Mobile Technology and the Museum

Mobile Technology and the Museum

Aleksandra Janus Dorota Kawęcka innemuzeum.pl

consultants

bloggers

researchers

galleries libriaries

archives museums

GLAM

it’s all about experience…

leisure industry

sales marketing

tourism museums

experience

If in the past museums were object-‐centred and the collections managed by curators were their biggest asset, nowadays museum come t o b e increasingly defined by their relationship with visitors – customers expecting good quality service.

Barbara Kirshenblatt-‐Gimblett (1998)

B. Kirshenblatt-‐Gimblett, 1998, Destination: Culture. Tourism, Museums and heritage, p. 138.

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’.

Anthony Jackson, Jenny Kidd (2011)

A. Jackson, J.Kidd , 2011, Performing heritage: Research, practice and innovation in museum theatre and live interpretation, p. 1.

Experience seems to be the word of the day in today’s heritage industry.

Mads Daugbjerg (2011)

M. Daugbjerg, Playing with fire: struggling with ‘experience’ and ‘play’ in war tourism, “Museum and Society”, 2011, nr 9 (1). p. 17.

Joseph Pine, James Gilmore (1999) experience model

•  immersion

•  passive participation •  active participation

•  absorption

Entertainment Educa-on

Escapist Esthe-c

J. Pine, J. Gilmore, 1999, Experience economy. Work is Theatre & Every Business a Stage, p.

Why mobile technologies?

familiar technology

personal device

rescue in small space

post visit

wayfinding extra resources

external use equivalent

function

Explorer -‐ American Museum of Natural History

Explorer -‐ American Museum of Natural History

Muzeum Dźwięków – National Museum in Krakow



extending the experience

discovering the city

mapping the non-‐existent

difficult heritage

urban memory

Lublin 2.0 (Layar) – Grodzka Gate

Warsaw ’44 (Layar) – Warsaw Uprising Museum

Warsaw ’44 (Layar) – Warsaw Uprising Museum

Oszpicin – Jewish Center in Oświęcim (Auschwitz)

Oszpicin – Jewish Center in Oświęcim (Auschwitz)

MyWarsaw – Museum of the History of Polish Jews

Witold Lutosławski Guide to Warsaw – Fryderyk Chopin Institute

Witold Lutosławski Guide to Warsaw – Fryderyk Chopin Institute

Malopolska’s Virtual Museums



Nina Simon “The Participatory

Museum”

museum 2.0

I define a participatory cultural institution as a place where visitors can create, share, and connect with each other around content.

Nina Simon (2010)

N. Simon, 2010, The Participatory Museum, p. ii.. Available at: http://museumtwo.blogspot.com/

Create 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.

Nina Simon (2010)

N. Simon, 2010, The Participatory Museum, p. ii-‐iii.. Available at: http://museumtwo.blogspot.com/

trusting visitors

building community

sharing authority

giving up control

participatory

Old Weather – The Citizen Science Alliance

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

Supertagger -‐ Huis van Alijn (Ghent)

Europeana

Europeana 1989

Europeana 1989

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/

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/

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

Yes, you can harvest it with their API !

Did you know the Rijksmuseum opened their

data ?

Source: http://www.slideshare.net/CollectieInformatie/presentation-‐museumnext

Open Cultuur Data & Hack de Overheid

Faces of the Rijksmuseum

Dook voor in je hook

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

Dook voor in je hook

Open Monuments – Centrum Cyfrowe

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

@DorotaKawecka @AleksandraJanus innemuzeum.pl

Thank you!

Mobile Technology and the Museum

Education