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Peter Samis Associate Curator  Interpretation Stephanie Pau Manager  Interpretation San Francisco Museum of Modern Art After the heroism,  collaboration :   Organizational learning & the mobile space Museums & the Web 2009 • 16 April 2009
The Interpretive Goals Process ,[object Object],[object Object],[object Object],[object Object],[object Object],The Interpretive Goals Process:  A collaboration
Regarding each upcoming show:
[object Object],[object Object],[object Object],[object Object],[object Object],Key Questions in  the Interpretive Goals Process:
Assistant Registrar Linda Leckart on Jonathan Ive’s  iPhone (communicated via   a cell phone tour) Case Study 1:  246 and Counting: Recent Architecture + Design Acquisitions
Case Study 2:  The Art of Participation  1950 to Now
John Cage,  4’33”,  1952 Case Study 2
Case Study 3:  Frida Kahlo
Interpretive Menu:  analog + digital mix ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
 
 
 
2 Evaluation Studies ,[object Object],[object Object]
Randi Korn Findings: Use of Offerings
 
 
What a visual interface brings to the party…
A way to point at and parse out the picture…
[3] [15]
Visitor feedback from Antenna’s comment book…
 
The stats, too, show this is a hit: 1 2 3
What about the cell phone idea?
Or the personal device download idea?
But then, who can  blame   them? ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Until these obstacles are removed,  pre-loaded devices —at a cost or for free— seem to   correspond to   the  premium cultural experience museums are   expected to provide .
Corroboration: Our 2 Case Studies 28 18 Stops on cell phone tour 22 706 Art of Participation 19 585 246 and Counting Incoming calls/day Incoming calls/month Exhibition
Was the fault in our promotion? ,[object Object]
But then there was evidence like   this :
Meanwhile, the story online & at home was   different. RSS feed:  18,613 mp3/m4a downloads or 194 downloads/day Live Flash Streaming:  numbers unknown
So what information did on-site visitors  not get? Hans Haacke,  News,  1969/2008
Content allocated exclusively to   cell phones via 246   Tour   &   AoP   Tour These had been part of our “interpretive plan.” Artist invitation to participate & comment Behind the scenes insights on how a museum collects Supplementary info re: each piece & the conditions of its production Back-story on how a work was acquired Artist voices Artwork-specific interpretation
On the other hand, the purpose-built & delivered multimedia tour for   Frida  Kahlo   actually had a   Halo Effect :
25% increase in  satsifaction
 
 
Takeaways 1 ,[object Object],[object Object],Visitors apparently are not as eager to use their own devices as museums might wish.
Takeaways 2 ,[object Object]
The Guggenheim, Whitney, and MoMA all offer   (and promote)   free audio tours of their Permanent Collection. ,[object Object],[object Object],“ Universal Access”
Takeaways 3 ,[object Object],We need a   flexible authoring and publishing platform   for the mobile space.
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Developing a   Mobile Multimedia Guide   for the Permanent Collection
[object Object],[object Object],Next Corollary
Content  development &  Production Of course, that doesn’t solve all our problems. In fact, And that’s  a lot of  collaboration. Staffing of  Distribution Points Hardware Marketing &  Promotion it’s the beginning of a  whole new set !
Thank you.

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After the heroism, collaboration: Organizational learning and the mobile space

  • 1. Peter Samis Associate Curator Interpretation Stephanie Pau Manager Interpretation San Francisco Museum of Modern Art After the heroism, collaboration : Organizational learning & the mobile space Museums & the Web 2009 • 16 April 2009
  • 2.
  • 4.
  • 5. Assistant Registrar Linda Leckart on Jonathan Ive’s iPhone (communicated via a cell phone tour) Case Study 1: 246 and Counting: Recent Architecture + Design Acquisitions
  • 6. Case Study 2: The Art of Participation 1950 to Now
  • 7. John Cage, 4’33”, 1952 Case Study 2
  • 8. Case Study 3: Frida Kahlo
  • 9.
  • 10.  
  • 11.  
  • 12.  
  • 13.
  • 14. Randi Korn Findings: Use of Offerings
  • 15.  
  • 16.  
  • 17. What a visual interface brings to the party…
  • 18. A way to point at and parse out the picture…
  • 20. Visitor feedback from Antenna’s comment book…
  • 21.  
  • 22. The stats, too, show this is a hit: 1 2 3
  • 23. What about the cell phone idea?
  • 24. Or the personal device download idea?
  • 25.
  • 26. Until these obstacles are removed, pre-loaded devices —at a cost or for free— seem to correspond to the premium cultural experience museums are expected to provide .
  • 27. Corroboration: Our 2 Case Studies 28 18 Stops on cell phone tour 22 706 Art of Participation 19 585 246 and Counting Incoming calls/day Incoming calls/month Exhibition
  • 28.
  • 29. But then there was evidence like this :
  • 30. Meanwhile, the story online & at home was different. RSS feed: 18,613 mp3/m4a downloads or 194 downloads/day Live Flash Streaming: numbers unknown
  • 31. So what information did on-site visitors not get? Hans Haacke, News, 1969/2008
  • 32. Content allocated exclusively to cell phones via 246 Tour & AoP Tour These had been part of our “interpretive plan.” Artist invitation to participate & comment Behind the scenes insights on how a museum collects Supplementary info re: each piece & the conditions of its production Back-story on how a work was acquired Artist voices Artwork-specific interpretation
  • 33. On the other hand, the purpose-built & delivered multimedia tour for Frida Kahlo actually had a Halo Effect :
  • 34. 25% increase in satsifaction
  • 35.  
  • 36.  
  • 37.
  • 38.
  • 39.
  • 40.
  • 41.
  • 42.
  • 43. Content development & Production Of course, that doesn’t solve all our problems. In fact, And that’s a lot of collaboration. Staffing of Distribution Points Hardware Marketing & Promotion it’s the beginning of a whole new set !