CReATeS Research Report National Galleries Scotland
Transcript of CReATeS Research Report National Galleries Scotland
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ArtHunter – Research report
Mobilising new experiences for museum staff and visitors
Ms. Maureen Michael, Research Assistant, University of Stirling
Executive Summary
Background
For this project, National Galleries of Scotland (NGS) worked with technology development firm
Kotikan to create a mobile app, ‘ArtHunter’, that would increase visitor engagement with artworks in
the National Galleries and other participating galleries across Scotland.
This project represents an important first foray for NGS into the usage of mobile technologies, and
offers a useful contribution to our understandings of the design and implementation challenges related
to such initiatives.
NGS received £42,715 from the Digital R&D Fund for the Arts in Scotland for the development of
ArtHunter.
The project
The ArtHunter app features selected artworks organised into thematic clusters as well as collection
information, all structured around a competitive art ‘collecting’ game.
Ten ‘must see’ NGS artworks are published in ArtHunter every month. The object of the game is to
visit all ten artworks in the respective galleries and share the visits through social media. Visitors
‘collect’ each artwork when a four-digit code (seen next to the artwork in the gallery) is entered into a
smartphone or tablet, unlocking extra content such as high-resolution images and information, video,
hidden details and links to other works.
ArtHunter was conceived and developed as a partnership project. Organisational rhythms and styles
of working were different across the two partners. Kotikan used ‘agile methodology’, an adaptive and
iterative approach to projects. NGS followed a more traditional, linear approach in its project
management. Communication and dedication to the partnership allowed for effective reconciliation of
the two styles.
Results
The app was launched in April 2013, and received 1959 downloads (iOS and Android) in its first 4
months. The number of monthly active users has remained relatively constant at around 380, and
30% of ArtHunter users now use the app at least 3 times per month. From comments obtained
through informal anecdotes offered by visitors (on Twitter, blog and one extended description), NGS
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has concluded that ArtHunter has created an original and more positive user experience for at least
some of its gallery audiences.
Project outcomes include significantly increased user engagement with specific artworks; new and
more active mode of user engagement; a collaborative innovation process within NGS for developing
and implementing technology; new visitor policies to allow mobile phones in the galleries; and
strengthened links among NGS’s partners and external galleries around Scotland.
The ArtHunter project has precipitated a cultural shift through the change in NGS policies for
photography and use of mobile devices in their galleries. Prior to ArtHunter, the gallery had a ‘no
mobile phone’ policy, but now visitors generally are able to use their phones and take photos of
artworks.
Insights
Building support for such an unfamiliar initiative as a mobile app required continual efforts in
communication and problem-solving.
Key concerns related to additional resources needs, mobile phone use and copyrights.
Key stakeholders were internal departments and management structure, volunteer staff, visitors,
partner galleries, and lenders of art works.
Strategies devised to keep these stakeholders engaged and confident of ArtHunter’s success
included internal meetings, creative workshops for staff and volunteers and a user testing session
with visitors.
The project partners met challenges by anticipating unpredicted problems and setbacks as a natural
part of the process and maintaining patient, frequent and enthusiastic direct communication with each
group of stakeholders throughout the project.
Future
The legacy of ArtHunter beyond the app itself is twofold.
NGS and Kotikan have built a partnership characterised by trust and reciprocity that is ideally poised
for joint future idea generation and problem solving.
ArtHunter has changed the organisational climate for digital engagement within NGS.
With now two relatively successful mobile applications enhancing its collections and public
engagement, and a strong relationship with a technology partner, NGS is well poised to explore
further projects in this domain.
1. Background
National Galleries of Scotland (NGS) (http://www.nationalgalleries.org/) is the custodian of one of the
largest collections of western art in the world. It is a publicly-funded arts and cultural organisation
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comprised of three Edinburgh-based galleries (Scottish National Gallery, Scottish National Portrait
Gallery, and the Scottish National Gallery of Modern Art) and two partner institutions (Paxton House
in Berwickshire and Duff House in Banff). The Scottish National Gallery features artworks from the
early Renaissance to 1900 and the national collection of Scottish art c.1600-c.1900, while the Scottish
National Gallery of Modern Art offers modern and contemporary art, plus renowned Dada and
Surrealist collections. The Scottish National Portrait Gallery presents portraits of those who shaped
Scotland's history from the sixteenth century, and includes the national collection of photography. The
combined museum collection includes 96,000 artworks, 3883 of which can be online via the NGS
website. Attendance figures for all three institutions average about 1,377,232 annually.
At present NGS does not yet have audience development goals (these are in development at the time
of writing). However, the galleries have adopted three key digital goals:
1. Open up our collection and knowledge: We will use our digital collection and create engaging
content resources to attract and grow audiences.
2. Grow our audiences: We will grow our audiences in order to achieve the greatest reach for the
artworks in our care and the facilities we offer, by creating and delivering varied and enjoyable content
across our digital channels.
3. Increase income generation: We will use increased audiences and insights to extend and promote
our online commercial offer increasing the income we have to invest in our organisational vision.
As part of these goals, NGS decided to try developing a mobile app with the assistance of a
technology firm with whom it had worked previously. Kotikan (http://kotikan.com/) is a mobile
application development company of designers, software engineers and marketing experts who focus
on the design and development of mobile technologies. Currently Kotikan employs 17 full-time staff
and is located in the centre of Edinburgh. Kotikan’s managing director, Gavin Dutch, maintained a
project overview with different members of staff assigned to different phases of the design and
development process.
NGS received £42,715 from the Digital R&D Fund for the Arts in Scotland for developing the
ArtHunter mobile app project.
This project represents an important first foray for Scotland’s National Galleries into the usage of
mobile technologies, and offers a useful contribution to our understandings of the design and
implementation challenges related to such initiatives. ArtHunter is a free mobile phone app designed
to increase visitor engagement with artworks across Scotland. Downloaded from the Apple App Store
or Google Play, ten ‘must see’ NGS artworks selected by Gallery staff are published in ArtHunter
every month.
The object of the game is to visit all ten artworks in the respective galleries and share the visits
through social media, for example, Facebook, Twitter, and Instagram. Visitors ‘collect’ each artwork
when a four-digit code (seen next to the artwork in the gallery) is entered into a smartphone or tablet,
unlocking extra content such as high-resolution images and information, video, hidden details and
links to other works. The app rewards the visitor with trophies for the collections they accumulate and
NGS is rewarded with additional visits and with the marketing and promotion of the artworks through
the visitor’s social networks.
Scholarly research analysing art gallery experiments with these sorts of mobile applications and app
games has only begun to appear. Some prescriptive literature is available (e.g. Proctor 2010), and
various descriptive literature is appearing in blogs, news stories and conference papers to describe
particular initiatives (e.g. Houlberg Rung and Laursen 2012). What does seem to be clear is that
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mobile apps started appearing in the US and Europe about 2009 primarily as part of guided tours, but
gradually began expanding their uses to include layered material and prompts for social interactions
(Economou and Meintani 2011).
An online survey (Museum Zero 2013) notes that 70% of art museums have incorporated some sort
of mobile application, with the top two reasons cited being ‘to experiment in engaging visitors’ and ‘to
make accessible additional interpretative content’. As Bolter et al. (2013) argue, and most
descriptions of mobile apps in galleries seem to agree, mobile apps reconfigure the ways users
navigate the cultural content and environment. The result is a very hybrid and idiosyncratic
experience. Common elements of such apps as described by Bolter et al. (2013:40) are very similar
to the ArtHunter characteristics:
• text or images floating in the user’s field of view; • clickable elements to reveal more information or link to the WWW; • QR codes and logo recognition; and • location-controlled delivery of information.
For games (where the interface is more varied, depending on the kind of game and its game mechanics):
• the phone itself as the game instrument; • markers to indicate physical surfaces for game play; and • 3-D images attached to physical surfaces.
The ArtHunter partnership built on three previous joint projects between NGS and Kotikan, including
the development of a major exhibition-specific app for Elizabeth Blackadder1. NGS decided to
increase digital engagement with gallery visitors following an organisational review.2 This review
sought to address key issues centred on visitors’ use of mobile phones and cameras, and Wi-Fi
access in the galleries. NGS policies to this point prevented mobile phone usage in the galleries to
avoid noise disturbance and to protect copyright throughout the collections. The Digital R&D Fund for
the Arts in Scotland call coincided with the decision to increase visitor digital engagement with the
collections, and ArtHunter was developed specifically for this call.
2. The project
The specific objectives of the ArtHunter app were to:
use the competitive aspect of collecting works and completing lists to drive more people into
the Galleries;
connect the in-gallery and online experiences;
engage users by gathering feedback and making use of social media;
partner with other museums and galleries in Scotland and create connections between
collections;
get feedback from audiences about works in the collection; and
gather data for analytics.3
ArtHunter was conceived and developed as a partnership project. The Head of NGS Digital Media,
Tessa Quinn, led the project delegating tasks of curatorial content and design with a team of five
people.
1 https://itunes.apple.com/gb/app/elizabeth-blackadder-national/id444092257?mt=8
2 NGS 'Digital Engagement - A New Strategy: Project Scope and Road Map' (internal document), 2012
3 National Galleries of Scotland, ‘Digital R&D Fund for the Arts in Scotland Application’, April 2012.
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The original funding application was developed following a joint brainstorming session in early 2012.4
Face-to-face meetings and online discussions witnessed the development and exchange of
information, ideas and critique. Key milestones were identified jointly and then each partner project-
managed their specific tasks towards meeting those milestones. For example, art content for the app
was developed independently of the app functionality. Gallery staff developed thematic categories of
specific art pieces for consideration (“must see lists”), drawing on their knowledge of the collections as
well as visitor preferences, beginning August 2012.
Kotikan staff developed the app technology, working from initial discussions of the product vision, for
feasibility, usability, user appeal, etc., beginning in September 2012. In October and November 2012,
personnel engaged in the two activities were brought together to negotiate the final choices: the art
content had to fit with app affordances and limitations, and the app had to render the art content
effectively and appropriately. Each partner had to accommodate the other whilst at the same time
identifying aspects of the content/functionality that could not be altered. Throughout the whole project
NGS and Kotikan worked together to keep ArtHunter moving forward, bringing its progress to the
attention of their stakeholders at every opportunity.
NGS stakeholders enrolled into the ArtHunter project included internal departments and management
structure, volunteer staff, visitors, partner galleries, and lenders of art works. Strategies devised to
keep these stakeholders engaged and confident of ArtHunter’s success included internal meetings,
creative workshops for staff and volunteers and a user testing session with visitors.
The marketing strategy aimed to build internal organisational excitement as well as public
engagement.5 Building and sustaining organisational confidence with digital innovation can be
challenging (as discussed in the next section) but the project leads (Tessa Quinn for NGS and Gavin
Dutch for Kotikan) both described these challenges as integral to the different stages of the creative
design process. Both emphasised a process approach to project management that expected and
worked through challenges.6
Both partners, of course, were overseeing other projects concurrent with ArtHunter. Kotikan managed
this workload with ‘Agile Methodology’7, a flexible and emergent approach to project management that
produced iterations of ArtHunter in ‘sprints’: each small-increment iteration works through all functions
of planning, design, testing etc. to produce a working product. Every two weeks NGS received a
working prototype of ArtHunter from Kotikan. Kotikan’s MD explains that this:
‘is about trying to deliver the maximum value by following as much communication as possible… The big reason for following this is often when you’re working on software it’s quite easy to misunderstand how much work you’ve got left to do. The tidying everything up and getting everything to work without any errors is often what takes the most time.’
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In contrast to this ‘agile’, adaptive and iterative approach, NGS follows a more traditional, linear
approach in its project management, including that used for ArtHunter. NGS assigned specific
content-related roles to Digital Media team members working in response to, and in anticipation of,
Kotikan’s sprint cycles.
At the same time, NGS was engaged in a programme of activities designed to scaffold the success of
ArtHunter: securing additional funding from the Friends of NGS (for the development of the Android
app); building stakeholder confidence (internally with other NGS departments and externally with
other galleries/collections in Scotland); extending the Wi-Fi capacity of the Gallery; reviewing the NGS
mobile policy; developing a marketing and signage strategy for ArtHunter; and presenting workshops
4 Interview with Tessa Quinn, NGS, November 2012.
5 Interview with Tessa Quinn, NGS, April 2013.
6 Interviews with Tessa Quinn, NGS, 30 August 2012, and with Gavin Dutch, Kotikan, January 2013.
7 Agile methodology was also employed by the Happenstance project funded by the Digital R&D Fund for the Arts in England:
see Bilton (2012). 8 Interview with Gavin Dutch, Kotikan, January 2013.
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for visitor staff in using ArtHunter.9
Resources invested by NGS over and above the funding received are shown in the Table 1 below. All
figures represent costs for goods and services, not for staff time.
Market research mobile phone usage £ 1000
ArtHunter iOS £ 29300
ArtHunter Android £ 15500
Images & copyright £ 1000
Video production £ 7000
Video equipment £ 3000
Marketing materials £ 3200
TOTAL £ 60000
Table 1: Additional NGS investment in ArtHunter.
Beyond these operational costs, NGS staff time dedicated to the project was also a significant
resource. This time was not tracked, and hence difficult to break down. However, the NGS project
lead is clear that the staff time required was much more than planned – as much as 25% more, at a
soft guess.10
These additional time requirements resulted partly from the research process itself,
including interviews and assistance with report preparation, and partly from the Nesta workshops
related to the Digital R&D initiative which required participation to obtain the funds. While NGS
considered these activities valuable, they were also time consuming. With no prior experience of such
processes, NGS had not anticipated the staff time needed for these research activities.
3. Results
The app had a soft launch in April 2013 with a full launch planned for October 2013. Its uptake was
monitored closely using download counts (number of visitors that downloaded the app) from April
2013 onwards, in order to establish relationships between online and in-gallery visitors.
The project aim to increase audience engagement appears to have been met, according to visitor
downloads of the ArtHunter app.11
From April to July 2013 there were 1320 iOS downloads of the app
and 639 for the Android version. The number of weekly active users has been constant (excluding the
April launch spike) at around 90. Thirty per-cent of ArtHunter users use the app at least 3 times per
month (see Figures 1 & 2 for charts showing detailed statistics for total downloads, active users,
artworks captured, and collections completed from April-December 2013).
9 Interview with Tessa Quinn, NGS, April 2013.
10 Interview with Tessa Quinn, NGS, 27 January 2014.
11 Interview with Tessa Quinn, NGS, 27 January 2014.
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Figure 1: Usage of iOS and Android Apr-Dec 2013
Figure 2: Daily downloads of iOS and Android
NGS did not analyse further statistics on user engagement with the app (session length, ratings, etc),
because the organisation lacks the budget and resources to conduct this detailed evaluation. In any
case, in the views of gallery staff, these sorts of data would not reveal much useful information about
the quality and purposes of visitor engagement with their collections through the app. In general, NGS
explained, the organisation had few resources to invest in systematic evaluations of their various
projects. As the NGS project lead observed in a final interview, more useful information for the gallery
emerges through observation of visitors, and visitors’ anecdotal information. For example, certain
tweets and blogposts created by visitors using ArtHunter, and one extended description of her
ArtHunter experience sent directly to the NGS, described further on, have been valuable.12
These
have revealed advantages, limitations and suggestions for the app from a visitor perspective.
12
Interview with Tessa Quinn, NGS, 27 January 2014. (e.g. https://twitter.com/Stacker/status/322019045136297984, and http://museumzero.blogspot.co.uk/2013/08/art-hunter-app-shows-what-not-to-do.html The letter containing an extended description is confidential to the NGS.)
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The fourth objective was to partner with other museums and galleries in Scotland and create
connections between collections. Already five partner venues – University of Stirling, Burns House
Museum, The Pier Arts Centre, Kelvingrove Art Gallery & Museum, Hawick Museum – have artworks
on the app and more are scheduled to come on stream over the coming months.13
The partnership
aspirations of ArtHunter have thus been fulfilled as far as NGS is concerned.
For NGS some of the other outcomes are yet to unfold. Without doubt the ArtHunter project has
precipitated a cultural shift through the change in NGS’ policies for photography and use of mobile
devices in their galleries. Prior to ArtHunter, the gallery had a ‘no mobile phone’ policy, but now
visitors are able to use their phones and take photos of artworks (with the exclusion of most special
exhibitions, unless owners grant permission). In the three art galleries comprising NGS, the
attendants were concerned about a potential general relaxation of rules governing behaviour in the
gallery. However, in two of the three galleries, gallery attendants found instead that the new rules
made their jobs easier with the removal of the need to discipline visitors. (One gallery felt that the
mobile phones were creating problems, but after some observation and conversation with staff the
project lead determined that these problems were related to gallery renovations that restricted space).
Among curators, there was some concern about the relaxation of copyright rules, but these concerns
turned out to result from confusion about the content of the copyright policies. This issue was
addressed by listening carefully to the curators’ concerns and explaining as clearly as possible just
what the current relevant copyright policies actually permitted. Among lenders, some were concerned
about the implications of the mobile phones. All were communicated with directly, and some
requested that their artwork be posted with a ‘no photo’ sign. In general, the shift is being managed
with much two way communication and negotiation: it is an ongoing process.
Data gleaned from users showed a flurry of interest following the product launch, then a levelling. The
data do not speak to the question of whether bigger, new or different audiences have been reached
through ArtHunter’s competitive aspect (collecting 10 pieces of art). Overall, the NGS feels the user
take-up is still somewhat lower than hoped. With total NGS visitor attendance figures of 1,262,463 in
the April 2013 – February 2014 period (weekly visitor average 28,692), a weekly average app usage
of 90 seemed low. However it is fair to add that the organisation was unsure what, exactly, might be
reasonable targets given the utter novelty of the project for its galleries and audiences. Further, given
that this is the first NGS foray into mobile museum experiences, it is difficult to know whether uptake
reflects Scottish audiences, and a general museum culture established in the NGS galleries that will
take more time to change.
Certainly the introduction of mobile phones in galleries has changed certain behaviors of visitors
(whether or not they are using ArtHunter) and their relations with gallery attendants. The NGS project
lead also observed that the project has changed user experience.14
Through anecdotal visitor
information (too few to categorise), NGS has learned that visitors seem to like the freedom to ‘to
whizz past whole collections without feeling guilty about it’ that the app seems to provide, and the
encouragement to focus more deeply on a few artworks. Some users felt that the app directions could
be clearer and the ArtHunter signs in the galleries themselves more visible. Most users indicated they
were motivated by the ‘game’ of different levels and badges, while others enjoyed the artwork
information without being particularly interested in the ‘game’ aspect. Some users felt that the texts
themselves were rather basic, and were hoping for more linked online information about the artworks.
One user commented positively on the tags that grouped the ArtHunter selections into thematic
clusters, stating that ‘surprising moments’ like this made the museum visit more interesting. There
was a feeling that the ArtHunter helped the visitor to ‘take charge of the space’ rather than to feel ‘a
wee bit patronised by museums’ organised experiences’.
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Interview with Tessa Quinn, NGS, 27 January 2014. 14
Interview with Tessa Quinn, NGS, 27 January 2014.
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From these sorts of comments obtained through informal anecdotes offered by visitors (on Twitter,
blogs and one extended description), NGS has concluded that ArtHunter has created an original and
more positive user experience for at least some of its gallery audiences. NGS has also decided, from
this feedback, that marketing of the app as well as clarity about its usage (in signs and brochures)
could improve.
Overall the ArtHunter project has been affected by, and made an impact on, the NGS policies and
staff attitudes respecting visitors’ use of digital devices. For Kotikan, ArtHunter provided an
opportunity to extend the application of their infrastructure technology.15
4. Insights
Project Development
Without the Digital R&D Fund for the Arts in Scotland the ArtHunter project would not have been
conceived and developed in the collaborative manner in which it emerged. As explained by NGS in
particular, the funding was essential to enable them to take the necessary creative risks and provide
the necessary time for collaboration with Kotikan. That is, it helped to validate the project within the
NGS organisation which justified the staff time needed. It also provided a bit of a safety net: if, for
example, the app had failed to engage target audiences, it was felt that the fund would mediate this,
and help to ensure continuing management support for new digital ventures regardless of possibilities
for some unsuccessful outcomes.
The ArtHunter project entailed a process of development that was important for NGS in catalysing
new thinking around digital engagements and new policies to support this. Whilst the app itself is
perhaps not especially innovative in the broader international landscape of museum innovations (e.g.
its features follow common elements of museum apps listed by Bolter et al. 2013 and summarised
earlier in this report), it created important new forms of audience participation and organisational
changes in Scottish galleries. Overall, the NGS/Kotikan ArtHunter project demonstrates real optimism
and appetite for digital innovation, at least in this particular cultural sector.
Resource Challenges
The development of ArtHunter raised several challenges relating to resources, staffing, organisational
change and partnership working.
Both partners agreed that their enthusiasm for the ArtHunter project encouraged a greater allocation
of resources than originally anticipated.16
NGS’ commitment to visitors’ expectations for dual platform
technology saw them secure further funding for the development of the Android version of the app
(funded by Friends of NGS). Both NGS and Kotikan also provided the project with more staff time
than originally planned. Although Kotikan did not receive more funding than originally agreed, the firm
was motivated by the learning opportunities offered by the project. In particular, they were developing
a new technological infrastructure to serve the ArtHunter app that they hoped might be transferable to
other projects.
Staffing Challenges
Matters of staffing concerned both partners.17
The ArtHunter project was a professional development
opportunity for the NGS digital content team. This team was supported by the wider NGS Digital
15
Interview with Gavin Dutch, Kotikan, January 2013. 16
Interviews with Tessa Quinn, NGS, April 2013 and with Gavin Dutch, Kotikan, January 2013. 17
Interviews with Tessa Quinn, NGS, April 2013 and with Gavin Dutch, Kotikan, January 2013.
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Media Department and their learning became part of the whole ArtHunter process. The nascent
nature of their experience, both as junior staff and as relative novices in digital design, was managed
sensitively to provide them appropriate scaffolding and progressively increasing responsibility.
ArtHunter’s role as an opportunity for professional development was very important to the Head of
Digital Media who understood ArtHunter as a “really good pathfinder” for exploring how people might
do things differently.18
Kotikan was subject to staff leaving the company mid-project, in October-November 2012. Whilst staff
mobility is a regular occurrence in small enterprises it meant that the development schedule for
ArtHunter stuttered, timelines had to be revised, and the Agile Methodology – which depends on the
coherence of a small team – was interrupted. NGS was without a Director of Public Engagement
throughout the project period, whose remit would include Digital Media, and so a champion for
ArtHunter was absent from senior management contexts.
Organisational Challenges
This absence of the ArtHunter/Digital Media voice in the upper hierarchy of the NGS organisational
structure may have contributed to the slow process of building support for the app across the various
departments. While there was always general organisational buy-in, not all of the stakeholders
supported ArtHunter all of the time.
Sustaining a shared sense of organisational confidence in ArtHunter challenged the project team
throughout the development process. Attending to wider organisational buy-in began in earnest when
funding was secured via the Digital R&D Fund for the Arts in Scotland,19
when Tessa Quinn and her
colleagues promoted the project at various departmental/strategic meetings. The tight project time-
scale meant that confidence, at different levels and departments of the organisation, waxed and
waned as people struggled to understand the mobile app and the potential of its technology, and
reconcile their partial understandings with what some considered to be its disadvantages (creating
noise and disruption in the Gallery, or threatening the copyright of certain art pieces).
Often ‘the penny dropped’ when individuals were able to get hands-on experience with ArtHunter
during its final user-testing phase in February-April 2013.20
Personal experience of the app brought a
practical understanding of its potential and the different NGS departments began to see how
ArtHunter could work with their organisational priorities. For example, Education team members noted
that aspects of their ‘Family’ programme could be enhanced through ArtHunter by including artworks
featured in their programmes as part of the ArtHunter collection; they also commented that they might
contribute to the content of ArtHunter to tie it directly to their future events.21
Bringing conceptual
understanding into line with practical experience emerged as pivotal in the internal relationships
described here but also in the NGS collaboration with Kotikan, and this process took about 8 months
of time altogether.
For NGS a primary challenge to ArtHunter’s success was the organisation’s own policies limiting the
use of mobile devices and photography in the galleries, designed to protect copyright and art work
loan agreements.22
As the progress of ArtHunter was reported at different team and management
meetings, these policies were constantly revisited: ArtHunter motivated and accelerated resolution of
the longstanding issues underpinning these policies. Policy changes were proposed in a Digital
Engagement Strategy circulated to staff (May 2013) and discussed at a special staff event (June
2013).
18
Interview with Tessa Quinn, NGS, April 2013. 19
Interview with Tessa Quinn, NGS, April 2013. 20
Interview with Tessa Quinn, NGS, April 2013. 21
Fieldnotes from Marketing Strategy Meeting, Jan 2013. 22
NGS ‘Mobile Use Policy Recommendations’, 2012.
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Sometimes there was misalignment in the collaborative development process between NGS and
Kotikan. Despite each organisation working with similar timelines, the necessary points of
convergence did not always happen as planned.23
For instance, the NGS content team needed
practical hands-on experience working with ArtHunter before they could fully appreciate its scope for
different content, but the opportunity for this was not possible until later stages of the project.24
Strategies for Addressing Challenges
In terms of strategies for addressing all of these challenges, both NGS and Kotikan stressed the
importance of anticipating unpredicted problems and setbacks as a natural part of the process and
working through them. As such, the challenges listed above were anticipated and certain
characteristics of the two project managers eased the transition from challenge to solution.
Resource challenges required greater internal allocation of resources, particularly staff time within the
NGS, than had first been anticipated. Staffing challenges required attention paid to capacity building
among more inexperienced staff and graduating their induction into increasing responsibilities. Staff
turnover demanded resilience as well as more time spent in communication to bring newer project
members on board throughout the project.
Communication with senior managers in NGS was an important issue requiring attention from the
project lead herself. Overall, as the NGS project lead explained, working through such challenges
required from both partners patience, persistence, listening and building an ethos of mutual learning
at individual and organisational levels.25
These processes needed to be sustained throughout the life
of the project, and organisational communication in particular needed to be continually circulated. For
example when it appeared that internal NGS stakeholders were becoming uncertain about the value
or purpose of the project, they were gathered together to ‘play with’ early versions of ArtHunter to see
how it actually was going to work. Uncertainty and questioning of the project within the arts
organisation were treated by the project lead as positive and necessary in the process of
organisational change.26
According to the NGS project lead, collaborating with the app developer as soon as possible in the
project process (from the original idea and funding application) is essential for a shared understanding
of both the content and functionality/design of digital products. Communication throughout the
process, and resilient adaptation to issues that arise, is vital. Patient and ideally enthusiastic
communication by the project leader, tailored for different stakeholders, will help keep all stakeholders
engaged in the project and clear about its nature and purposes.
In particular the agile development approach of ‘hands-on’ / show and tell was found to be an
effective way to help arts organisation staff to understand purposes and possibilities of new digital
innovations such as this app, thus building their trust and receptivity to such projects. The project
leaders as well as the staff needed to accept challenge as a natural part of the creative process, and
view challenges as opportunities for professional development. Different styles of project
management and different organisational rhythms, cultures and processes, which inevitably emerge
when working across digital firms and arts institutions, need to be recognised and reconciled at key
points of exchange.
Lessons Learned
Collaborate early with the technology partner to achieve a shared understanding of both the
content and functionality/design of digital products.
23
Interviews with Tessa Quinn, NGS, April 2013 and with Gavin Dutch, Kotikan, January 2013. 24
Interview with Tessa Quinn, NGS, April 2013. 25
Interview with Tessa Quinn,NGS, August 2012. 26
Interview with Tessa Quinn, NGS, April 2013.
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The agile development approach can help arts organisations to understand purposes and
possibilities of new digital innovations.
Expect different working styles and rhythms across the partners.
Communicate frequently, at all levels.
Anticipate challenge and the need for frequent problem-solving.
5. Future
Another app for NGS was produced after ArtHunter, related to the NGS Titian and Diana exhibition.
This app development was funded by the Art Fund, as part of the award to acquire these paintings
jointly with the National Gallery, London. Public engagement was one expectation of this funding, and
the app was conceived to achieve this engagement. This audio app was designed for iPad (ArtHunter
is iPhone and Android only), and presents audio history of the paintings, enactment of background
scenes, and curator commentary. Kotikan won the contract in a competitive tender, and the app is
being implemented in March 2014.
The Digital R&D Fund for the Arts in Scotland funded ArtHunter project was important for NGS in
helping to build their relationship with the digital provider Kotikan. Through the ArtHunter project, the
arts organisation and technology firm established a partnership characterised by trust and reciprocity.
Their working relationship has moved beyond the merely ‘transactional’, where a product is
contracted, to a collaboration where ideas emerge and problems are resolved through ongoing
dialogue. This evolving collaboration, explains NGS, has been a key part of their experience of
success with a digital technology firm.27
It is clear that, with two relatively successful mobile
applications enhancing its collections and public engagement, and a strong relationship with a
technology partner, NGS is well poised to explore further projects in this domain.
In terms of further research, this project joins a burgeoning movement to explore possibilities opened
by mobile technologies in art museums. Useful questions to examine include the specific ways these
technologies are being developed and used to increase visitors’ attendance and expand their
engagement with collections, with what sorts of results in different contexts and with different
audiences. It also would be useful to know more about the implementation processes of such
technologies in different institutional cultures of museums, comparing local with national museums,
and comparing across international regions. Along this line of investigating implementation processes,
it also would be useful to track follow-on projects that museums adopt once they begin introducing
new mobile technologies. While NGS itself has no immediate plans for further research, it clearly is
continuing further experimentation with mobile apps.
In the broader picture, discussions are now underway for a digital curricular program of contemporary
art to be rolled out across Scotland. The possibilities are that this can build on and upscale lessons
from ArtHunter in a large implementation that has the potential for greater impact.
6. Further resources
Further project information
27
Interview with Tessa Quinn, NGS, 27 January 2014.
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General information on the National Galleries of Scotland can be found on
http://www.nationalgalleries.org/
For information on the technology partner Kotikan please see http://kotikan.com/
Further information about ArtHunter. This site provides essential information including the
downloadable application itself. http://www.nationalgalleries.org/visit/arthunter
ArtHunter information from the web developer’s perspective. http://kotikan.com/ourwork/arthunter/
The Education activities of the National Galleries of Scotland are important context for understanding
the aims of ArtHunter and other mobile public engagement projects that might be undertaken. These
projects may be found here http://www.nationalgalleries.org/education
Special Projects of the National Galleries of Scotland lists the updates on ArtHunter’s development
and progress, and shows the context of this project in relation to other special projects being
conducted by NGS, both digital and non-digital: www.nationalgalleries.org/aboutus/special-projects
Articles about ArtHunter in the general press:
Herald Scotland, 12 April 2013: RSA New Contemporaries. http://www.heraldscotland.com/arts-
ents/visual/rsa-new-contemporaries-2013-rsa-building-edinburgh.1365818679
Art Daily, 15 April 2013: National Galleries of Scotland announce ArtHunter, the first ever
collaborative free app for art.
http://artdaily.com/index.asp?int_sec=2&int_new=62166&b=scotland#.UvjCp80vTFh
Club Innovation & Culture France, 16 April 2013: ArtHunter, nouvelle application mobile créée par les
National Galleries of Scotland: http://www.club-innovation-culture.fr/arthunter-nouvelle-application-
mobile-creee-par-les-national-galleries-of-scotland-pour-chasser-les-
oeuvres/?utm_source=feedly#.UZStrjky6Fg.twitter
Tools and guidance
The survey ‘How Museums Go Mobile’, examines trends as of 2013 in art museums introducing
mobile technologies. This is from MuseumZero Blogspot UK, which also can be searched for postings
related to ArtHunter: http://museumzero.blogspot.co.uk/2013/08/how-museums-go-mobile-
survey.html
Museum2 Blogspot features weekly posts, reports etc. exploring ways that web 2.0 philosophies can
be applied in museum design. http://museumtwo.blogspot.co.uk/
Research on mobile use and visitor experiences includes a report into the Cleveland Museum of Art’s
introduction of Gallery One (http://mw2013.museumsandtheweb.com/paper/transforming-the-art-
museum-experience-gallery-one-2/); Publishing Perspectives article on enhancing museum’s visitor
experience through mobile technology (http://publishingperspectives.com/2013/12/how-uk-museums-
use-mobile-tech-to-enhance-visitor-experience/) and the V&A’s article on visitors’ feedback on mobile
devices in museums (http://www.vam.ac.uk/b/blog/digital-media/museum-visitors-using-mobile).
A helpful user perspective can be found in SmartTourism’s review of the Kelvingrove Art Gallery and
Museum’s guidemetour app in June 2012 (http://www.smart-tourism.co.uk/kelvingrove-museum-and-
art-gallery-generates-funds-with-new-technology/).
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ArtHunter was built using Kotikan’s content delivery platform Keystone
http://kotikan.com/products/keystone/ .The Kotikan website lists other keystone products that Kotikan
have been developing and that are particularly suited for arts organisations:
http://kotikan.com/ourwork/ One example would be Hedout, which was launched for the Edinburgh
Festivals.
Further reading
Bilton, C. (2012). Happenstance Report, Digital R&D Fund for the Arts/University of Warwick.
Available at: //www.artsdigitalrnd.org.uk/sites/default/files/case-study-
documents/Academic_report_Happenstance_0.pdf
Bolter, J.D., Engberg, M, and McIntyre, B. (2013). Media studies, mobile augmented reality, and
interaction design. Interactions 20 (1), 36-45.
Economou, M and Meintani, E. (2011). Promising beginnings? Evaluating museum mobile phone
apps. Paper presented to the Rethinking Technology in Museums Conference, University of Limerick,
Ireland.
Houlberg Rung, M. and Laursen, D.(2012). Adding to the experience: use of smartphone applications
by museum visitors. Proceedings of The Transformative Museum conference, Roskilde University,
Denmark. pp. 314-25.
Museum Zero (2013). How museums go mobile - survey. Available at:
http://museumzero.blogspot.co.uk/2013/08/how-museums-go-mobile-survey.html
Proctor, N. (2010). Mobile apps for museums: The AAM guide to planning and strategy. Washington,
DC: American Association of Museums.
Other examples
The Digital R&D Fund for the Arts in Scotland comprised two other projects which also produced apps
aimed at making physical/geolocated content discoverable in new ways.
The An Iodhlann project developed the Frasan app for exploring the island of Tiree and its heritage:
www.frasan.org.uk
The Publishing Scotland project produced the Bookspotting app which helps users to discover
Scottish books in new ways, amongst others by location: [URL to be inserted after project completion
31/03]
Other museum apps include the Tate Magic 8 Ball app available at http://www.tate.org.uk/context-
comment/apps/magic-tate-ball, which points users to artworks linked to their surroundings and makes
an artwork of the moment which users can then share with friends. The website also contains a video
of the app in action.
The National Museum of Scotland
http://www.nms.ac.uk/our_museums/national_museum/museum_apps.aspx offers three apps:
Museum Explorer (only available on iTunes); Museum Highlights (available from iTunes and Google
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Play) and Capture the Museum, which turns the museum into the battlefield of a game and is
available via http://www.capturethemuseum.com/.
The British History Museum’s Pompeii App, available at
http://www.britishmuseum.org/whats_on/past_exhibitions/2013/pompeii_and_herculaneum/app.aspx,
extends the visitor’s exploration of the cities of Pompeii and Herculaneum after they have explored
the exhibition at the Museum. The app is available for download on iPhone, iPad and Android.
The Kelvingrove Art Gallery and Museum’s guidemetour app available via
http://www.guidemetour.co.uk/, provides users with a two hour audio tour of the Gallery and Museum
available to download from iTunes and Android.