A mobile ecosystem for museums
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A presentation given at the 1st Skill Sharing Workshop of the Network (Communnity of museum professionals who work with technology) in Athens. It summarizes the mobile strategy of the National Gallery between 2004 and 2010 when I was Head of Information.
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A mobile ecosystem for museums
- 1. ‘ eco-system v system’ developing holistic strategies for mobile interpretation eco-systems elena lagoudi museum knowledge workers network: 1st skill sharing workshop for strategy and mobile experience design 30 november 2011 @Benaki Museum, Greece
- 2. case study: The National Gallery, London
- 4. THE NATIONAL GALLERY EXPERIENCE BELIEF HONOUR FAITH REASON HISTORY DESIRE PAIN GENIUS RELIGION TRUTH TORMENT LOVE DESTRUCTION ABSOLUTION HEAVEN HELL DREAMS LUST SORROW JOY WAR ECSTASY FURY EVIL INNOCENCE MADNESS DESPAIR DEVOTION TRUST PURITY CRUELTY PRIDE DESPAIR BLOOD FAMILY POWER VANITY SPIRIT HEART FLESH GLORY BENEDICTION VISION NATURE SEX BETRAYAL VALEDICTION SOUL ETERNITY DAMNATION REDEMPTION LIFE DEATH PASSION BEAUTY Brand=not just a gallery of pictures, a gallery of the mind and a gallery of life
- 5. 4 Tonal Values to help shape our creative approach ELEGANT EMINENT INSPIRING INCLUSIVE
- 6. Emphasis on the permanent collection Campaign in London
- 7. DESIGN AND COMMUNCATIOS FOR EXAMPLE: Design, advertising and promotions Gallery services Publishing Merchandise
- 9. Brand is consistent across all channels But what does it mean for mobile experiences in the gallery?
- 10. Here is how the Tonal Values help.. ELEGANT- great voices, music and production, well designed accompanying print EMINENT- curatorial input, educational input INSPIRING- thought leaders interviews, innovative creative treatments for tours, varied interpretative approaches INCLUSIVE- many languages, user-friendly players, good visitor service, varied family offer, pre-production user-testing
- 21. New developments= Internet’s pirate radio?
- 22. iPod + broadcasting= podcasting
- 23. The first podcast.. May 2005 Marymount Manhattan College “ The platform is already out there, in our bags, our coat pockets, on our belts … we have a seamless system for delivering any sort of homemade audio content we want. In a sentence, we are democratizing the experience of touring an art museum” (Gilbert, 2005)
- 24. Creators’ website Subscribers’ mobile device
- 25. 2006 to now Monthly magazine 15 mins 3 ‘articles’
- 27. A presenter gives a broadcasting flavor Interviews with specialists give authenticity and sense of ‘now’
- 28. Enhanced audio podcast= audio interviews and a slide-show of images
- 29. Considerations Format, tone, feel, audience Voice, sonic signature, indent, brand, metadata Marketing, distribution Content planning process, sign off process Photography, copyright, shelf life Hosting, production sharing
- 30. After listening to it, how likely or unlikely they are to visit the gallery:
- 32. Some user comments I've enjoyed my visits using the podcasts. Thank you for that. I wish you could issue your podcast in Portuguese so my family and friends that do not understand English could also enjoy it. I live abroad and always listen as I am so far away from my favourite gallery and feel in touch through this podcast It's a well structured podcast which I find interesting . BLUETOOTH You should make these available in the gallery by bluetooth even better if each picture had an audio guide available by bluetooth AT/IN FRONT of the picture - anyone with a mobile phone could get it. YES I know this would cost BUT you don't have to do it for every picture - the highlights say .It is good to see the NG keeping up with information technology by using podcasts. They are thoroughly lovely in every way! The National Gallery Podcast really is an excellent service and has become a highlight of each new month. Whilst being in Australia obviously limits the frequency with which I can travel to the Gallery; the podcast allows me a thoroughly enjoyable and educational visit. Its great and informative
- 33. June 2007
- 35. CLICK TO ADD TITLE podcast-trail
- 37. Be Inspired and Grand Tour podcasts and the monthly Podcast Split in shorter podcast-trails
- 39. New developments June 29, 2007= Apple launches the iPhone July 10, 2008= App store launches By 2009=10,000 apps in App Store , but no museum apps yet September 2008-May 2009= experimental development of 1 st museum app in the world
- 40. LOVE ART app for iPhone and iTouch-Pentimento Love Art app for iPhones- May 2009
- 42. Insert image caption here Ingredients Zoom feature Galleries= images brand elements Transcriptions project Artstart interactive kiosks New 5% the grand tour be inspired audio tour App content
- 44. Press loved it It was downloaded 400,000+ φορές Innovation - 1 η in the world Conclusion= the experiment worked!
- 45. But technology keeps on developing. What are we doing now? What are we doing tomorrow?
- 46. Idea 1 Interacting with visitor experience. Suggesting content and trajectories using:
- 49. ‘ eco-system v system’ developing holistic strategies for mobile interpretation eco-systems elena lagoudi museum knowledge workers network: 1st skill sharing workshop for strategy and mobile experience design 30 November 2011 @Benaki Museum, Greece
Notes de l'éditeur
- It contains over 2,300 works, including many famous works, such as van Eyck’s Arnolfini Portrait, Velázquez’s Rokeby Venus, Turner’s Fighting Temeraire and Van Gogh’s Sunflowers. All major traditions of Western European painting are represented from the artists of late medieval and Renaissance Italy to the French Impressionists . Do not touch ‘The National Gallery’. When formatting the title of the presentation be mindful of the width of the text. Words should not spread right across the screen. Split words onto more than one line to form a pleasing layout. When formatting the date only state the number for the day (ie ‘6’ not ‘6th’).
- The main title screen. Do not touch ‘The National Gallery’. When formatting the title of the presentation be mindful of the width of the text. Words should not spread right across the screen. Split words onto more than one line to form a pleasing layout. When formatting the date only state the number for the day (ie ‘6’ not ‘6th’).
- Basic Principles for formatting National Gallery Powerpoint Presentations
- Basic Principles for formatting National Gallery Powerpoint Presentations
- Basic Principles for formatting National Gallery Powerpoint Presentations
- Basic Principles for formatting National Gallery Powerpoint Presentations
- The Internet’s own form of ‘pirate radio,’ podcasts have proliferated organically and broken from the polished conventions of mainstream radio, leveling the playing field between ‘outsider’ and ‘sanctioned’ content providers. Inexpensive software and freeware have simplified the editing process, enabling people with limited resources to post their own podcast ‘shows.’ The resulting podcasts are often characterized as much by their irreverence and homemade production values as by their delivery mechanism. Today a diverse community of podcasters flourishes on the Web, still bound by a common understanding that content should be shared freely – in both the democratic and monetary sense. A new genre of programming has been born.
- What are MP3 players? The podcasting phenomenon: hybrid of the terms iPod and broadcasting: a revolutionary mechanism for distributing content directly from provider to user.
- Ironically, it was the buzz around the early renegade podcasts that first brought the genre into the purview of museums and galleries. In May 2005, New York Times journalist Randy Kennedy reported on Art Mobs , a podcast project created by the students of David Gilbert, a professor of organizational communications at Marymount Manhattan College, to provide alternative audio tours of New York’s Museum of Modern Art. Described on the Art Mobs blog as a means to “hack the gallery experience” (Gilbert, 2005), the project alerted many museums to the genre’s potential as an effective tool for facilitating interpretation. In an interview, Gilbert explained the sense of empowerment that podcasting inspired: “ The platform is already out there, in our bags, our coat pockets, on our belts … [W]e have a seamless system – from Web to application to player – for delivering any sort of homemade audio content we want. In a sentence, we are democratizing the experience of touring an art museum; we are offering a way for anyone to ‘curate’ their own little corner of MoMA. ( Gilbert , 2005)
- It serves audio, video and other media files directly from a podcast creators’ website to a subscribers mobile device, computer or MP3 player. It is not a single source of content on an one time basis, but the basis of it is that podcasts allow users to subscribe to many content streams simultaneously using feed reading programs called aggregators As new files become available, listeners are notified automatically. Think of it as a library and the podcast being a free magazine that not only gets delivered to your door, but archived next to the previous issue and you get notifed that it is there!
- We decided on a audio-zine format, monthly episodes of 15 minutes, separated in 3 “segments” covering a topic each (for about 5 minutes each). We didn’t want to be extremely prescriptive though and wanted a format that allowed flexibility despite having a structure. We realised that we could illustrate the artworks featured by choosing to use the enhanced audio feature, but that would mean that users with the old iPods and smaller MP3 players would be at loss. There was a lot of discussion initially about the format and technology behind it. The hosting would happen through Antenna belonging to one of the largest media groups, Discovery travel, which could use their giant server to host. The content generation was decided to come from the gallery, through a participatory process whereby different departments would input and do forwarding planning (monthly content planning meetings with Information, marketing, press, education and most recently curatorial) linked to gallery activity and often London cultural happenings and ephemera. The style and tone we decided to follow was that of Front Row. Interview based, a spontaneous tone, encouragement of “multiple voices” (creators and artists, composers, chefs and other creatives) alongside the more authoritative museum voices. We also wanted to link back to the gallery, giving users the sense that its being “broadcasted” from whithin, live. That is why we chose to use a narrator, the same and named person, Miranda Hinckley, who was auditioned amongst others for the warmth and directness of her voice. We also decided to use one external collaborator who generally conducted the interviews: Leah Kharibian, who was worked with us for a long time and is a good interviewer as well as familiar to staff and this was very important to ensure the spontaneous and relaxed tone we wanted to achieve. The production values we embraced were not the guerilla podcasters out there with cheap and unedited sound texture. True to our brand, we wanted to keep the elegance and eminence by creating a rich acoustic tapestry, a certain level of polish without losing the informal feel, and a rich, studio-enhanced sound texture. We created our own, characteristic sonic signature (in the start of the podcast) and designed our own indent for our iTunes presence, like a logo.
- Another thing we had to think about my favorite word: metadata. The bits of Information that can make people who research iTunes for new content be interested in us. We needed to develop skills for e-copywriting, which is rather different to traditional copywriting. We had to come up with inviting, to the point (as word count counts!) information that accurately describe the product but sell it in the same time. The new media team took that on and developed it and incorporated it into their work schedules. We used all the in house skills and transferable skills from other projects to develop new set of skills to be able to manage this new endeavour.
- We also had to re-think photography as the format for images on iPods was square and different to other gallery photography. It had to give listeners/viewers a sense of immediacy. We briefed Photographic and produced a series of gallery photography that works well with this medium. Now, at every interview, Photographic are there to capture the moment. We had issues with exhibition images and loans images and copyright. After laborious negotiations with Image Library we came to an agreement. We had to consider archive life on the website as visitors often want to refer to older Podcasts (especially if they join now, they wouldn’t have access to our older content on their iPods and have to source manually from the website)
- We also had to re-think photography as the format for images on iPods was square and different to other gallery photography. It had to give listeners/viewers a sense of immediacy. We briefed Photographic and produced a series of gallery photography that works well with this medium. Now, at every interview, Photographic are there to capture the moment. We had issues with exhibition images and loans images and copyright. After laborious negotiations with Image Library we came to an agreement. We had to consider archive life on the website as visitors often want to refer to older Podcasts (especially if they join now, they wouldn’t have access to our older content on their iPods and have to source manually from the website)
- We decided on a audio-zine format, monthly episodes of 15 minutes, separated in 3 “segments” covering a topic each (for about 5 minutes each). We didn’t want to be extremely prescriptive though and wanted a format that allowed flexibility despite having a structure. We realised that we could illustrate the artworks featured by choosing to use the enhanced audio feature, but that would mean that users with the old iPods and smaller MP3 players would be at loss. There was a lot of discussion initially about the format and technology behind it. The hosting would happen through Antenna belonging to one of the largest media groups, Discovery travel, which could use their giant server to host. The content generation was decided to come from the gallery, through a participatory process whereby different departments would input and do forwarding planning (monthly content planning meetings with Information, marketing, press, education and most recently curatorial) linked to gallery activity and often London cultural happenings and ephemera. The style and tone we decided to follow was that of Front Row. Interview based, a spontaneous tone, encouragement of “multiple voices” (creators and artists, composers, chefs and other creatives) alongside the more authoritative museum voices. We also wanted to link back to the gallery, giving users the sense that its being “broadcasted” from whithin, live. That is why we chose to use a narrator, the same and named person, Miranda Hinckley, who was auditioned amongst others for the warmth and directness of her voice. We also decided to use one external collaborator who generally conducted the interviews: Leah Kharibian, who was worked with us for a long time and is a good interviewer as well as familiar to staff and this was very important to ensure the spontaneous and relaxed tone we wanted to achieve. The production values we embraced were not the guerilla podcasters out there with cheap and unedited sound texture. True to our brand, we wanted to keep the elegance and eminence by creating a rich acoustic tapestry, a certain level of polish without losing the informal feel, and a rich, studio-enhanced sound texture. We created our own, characteristic sonic signature (in the start of the podcast) and designed our own indent for our iTunes presence, like a logo. We also had to re-think photography as the format for images on iPods was square and different to other gallery photography. It had to give listeners/viewers a sense of immediacy. We briefed Photographic and produced a series of gallery photography that works well with this medium. Now, at every interview, Photographic are there to capture the moment. We had issues with exhibition images and loans images and copyright. After laborious negotiations with Image Library we came to an agreement. We had to consider archive life on the website as visitors often want to refer to older Podcasts (especially if they join now, they wouldn’t have access to our older content on their iPods and have to source manually from the website) We also had to think about the buzz word: metadata. The bits of Information that can make people who research iTunes for new content be interested in us. We needed to develop skills for e-copywriting, which is rather different to traditional copywriting. We had to come up with inviting, to the point (as word count counts!) information that accurately describe the product but sell it in the same time. The new media team took that on and developed it and incorporated it into their work schedules. We used all the in house skills and transferable skills from other projects to develop new skills to be able to manage this new endeavour. We had to think early on about future possible developments as we need to keep enough flexibility to create multiple podcasts and how each one would sit with the rest of the offer. We had to think about internal resources, budgets and sustainability. What percentage of the production would be done in house and what outsourced with Antenna? How ambitious were we to aim to add another monthly production cycle to our already full plate of deliverables? What would happen after the 10 free episodes, given that each one started with an estimated budget of 1.5k and is now nearer to 2.5-3? With no built-in financial benefit to the museum and no precedence of its success in terms of user numbers how could we justify the new podcast program to the rest of the museum? Antenna have been very flexible with us (and generous) and we have yet to pay for an episode. They either build them on the back of exhibitions as promotion, or keep the cost with the intention to recuperate it from an new venture with iTunes (which im going to explain a bit later). So, armed with all the information we had on this new and obscure medium, enthusiasm, ideas, ambition, research and a fantastic and experienced producer, Cathy Fitzerald, who you already know, we embarked on launching our first episode out there. And hoped for the best. I need to point out at this stage that on the back of our minds this was always a pilot program. What we were hoping to achieve initially is: To establish a working partnership with Antenna to explore the potential of this new platform To ensure a rich audio texture in our podcasts To share the production workload To develop an understanding of the new medium and its users To streamiline internal production process in order to minimize effort
- Use this screen to emphasis e particular pieces of content, eg, an important piece of information or dramatic statistic , etc. This screen should be used sparingly and do not place one coloured screen directly after another. NEVER place Gallery paintings on this background.
- This screen is for images only and shows an example of where to place 2 images.
- The Internet’s own form of ‘pirate radio,’ podcasts have proliferated organically and broken from the polished conventions of mainstream radio, leveling the playing field between ‘outsider’ and ‘sanctioned’ content providers. Inexpensive software and freeware have simplified the editing process, enabling people with limited resources to post their own podcast ‘shows.’ The resulting podcasts are often characterized as much by their irreverence and homemade production values as by their delivery mechanism. Today a diverse community of podcasters flourishes on the Web, still bound by a common understanding that content should be shared freely – in both the democratic and monetary sense. A new genre of programming has been born.
- This screen is for images only and shows an example of where to place one single image.
- This screen is for images only and shows an example of where to place one single image.