Design for Mobile Workshop

September 24, 20101/65Nancy Proctor, proctorn@si.edu

From Headphones to MicrophonesVisitor-led mobile experience design for museums

Nancy Proctor, Smithsonian InstitutionDesign for Mobile Workshop, 24 September 2010

Housekeeping

Questions & comments:

@nancyproctor

Hashtags: #mtogo #d4m2010

http://wiki.MuseumMobile.info

1. 8:30-9:00 Introductions

2. 9:00-10:00 Theory: audience-led mobile content & experience design

- 30 min break -

3. 10:30-11:45 Practice: key messages, audiences & their questions

- 15 min break -

4. 12:00-12:30 From headphones to microphones: from I do the talking to you do the talking!

Agenda for Today:

1. Introduce yourself by name and affiliation;

2. Tell us your burning question or issue that you hope will be addressed today.

Introductions8:30–9:00

1. Interpretation is essential

2. Why mobile?

3. A new approach to designing mobile interpretation and experiences

4. From headphones…

Part 1: Theory9:00–10:00

to microphones

Part 1: The Theory9:00-10:00

Audience-led mobile interpretation design

Opening our eyes

Interpretation is as essential to the Museum as cutlery is to a

banquet

Beth Lipman, Bancketje (Banquet) 20038

Beth Lipman, Bancketje (Banquet) 20039

Some visitors may bring their own, Some may eat only the finger food, Some may choose another restaurant, Many will go away hungry,

If the Museum doesn’t provide it:

feeling uninvited and unwelcome.

VelcroTeflon

http://www.slideshare.net/psamis/learning-in-museums-2008-intro-remarks

Tate Modern’sPrinciples of Interpretation

1. Interpretation is at the heart of the gallery’s mission.

2. Works of art do not have self-evident meanings.

3. Works of art have a capacity for multiple readings; interpretation should make visitors aware of the subjectivity of any interpretive text.

4. Interpretation embraces a willingness to experiment with new ideas.

5. We recognise the validity of diverse audience responses to works of art.

6. Interpretation should incorporate a wide spectrum of voices and opinions from inside and outside the institution.

7. Visitors are encouraged to link unfamiliar artworks with their everyday experience.

Why mobile?

In the Museum as Distributed Network…

…at least half of the Museum’s platforms are already mobile.

So if we want to meet our audiences where they are

And take them some place new…

Mobile is a great vehicle

http://www.youtube.com/watch?v=6ILQrUrEWe8

But if we want to go beyond this:

We need to think outside the audio tour box

September 24, 201018/65Nancy Proctor, proctorn@si.eduFraunhofer Institute, Kunstmuseum Bonn: ‘Beat Zoderer’ exhibition (Listen project) 2003

It’s NOT about the Technology

Thinking outside the audiotour box

Means thinking about content & experience

Recent Research & Resourceshttp://wiki.MuseumMobile.info/research

20101. Smithsonian studies of Mall and Zoo visitors 20092. CHNM survey on Museums and Mobile Adoption3. Learning Times International Survey on handheld use in

museums.20084. Whitney Museum of American Art: Audio Guide

Technologies Survey Final Report20075. Matthew Barney: Multiplatform interpretation at SFMOMA6. La Placa Cohen Culture Track 2007 (with Antenna Audio)

Who is your target audience?

Tied to mission & key messages

What are the desired outcomes? What do we want them to know, think and/or feel?

What platforms do they already use? How do they use them elsewhere & what excites them?o Traditional audio tourso Cellphones or smartphoneso Podcastso Mobile social media: SMS, Twitter, FB…

A Minority of Visitors Use Technologies in the Galleries

2006 study by Randi Korn & Associates at SFMOMA

BUT they use technology everywhere else:

WWW = Whatever, Whenever, Wherever

Question mapping in the gallery:

What do they want to know?

• Semi-structured interviews• FAQs and comments cards • Questions posed to staff…

Collecting questions…

Online question collection: o Specialized Q&A services, e.g. AJOAo Comments on social media sites

Include audience research in order to segment

Go deeper with more experienced museum visitors

Where are visitors not being served by existing interpretation?

Organize & Filter

Group questions:

o Thematically

o By object

o By location

Prioritize by mission and key messages

Prioritize questions that elicit great stories

Organize questionsPainting Sculpture Folk Art Architecture

Dramatic change in style in display

Why multiples of same work?

Lures aren’t art

Story behind the architecture

Triple painting?!

Memory vessels: idea, ones with stones…

Glad you dead you rascal you?!

Which content modalities?

1. +-+-+-+-+ Soundtracks

2. o o o o Soundbites

3. x x x x Interactives

4. | | | | Links

5. ^ ^ ^ ^ Feedback

6. § § § § Social media

Narrowcast/Offline orNetworked

Networkedonly

Soundbite Sample

Soundbites

Are ‘atoms’ of information.

Commonly called ‘stops’ – or ‘starts’!

Facilitate going deeper on a specific object/subject.

Usually require a visual (actual object or image).

Can be collectable & portable to other platforms e.g. via bookmarking, saving or sharing.

Can be reused across the museum’s analog & digital platforms as well as those of third parties.

Soundtrack Sample

The Soundtrack

Recalls original ‘linear’ audio tours.

Provides a sequential narrative and contextual information: tools for understanding the principles of the displays, both in the gallery and beyond.

Immersive, but may be divided into a number of connected segments.

‘Downloaded’ for audiences on-site and beyond.

Like a good album, book or catalogue, should be possible to enjoy over & over again…

Soundtracks & Soundbites Combined

ArtBabble: the ideal interface

http://www.artbabble.org/video/meet-william-christenberry

Identify soundtracks & soundbitesPainting Sculpture Folk Art Architecture

Dramatic change in style in display

Why multiples of same work?

Lures aren’t art

Story behind the architecture

Triple painting?!

Memory vessels: idea, ones with stones…

Glad you dead you rascal you?!

Architecture Tour

History of the building, style, architect

----------+--------------+------------------+--------

O O O Tiles Skylights Ironwork

Folk Art Tour

Why is folk art, art?

----+-------------------+------------------+-----------

\/ \/ \/

O O O Lures Memory vessels Glad you

dead…

How best to tell the story & create the atmosphere?

1. Monologue:o Artists & curatorso Staffo Related expertso Professional narrators

2. Reinactments/ plays

3. Interview

4. Dialogue

5. Vox pop / comments

6. Music

Knowledgeable or insightful – trusted

Relates to the mission or key messages

Good communicator with target audience

o Engaging voice

o Confident manner

o Makes it relevant

Facilitates the desired outcomes

Who best to tell the story?

The audiences’ conversations Comments and questions (audio/text/links)

Search-research-share

Bookmark/Email/SMS to self

Collect (MyCollection, ArtStream)

Share (Twitter, Facebook, SMS)

Voting (show the polls!)

Quizzes/games (multimedia/SMS)

Mobile giving

The right vehicle for your content

Audio player

Multimedia player

Cellphone

Personal media player

SmartMobile

Browser

phonesMobile App

Soundtrack x x (x) X X X

Soundbite X X X x X X

Interactive X X X

Link X X x

Feedback X X X

Social media X X

Platform considerations

1. Users’ own devices or supplied on-site?

2. Can you support network connectivity at your site?

3. Can you support multiple platforms?

4. What kind of location-based/content triggering solution do your visitors & experience need – really?

5. Can you manage user-generated content?

6. What do your sponsors/funders require?

Mission: SI: Increase and diffusion of knowledge. AA: Be the resource and facilitator for experiencing, understanding and engaging with American art in the US and the world.Objectives: Repeat visitors; Membership sales; Integration into the curriculum

Break 10:00–10:30

Please have a meaningful object & pen/pencil when

you return for Part 2…

Part 2: The Practice10:30–11:45

Key messages, target audiences & their questions

What are our audienceslooking for?

1. Identify your target audience(s)

1. Explorers2. Facilitators3. Experience seekers4. Professionals/Hobbyists5. Rechargers

Virtual visitors Non-visitors

Falk’s Identity Segmentations

10 min

Are you an Explorer?

Are you a Facilitator?

Are you an Experience Seeker?

Are you a Pro/Hobbyist?

Are you a Recharger?

2. Record your questions about The Museum of

Meaningful Things

The Museum’s Mission: Enable meaningful conversations & build ad hoc communities & collaborations around personal objects & their stories.

1. Install your exhibition

2. Record your questions

3. Ask the curator

20 min

3. Identify the key messages Please list 1-3 main ideas visitors will take

away from visiting the site or exhibition. What objects or didactic components of the presentations will help them learn this?

Describe the rationale and originality of the presentation. Is the site or exhibition bringing new scholarship to the field, exposing an

under-recognized subject, etc.? Why is this presentation important now?

Please note other interpretive components at the site that should be considered (labels, docent tours, audio tour, in-gallery videos, interactive feature, blogs, etc.). Are you aware of existing media created by other organizations that address the key messages/topics

of this presentation? How does mobile fit into the interpretive mix?SFMOMA's "Interpretive Goals Questionnaire”http://www.archimuse.com/mw2009/papers/samis/samis.html

10 min

3. Who will speak to these questions?

10 min

Museum’s Voice Visitors’ Voices

Monologue

Dialogue

Voice(s): Artist Curator Related expert

Interview Vox pop. / comments Music…

Comments & questions:…

Bookmark / Save:…

Games:…

4. Put the experience in context On-site or Online visit

Visit life cycle: Before, During, After

Special context: At home, In school, On the go…

Networked or ‘on board’?

Other interpretation, information or services available? 1. Museum-authored2. User-generated3. Third parties

10 min

5. Choose your platform1. Users’ own devices or supplied on-site?

2. Can you support network connectivity at your site?

3. Can you support multiple platforms?

4. What kind of location-based/content triggering solution do your visitors & experience need – really?

5. Can you manage user-generated content?

6. What do your sponsors/funders require?

15 min

Break 11:45–12:00

http://picasaweb.google.com/anup.rao/HaifaAkkoIsrael#4954285426665324562

Let’s hear you!

Part 3: From Headphones to Microphones12:00-12:30

From “we do the talking” to “we help you do the talking.”

http://museummobile.info/ wiki, blog & podcasts

MCN Conference Oct 27-30, 2010, Austin, TX http://MCN.edu

Mobile Content Standards Summit 27 Oct, at MCNhttp://wiki.museummobile.info/standards

http://tatehandheldconference.pbworks.com

Koven Smith: http://kovenjsmith.com & http://www.archimuse.com/mw2009/papers/smith/smith.html

SFMOMA (Peter Samis & Stephanie Pau): http://www.archimuse.com/mw2007/papers/samis/samis.html & http://www.archimuse.com/mw2009/papers/samis/samis.html

Nancy Proctor: ProctorN@si.edu @nancyproctor http://MuseumMobile.info

With many thanks to Kate Haley-Goldman for help with this method!

Opportunities to continue our work:

Idea by Grzegorz Klaman Wyspa Institute of Art, Gdansk,

Poland

Here’s one I made earlier…

Mobile is personal

and social

Think outside the audiotour box

From headphones to microphones

Oxygenate! Joanna Rajkowska 2006-7

Wyspa Institute of Art

Idea by Grzegorz Klaman Wyspa Institute of Art, Gdansk,

Poland

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