Presentation given for Create MOME Techlab participants at MOME University in Budapest on 16 October 2013. http://techlab.mome.hu/index.php?option=com_content&view=article&id=329%3Atechtea-mobile-technology-and-the-museum&catid=62%3Alabor-hirek&Itemid=99&lang=en

1. Aleksandra
Janus
Dorota
Kawęcka
innemuzeum.pl
Mobile
Technology
and
the
Museum

2. consultants
bloggers
researchers

3. galleries
libriaries
GLAM
archives
museums

4. it’s
all
about
experience…

5. leisure
industry
sales
marketing
experience
tourism
museums

6. Barbara
Kirshenblatt-­‐Gimblett
(1998)
If
in
the
past
museums
were
object-­‐
centred
and
the
collections
managed
by
curators
were
their
biggest
asset,
nowadays
museum
come
to
be
increasingly
defined
by
their
relationship
with
visitors
–
customers
expecting
good
quality
service.
B.
Kirshenblatt-­‐Gimblett,
1998,
Destination:
Culture.
Tourism,
Museums
and
heritage,
p.
138.

7. Anthony
Jackson,
Jenny
Kidd
(2011)
Visits
to
museums
and
heritage
sites
have
in
recent
years
become
(not
least
in
promotional
rhetoric)
less
about
the
object
and
more
about
the
experience:
an
‘encounter’
with
a
past
that
is
‘brought
to
life’,
peppered
with
‘events’
and
advertised
through
a
list
of
‘What’s
On’.
A.
Jackson,
J.Kidd
,
2011,
Performing
heritage:
Research,
practice
and
innovation
in
museum
theatre
and
live
interpretation,
p.
1.

8. Mads
Daugbjerg
(2011)
Experience
seems
to
be
the
word
of
the
day
in
today’s
heritage
industry.
M.
Daugbjerg,
Playing
with
fire:
struggling
with
‘experience’
and
‘play’
in
war
tourism,
“Museum
and
Society”,
2011,
nr
9
(1).
p.
17.

9. Joseph
Pine,
James
Gilmore
(1999)
experience
model
• immersion
• passive
participation
• active
participation
• absorption
Entertainment
Educa-on
Esthe-c
Escapist
J.
Pine,
J.
Gilmore,
1999,
Experience
economy.
Work
is
Theatre
&
Every
Business
a
Stage,
p.

10. Why
mobile
technologies?
familiar
technology
personal
device
rescue
in
small
space
post
visit

11. wayfinding
extra
resources
external
use
function
equivalent

12. Explorer
-­‐
American
Museum
of
Natural
History

13. Explorer
-­‐
American
Museum
of
Natural
History

14. Muzeum
Dźwięków
–
National
Museum
in
Krakow

15. Muzeum
Dźwięków
–
National
Museum
in
Krakow

16. Muzeum
Dźwięków
–
National
Museum
in
Krakow

17. extending
the
experience
discovering
the
city
mapping
the
non-­‐existent
difficult
heritage
urban
memory

18. Lublin
2.0
(Layar)
–
Grodzka
Gate

19. Warsaw
’44
(Layar)
–
Warsaw
Uprising
Museum

20. Warsaw
’44
(Layar)
–
Warsaw
Uprising
Museum

21. Oszpicin
–
Jewish
Center
in
Oświęcim
(Auschwitz)

22. Oszpicin
–
Jewish
Center
in
Oświęcim
(Auschwitz)

23. MyWarsaw
–
Museum
of
the
History
of
Polish
Jews

24. Witold
Lutosławski
Guide
to
Warsaw
–
Fryderyk
Chopin
Institute

25. Witold
Lutosławski
Guide
to
Warsaw
–
Fryderyk
Chopin
Institute

26. Malopolska’s
Virtual
Museums

27. Malopolska’s
Virtual
Museums

28. Malopolska’s
Virtual
Museums

29. Nina
Simon
“The
Participatory
Museum”
museum
2.0

30. Nina
Simon
(2010)
I
define
a
participatory
cultural
institution
as
a
place
where
visitors
can
create,
share,
and
connect
with
each
other
around
content.
N.
Simon,
2010,
The
Participatory
Museum,
p.
ii..
Available
at:
http://museumtwo.blogspot.com/

31. Create
Nina
Simon
(2010)
means
that
visitors
contribute
their
own
ideas,
objects,
and
creative
expression
to
the
institution
and
to
each
other.
Share
means
that
people
discuss,
take
home,
remix,
and
redistribute
both
what
they
see
and
what
they
make
during
their
visit.
Connect
means
that
visitors
socialize
with
other
people—staff
and
visitors—who
share
their
particular
interests.
Around
content
means
that
visitors’
conversations
and
creations
focus
on
the
evidence,
objects,
and
ideas
most
important
to
the
institution
in
question.
N.
Simon,
2010,
The
Participatory
Museum,
p.
ii-­‐iii..
Available
at:
http://museumtwo.blogspot.com/

32. trusting
visitors
building
community
participatory
sharing
authority
giving
up
control

33. Old
Weather
–
The
Citizen
Science
Alliance

34. See:
https://speakerdeck.com/tokumine/from-­‐visitors-­‐to-­‐science
and
https://vimeo.com/49844515

35. Supertagger
-­‐
Huis
van
Alijn
(Ghent)

38. Europeana

39. Europeana
1989

40. Europeana
1989

41. Open
Definition
A
piece
of
data
or
content
is
open
if
anyone
is
free
to
use,
reuse,
and
redistribute
it
—
subject
only,
at
most,
to
the
requirement
to
give
credit
to
the
author
and/or
making
any
resulting
work
available
under
the
same
terms
as
the
original
work
Source:
http://opendefinition.org/

42. An
OpenGLAM
institution
champions
these
principles:
1. Release
digital
information
about
the
artefacts
(metadata)
into
the
public
domain
using
an
appropriate
legal
tool
such
as
the
Creative
Commons
Zero
Waiver
2. Keep
digital
representations
of
works
for
which
copyright
has
expired
(public
domain)
in
the
public
domain
by
not
adding
new
rights
to
them.
3. When
publishing
data
make
an
explicit
and
robust
statement
of
your
wishes
and
expectations
with
respect
to
reuse
and
repurposing
of
the
descriptions,
the
whole
data
collection,
and
subsets
of
the
collection.
4. When
publishing
data
use
open
file
formats
which
are
machine-­‐
readable
5. Opportunities
to
engage
audiences
in
novel
ways
on
the
web
should
be
pursued.
Source:
http://openglam.org/principles/

43. Source:
Rui
Guerra,
https://twitter.com/ruibeep/status/388016195535790080/photo/1

44. Yes,
you
can
harvest
it
with
their
API
!
Did
you
know
the
Rijksmuseum
opened
their
data
?
Source:
http://www.slideshare.net/CollectieInformatie/presentation-­‐museumnext

45. Open
Cultuur
Data
&
Hack
de
Overheid

46. Faces
of
the
Rijksmuseum

47. Dook
voor
in
je
hook

48. Source:
http://www.makelifeeasier.pl/img/image/IMG_3276.jpg

49. Dook
voor
in
je
hook

50. Open
Monuments
–
Centrum
Cyfrowe

51. What’s
the
potential
of
mobile
technologies
in
the
context
of
OpenGLAM?

52. Thank
you!
@DorotaKawecka
@AleksandraJanus
innemuzeum.pl