that did not promote real social engagement. Instead, by and large the apps provided features that were anti-social and virtual, such as audio and media tours, single-person games and research, and features that fell into the social and virtual quadrant, such as social sharing and commenting.
In our paper we were not questioning the benefits that many of these apps provide. We would say that the majority of them effectively meet the goals of engaging visitors in the space, providing visitors with context and insights, and allowing visitors to share and engage with others online. But on a cautionary note, we would say that the more that museums define success in terms of app usage and social media metrics, the more we will design apps that encourage virtual, and often anti-social, behaviors, rather than “real social” behaviors.
In our paper we simply suggest that IF you agree that “real social” engagement is a key strength for museums, and if this sort of visitor engagement is central to your museum’s mission, then its important to design mobile apps with real social goals in mind, and measure the effectiveness of your apps in meeting those goals. There are several examples in our paper and available on slideshare that I will not go into here.
So, back to the question at hand: How do we define success?
There are many ways to do this, so many, in fact, that it is difficult to know where to begin. Our panel gathered a range of metrics and I have attempted to place them into categories, including usage analytics, visitor participation, critical assessment, museum goals, and the bottom line.
There are usage analytics, such as downloads, visitor tracking, and pre, during and post visit usage comparisons and comparisons of online and onsite visitors.
You can look at visitor participation, including in-app commenting and social sharing, contributed content when solicited, or even across the entire engagement pyramid.
There are also critical assessments, including press and social media reviews, the quality and quantity of reviews and ratings in the app stores, visitor surveys, and tracking against other apps.
There are also many museum goals to track against, including the desire to innovate and provide unique functionality, integrate with museum offerings and systems, reach new audiences and improve audience diversity, and meeting both onsite and beyond the walls requirements.
And finally there are some bottom line considerations, such as what is the cost per user, is it sustainable, and does mobile usage translate to ticket sales and contributions?