This document summarizes a study on using social and mobile technologies during a school trip to a museum. The study investigated how technologies can shape young people's learning processes and facilitate meaning making. A class visited the Museum of London and used iPhones and Twitter to communicate, share content, and reflect during their visit. Interviews after found that students engaged more and interaction was facilitated by seeing others' tweets, photos and opinions. The use of technologies made the museum experience more interactive and enjoyable compared to traditional trips.
The #svegliamuseo project and the concept of a network of digital communicati...#svegliamuseo
On the occasion of the International Conference of Information Technologies for Epigraphy and Digital Cultural Heritage in the Ancient World (EAGLE 2014 , September, 29 – October 1st ), #svegliamuseo took part to the session ‘Who cares? Users, epigraphy and the social web’ and presented the work done for the creation of a strong community rotating around the topic of digital communication and involving as many museum professionals as possible.
Social Inclusion Through Media Projectssounddelivery
sounddelivery was invited to deliver a series of social media workshops at the recent Museums Association 09 conference in London. We also ran a workshop in partnership with the Museum of London focusing on social inclusion through media projects. This case study explored a series of social-inclusion projects that have used video, podcasts and blogs to encourage accessibility, and shows the benefits to the
participants as well as to the museum.
If you need further information about this kind of work or links to the audio please do get in touch jude@sounddelivery.org.uk
Europeana Fashion @Innovathens March 2016Marco Rendina
A presentation on the main achievements of the Europeana Fashion International Association, with a special focus on the GLAM-wiki collaboration we carried-on, organising a series of edit-a-thon around Europe, involving the most important fashion museums and archives and the local Wikipedia chapters.
Makerspaces in Bibliotheken, OBA, 31 oktober 2016Fers
Presentatie bij Waag Society over bibliotheeklabs, bestemd voor medewerkers van de Openbare Bibliotheek Amsterdam. Zij beginnen aan een traject waarbij meerdere labs in Amsterdamse bibliotheken worden geïmplementeerd.
Fashion is an important part of the European Cultural Heritage, and it is increasingly recognised for its important research value to other academic disciplines, including arts, culture, sociology and communication. Since the beginning of the XX century some of the most important public and private cultural institutions and museums of applied arts in Europe have begun collecting and preserving garments, accessories, catalogues, fashion magazines and other documents and materials related to fashion.
This has resulted in a growing number of impressive and unique collections that Europeana Fashion will bring together online.
Despite the growing importance of fashion heritage, there is a lack of freely accessible fashion content and contextual information on-line.
That’s why the Europeana Fashion project has started a collaboration with the local Wikimedia Chapters around Europe -and not only- with the aim to bring new fashion related knowledge and content to Wikipedia, the World free encyclopaedia.
Since March 2013, the Europeana Fashion partners are organising a series of events in collaboration with Wikimedia, called edit-a-thons, in which volunteers from the Wikipedia support organisation and a crowd of students, bloggers, researchers, curators and fashionistas come together to edit and contribute new fashion related information to Wikipedia, using content made available by Europeana Fashion.
In his presentation, Marco Rendina will tell more about this collaboration and how it has started an online relationship that could expand our understanding of the fashion heritage and the online available knowledge of the fashion domain at large.
For more information on the project, please visit:
http://www.europeanafashion.eu
The #svegliamuseo project and the concept of a network of digital communicati...#svegliamuseo
On the occasion of the International Conference of Information Technologies for Epigraphy and Digital Cultural Heritage in the Ancient World (EAGLE 2014 , September, 29 – October 1st ), #svegliamuseo took part to the session ‘Who cares? Users, epigraphy and the social web’ and presented the work done for the creation of a strong community rotating around the topic of digital communication and involving as many museum professionals as possible.
Social Inclusion Through Media Projectssounddelivery
sounddelivery was invited to deliver a series of social media workshops at the recent Museums Association 09 conference in London. We also ran a workshop in partnership with the Museum of London focusing on social inclusion through media projects. This case study explored a series of social-inclusion projects that have used video, podcasts and blogs to encourage accessibility, and shows the benefits to the
participants as well as to the museum.
If you need further information about this kind of work or links to the audio please do get in touch jude@sounddelivery.org.uk
Europeana Fashion @Innovathens March 2016Marco Rendina
A presentation on the main achievements of the Europeana Fashion International Association, with a special focus on the GLAM-wiki collaboration we carried-on, organising a series of edit-a-thon around Europe, involving the most important fashion museums and archives and the local Wikipedia chapters.
Makerspaces in Bibliotheken, OBA, 31 oktober 2016Fers
Presentatie bij Waag Society over bibliotheeklabs, bestemd voor medewerkers van de Openbare Bibliotheek Amsterdam. Zij beginnen aan een traject waarbij meerdere labs in Amsterdamse bibliotheken worden geïmplementeerd.
Fashion is an important part of the European Cultural Heritage, and it is increasingly recognised for its important research value to other academic disciplines, including arts, culture, sociology and communication. Since the beginning of the XX century some of the most important public and private cultural institutions and museums of applied arts in Europe have begun collecting and preserving garments, accessories, catalogues, fashion magazines and other documents and materials related to fashion.
This has resulted in a growing number of impressive and unique collections that Europeana Fashion will bring together online.
Despite the growing importance of fashion heritage, there is a lack of freely accessible fashion content and contextual information on-line.
That’s why the Europeana Fashion project has started a collaboration with the local Wikimedia Chapters around Europe -and not only- with the aim to bring new fashion related knowledge and content to Wikipedia, the World free encyclopaedia.
Since March 2013, the Europeana Fashion partners are organising a series of events in collaboration with Wikimedia, called edit-a-thons, in which volunteers from the Wikipedia support organisation and a crowd of students, bloggers, researchers, curators and fashionistas come together to edit and contribute new fashion related information to Wikipedia, using content made available by Europeana Fashion.
In his presentation, Marco Rendina will tell more about this collaboration and how it has started an online relationship that could expand our understanding of the fashion heritage and the online available knowledge of the fashion domain at large.
For more information on the project, please visit:
http://www.europeanafashion.eu
The aim of this presentation is to share the Museu Nacional d'Art de Catalunya digital strategy implementation process. We present our digital strategy map as well as our simultaneous participation on big digital projects worldwide such as Google Art project, Europeana, Wikipedia. All intended to the same aim: make museum content as available as possible, engage audiences, encourage participation and co-creation, inspire quality experiences, facilitate open content. Beyond digitisation, social media, mobile and all the other efforts to reach audiences.
Invited workshop for the Humanities Research Center at Rice University, 7 March 2016.
This workshop will provide an overview of crowdsourcing in cultural heritage and consider the ethics and motivations for participation. International case studies will be discussed to provide real life illustrations of design tips and to inspire creative thinking.
Presentation during the BeMuseum conference of 2019 about digital strategy and how the digital and digital transformation now permeates 'all' aspects of work at heritage institutions. How can we adapt to this change?
Museums are content generators by nature. Today their role as connectors between the collection knowledge and the visitors / users is gaining more and more strength. Museums are still exploring ways of connecting stories to people. Wit examples of best practices of museums worldwide on social media, website renovations, online collections, mobile. Digital and Content strategy.
DIVE+: Explorative Search for Digital HumanitiesJohan Oomen
DIVE+ is an event-centric linked data digital collection browser aimed to provide an integrated and interactive access to multimedia objects from various heterogeneous online collections. It enriches the structured metadata of online collections with linked open data vocabularies with focus on events, people, locations and concepts that are depicted or associated with particular collection objects. DIVE+ is result of a true inter-disciplinary collaboration between computer scientists, humanities scholars, cultural heritage professionals and interaction designers. The tool allows humanities scholars to explore unexpected relations between entities and media objects and to construct and share navigation paths to develop research narratives.
School libraries in a European Worldwide context: Trends, competences, needs ...Slamit
School libraries in a European Worldwide context: Trends, competences, needs and demands by Lourense Das
Presentation at SLAMIT4 course in Caparica Portugal 2009
Essential Social Media for Historians and History Projectstbirdcymru
This workshop was convened with members of the University of Leicester School of Historical Studies, the University of Leicester library, and was led by Terese Bird of the Institute of Learning Innovation. Contact Terese on tmb10@le.ac.uk.
Preserving Interactive Media - SXSW 2017Johan Oomen
http://schedule.sxsw.com/2017/events/PP96792
Interactive documentaries are at the vanguard of current media technologies. Taking into account every framework imaginable, its makers challenge some of our assumptions about how these technologies can or cannot support bringing a non-fiction storyline to a audience. In over a decade of IDFA DocLab’s existence, web technologies have changed dramatically and many producers experience how complicated it can be to keep their creations accessible and ‘experienceable’.
In this panel, chair Johan Oomen from Sound and Vision, will outline the challenges to creating dynamic web archives. We will then take a deeper look at particular cases. NFB collaborated with Google on the re-making of Bear 71 - porting it from a Flash-based to a WebVR online experience. Megan Lindsay will present this collaboration on re-representing a modern classic. After the presentations, there will be room for questions.
The world of web design moves so quickly, it's sometimes a full time job just keeping up! In this session, we'll discuss the design and technology trends that will impact how audiences engage with your brand online. Leave with lots of insights and ideas on how to improve your museum's website.
The aim of this presentation is to share the Museu Nacional d'Art de Catalunya digital strategy implementation process. We present our digital strategy map as well as our simultaneous participation on big digital projects worldwide such as Google Art project, Europeana, Wikipedia. All intended to the same aim: make museum content as available as possible, engage audiences, encourage participation and co-creation, inspire quality experiences, facilitate open content. Beyond digitisation, social media, mobile and all the other efforts to reach audiences.
Invited workshop for the Humanities Research Center at Rice University, 7 March 2016.
This workshop will provide an overview of crowdsourcing in cultural heritage and consider the ethics and motivations for participation. International case studies will be discussed to provide real life illustrations of design tips and to inspire creative thinking.
Presentation during the BeMuseum conference of 2019 about digital strategy and how the digital and digital transformation now permeates 'all' aspects of work at heritage institutions. How can we adapt to this change?
Museums are content generators by nature. Today their role as connectors between the collection knowledge and the visitors / users is gaining more and more strength. Museums are still exploring ways of connecting stories to people. Wit examples of best practices of museums worldwide on social media, website renovations, online collections, mobile. Digital and Content strategy.
DIVE+: Explorative Search for Digital HumanitiesJohan Oomen
DIVE+ is an event-centric linked data digital collection browser aimed to provide an integrated and interactive access to multimedia objects from various heterogeneous online collections. It enriches the structured metadata of online collections with linked open data vocabularies with focus on events, people, locations and concepts that are depicted or associated with particular collection objects. DIVE+ is result of a true inter-disciplinary collaboration between computer scientists, humanities scholars, cultural heritage professionals and interaction designers. The tool allows humanities scholars to explore unexpected relations between entities and media objects and to construct and share navigation paths to develop research narratives.
School libraries in a European Worldwide context: Trends, competences, needs ...Slamit
School libraries in a European Worldwide context: Trends, competences, needs and demands by Lourense Das
Presentation at SLAMIT4 course in Caparica Portugal 2009
Essential Social Media for Historians and History Projectstbirdcymru
This workshop was convened with members of the University of Leicester School of Historical Studies, the University of Leicester library, and was led by Terese Bird of the Institute of Learning Innovation. Contact Terese on tmb10@le.ac.uk.
Preserving Interactive Media - SXSW 2017Johan Oomen
http://schedule.sxsw.com/2017/events/PP96792
Interactive documentaries are at the vanguard of current media technologies. Taking into account every framework imaginable, its makers challenge some of our assumptions about how these technologies can or cannot support bringing a non-fiction storyline to a audience. In over a decade of IDFA DocLab’s existence, web technologies have changed dramatically and many producers experience how complicated it can be to keep their creations accessible and ‘experienceable’.
In this panel, chair Johan Oomen from Sound and Vision, will outline the challenges to creating dynamic web archives. We will then take a deeper look at particular cases. NFB collaborated with Google on the re-making of Bear 71 - porting it from a Flash-based to a WebVR online experience. Megan Lindsay will present this collaboration on re-representing a modern classic. After the presentations, there will be room for questions.
The world of web design moves so quickly, it's sometimes a full time job just keeping up! In this session, we'll discuss the design and technology trends that will impact how audiences engage with your brand online. Leave with lots of insights and ideas on how to improve your museum's website.
Museum of the Riverina Social media Presentation Sally Gissing
A brief description of what social media is, the benefits of it's use and how we at the Museum of the Riverina in Wagga Wagga, NSW have used this valuable communication tool.
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.
Engaging students through user experience (UX) at UALSandra Reed
An overview of two library user experience projects, undertaken at University if the Arts London. One, now complete, looks at spaces across our services. The other, still in progress, focuses on our online presence.
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.
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
UX (or User Experience) incorporating usability studies, ethnographic research, and service design, is now being actively embraced by librarians. This presentation details this definition and briefly traces the history of ethnography and its relevance to, and adoption by, libraries.
This presentation was given at the Business Librarians Association conference in Leicester in July 2014.
Emerging participatory culture: Making sense of social media use for learning...Narelle Lemon
Emerging participatory culture: Making sense of social media use for learning in, across and with Higher Education and the cultural heritage sector
Dr Narelle Lemon, Swinburne University of Technology, Australia
12 noon – 2pm, Tuesday 6 June 2017
Paterson’s Land Room 1.21, Holyrood campus, University of Edinburgh.
All are welcome – sign up here. Please bring your lunch.
Social media promotes a participatory culture whereby there is support in the construction and development of a networked environment through which what becomes visible is “a shift from matters of fact, to matters of concern or matters of interest as the various agendas and opinions are brought together through networks” (Latour, 2005, p.5). The use of social media collapses boundaries between educators, institutions and students, and changes patterns of communication. In this presentation, Narelle will share experiences from multiple research projects where social media was central to learning, including community development Twitter and blogging projects with museum eductors, teachers, and pre-service teachers (#MuseumEdOz, #visarts12 and #visart13, #ConnectedLearning and Community Professional Experience); and research projects exploring the experiences of museum educators and academics (#AcademicsWhoTweet; Cultivating social media use with GLAM educators).
Key findings from these projects concerned the formation of a digital identity, mutual respect, sharing and curating of practices, peer-to-peer learning, visibility of learning, and reciprocity. Narelle will frame the notion of digital interaction through Tim Ingold’s lines, intersections and meshworks (2015), show how social media enables meaning making to be socially distributed (Rowe, 2002), and discuss how emergent participatory culture offers advantages for ongoing learning with like-minded individuals, new partnerships, collaborative problem solving, and the development of a more empowered sense of citizenship (Trembach & Deng, 2015).
http://dchrn.de.ed.ac.uk/2017/04/27/seminar-6-june-with-dr-narelle-lemon-emerging-participatory-culture-making-sense-of-social-media-use-for-learning-in-across-and-with-higher-education-and-the-cultural-heritage-sector/
Using visitor research to plan quality public programsLynda Kelly
Masterclass given at the Museums and Galleries Services Queensland conference in Spetember 2007. I blogged about the conference here - http://amarclk.blogspot.com/2007/09/museum-gallery-services-qld-state.html
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1. ‘Online Cultural Consumers and Museums’
Kings College, London
14 November 2013
Communicating the Museum Learning Experience Online:
Reflections on young people’s use of social and mobile
technologies in a school trip
Koula Charitonos
Institute of Educational Technology
1
koula.charitonos@open.ac.uk
3. Motivation
• Strong interest in gaining an understanding on how best to support
school trips to museums
• Observation 1: School trips are an important means of introducing
young people to museum collections and may have a long-term learning
impact and influence perceptions
• Observation 2: Gap between an experience that one has during a visit to
a museum as a leisure activity and during a school trip
• Observation 3: Museums can be complex spaces for children/young
people (i.e. museums are filled with diverse artefacts, too much
information and use of highly intellectual language)
• Observation 4: On-going problem for museums (and schools)3 is how to
support and develop interpretation skills in young people
4. Horizon Report 2012: Museum Edition
• People expect to be able to work, learn, study, and connect with
their social networks wherever and whenever they want
• The abundance of resources and relationships made easily
accessible via the Internet is increasingly challenging us to revisit
our roles as educators
• Collection-related rich media are becoming increasingly valuable
assets in digital interpretation
•
(In. Johnson, L. et al., 2013. The NMC Horizon Report: 2012 Museum Edition, Austin: Texas: New Media
Consortium)
4
4
5. In: Digital Culture: How arts and cultural organisations in England
use technology;
ACE, AHRC, Nesta (2013) Digital R&D Fund for the Arts Report
“the majority of cultural organisations regard digital technologies as
essential to marketing, preserving and archiving, and operations”
•growing audience size
•reaching new audiences
•increasing engagement
Learning?
5
6. PhD Thesis: An investigation into the use of social and
mobile technologies in school trips to museums
• investigate how social and mobile technologies shape young
people’s practices and learning processes and facilitate making
meaning for learners, in and across settings
Focus on:
• incorporate new tools to pedagogical practices
• a research design to allow a learner to switch between different timescales
and different contexts i.e. offline/online; individual/social; and
formal/informal
• user-generated content (i.e. online posts, pictures, video)
• peer-led communication (face-to-face, online) (esp. social aspects of
interpretation)
• embedding reflective practices in encounters with objects (with Twitter)
• value the use of resources that are generated by learners themselves
6
7. Research Question
How does the use of social and mobile technologies by
young people before, during and after a school visit to a
museum contribute to a student’s learning trajectory and
facilitate meaning making processes?
7
10. Design: Trajectory of class activities
ACTIVITY CLASSROOM/
SETTING
ICT SUITE
OBJECT
E-LEARNING
MUSEUM STUDIO/MUS
EUM
CLASSROOM/ INTERVIEW
ICT SUITE
ROOM
BUS
Communication
Communication
Create a
within, between and
Communication
Reflect on the
within the
short clip to
beyond institutions
upload pictures
within the institution activities and the
institution
reflect on
(face-to-face and
start presentation
(face-to-face and
overall
(face-to-face
the
online)
online)
experience
and online)
experience
TOOLS/R
ESOURC
ES
pen/paper
PCs
online platforms
iPhones
MoL website
textbooks
images
PEOPLE
individual/
in groups
exhibits
labels
iPhones
Twitter/tweets
PCs
iPhones/camera
images
pen/pencil
online platforms
recorder
(Twitter/Vuvox)
worksheet
museum map
in groups
in groups
time
Flip
camera
online platforms
(Twitter/Vuvox)
images (from
museum)
tweets
paper
post-its
iPhones
pen/paper
recorder
Twitter-stream
pen/paper
meaning maps
individual
individual/
in groups
individual
(diagram adopted by Steier & Pierroux, 2011)
10
11. Data collected
Pre - visit
Visit
pre-test questionnaires
observation (notes,
pictures, video)
entry meaning maps
online posts on Twitter
online posts on Twitter
pictures/video by
participants
observation (notes,
video)
Post - visit
post-test questionnaires
exit meaning maps
online posts on Twitter
individual videos (bus)
group audio files
classroom observation
worksheets
video collages on Vuvox
12
interviews
12. Pre -Visit: Live communication between institutions
• Logistics
– MoL trial twitter account @MoLtrial
– Social Media Manager at the MoL in Q&A
– students in school’s ICT suite
– #MoLtrial
• Objectives:
–introduce the students into new forms of
communication with the museum/new channels of
communication (i.e. YouTube, Website, Twitter)
–achieve a gradual familiarisation of the participants
with the Museum of London
–prime the students for the museum experience
12
14. Pre -Visit: What do the participants say?
Interviews (n=7 students)
Q: What did you think of our communication with the museum curator
over Twitter before the visit?
Preparation for the visit
“I thought it was really good, because, you haven’t been
there before and you get to ask questions about what is it
like, what is it gonna teach us, and he answered back to us
straight away. So I thought that was a good idea, coz you
get to know about the museum before you get there and so
you know what you like, going to learn, sort of what is going
to be like...” [interview, Maria]
14
15. Pre -Visit: What do the participants say?
‘Bringing an expert’ in the classroom
“...is good to have contact with someone of higher
knowledge and not just the teacher’s opinion...It’s good to
see someone else, not random, but someone else that
knows their subject perfectly and see their views on what
you’ve said” [interview, Kevin]
“He could give you the points first hand, he knows what it is,
he works for the museum [...] he knew what he was talking
about [...]” [interview, Neil]
15
16. Pre -Visit: What do the participants say?
Preference for synchronous type of communication
“The essence is that museums are big and like, they are
unapproachable, while Twitter it made them more
approachable and like friendly [...] Twitter made it a bit more
like approachable and like...and it was easy to ask stuff [...] If
it was just, like, email, then I"d have thought a bit, like...you
know when you are emailing someone, but it"s not instant
messaging or anything, so it"s like...kind of thing that you are
talking to a wall sometimes...” [interview, Nana]
16
17. Pre -Visit: What do the participants say?
Teacher
‘interesting’, ‘different’, ‘useful’ and ‘really valuable’
“it was a really good introduction to them [students] going
there [museum]”
“They found it exciting because it was live...they were doing
it at the same time and they were able to talk to someone
who wasn"t there (...) than just having me there talking to
them!
17
18. Visit: Museum of London
• Visit Logistics
– 8 groups in threes/fours
– worksheet
– recorder with a microphone
– iPhones (3G/3GS)
– Twitter/TweetDeck and specific
hashtags
• Learning Objectives:
– Investigate an inquiry
– Select and interpret objects
– Communicate knowledge and understanding to an audience
18
19. 19
Charitonos, Koula; Blake, Canan; Scanlon, Eileen and Jones, Ann (2012).
Museum learning via social and mobile technologies: (How) can online interactions enhance the visitor experience? British
Journal of Educational Technology, 43(5) pp. 802–819.
20. Visit: Interview Data
Past visits
“Normally when you go to museums,
you just go to the museum, go
around and you’re thinking ‘it’s
boring’ and spend so little time in
each place is, like, really felt
puzzled...” (Neil)
“ It was boring, really boring...we
didn’t have much freedom, you were
not allowed to go anywhere, to touch
anything, to interact...” (Sara)
This visit
“...it was a lot more enjoyable
because it was really focused
and you could actually learn
about something...” (Neil)
“...compared to this museum you
could learn in your own pace and
you own way, more personal
learning...and it was good to get
your point across...” (Sara)
20
“[...]We were really into it...with that everyone stayed on
target...” (Maria)
21. Visit: Interview Data
• (Invisible) Interaction among participants
“when we saw the tweet about the carriage...we
wanted to go and find it!” (Kevin)
18
22. Visit: Interview Data
• (Invisible) Interaction among participants
“You know about the Black Panther? Cos when we were at the
museum I tried to find it, I couldn’t find it...and then I saw the pictures
and ‘Ohhhh, that’s what it is!’ So, then I learnt about this thing” (Nana)
19
23. Visit: Interview Data
• creation of an ‘opinion space
“you answered some things on
iPhone and other people got to
read it, so they would (faithful)
your opinion and (faithful)
the difference... (Maria)
“I like that...cos you go to see
other people’s opinions...I mean,
like, if you look at something, as
I look at something, I see
different things, so you can
see how they interpret it.”
(Nana)
“...some people don’t have the confidence to put the hand up and talk
about what they’ve seen. With the technology...I saw a lot of people
write down some really good ideas and maybe the use of
technology could help them get their point across” (Sara)
21
24. Visit: Interview Data
• creation of an ‘inter-connected space’
[..] I like the fact that you were
staying in touch with
everyone, even though they
We were in groups, but I was
feeling connected with other
groups, so we were all
were not there...People tweeting
about what they were seeing and
you kinda know what is
there, without being
there...”(Nana)
sharing ideas over
internet...we were really into
it...” (Maria)
22
25. Visit: Interview Data
• ‘archival’ space
“Without technology you wouldn’t
have remembered it and looking
back at them when you can” (Sara)
23
26. Visit: Interview Data
• Q. “Looking back at the tweets, do you see any value having
them?
• “Yeah, you see a lot of people what they thought about
different things and some bits are just comments on what
other people have put, but a lot of [name of a student]
were very detailed as well, and it really, I think that
helped me to go and find the places [...] I think at one
point the people were just saying, like, especially with the
carriage, they didn’t really READ [emphasizes] the
information that was on the [part of it, label?] they were
just putting “Oh, look there’s a carriage”.But I think, like,
other people were like “Oh, no, no, no, actually if you
read it it says this and then “Oh, then I’ll go and look at
that again [...]”
20
26
27. Interview Data
“I remember we split into groups of three and we were
going around and we were looking at different artefacts in
the museum...and putting on twitter about what we thought
and where it would be for other people to (comment and
come and look), what we thought it would be interesting
and emmm...what we thought other people would be
interested in”
[Interview, Kevin asked to recall the visit ]
27
28. Interview Data
• Q. ‘Has the use of technologies made you feel any differently or
strongly about looking at objects?’
• “Yes, it’s made me a look at something a lot differently. I
think it made me read more of the [labels] that go with it
and more of what was around [...] You see something
else in the corner of your eye and it will make you go
‘Oh, I could see something good out there and I could
put it on twitter and then it will (out of sudden) make you
read more around the museum...”
28
29. Interview Data
• Do you think you behaved differently during this visit than you
normally behave in school visits?
• “I think we did, because we were trying to think of things
we could put up on Twitter [...] we were trying to think of
what we could put on and we couldn’t think of what we
wanted to say [...]”
29
30. Findings
• Social and mobile technologies may be used in school
visits:
• for bringing ‘experts’ in the classroom
• for collecting questions and customising a trip
• for engaging students to participate and share their
experiences
• for facilitating interaction and negotiation of meaning
• for enhancing the social dynamics of the visit and creating
a collective experience
• for documenting, archiving and extending the experience
beyond settings and groups
• for enjoying the visit
24
31. Findings
• Perceived aim of visit: finding objects that are interesting and
appealing to other students - acknowledgement of an audience
• Popular activity: Posing by exhibits and taking pictures
• Selections based on: personal interests; prior-knowledge;
serendipitous browsing; the social environment; distributing
content
• Use of tweets and pictures to resource and communicate their
meaning making in this trip
24
31
32. Reflection
• How effective user-generated content is for museum learning? How young
people can engage with it effectively and efficiently, so that quality content –
and its curation – becomes a valuable resource?
• How does this shift in learning practices for students (e.g. creating, sharing
and curating multimodal content, performing to an audience, and peerreviewing) bring new ways to ‘read’ and interpret objects into play?
• Technologies should not be introduced to a learning space without
adequate attention paid to how users shape practices associated with
them
• Museum learning needs to function and integrate young people’s
increasingly visual, not text based, digital environments and practices.
• Opt for applications that students are familiar with and may become
ubiquitous part of the setting for the primacy of the object and aesthetic
31
32
encounter to be preserved
Hello, I’m Koula and I’m a PhD student at IET at the Open University. My research is looking at technology enhanced museum visitor experience and particularly use of social media tools among young people in formal and non-formal places. What I’ll present here today is based on a study I carried out over the last few months. Its aim was to gain an understanding on how best to support aspects of the visiting experience such as meaning making via social media tools among school groups? My goal here is to present this work and some of the preliminary findings of this study.
In September 2013 there were a total of 3.7 million visits to the National Museum and Galleries in UK (Source: https://www.gov.uk/government/statistical-data-sets/museums-and-galleries-monthly-visits#summary)
Twitter was selected as the social networking tool to be used to complement the interactions among the participants during the visit. For the people who are not familiar with Twitter, Twitter is primarily a microblogging platform, where every user can publish short messages up to 140 characters, so-called ‘tweets’. There are some leaflets that I will pass around - trying to recruit some more Twitterers here! There are quite a few reasons why I opted for Twitter: first, it has both synchronous and asynchronous characteristics. It would allow the researchers to collect participants’ reactions to what they experience at the MoL but also enable communication beyond the visit. There is a growing body of research on Twitter and discourse on its effectiveness as an educational tool. The advantages of microblogging, according to Ebner et al. (2010) consist mainly in the possibility of giving immediate feedback and in documenting processes (p. 94).
It is quite simple to use. Also, in UK updates can be carried out using SMS, and this means that it could be used even without a network in the museum during the visit ( I was lucky enough that MoL had infrastructure, but not all the museums do).
It has been embraced with enthusiasm among museums worldwide, and as I already said, 1700 museums are using it and considering integration into educational programs
All the interviewees agreed that this was a very positive and engaging experience, especially compared to previous experiences