Peter Samis Associate Curator Interpretation Stephanie Pau Manager Interpretation San Francisco Museum of Modern Art QuickTime™ an GIF decompres are needed to se Museums & the Web 2009 • 16 April 2009 After the heroism, collaboration: Organizational learning & the mobile space
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After the heroism, collaboration: Organizational learning & the mobile space
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Peter SamisAssociate Curator Interpretation
Stephanie PauManager Interpretation
San Francisco Museum of Modern Art
QuickTime™ and aGIF decompressor
are needed to see this picture.Museums & the Web 2009 • 16 April 2009
After the heroism, collaboration: Organizational learning & the mobile space
The Interpretive Goals Process
A cross-departmental dialogue and interpretive brainstorm process involving:
• Visitor response to handheld multimedia guide (audio tour) Discovery Corporate Intelligence Group
Randi Korn Findings: Use of Offerings
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Wall texts Brochure* (most aftervisit)
Learning Zones MM Tour
What a visual interface brings to the party…
A way to point at and parse 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?
• Cell phone reception varies• The audio quality is often poor• Foreign visitors must pay outrageous international roaming
charges• Holding a device to one’s ear is fatiguing • Podcasts require pre-visit planning (Oops, I’m already
here!) • Wi-fi networks are temperamental, especially in crowd
situations
Until these obstacles are removed, pre-loaded devices—even at a cost—seem to correspond to the premium cultural experience museums are expected to provide.
Corroboration: Our 2 Case Studies
ExhibitionStops on cell phone tour
Incoming calls/month
Incoming calls/day
246 and Counting
18 585 19
Art of Participation
28 706 22
Was the fault in our promotion?
No doubt in part…
But then there was evidence like this:
Meanwhile, the story online & at home was different.
246 Tour & AoP TourArtwork-specific interpretation
Artist voices
Back-story on how a work was acquired
Supplementary info re: each piece & the conditions of its production
Behind the scenes insights on how a museum collects
Artist invitation to participate & comment
On the other hand, the purpose-built & deliveredmultimedia tour for Frida Kahlo actually had a Halo Effect:
25% increase in satsifaction
The Guggenheim, Whitney, and MoMA all offer (and promote) free audio tours of their Permanent Collection.
Take-up rates: 20-65%
“Universal Access”
Takeaways
• Visitors apparently are not as eager to use their own devices as museums might wish
• They seem to desire a high fidelity, immersive experience
• Parsing out audio through a touch-and-listen interface is a winner
Takeaways
• Universal Access: if a museum is going to delegate significant interpretive aspects to mobile devices, then those devices need to be as effortlessly available as artworks & wall texts
• Need for a flexible authoring and publishing platform for the mobile space
• Re-thinking the audio tour based on research to date
• Touch-&-Listen• Concise & multi-layered • Artist Voices & Videos• Using words, images, and sound as
visual amplifiers for the artworks• 1st delivery on iPod-Touch and
iPhone
Developing a Mobile Multimedia Guide for the Permanent Collection
Any campaign to develop a comprehensive multimedia tour of the permanent collection, or of special exhibitions featuring lesser known artists, must be accompanied by a museum-wide strategy to promote these new resources.